The script of "Spring in a Small Town" passed the review of the General Administration, obtained the filming permit, and can be prepared for filming. Pen Fun Pavilion wWw. ｂiquge。 ｉｎfo

It is best for this film to be shot in February and March next year, during the cold spring season, which is secretly in line with the mood of the characters in the play.

Moreover, it is necessary to shoot in the Jiangnan area, looking for mottled old city walls and garden-style old houses.

The scene of the whole film is simple, and because of this, more attention should be paid to details, and the furniture in the room should be found with old objects, and the placement should be appropriate, so as to restore the life of the year as much as possible.

Although the investment in the film is not high, it is also necessary to strive for excellence and make an exquisite literary film with heart.

As for the director, Lin Zixuan had a plan.

He felt that he should find a director who had a certain life experience and had some understanding of the life and culture of the south to shoot, so as to grasp the warm and watery taste.

Zheng Dongtian, a professor at the directing department of the Beijing Film Academy, is more suitable.

Zheng Dongtian is in his fifties, born in a mountain city, grew up in Shanghai, and worked in the Shanghai Film Studio for a period of time after graduating from the film academy, so he has a better understanding of the humanities and customs of Jiangnan.

He is a representative of the fourth generation of directors, and the style of making films is called "documentary aesthetics".

In the field of film, Zheng Dongtian is not only a director, but also a film theorist, who actively explores the new direction of Chinese films, does not exclude entertainment films, and has an open concept.

He is also one of the members of the Film Censorship Committee, has a certain influence in the Chinese film industry, and belongs to the old-timers.

Lin Zixuan asked Zheng Dongtian to direct "Spring in a Small Town", one is that he thinks Zheng Dongtian is suitable, and it is more secure to ask the older generation of directors to direct this kind of film, they have that calm and leisurely state of mind.

Young and middle-aged directors are always ambitious and can't settle down.

In addition, Lin Zixuan is a little selfish.

He wanted to insert Lin Xiaoling into the crew, be an assistant director, and study hard with Zheng Dongtian.

"The Two of Us" can only be said to be a niche literary film that lives in life, and it is touching with emotion, Lin Xiaoling can make this film, which means that she can graduate from film school.

"Spring in a Small Town" is the film that really tests the director's artistic skills, and Lin Xiaoling will definitely benefit a lot from following it.

However, Zheng Dongtian wears many hats and is very busy with work, Lin Zixuan doesn't know if he will agree, so he waited until the script passed the review before he came forward to invite, by the way, about the Tokyo Film Festival.

Lin Zixuan plans to pay for the travel expenses to let the members and actors of the "The Two of Us" crew go to Tokyo to participate in the film festival.

Those crew members are students of the film academy, they don't get paid for filming, and they work for a year in vain.

Besides, these people cooperate well with Lin Xiaoling, and they may continue to cooperate even if they graduate in the future.

There are also actors, Xu Jinglei needless to say, let's just say Jin Yaqin, who lowered the salary to participate in the filming at the beginning, and was extremely cooperative and hardworking during the filming, showing the professionalism of an old actor and contributing a wonderful performance.

So it makes sense for you to take a walk around Tokyo and have some fun.

This film has little to do with Lin Zixuan, but many things can't be counted like this, just as a relationship.

"That's a good thing, if you're willing to spend money, let them see it. Zheng Dongtian agreed.

"What about filming "Spring in a Small Town", ...... Lin Zixuan asked.

"I really like this book.,I'm afraid that there are too many things.,Too mixed thoughts.,I can't feel it.。 Zheng Dongtian hesitated, "You have to really calm down to make this film, I'm on the cusp of the storm now." ”

Zheng Dongtian was talking about a-for-tat debate in the domestic film industry.

In the ninety-sixth year, the introduction of Hollywood blockbusters became the norm, and everyone was accustomed to it, and the audience's enthusiasm for Hollywood blockbusters gradually cooled down and was no longer so sought after, but there was a debate in the film circle about "what is a movie".

One side believes that film is an art first, and then an industry.

On the other hand, film is industry first, and art second.

The Hollywood blockbusters imported in China are mainly action and science fiction, and domestic filmmakers have found that the degree of industrialization of Hollywood films far exceeds that of other countries in the world, and it is not an exaggeration to describe it as crushing.

The industrialization of the film and television industry refers to the treatment of film as a product, and this process includes a series of industrial systems such as product development, production, marketing, and after-sales service.

Hollywood's industrialization is characterized by: star system, specialization, post-product marketing, cross-industry penetration, and globalization.

They advocate win-win cooperation, and everyone has their role to play in this industrial system.

Correspondingly, in the domestic film industry, the "circle" is serious, everyone you do yours, I do mine, and if you don't get along with each other, there is no way to form a complete industrial system.

Zheng Dongtian supports the idea that film is an industrial product first, and art second.

Since film is an industrial product, it is necessary to meet the needs of consumers, obey commercial principles, and act in accordance with market rules, and then pay attention to the artistry of film in this case.

On the other hand, film is an art, an aesthetic, and it is to use light and shadow, sound and image to express the perception of the world, which is humanistic care and aesthetic ideals.

Movies are only movies if they are artistic, and selling them as commodities is only incidental.

Don't look at it as just a battle of order, in the final analysis, it is a battle between business and art.

Another point is the long-term implementation of the "director-centered system" in the domestic film and television industry, which allows directors to have a great say in film shooting and can create as they like.

Once it is recognized that cinema is first and foremost an industry, the status of directors declines dramatically.

The director can't just make a film, he has to take into account the audience and the market, and there will be a position to limit the director's rights.

In Hollywood, this is the right of the producer, and the vast majority of directors in Hollywood do not have the right to make final cuts, and the director is a part-time worker in the production process of the film, just like the actors.

The reason why this discussion is so heated has to do with this.

Domestic directors are used to being in control of everything in the crew, and no one wants to be restricted, this situation is okay in China, if you cooperate with Hollywood studios, people will not get used to you.

Whether the film industry should be industrialized or not is a problem that the Chinese film industry must face.

If everyone could still hide in the country and deceive themselves before, then with the introduction of Hollywood movies, seeing the gap, it is not possible to pretend to be deaf and dumb.

The path of art will not work, and if it continues, it will give up the domestic box office to Hollywood movies, and it will not work if it remains the same.

This controversy is both a battle of ideas and a fuse. (To be continued.) )