Lin Zixuan was invited to participate in the symposium organized by the Board of Directors of the Hong Kong Film Awards. Pen "Fun" Pavilion www.biquge.info

The theme of the symposium was the cooperation and exchange between the film industry in Hong Kong and the Mainland, and was attended by representatives of various associations of the Hong Kong film industry.

These associations belong to non-governmental organizations, but they have great influence in the Hong Kong film and television circle.

At present, there are differences among Hong Kong filmmakers, some of them plan to go north and develop in the mainland, while others choose to stay behind and insist on making in Hong Kong.

Even those filmmakers who want to enter the mainland have concerns, they lack access and do not understand the market.

Or there is no communication channel, whether it is official or non-governmental, you can't go to the mainland and say that the film I make will definitely make money, you can invest in me.

Actually, there are such characters.

It is not uncommon for Hong Kong filmmakers to pretend to be cool, pretend to be cows, and fool their investments in the mainland, but that kind of practice can only deceive laymen, and regular film and television companies are generally not gullible.

Wen Jun is familiar with the mainland, and he also believes that it is difficult for Hong Kong filmmakers to adapt to the rules of the mainland market.

The main purpose of this symposium is to understand the situation of the mainland film market, so that they can clear the fog and understand how to adapt to the mainland market as soon as possible.

The box office of "Hero" exceeded 200 million, allowing Hong Kong filmmakers to see the potential of the mainland film market.

The production of films in Hong Kong is declining, and the number of films co-produced with the mainland is increasing.

Two problems arise here.

The first is the growing dependence of Hong Kong films on the mainland market, and the second is that in the face of the different needs of audiences in the two places, it is indeed difficult to produce a film that caters to both mainland audiences and Hong Kong audiences.

As the CEO of the mainland's largest private film and television company, Lin Zixuan is fully qualified to answer their questions.

He wanted to take this opportunity to express his opinion that the mainland needs professional filmmakers, not gold diggers.

Lin Zixuan knows that there is no shortage of rich bosses in the mainland, and he wants to enter the film and television industry to play a ticket, or to support a certain actress who has just debuted, and he has encountered it himself.

A coal boss found a good dream company and was willing to spend money to make a movie, but he had to designate the heroine, and it didn't matter if the film was released in theaters or not, it could be used as a personal collection.

That is, millions of things, and the bosses don't care at all.

He gave a general introduction to the current situation of the mainland film and television industry, as well as the matters that need to be paid attention to in co-productions, some of which are known to everyone, and some of which are conjectures that are still in the making.

The State Administration of Radio, Film and Television (SARFT) has formulated policies not only to listen to the opinions of mainland filmmakers, but also to take care of the emotions of Hong Kong people.

"I think co-production is a trend in the future, and we at Good Dream welcome you to go to the mainland to work together and seek common development. Lin Zixuan said at the symposium.

Many of the great directors and celebrities of Hong Kong participated in the symposium, including Xu Ke, Zhou Xingzhi, Chen Kexin, Liu Dehua, Er Dongsheng and Chen Jiashang.

As the host, Wen Jun is responsible for throwing out topics and enlivening the atmosphere.

In fact, the atmosphere at the scene was not very good, and some Hong Kong filmmakers had a lot of opinions about the mainland film industry.

"I think the censorship system in the mainland is too strict, delete and delete, and cut a scene until it is suitable for the mainland, and the co-production becomes a nondescript film. Chen Kexin complained.

This is where the vast majority of Hong Kong filmmakers are not adaptable.

Xiangjiang films implement a classification system, whether it is *** or homicide films, they can be released in theaters, and they rarely need to be deleted, and it is difficult for them to grasp the censorship scale in the mainland.

Especially in communication, they can't understand the meaning of the State Administration of Radio, Film and Television.

"This aspect can be negotiated, as long as it is a really good film, I believe there will be a good result, and we will be responsible for solving the censorship work, and you can film with peace of mind. Lin Zixuan responded, "This is the case with "Infernal Affairs", which is divided into two versions, Xiangjiang and the mainland, which is also the market demand. ”

Since the film wants to be released in the mainland, it must cater to the mainland market and the needs of the mainland.

Good Dream Company has rich experience in passing the review, rules are dead, people are alive.

There is no certain standard for films, and on the premise that the censorship system cannot be changed for the time being, it is necessary to try to ensure the artistry and integrity of the film as the rules allow.

"Why should there be a ratio of Hong Kong actors to mainland actors in a co-production? Can the actors be arranged strictly in proportion? Some people speak Cantonese and some people speak Mandarin, and it is too troublesome to have to go through the trouble of explaining why this person speaks Mandarin. Someone complained.

"You can consider it from the perspective of the market, the film is released in the mainland, and the participation of mainland actors can attract the audience more, and since it is a co-production, it is a comprehensive cooperation between filmmakers from the two places, in terms of funds, plot, behind-the-scenes staff and actors, otherwise what is the difference with Hong Kong films. Lin Zixuan explained.

"Hong Kong films have always had their own characteristics, which are closely related to the life of Hong Kong Island, once they enter the mainland, use mainland actors, and shoot mainland plots, are Hong Kong films still Hong Kong films?"

This is a point of view, and many Hong Kong filmmakers have called for maintaining the purity of Hong Kong films, insisting on using local funds and local actors, and abandoning the mainland market.

There are also people who choose fusion, trying to maintain the taste of Hong Kong films within the scope possible.

It depends on each person's choice, and there is no way to force it.

It's just that Xiangjiang movies have reached the worst era, and sticking to it or integrating is a question they need to consider.

There was a similar controversy in the Hong Kong film industry as early as 1997, when there was a wave of immigrants in Hong Kong.

A large number of filmmakers emigrated abroad before the handover, and many of them were big stars.

Zhou Xingzhi also applied to immigrate to Canada, but in the process of applying for an immigrant visa, he was considered to have a gang background and failed to pass, so he had to give up immigration.

Those immigrant filmmakers did not have an easy time abroad, and some described their situation abroad as that of third-class citizens: waiting for food, waiting for sleep, waiting for death.

There are also some people who choose to try their luck in Hollywood, and the results are not ideal, except for a very small number of successful people, most of them suffer financial losses.

Now, the filmmakers who emigrated at the beginning are slowly coming back and facing a choice again, this time to develop in the hinterland.

"Hong Kong films are part of Chinese films, not that the taste of Hong Kong films has changed, but that the market has changed, and the audience's tastes have changed. Lin Zixuan said in a deep voice.

It can also be said that the era of Hong Kong films has passed.

Due to geographical restrictions, Hong Kong itself cannot support such a large film industry, and with the development of the mainland's economy and the opening up of the market, it is only a matter of time before it cooperates with the mainland.

The discussion at the forum was not pleasant, and some people did not have a clear understanding of the situation, and perhaps they did so, but they still persisted, held prejudices against the mainland, and held themselves in high esteem.

It is foreseeable that Hong Kong Films and the mainland will go through a process of running in and adapting to each other.