There is no specific age limit for young directors at Good Dreams. Pen & Fun & Pavilion www.biquge.info

It can be a recent graduate, a newcomer who has just entered the industry, or a director who has experience in filmmaking but has not yet become famous, all of which are within the scope of support.

It's not that you have to be under 30 years old, and you don't need to be a director.

As long as you have a good book and plan to engage in the profession of director, you are eligible to apply.

The focus of this fund is to discover and help young directors to take their first steps, and it is gratifying if they succeed, but it doesn't matter if they fail.

Therefore, in the choice of script, more emphasis is placed on creativity, that is, whether the story is interesting or not.

"Interesting" refers to whether it can bring food to the audience, whether it can enrich the genre of domestic films, whether it can break a little thing, and not follow the old path.

In the West, there is a genre of cinema called avant-garde cinema.

It is characterized by an unconventional narrative structure, emphasizing pure visuality, and exploring the possibilities of cinema.

Lin Zixuan does not encourage young directors to take this path, but the domestic film and television industry lacks the spirit of seeking innovation and change, and most of the movies made are not interesting.

Young directors should be bold and not be bound by traditional film concepts.

For example, Tian Zhuangzhuo, who was famous for making experimental films back then, said that the members of the censorship committee could not understand his films at all during the film censorship.

Only when we truly explore can we know where the boundaries are, and only then can we understand how far we can go.

Otherwise, you can only stay in your own small circle forever and become a frog at the bottom of the well.

The first script of a young director is often what they really want to shoot, and if they put in the effort, it may seem rough and immature, but it should be very interesting.

When they become famous, they are bound by fame and capital, and I am afraid they will not have the courage to try to innovate again.

The first director to meet Lin Xiaoling is called Li Yang.

Li Yang is over 40 years old and has little to do with "youth", he first studied directing in the television department of Beijing Radio Institute, and later went to Germany to study drama and directing.

He has made three documentaries for local television in Germany, and the response has been mediocre.

After returning to China, Li Yang wanted to make a movie, but in the film industry, he was a little-known newcomer, and it didn't matter if he didn't have a good work.

Moreover, the subject matter he wants to shoot is more sensitive, and few people are willing to invest.

The script he wrote is called "Blind Shaft", which tells the story of two idlers in the mining area who make money by harming people.

They tricked the migrant workers into working in the mines, and then killed the workers underground to create the illusion of an accident, and then pretended to be the relatives of the workers to demand compensation from the mine owners.

This story has a prototype, it really happened, and it was a big case in 98.

After the introduction of the private contracting system in China, a number of coal bosses emerged in major coal-producing provinces, who contracted small coal kilns to the local government and hired migrant workers to dig coal.

Because it is a private coal kiln, safety measures are not in place, and mining accidents are prone to occur.

Once someone dies in the mine, it is all private, and it will not alarm the police station, and a life will cost hundreds of thousands of yuan.

This phenomenon is quite common in China, and local officials collude with coal bosses, and the matter is just gone.

"Blind Well" is set in a private coal kiln and tells a story of making money and killing people.

Even if a movie with a theme like this is made, it can't be released, so naturally no one is willing to invest.

"You plan to make this film to participate in foreign film festivals, right?" Lin Xiaoling asked directly.

This question is a little embarrassing, and the director can say that I am doing it for the sake of art, or I am shocked by this thing, and I must shoot it for everyone to see.

If it's to win an award, it feels too vain.

Most of the directors of the sixth generation shoot films with marginal themes, participate in foreign film festivals, and win awards.

It's a proven path to success.

Zhang Yimou's fifth-generation directors came over like this, in this regard, there is no difference between the fifth generation and the sixth generation, and only when they win awards abroad can they be valued in China.

Lin Xiaoling is quite familiar with the mentality of domestic filmmakers, and she has also had this idea.

This is the norm in the film industry, foreign awards have high gold content, but domestic awards are not, and everyone wants to win awards at foreign film festivals.

This is related to the state of the domestic film industry, as well as self-confidence.

American actors want to win the Oscar, they don't want to go to China to win an award, only when China's film industry surpasses the United States, will they be valued by others.

This will take quite some time.

Lin Xiaoling wants to know how much sincerity the director in front of her has, and how good a film can be made with how much sincerity there is.

"I don't deny the idea of winning the award, but my original intention in making this film was to reflect the lives of miners, so that this kind of tragedy can be taken seriously by the society and avoid recurrence. Li Yang replied.

"Have you ever thought that if a movie is released in theaters, it will lead to parody crimes?" Lin Xiaoling said sharply.

Some criminals have watched legal programs on television, learned the methods of committing crimes, and imitated crimes.

This is parody crime.

Criminals are often loyal viewers of legal programs.

Legal programs should disclose as little as possible the details of the crime and the process of police investigation, otherwise criminals will become even more rampant if they have a sense of counter-reconnaissance.

"I think the pros outweigh the disadvantages, and you can't ignore the reality because of this, that's evading responsibility. Li Yang said.

Lin Xiaoling knows that it is difficult for this film to be released in China, and she still has to take the route of an international film festival.

She has participated in several international film festivals, and this type of film has a certain market in the West, especially because it involves the distortion and struggle of human nature.

Moreover, from the perspective of literary films, this is indeed a film that can bring shock and thought.

She will then discuss with Li Yang the specific shooting plan, which requires the consent of the coal kiln owner or the cooperation with the regular coal mine.

Good Dream Company will send someone to assist the director to ensure the smooth progress of the film.

The second director who met Lin Xiaoling was from the Beijing Film Studio, called Lu Xuechang.

He is not a newcomer, he has made several films, won awards, and is well-known among the sixth generation of directors.

He invested the script in Good Dreams not to attract investment, but to find Ge You to play the leading role, according to him, this role was written for Ge You.

However, it is not easy to find Ge You to star in a small-budget movie, and the salary is a big problem.

It's not that Ge You values money and doesn't act without a salary of one or two million, but how to attract Ge You's attention.

Ge You has no shortage of scripts in his hands, they are all big productions with tens of millions of investments, and the degree of freedom is very high.

"I was wondering if I could hand the script to Mr. Ge, or arrange for me to meet with Mr. Ge to have a talk. Lu Xuechang asked.