From the story of the film to the form, a group of people talked about the film market and the needs of the audience. Pen, fun, pavilion www. biquge。 info

They look at the problem from the director's point of view, and do not represent the attitude of the film and television company and the theater chain, and the two are often opposites.

The difference between the director wants to make the film he wants to make, the film and television company and the theater chain want to make money, and the audience wants to see a good movie, and the difference between the three lies in the definition of "good movie".

"You think that literary films are good movies, movies that theaters think can make money are good movies, and movies that the audience thinks are good movies. Lin Zixuan said, "Everyone's standards are different, which requires compromise from all parties." ”

At the moment, it seems that the audience will become more and more influential.

In the past, it was the directors who told the audience what a good movie was, and they played the role of a guide, because the domestic audience could not see other films and had no choice.

Now it's different, the audience can say "no" to the director, and this is the change in the market.

However, there is also a situation, for example, the audience likes to watch Hollywood commercial blockbusters, and domestic film and television companies will make such films in order to make money and cater to the audience.

Over time, commercial films flourished, squeezing the market for art films, and making art films lose their room for survival.

This is overkill, and many things in the country develop to the end.

What Lin Zixuan wants to do is to balance business and art.

Everyone's views on the new sixth-generation directors are also different, Tian Zhizhuo supports the sixth-generation directors, and he supports many young directors and provides them with help.

"They're a group of people who have ideas and creativity, but they also have a lack of experience. Tian Xiangxiang said objectively, "Unlike us, they are more daring and dare to shoot some taboo themes, not that this kind of subject matter is good, but that they go further." ”

The media's criticism of the sixth generation of directors has never stopped.

For example, the circle of accusing them is too small, their thinking is too shallow, they lack the standard of judging right and wrong, and their individualistic ideas are overflowing.

According to Zhang Yimou, it is too petty bourgeois and self-conscious.

The fifth generation of directors feels that they have a sense of responsibility and mission, and their films are often idealistic and romantic.

The sixth generation of directors is just the opposite, they follow realism, which is related to their life experience, they are often in a situation of being excluded and adrift in society, and want to take the opportunity to vent their pent-up emotions.

They don't want to sing the praises of the mainstream, let alone get on the stage of the upper class, so they can only make underground movies.

This topic is relatively heavy, and Lin Zixuan enlivened the atmosphere a little.

"Brother Jiang is the sixth generation, and he has the most say on this issue. Lin Zixuan said with a smile.

"I'm not the sixth generation, I agree with some of their ideas, that is, when making films, we should try boldly, don't care about the rules, there are no rules in the movie, or the rules are used to break, but my creative concept is not the same as theirs. Jiang Wen explained.

Some directors are difficult to divide by generations, such as Jiang Wen and Feng Xiaogang.

Although Jiang Wen's films have ideals and romantic feelings, they are not the type of reflection on history, it should be said that they are nostalgic, so he does not belong to the fifth generation of directors.

The works of the fifth generation of directors have always been inward-looking, closed, and cramped in terms of spatial form, which has a close correspondence with the living environment of the Chinese people.

The spatial form of Jiang Wen's films is outward, open, and stretched, and it leads people to a broader world.

If the fifth-generation director is filming the story in the courtyard, then Jiang Wen jumped out of the courtyard and stood on the roof.

Feng Xiaogang is even more difficult to say, he is not from a professional class, and he has not yet formed any style, let alone the first generation, but he has been seeking new and change.

Lin Xiaoling here belongs to the sixth generation, but she has not graduated yet, even if she makes a movie, she still belongs to the small generation.

There were no reporters in the conference room of the hotel, and everyone chatted very realistically, not hypocritically, mainly discussing the current situation and future of domestic films.

Being able to listen here is more rewarding than attending classes in school, which is equivalent to a high-end forum in the domestic film industry.

The last topic is that the directors are quite interested, when will there be world-class film masters in Huaguo.

This master of cinema is not talking about how many awards he has won or how many films he has made, but whether he has contributed to the development of cinema, either creating a new way of filming or inaugurating a new genre of cinema.

In short, the kind of people who can leave their names in the history of world cinema.

Even the confident Jiang Wen didn't dare to say that he was a master of film, that was just one of his goals.

Therefore, what everyone is discussing is how long it will take for a world-class film master to emerge in Huaguo, which is just guessing and small talk.

Compared with the modesty of Zhang Yimou and others, Mark Muller is full of confidence.

"I don't think you realize how much China has changed, I have different feelings every time I come, and it is easy to inspire creative inspiration in this huge social change. Mark Mueller sighed, "You may not have a master yet, but there are already directors of the same level as other countries in the world, and I believe that the emergence of a master will not be too far away." ”

The exchange was enjoyable, with Mark Mueller praising "Spring in a Small Town."

I think this is a film that shows the life and emotions of Oriental people, and there are also movies about this kind of extramarital love in the West, Westerners are more active and enthusiastic, not as tactful and subtle as Easterners.

Especially the setting of the small town, the marital status is extremely vivid.

Marriage is like a small city, and the heroine likes to wander on the city walls, symbolizing wandering on the edge of marriage, she wants to get out of the small city and pursue happiness, but she is bound by the small city.

This film has the charm of the East, as well as the philosophy of the West.

Mark Müller believes that "Spring in a Small Town" will be to the tastes of the jury, and the jury at the Venice International Film Festival is mainly European filmmakers, with occasional Hollywood or Asian filmmakers as judges.

Next, Zhang Guoli and Xu Jinglei will follow Lin Zixuan back to the capital, and their scenes are over.

Zhang Guoli is going to participate in the filming of "A Sigh", and this time he will be the protagonist of the movie.

Xu Jinglei wants to continue to play the role of Jade Jiaolong in the sequel to "Crouching Tiger, Hidden Dragon", and after the filming of "Spring in a Small Town", her acting skills have been greatly improved.

I believe that playing Jade Jiaolong again will have a different feeling.

At the same time, Li Yu, who was far away in the United States, received a script written by Lin Zixuan and four books from the "Crouching Tiger, Hidden Dragon" series.

There is also a story about Master Li Mubai, Lin Zixuan did not write, that story has little to do with the main line of "Crouching Tiger, Hidden Dragon", and I will talk about it later when I have time. (To be continued.) )