In October, Beijing International Airport. Pen Fun Pavilion wWw. ｂiquge。 ｉｎfo

Lin Zixuan and Mu Shanshan boarded a plane to Tokyo with a group of film school students, who were in their early twenties and were excited to participate in the international film festival.

Zheng Dongtian was busy with things and didn't come, so he sent an employee of the Beijing Youth Film Studio to follow.

This person is familiar with the process of the film festival, knows Japanese, and can take care of this group of students to avoid accidents.

Lin Zixuan chatted with Jin Yaqin, the old lady is in her seventies, in good spirits, as a drama actor, this is the first time to participate in an international film festival, she recalled her past life and sighed.

"Now the days are better, how convenient it is to take a plane, and this is the treatment of leading cadres in the past. Jin Yaqin sighed, "My old lady is also stained and enjoyed." ”

"You might be able to come back with a big prize, and then we people will be stained with you. Lin Zixuan said solemnly.

"I've acted in dramas all my life and won a lot of awards, this is the first time I've won a movie award, and at my age, I don't want to do anything, I just think that our film is good and should be watched by more audiences. Jin Yaqin said.

"Don't worry, it's all connected, and this film will be released in theaters at the end of the year. Lin Zixuan replied.

"The Two of Us" can be shortlisted for the Tokyo International Film Festival, whether it wins the award or not, with fame, it is not a problem to be released in China.

The problem is that for such a small-cost film, there must not be many films in theaters, and there is no follow-up fund for national publicity, which can only be spread through word-of-mouth, plus this is a niche film, and the box office is not high.

Lin Zixuan is estimated to have a box office of more than one million, and it would be good to barely recover the cost.

This is the fate of domestic low-budget films, "The Two of Us" is already good, and many films don't even have a chance to be released.

Therefore, those films can only take the route of foreign film festivals, if they accidentally win an award, they will be favored by foreign film companies, sell the copyright, and may even attract investment in the next film.

In China, every year, directors send their films to major film festivals to try their luck, and most of them are young directors.

The downturn in the domestic film market, the strict film censorship system, the inability of young directors to obtain high investment, and the films made cannot be released through normal channels......

This is a problem that plagues young directors or most directors in China.

Many young directors start with a patchwork of funds, often only hundreds of thousands or hundreds of thousands of yuan, which is not enough to make some high-end films, and they can't even afford to buy slightly decent props.

The first thing they think about is not that I want to make a classic movie, but how to save money.

Filming the stories around you is the most cost-effective, and well-known actors who don't need expensive props can just shoot their daily life.

As a result, most of them choose realistic themes and stories of marginalized people, and that little money can only shoot such stories.

It can be seen from here that it is not that this group of young directors, or the sixth generation of directors, wants to shoot such a gloomy story, but more that he does not have too many choices.

If he can get tens of millions of investments, he may also make mainstream films.

It can only be said that the predicament of reality and the inner emotions of the director happened to be combined, and this group of young directors made a series of gloomy films during this period, forming the sixth generation.

The causes of this are complex.

The current film industry is dominated by the fifth generation of directors, who have achieved fame after years of hard work, won international awards, are famous in China, and their films are recognized by theaters, and it is easy to attract investment.

Because of this, young directors have fewer opportunities to get funding and make films.

If the sixth generation of directors wants to get ahead, they can only follow the old path of the fifth generation of directors, that is, to win international awards.

At the beginning, the fifth-generation directors gained a firm foothold by winning international awards and became the young Zhuang faction in the domestic film industry.

This is like a reincarnation, a reincarnation that is difficult for domestic directors to avoid.

The general environment of the domestic film industry is like this, and there are not many choices left for them, in their opinion, Zhang Yimou's success can be replicated, it depends on who can become the next Zhang Yimou.

In the seat not far away, Lin Xiaoling was whispering to Xu Jinglei.

Lin Xiaoling is an assistant director in "Spring in a Small Town", and the assistant director is actually an errand job, but he can learn things.

Lin Zixuan arranged Lin Xiaoling and Xu Jinglei into the crew, just to learn, he hopes that the domestic entertainment industry can help each other, not contradict each other.

The fifth-generation directors don't look down on the sixth generation, and the sixth generation is unwilling to deal with the fifth-generation.

It's like rivers and lakes or gangs, each setting up a mountain, which always doesn't feel good.

In a sense, the successful generation must be a rebellion against the ideology and art of the previous generation, and a successful rebellion, otherwise it is just a change in age, and there is no improvement in film art.

In this way, the fifth and sixth generations should be opposite in film art.

In fact, inheritance is more important, and how to make a breakthrough on the basis of the inheritance of the previous generation is a problem for the next generation to think about.

Tian Zhuangzhuang is a person who is willing to help young directors, and Lin Zixuan talked to him once on this topic.

Tian has a very interesting analogy, he thinks that the fifth generation of directors are translators, and they rely too much on the original novels, and most of the films of Zhang Yimou are adapted from novels.

In other words, they are a group of people who grew up reading words, they can only read words, not pictures, and their job is to translate words into pictures and make novels into movies, but they lack an understanding of images.

The sixth generation of directors does not rely on novels, but first appears in their minds, and then writes the script, which is the first to have the picture and then the words.

The fifth-generation directors are as detailed as possible in terms of script requirements, and they will collect all kinds of information, because they don't have images in their minds, and they have to improve it with as much information as possible.

The scripts of the sixth generation directors are often very simple, only a few pages, and the pictures are all in his head.

Film is a visual thing, and from this point of view, the sixth generation of directors is closer to the characteristics of film in terms of image.

The fifth-generation director is doing a job, the novel is not written by him, he doesn't create anything, he just translates it and finishes it, the sixth-generation director is creating something, which has their perception and views on life.

This is the difference between "words" and "paintings", and also the difference between "doing" and "creating".

Tian is very interested in this, and he is willing to talk about these things with young directors.

A few hours later, the plane landed at Tokyo International Airport, and Lin Zixuan and Mu Shanshan got off the plane and started the journey. (To be continued.) )