Li Yan has ambitions for the film "Crouching Tiger, Hidden Dragon", and he wants to achieve a level that is acceptable to both Eastern and Western audiences. Pen, fun, pavilion www. biquge。 info

Don't look at Chinese films that have won a lot of awards at international film festivals over the years, but they have not really entered the mainstream society of the West, but have only been recognized by Western filmmakers, not the audience.

Most of those filmmakers who are optimistic about Chinese films are based on ideology and use Western values to evaluate films.

Chinese-language movies can't kill around the world like Hollywood blockbusters.

Li Yu wanted to combine the classical culture of the East with the intellectual techniques of the West.

Whether it is Western psychoanalysis, sociology, drama, grammar, aesthetic views, or plot reasoning of Western structures, as long as it is useful for the film, it can be used.

In the end, it can be recognized by filmmakers and accepted by ordinary audiences in the West.

That is to say, it is both popular and popular, so that Chinese films can achieve a situation where they can compete with Hollywood blockbusters.

Therefore, when he made "Crouching Tiger, Hidden Dragon", he came according to Western standards, he was familiar with the Hollywood production process, and he knew what things could not pass Western standards.

Especially in Western art theaters, he will subconsciously move closer to Western standards.

For example, in the process of post-editing, he will consider whether the plot can be accepted by Western audiences, and Western filmmakers will not have an opinion on that shot.

It is reasonable to say that Li Yu's films are made for Western audiences, which has to do with his education and experience.

He studied film directing in the United States and made a few Western films, and Hollywood standards were in his head.

Li Yu wants to balance art and the market, East and West, but this is basically difficult.

When he did post-editing according to Hollywood standards, he was already inclined to the aesthetics of Western audiences, thus ignoring the feelings of Eastern audiences.

It may have been something he hadn't expected.

He thinks that there should be a market for martial arts films in Chinese-speaking areas, and everyone likes to watch martial arts films, so he should consider more Western audiences and make a balance so that both Eastern and Western audiences can accept it.

This is his intention, or rather ambition.

If it is really filmed for Western audiences, then the actors' dialogues are directly in English, and there is no need to make English subtitles.

One of the reasons why American audiences are reluctant to read non-English films is that they are not used to reading subtitles.

The later stage of "Crouching Tiger, Hidden Dragon" uses Chinese dialogue, and English subtitles are used when it is released in the United States, and American audiences must read subtitles if they want to understand this story.

In the soundtrack of the film, Li Yu wanted to make it in the style of a Western opera.

Among them, there are two major themes, one is the grace of Jiangnan, and the other is the unrestrained outside the plug.

The Eastern theme is played on a Western cello, which sounds very different.

There are also some other attempts, such as using the gongs and drums of Peking Opera in fights, which is a traditional art.

In the place where the sensual mystery is expressed, the bau from the ethnic minority is used, with a wild and primitive charm.

The soundtrack of this film blends the characteristics of Eastern and Western music, which makes Li Yu quite satisfied.

Lin Zixuan handed over the post-production of "Crouching Tiger, Hidden Dragon" to Li Yu.

This is the condition that was negotiated with Li Yu at the beginning, and it was written into the contract, and it was also one of the reasons why Li Yu was willing to cooperate with Lin Zixuan.

If this film has Hollywood investment, then sorry, Li Yan will not get the final editing rights of the film, and even in the process of filming, he will be restricted everywhere.

Filming part of the footage has to be reviewed by American film companies, and the film companies are not satisfied and can only reshoot.

This is the style of doing things in Hollywood studios, and the director is just an executor.

In Hollywood, only a very small number of big directors have the final editing rights of their films, and the vast majority of directors can only participate in the editing and cannot make final decisions.

There's a job title in Hollywood called post-production director, which is relative to the director who shoots the film.

In other words, the director can leave after filming the film, and then leave it to the post-production director to finish.

The shooting of the pre-director is completely based on the script, and the post-director needs to consider various factors such as editing, picture, music, etc., and he has to directly face the market and consider the audience.

The division of labor is very meticulous and professional.

Hollywood has its own reasons for doing this, and directors may be good at making films, but they don't necessarily understand the market and the needs of the audience.

They are worried that the director will not be able to make rational choices about the plot of the film, which is called the authority fan.

It's hard to jump out and watch your own films, and it's easy to fall into the predicament of entertaining yourself, you think this section is exciting, but the audience feels bored, which requires the presence of editors.

Editing is an important part of the film industry.

Editors must first be able to understand the director's intentions, so that they can re-create, and a good editor can cut a bunch of bad materials into a passable movie.

This requires the editor to know the audience well, know the audience's preferences and psychology, and cut out the work that can move the audience.

In China, well-known directors have the final editing rights, but they do it differently.

Jiang Wen's films are almost all fast editing, with a strong personal style, which is inseparable from his control of editing, he doesn't care about the market, he just cuts according to his own ideas.

Feng Xiaogang, on the contrary, will delegate power to the editor and cooperate with the editor.

This is because he is more focused on the market than on personal pursuits, and the editor allows the director to look at his film from another angle.

"Crouching Tiger, Hidden Dragon" also has editors, but Li Yu played a leading role in it.

It can be said that this is a film with Li Eucalyptus style and branded with Li Eucalyptus.

Lin Zixuan asked the company's personnel to participate in the post-production of the film and watched Li Yu do the post-production.

After the film is completed, it can only be regarded as more than half of the workload, and post-production can improve the quality of the whole film.

This does not mean that Li Huan's set is completely copied and used, that will not work, each director's style is different, and imitating Li Huan will never become Li Huan.

Lin Zixuan asked them to learn the Hollywood production model, not Li Yan's personal style.

I believe that after this exercise, the employees of Good Dream Company have broadened their horizons and increased their knowledge, so that they will not be in a hurry and at a loss when shooting big productions in the future.

The industrialization of film cannot be empty slogans, but must come step by step.

Whether it is cooperation with Li Yu or direct contact with Hollywood film companies, it is an opportunity to narrow the gap with Hollywood films.

Lin Zixuan stayed in England for six days and then returned to the capital.

At the end of the 99th year, the 21st century is about to be ushered in, and there are many celebrations in the capital, which are lively and festive. (To be continued.) )