At the end of the year, the news media likes to make a year-end summary of all walks of life, and the film industry is no exception. Pen % fun % Pavilion www.biquge.info

"Contemporary Film" magazine has sorted out and inventoried the domestic films of this year, with detailed analysis and comments.

Among them is an article about Good Dreams.

After two years of operation, Good Dream has attracted much attention from the industry for producing two high-grossing entertainment films, especially in comedy films, creating a new path for domestic films.

The success of two films of the same genre shows that this success is traceable and can be replicated.

If it is only a special case, it does not have much research value, and it is precisely because it can be replicated that it has attracted the attention of all parties.

Low-budget comedies have achieved high box office, and everyone likes this kind of good thing that is small and big.

The vast majority of the media focused on the duo of Feng Xiaogang and Ge You, believing that the combination of the two was the key to the success of the movie, and Feng Xiaogang showed Ge You's civilian temperament and little character temperament just right.

After the cooperation of these two comedies, the two have formed a brand and have a brand effect.

Only "Contemporary Film" set its sights on the film's producer, Lin Zixuan.

The editors of the magazine sorted out Lin Zixuan's growth trajectory, from TV series to movies, very detailed, even including Lin Zixuan's deeds at the Beijing Broadcasting Institute.

They did an exclusive interview with Lin Zixuan.

Lin Zixuan usually does not accept media interviews, but the organizers of this magazine have no way to refuse, it is a film theory journal co-sponsored by the Huaguo Film Art Research Center and the Beijing Broadcasting Institute.

This is equivalent to the magazine founded by his alma mater, how can he refuse, and whether he wants to mix in the circle of the broadcasting academy in the future.

There are many film theory journals in China, among which the most influential ones are the journals of the Beijing Drama Academy and the Beijing Film Academy, as well as the magazines of major film studios.

These journals are more specialized and are not ordinary entertainment magazines.

The editors of "Contemporary Film" did an analysis of Lin Zixuan's success and found that there are several factors in Lin Zixuan's success, whether in the TV drama industry or in the film industry.

One is that the script keeps up with the trend of the times, from the original "The Stubborn Master" to the current "See You or Leave", the stories written are closely related to the times, they are all stories of small people, and they can also be said to be close to life.

The second is that there is an international tendency, "Beijing People in New York" and "See You or Leave" were both filmed abroad.

Most of the domestic filmmakers do not have this kind of vision, and they have little experience in cooperating with foreign film companies, and they are more competing for domestic resources than looking at the world.

The third is very bold in investment, as evidenced by the fact that he dared to borrow $1.5 million to shoot "Beijingers in New York".

From TV series to movies, from screenwriters to producers, and now the boss of a film and television company, Lin Zixuan's growth trajectory is extremely clear, step by step, down-to-earth.

Everyone knows a lot of things in the interview, but Lin Zixuan needs to say it again.

Especially the relationship between him and Feng Xiaogang and Ge You, in the Beijing entertainment circle, many people think that he provided Feng Xiaogang and Ge You with the opportunity to become famous.

Lin Zixuan doesn't think so.

He felt that gold would shine wherever it was, and that the success of Feng Xiaogang and Ge You was the result of their own efforts.

In this interview, he repeatedly stressed that he could not be considered a success, but just caught up with the good times.

"I just caught up in the good times, and if I had been doing children's radio on the radio in the old days. Lin Zixuan said indifferently, "This era is changing every day, changing with each passing day, only by keeping up with the trend of the times, can we make a difference, otherwise we will be eliminated by the times." ”

Seeing off the reporter of "Contemporary Film", Lin Zixuan and Mu Shanshan went out together, and they were going to attend the celebration banquet of "See You or Leave", which was held at the Friendship Hotel.

He was joking with Feng Xiaogang last time, Jiang Wen could have a treat at the Beijing Hotel, but he didn't want to be so public.

What's more, the box office of "See You or Leave" is just over 35 million, which is not an ideal result.

According to the rules for sharing the domestic box office, the China Film Company will take 65 percent, or 22 million, leaving only about 13 million, and the Beijing Film Studio and another investor will share 5 million.

Less than 8 million fell into the hands of Good Dreams, which is jointly owned by the Art Center and Good Dreams.

After removing the company's various expenses, the final net profit of this film is less than 3 million, and the reason for this situation is that Haomeng Company does not have the distribution right of the film, and the distribution right is in the hands of state-owned enterprises.

In China, the main income of a film depends on the box office, and there are no peripheral products and overseas copyrights.

Under the influence of pirated CDs, the income of video tapes has plummeted, and the TV broadcast rights of Huaguo TV are all packaged prices, only tens of thousands of yuan, and this is not yet fully available.

It can be said that private film and television companies are at an absolute disadvantage in the production and distribution of films.

If you can get the distribution rights, you can directly cooperate with the cinema chain, or try to enter the overseas market to increase the revenue channel.

However, compared with other private film and television companies, the performance of Haomeng Company is quite eye-catching, and in two years, the company's total assets have skyrocketed from 100,000 to 8 million, which can be regarded as a huge profit.

"How's the interview?" asked Mu Shanshan in the car.

"It's okay, it's all a normal problem, nothing new. Lin Zixuan said indifferently.

"Contemporary Film" is a relatively serious magazine, and the questions asked by reporters are very professional, rarely involving gossip, they want to know more about Lin Zixuan's successful experience and views on domestic films.

What Lin Zixuan didn't expect was that this issue of the magazine reported him as the focus of the year.

They believe that the private film company represented by Lin Zixuan has found a successful path, which is likely to indicate the direction of the future development of domestic films, which is worth studying and learning from.

This brought Lin Zixuan into the eyes of film experts and scholars, and attracted the attention of the film theory community.

At this time, Lin Zixuan parked the car outside the Friendship Hotel and took Mu Shanshan's hand and walked in.

It's icy and snowy outside, but it's very warm inside the hotel, and many people were invited to this celebration banquet, in addition to acquaintances and members of the crew of "See You or Leave", as well as people from the Beijing entertainment industry.

Everyone is begging for a life in a circle and supporting each other, which is a love.

As the main figures of the banquet, the arrival of Lin Zixuan and Mu Shanshan caused a lot of repercussions and instantly became the focus.

Along the way, there were people greeting them, saying words of celebration and enthusiasm.

Unconsciously, in the Beijing entertainment circle, there is a place for Lin Zixuan, and he is no longer the newcomer who is kneaded by others. (To be continued.) )