Lin Zixuan's imitation does not mean imitating Li Yu's style. Pen ~ fun ~ pavilion www.biquge.info

Each director has his own unique style, this can't be imitated, and forced imitation can only be four dislikes, which makes it unrealistic for Feng Xiaogang to make this kind of literary movie.

He was referring to the imitation of Lee's approach to Western audiences.

Instead of forcibly instilling Eastern cultural concepts into Western audiences, Li Yu tells an Oriental story in a way that Western audiences can understand.

For example, the plot on the prairie in "Crouching Tiger, Hidden Dragon" has the shadow of an American Western.

The relationship and dialogue between Li Mubai and Yu Xiulian have the tone of European drama, and the fight on the bamboo forest looks like a ballet to foreigners.

Domestic audiences may think that this is a hodgepodge of neither Chinese nor Western, but it is easy for foreigners to understand.

Coupled with the oriental style and martial arts elements in the film, it brings a sense of freshness to Western audiences, which is the main reason for the film's popularity in Cannes.

Feng Xiaogang doesn't need to follow Li Yu's style, as long as he grasps these elements.

For example, "Hero" should have beautiful pictures, wonderful fights, and a simple plot.

There is no need to spend a lot of space on history, foreigners are not interested, domestic audiences have long known, and talking about it will not help the film, but will seem verbose.

It's good to figure out the relationship between the main characters.

To put it bluntly, it is an assassin who wants to assassinate the emperor, and the story develops around this main line, which is simple and clear, as for saying who the emperor is and who the assassin is, it doesn't matter.

Some people may think that the plot is too thin, but it is too thin to enter the international market.

"Hero" is positioned as a commercial film, and commercial films cannot pay too much attention to artistry, and must make trade-offs.

This is the case with "Crouching Tiger, Hidden Dragon", abandoning the complicated historical background and focusing on the interaction between the characters, as long as the audience can understand what is going on.

This is the advantage of martial arts films, you don't have to stick to history, you can give full play to the space of imagination.

Li Yu handled it quite skillfully, he did enough work on the details, and the costumes and living habits of the characters in the movie restored the historical style to a certain extent.

It's a combination of big history and small details.

However, in terms of dialogue, it still takes care of Western audiences, and domestic audiences always feel that this is not what historical figures should say when watching movies, and it is easy to play.

Movies are not perfect, and it is difficult for Chinese films to take into account both Eastern and Western audiences.

In order to cater to the needs of female audiences, two actresses were added to "Hero".

This has been proven in "Crouching Tiger, Hidden Dragon".

Mu Shanshan's favorite scene after watching the movie is the scene where Yu Feihong and Xu Jinglei fight, she thinks it is very interesting, if it is two men fighting, who will care if they live or die.

This is the opinion of the female audience.

In the past, female audiences didn't like to watch martial arts movies, but "Crouching Tiger, Hidden Dragon" is different, and the two characters of Yu Jiaolong and Yu Xiulian have a lot of attraction to them.

What Feng Xiaogang wants to imitate is the form of "Crouching Tiger, Hidden Dragon", not the core of Li Eucalyptus.

If a movie can be successful, it has the reason for its success, not only to criticize when you see shortcomings, but more importantly, to learn the reasons for its success, so that you can improve.

It's the same as looking at people, everyone has strengths and weaknesses.

If you only see the shortcomings of the other party, then you can't get along, you isolate yourself, pay more attention to the advantages of others, and life will be better.

When the movie ended, applause rang out.

The applause was not enthusiastic, but more polite, and there were people talking about it during the screening.

Domestic audiences are not familiar with Li Huan's films, Li Huan's previous films have not been released in China, and they are not very comfortable with Li Huan's storytelling methods.

Western audiences who have seen Li Yu's films and have an audience base will succeed in Cannes.

After the end, there was a small area of communication in the circle.

The reaction of film critics has been polarized.

Some film critics think that this film is different from Xiangjiang martial arts films, it is a kind of literati-style martial arts, including the details in the movie, which are very particular, and it is a work of heart.

Some critics feel that the film has lost the flavor of traditional martial arts films and is too Westernized.

There are also some neutral opinions, thinking it's okay, it's a good martial arts movie.

That's how hard it is.

Li Yu didn't quite understand this, if it was this kind of reaction in Xiangjiang, he expected it.

"Crouching Tiger, Hidden Dragon" is not an authentic Xiangjiang martial arts film, it uses Xiangjiang's technology, but it does not have the taste of Xiangjiang martial arts films, and it is normal for Xiangjiang's film critics and audiences to be dissatisfied.

But this reaction in the mainland was unexpected, and he thought that the tastes of the mainland and the treasure island audience should be similar.

This is a miscalculation, which shows that he does not know much about the mainland film market.

Mainland audiences are deeply influenced by Xiangjiang martial arts films.

It is no exaggeration to say that this group of people born in the mid-to-late 70s and early 80s grew up watching movies and videos of Hong Kong.

Even in small towns, video halls are filled with videos of Hong Kong movies.

They will subconsciously judge "Crouching Tiger, Hidden Dragon" by the standards of Xiangjiang martial arts films, which is one of the reasons why mainland audiences find it difficult to accept Li Yu's new film, which is not to taste.

Regarding the issue of film critics mentioning the westernization of films, Li Yu has different ideas.

"Whenever someone asks me about Westernization, I always feel very confused, and after I finish filming, I have to analyze those who are influenced by the East, those who are influenced by the West, then I can't shoot yet. Li Yan was puzzled, "Movies are just how fun and how to play, it is mixed together, and there is no need to deliberately label it." ”

This involves an issue of inclusion.

Only by being able to tolerate various cultures can we make our own culture more dynamic.

Audiences can have different choices according to their own preferences, but filmmakers should be tolerant.

It's not that this film is oriental, it's good, that film is too Westernized, not authentic, and should be boycotted.

This criticism is itself narrow-minded.

As a large country with a long history, China should have cultural tolerance and self-confidence.

"I thought it would be a different scene. Li Yu said with emotion.

"It takes a process for new types of films to be accepted, what we need to do is to let Chinese films go out and drive more Chinese films to enter the European and American markets. Lin Zixuan responded.

This is equivalent to the work of clearing the wasteland, although it is difficult, but it is worth looking forward to.

By tomorrow, the audience's word-of-mouth will come out, and controversy will be inevitable.

Good Dreams has arranged personnel in major cities across the country to track movie copies and prevent piracy.

This will undoubtedly consume a lot of manpower and financial resources, and the company can only support it for about ten days.

When the second round of releases, hundreds of theaters at the same time, there is no way to stop piracy.

Lin Zixuan is doing experiments.

If the effect is significant, the company will adopt this anti-piracy method when large-scale films are released in the future.