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"The world's No. 1 director Seo Cun will personally direct a Korean movie!"

"The world's No. 1 director Xu Cun intends to help the rise of Korean films?"

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As soon as these news came out, it was like an atomic bomb thrown into the film industry, which had been quiet for a long time, and the entire film industry was boiling!

At the same time, many filmmakers can't figure out what kind of wind Xu Cun is pumping, and what is there to shoot in South Korea, a country that almost doesn't even have movies (in the eyes of foreigners)?

However,

Before people could digest the news of the explosion, an even more exciting news came out - Xu Cun was actually preparing to direct a Korean movie and a Japanese movie at the same time!

Double open!

Some filmmakers who know that Xu Cun is going to open double-open think that Xu Cun is crazy, even if he doesn't care about fame anymore, he can't play like this, right?

Some filmmakers think that Xu Cun is too idle to have fun, and is ready to fool the Japanese and Koreans to have some fun. Pen @ fun @ pavilion wWw. ｂｉｑUｇE。 ｉｎｆｏ

Most filmmakers believe that Xu Cun may only be named in these two films or one of these two films, and the real director is someone else.

Of course, the most filmmakers are still waiting to see Xu Cun's 'good show' - they are waiting to see, what level of 'work' can Xu Cun double open?

Putting aside the boiling discussions outside, why does Xu Cun want to make another Japanese movie?

When asked this question, it has to be said that Xu Cun is preparing to make a Korean movie.

Xu Cun had just released the news that he was going to audition for the crew and actors to make a movie in South Korea, and there was a strong voice of dissatisfaction in Japan!

Although after World War II, Japan was once occupied by the United States and was in danger of annihilation. However, after the war, in order to establish Japan as an Asian bridgehead to contain the Soviet Union and the Red Wave, the United States gradually lifted the ban on castration and suppressed Japan in the early fifties and replaced it with limited support. Since then, Japan has become the world's second-largest economy in just over two decades, relying on the wealth it plundered in Asia during World War II and the industrial roots left over from the Meiji Restoration.

However,

Compared with Japan's current huge economy, which is so big that even the United States is afraid of it, Japanese films have never been able to keep up with the pace of Japan's economic rise.

Actually,

Japanese films, like Korean films, have had their share of glory and splendor.

Of course, it's more about experience and lessons.

At the end of the last century and the beginning of this century, relying on the Meiji Restoration, Japan quickly became an Asian power and the largest power in East Asia.

Until the thirties of the twentieth century, the Japanese film market was dominated by silent films.

Later, because of the Russian Revolution, a large number of films with a distinct class critical nature were born, such as "Proletarian Newsletter", "Children", "Oda River", "May Day", "Noda Labor Tide" and so on. As a result, the Japanese government and the Japanese chaebol regard their own films as a thorn and a cancer, and have been implementing a 'policy of limited support and suppression'.

During World War II, the Japanese government set up a special agency and ordered the domestic secret services to cooperate, banned the production of films with critical social tendencies, and encouraged the production of so-called "national policy films" - making movies a tool of the government.

After Japan's surrender, although the film law enacted by the former military government has been abolished, the strict censorship system still exists, but the US military occupation authorities have replaced the censorship of the Japanese military government -- the United States stresses democracy in the United States, but it does not talk about any kind of dog in the war territory, and of course it cannot talk about democracy, especially for films, which are propaganda tools of incitement.

It was not until the mid-to-late fifties, with the resurgence of the Japanese economy, that there was a wave of 'going out' and 'independent filmmaking' boom in Japan, and for a time it became the representative of Asian cinema in the eyes of Europeans and Americans. During this period, Japan gave birth to a series of great directors who had great influence in the world, including Akira Kurosawa, Keisuke Kinoshita, and Kaneto Shinto.

However,

Because of the excessive pursuit of art and the anatomy of human nature, Japanese films have since embarked on a wrong path of emphasizing literature and art over commerce. As a result, in the 70s, with the birth of the post-war generation of Japanese, the new generation of Japan, who had not experienced the war and the pain of the post-war period, were completely unable to understand the ideas and deep meanings that the older generation of filmmakers wanted to express in their works. The loss of audiences and competition from the small screen led to a rapid decline in Japanese cinema after surviving the last glorious twilight of the 70s.

It is worth mentioning that, like Hong Kong films before the decline in history - during this period, there were also a large number of shoddy follow-up films in Japanese films, and many well-known Japanese filmmakers also invested in the production of color and green films, which once made Japanese films become a necessary means of attracting customers to small video halls in Asia and even Europe and the United States.

At present, although Japan can contribute more than $1 billion to the total box office every year, Japan's domestic films account for less than 30 percent of the market share -- last year, for example, Japan contributed more than $1.6 billion to the total box office, but Japan's domestic films only took nearly $400 million at the box office, accounting for a little more than 24 percent of the total market share (Hollywood films accounted for 25.7 percent, Hong Kong films accounted for 31.6 percent, and the rest of the market share was divided between films from the Soviet Union and Eastern Europe). ）。

The Japanese are extremely dissatisfied with the current situation of Japanese films, and they desperately hope that Japanese films can catch up with the footsteps of the Japanese economy.

It is precisely because of this that after the Japanese heard that the world's No. 1 director was going to make a Korean film and help Korean films rise, they immediately felt strongly dissatisfied!

The Japanese have reason to be dissatisfied -- in terms of strength and weakness, Japan that has already risen is many times stronger than South Korea, which has just begun to rise! In terms of support for Hong Kong films, DreamWorks films, and especially for Xu Cun himself, the Japanese can almost be said to be the first in the world at present! In terms of intimacy, at least four Japanese female artists are Xu Cun's rumored girlfriends (Michiko Nishikyo, Oshima Tonggali, Yasuko Tomita, Noriko Sakai, Rieko Miura and Nanako Noguchi have been protected by Xu Cun due to their relatively young age. And South Korea has none! In the eyes of the Japanese, if you choose a help between Japan and South Korea, Xu Cun should choose them Japan!

Just as the Japanese think, Xu Cun's relationship with Japan is indeed much closer than that with South Korea, and Xu Cun knows that the Japanese have just revealed their dissatisfaction.

After knowing the news, Xu Cun only thought about it for less than five minutes before someone broke the news and said: This time, he Xu was planning to open a Japanese movie and a Korean movie at the same time.

At the same time as the news came out, Xu Cun also asked people to spread the names of the two movies - "Love Letter" and "My Sassy Girlfriend" together to prove the truth of what he said.

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