"When the fifth generation first came out, it was completely anti-drama and anti-story, pursuing a sense of form and visualization. Because the social atmosphere at that time was more humanistic, and the whole people were thinking, you are strange enough to have a market, that is, the market of the so-called cultural elite on the mainland, and people will look down on you. For example, when "Red Sorghum" won the Golden Bear, Zhang Yi was almost in charge of the people, and he felt like he was shouldering the rise and fall of the country. ”

On the stage, Zhang Xianmin talked eloquently, and continued: "And Western society loves to see these things, we have more than ten years of cultural faults, and we have never appeared in the world, and they think China is very mysterious." The fifth-generation films did not reflect China at that time, but because of this voyeurism, they achieved those honors. Then in the late nineties, the sixth generation emerged, and there was a shift in Western interest in China, and they wanted to see something relatively real. Therefore, in the early sixth generation, those who performed marginalized groups and all kinds of confusion caused by urban and rural changes had a large number of overseas markets...... What do I mean by that? It is that the changes in domestic art films and the changes in overseas markets have always complemented each other and are a mutual effect. ”

To his left and right, there were also several guests, namely Ge Wen, Ichikawa Shozo, Dutron, Albert and Cheng Ying. Off the stage, there are still Cao Baoping, Jiao Xiongping and others, and there are also several executives from film and television companies.

Yesterday was to exchange the living conditions of some new directors, and today it is a little more high-end, aiming at the problems and confusions encountered in the overseas distribution of domestic films.

After Zhang Xianmin finished speaking, Ge Wen digested the content of the translator and nodded: "I agree with Mr. Zhang's opinion. In 94, Wang Xiaoshuai came to Rotterdam with "Days of Winter and Spring", and the techniques and thinking in it amazed us. But if another director came to Rotterdam five years later with a similar work, even if he did better, I wouldn't hesitate to turn it away. Because you don't innovate and progress, the film will change a group of audiences and aesthetic tastes in three years. As a director, he is still following the old path of his predecessors, which is a very scary thing.

I've seen a lot of Chinese independent films, whether they're new or more mature, and they usually make some of the same mistakes. For example, China likes to combine documentaries and feature films, and the best thing China has done is "The Good Man of the Three Gorges", but it is already at its peak, and latecomers don't even think about making some changes. Even when Western audiences are tired of watching, those new directors are still trying to do this.

In addition, I think Chinese independent films are very slow. Eighty percent of people use long shots to show the so-called cruel life. Maybe these few sentences are not very good, but I do think that the quality of those films is very low, the sound is poor, and the subtitles are basically incomprehensible. Moreover, the genre of Chinese films is very simple, the subject matter is very scarce, they lack the ability to make the audience interested, and they cannot achieve a reasonable connection with reality. ”

The foreigner is straight when he speaks, and this one sprays down. Everyone's face is not very good.

Immediately after, Albert, a former filmmaker at Cannes, said: "I deeply agree with what Mr. Gwen said, but I would like to continue the topic of Mr. Zhang. He just talked about the symbiosis between film and the market, which is very interesting. I think the exploration and development of Chinese films overseas. It can be divided into three stages, the first stage is from "Red Sorghum" to "Farewell My Concubine", and the second stage is from "Days of Winter and Spring" to "The Good Man of the Three Gorges". Mr. Zhang has made this coexistence very clear. I would like to say the third stage, which is between now and the next decade. In fact, not only Chinese films, but also the film and television industry around the world except for Hollywood special effects films. They are all facing a kind of return – the return of storytelling. ”

After a pause, he continued: "Today's audience needs to watch a good story, it's an instinct we've had since childhood. You can shoot subjects that are not popular and use quirky techniques, but they will only be the darlings of the festival for a few days and will soon come back to their original form. And I just think that most directors in China lack the ability to tell stories. Now it's the third stage, and you're still using the techniques of the second or even the first stage to create, and the market certainly doesn't accept it. ”

When the voice fell, Cheng Ying pulled the microphone and said: "I have been following the company overseas and running distribution, and I know more about this aspect." Let's talk about the feelings in China first, when "Incense" came out, the critics applauded. But its target is only in the world of cinema and culture, those so-called elites. By the time of "Stone", the market was gradually establishing in China, and those who walked into the theater were all urban mainstream intellectuals, such as college students and office workers. They have a low level of discussion of political formations and high technical requirements. I paid to watch the movie, and you have to give me a sense of satisfaction, or I'll feel wronged.

Then let's talk about overseas, just now several people have mentioned "The Good People of the Three Gorges", and I also have the same attitude. The West's aesthetic of Chinese independent films has long reached a saturation level, and it is in urgent need of transformation. Like last year, when I ran "Golden Brilliant", most of the audience's reaction was, hey, why is this set again! With the same theme, they are even willing to watch the works of small countries such as Vietnam and Israel, because of the freshness. ”

"I would add that China doesn't have a good understanding of overseas markets, and it's so difficult for filmmakers to go around the big three film festivals with their films and ask if we can do the distribution. A professional distribution company should be involved in the early stages of production, and there is a strategy for which film festivals to participate in and how to participate. ”

Du Teron slapped him in the face directly, saying: "I suggest that young directors learn from Wang Jiawei, go to theaters around the world, understand the world language of movies, and don't rest on their laurels." ”

“……”

Everyone was speechless, especially the children with ideals and dreams, who thought that the golden age of Chinese films was coming, but who would have thought that there were still many ills hidden under the banner.

At this time, Ichikawa Shozo, who had never spoken, still slowly mended the knife: "Instead of us discussing this topic, why don't you ask yourself first, as an audience, why don't you want to watch movies from your own country?" Like "Peacock" and "Blind Well", they are all recognized masterpieces, but in addition to these senior fans present, if you do a general survey, how many people do you think will have seen it? ”

“……”

The audience was even more silent.

Your sister!

I'm looking for you to smash the field?

Chu Qing hurriedly asked for the microphone, stood up, faced those young people, and said with a smile: "You don't have to think too complicated, it's actually very simple, the movie is just what is filmed." Like before, without cars, we wouldn't be able to make road movies. In the past, there were no special effects, so we could only watch "Little Dragon Man". Before there was no internet, we were stupid to even product placement. So don't be discouraged, if you love movies, give it time to develop.

Of course, you should remember one sentence: no matter what you make, don't always focus on China's past, we still have the present and the future! ”

……

Film Bureau, Sunny.

Tong Gang sat behind his desk, reviewing a stack of papers. These are not ordinary documents, but internal references to be submitted to the Directorate-General. Since it is an internal reference, there are naturally many shocking hidden news.

And the one in his hand is a proposal on the investigation of domestic cinemas and increasing policy support, which ordinary clerks can't write, and a group of penmen who correct and return to evil are specially responsible, commonly known as "film masters".

He scanned it again, and when he saw that there was nothing wrong, he put it on his left-hand side - indicating that he could report it. Subsequently, he picked up the second copy and couldn't help frowning: "Summary of "Film Power" Activities and Excerpts from Media and Industry Evaluations

Tut! This grandson will find trouble!

Tong Ju patiently turned the first page, which was a detailed description of the whole event, focusing on the two exchange meetings, including the speeches of the guests.

The writer writes very objectively, trying not to mix personal emotions, but Tong Ju still noticed a little bit of this master's appreciative attitude.

He read very slowly, more meticulously than the previous one, and only after turning to the end of the page and covering the volume for a moment did he put pen to paper: slightly extreme, pragmatic and measured, talented, and willing to promote internal and external exchanges. Please consider the preparation of the Beijing Film Festival.

Then, slowly put it on the left-hand side. (To be continued.) )