Gu Cancan wanted to make a sci-fi movie, which surprised Wang Qianyuan very much.

You know, science fiction movies don't seem to have this genre in China, which big director dare to try science fiction themes?

However, Gu Cancan dared to make an invitation, of course Wang Qianyuan would not refrain directly, and he was also curious about what kind of science fiction movie Gu Cancan was going to make.

Through the hot box office and topicality of several movies, coupled with Gu Cancan's own traffic physique, she has become a rising director star, and she is a supernova, in a way, her appearance and gender are indeed Gu Cancan's advantages.

If Gu Cancan wants to make a sci-fi film, there is a topic, and if the script is good, maybe he can really create a commercial sci-fi movie with a double harvest of word-of-mouth and box office.

In Wang Qianyuan's view, judging from "Buried Alive", even the works of Jia Zhangke and Lu Chuan, who have always wanted to explore human nature in movies, are no compared.

So for the sci-fi movie mentioned by Gu Cancan, he is looking forward to it, and wants to receive the script as soon as possible and study it carefully.

……

Gu Cancan wants to make a sci-fi movie, and there are many objections within the bright era.

Huaxia's directors have not made science fiction films, such as Wang Jing's "Future Police", Liu Zhenwei's "Cyborg", and Zhou Xingchi's "Yangtze River No. 7".

But the word-of-mouth box office is not satisfactory, even if it is Zhou Xingchi's "Yangtze River No. 7", the word-of-mouth on the Internet is average.

In the Chinese film industry, there is an argument that making science fiction films is inseparable from special effects and money, and it was precisely because of the lack of both that it was impossible to make them.

But in 2018, in Gu Cancan's original time and space, Huaxia has developed rapidly in all aspects, and the level of special effects has also developed to the international advanced level, and Huaxia's special effects companies can take over the work of Europe and the United States.

Later, all kinds of capital poured into the film industry, and there was no shortage of money.

There is no shortage of money and special effects, so of course science fiction films should be met and come out.

But is that really the case? Are you sure?

It's a pity that until Gu Cancan crossed over, there was not a single domestic sci-fi movie worth writing about, and it can even be said that the shadow of domestic sci-fi movies is difficult to see.

Jianghu has always rumored that Mr. Liu Cixin's "Three-Body Problem" is going to be made into a movie, but until Gu Cancan crossed over, he did not see the release of this movie.

In fact, there are very good science fiction writers in Huaxia, and under the years of hard work in "Science Fiction World", Huaxia has very rich science fiction resources.

"The Three-Body Problem" is one of the best, but China's science fiction is by no means the only "Three-Body Problem".

To understand Chinese science fiction, there is a very simple way, which is to watch the winning works of the Galaxy Award held by "Science Fiction World" over the years.

In addition to Liu Cixin, others such as Wang Jinkang, Qian Lifang, He Xi, Liu Wenyang, He Hongwei, Han Song, etc., are all very good science fiction writers, and they also have a number of their own masterpieces.

Although the Galaxy Award is not as long and glittering as the Nebula Award and the Hugo Award abroad, in China, it has indeed cultivated a lot of writers and works, and made movies with existing resources, at least in terms of creativity.

However, Chinese science fiction films have been absent for a long time, why is that? You can't blame the script, then blame the special effects.

Naturally, the blame is on the special effects.

Sounds reasonable.

Outer space, aliens, spaceships, wormholes, Pandora, etc., these are not drawn with a pencil.

For example, "Rise of the Planet of the Apes", those tall technologies, such as motion capture, even Obama can't help but play with them, which really requires strong technological ability.

But when it comes to my country's special effects companies, the first impression is that they are not good.

But that's not the case. The special effects can't work, so you can't make a science fiction film, the logic is wrong.

First of all, you can make a science fiction film without special effects at all. For example, "This Man is from Earth", it is a group of people flickering around in the living room, which looks a bit like the mass version of "When Dreams Come into Reality", but it is actually filmed with a sci-fi flavor, which is the charm of God's setting. For example, "Moon" has almost no special effects, but it is still excellent. And these two movies not only have a full sci-fi flavor, but also a thriller flavor that is difficult to calm down.

Secondly, even if the special effects are weak, you can still shoot good things. Think about the 86 version of "Journey to the West", the details naturally need not be said. "A Chinese Ghost Story" of its time, this is an old movie made in 1987, with the conditions at the time, the tree spirit grandma presented to the audience is quite scary, and the image design is put to the present, it can't be said to be too outdated.

Speaking of "A Chinese Ghost Story", foreigners watch it as a science fiction film, because it won the Special Jury Award at the 16th French International Science Fiction Film Festival and the Best Film Award at the Portuguese Science Fiction Film Festival.

This ...... seems to be a satire of Chinese science fiction movies.

7 years later, another "Journey to the West", which integrates science fiction and fantasy, still has excellent special effects without the high-precision technology of motion capture.

And in fact, the domestic special effects companies are not as bad as everyone remembers, after so many years of development, they can still order content more or less.

What's more, in terms of the globalization of films, Huaxia can find a Hollywood team to help make special effects when making science fiction films, and no matter how bad the standard of domestic special effects companies is, even if it is zero, it will not be affected.

Is it because of money that Huaxia can't make good science fiction movies?

But the most important thing in Chinese movies should be money. The influx of hot money has been going on for a long time.

People who know more about this market will find that no matter how bad the project is, someone will operate and follow up. But why can't this hot money flood into the genre of science fiction?

The lack of the genre of Chinese science fiction films, Gu Cancan feels that the root cause is still the lack of imagination of the whole people.

When we watch movies, what we are most enthusiastic about is often picking some such memes: Is this in line with historical facts? Is this how the chairs of this dynasty are shaped? When was apples introduced to China, there were apples in this dynasty, is this science?

"Is this science" has quickly become the "main idea" of our movie-watching, and it seems that as soon as it comes to watching movies, we have quickly become a "test-based school".

Another manifestation of our lack of imagination is that we are too fond of chasing standard answers, and this is also true in the case of movies.

What is the central idea of the film? What is the gist of its paragraph? Where are the good guys and where are the bad guys?

This style of pursuing standard answers is reflected not only in the college students who claim that "Lust, Caution" is a traitor and that "Cape No. 7" is a flattering movie, but also in those film fundamentalists who regard "Where Are You Going, Dad" as a pillar of shame for Chinese cinema.

Another point is that the censorship system in China is also difficult to understand. In the movie, I didn't even dare to shoot ghosts, I didn't dare to show them in the movie, and all the unnatural imagination was explained by "neurosis".

Under such circumstances, how much courage and confidence do directors have to imagine the vastness of the universe and the grandeur of life?

And what Chinese directors lack is probably not only courage and self-confidence, but also interest.

Gu Cancan has been in the film and television industry, and he really feels that he is shackled. There is a lack of freedom in material life, political life, and even less in spiritual life.

Without these three freedoms, most people have become turtles with shrunken heads, focusing their vision on standard answers, good people and bad people, bright and dark kings, corrupt officials and clean officials, and historical evidence.

Gu Cancan watched entertainment news before crossing and knew that Ning Hao was going to shoot Da Liu's "Country Teacher". She believes that Ning Hao can make a good film, because the sci-fi flavor in "The Country Teacher" is not strong, and it looks more like an educational film than a sci-fi film.

As for "The Three-Body Problem", Gu Cancan no longer has any thoughts. The possibility of "The Three-Body Problem" being filmed badly is far greater than being filmed well.

First-class science fiction rarely makes first-class science fiction movies, and first-class science fiction movies often come from third-rate science fiction.

This principle is also common to other people, literary masterpieces often rarely make first-class movies, and first-class movies are often adapted from third-rate films.

For example, the movie "The Godfather" is very powerful, but this one is really funny.

Because, the existence of science fiction means that our lives have deviated from the standard answer.

For example, Gu Cancan once read Qian Lifang's "Providence" in the original time and space, and was very impressed by this one.

The author has created a science fiction world based on oriental history, where Han Xin, Zhang Liang, Qin Shi Huang, Liu Bang, and Xiang Yu can live in a time and space that is both real and science fiction without violating the harmony.

When I read this book for the first time, Gu Cancan felt that Han Xin in "Providence" was the Chinese version of the superhero.

Although "Providence" is not as hard science fiction as Liu Cixin and Wang Jinkang, it arranges science fiction into history, rearranges history in another way, and reinterprets it, which is very exciting to read.

However, the impression is deep, Gu Cancan actually doesn't like "Providence" very much, and Mr. Qian's writing is a little difficult to explain.

At the beginning, Han Xin was depressed, and his mental activities were described in six pages, using five "Ah! ”

In the second half, Han Xin recounted the ins and outs of the incident to Ji Jiang in the third person like pouring beans on a bamboo tube, explaining that Long Xi chose him because he was excellent and smart.

To put it another way, a person boasts that he is "the best, the smartest, and good-looking??? "It's thick enough, tsk.

Han Xin sent Ji Jiang away, Ji Jiang was unwilling, the two were inseparable, and the conversation was full of "Why?!" Why can't we be together?! Oh my God!! Qiong Yao-style lines like that. This kind of straightforward expression of the character's psychology with lines is really numb......

From the perspective of character creation, Han Xin has different talents, has met the guidance of masters since he was a child, is good-looking (very important), witty and calm, has a long-term vision, and has no last resort.

The article repeatedly emphasized that if he wants, he will get the world like a bag. But for the survival of human civilization, he endured humiliation, fought wits and courage with aliens, and finally sacrificed - in other words, Gu Cancan has not seen the setting for many years so shameless, no, such a male protagonist of Jack Su.

The heroine Ji Jiang is from a humble background and is not a beauty, but she has bright eyes, high talent, lively personality, not afraid of authority, and occasionally makes trouble unreasonably (the vexatious passages look like a headache), this ...... is probably a little swallow with an IQ of 120.

Han Xin is not close to women, but he is tolerant and gentle with Ji Jiang - it's okay, Mary Sue standard bridge.

At that time, Gu Cancan didn't have so many complaints when he first read it, but when he thought about it later, he was really scumbag.

Gu Cancan secretly thought that the author had brought himself into the heroine to a certain extent.

However, "Providence" is very suitable for adaptation into film and television dramas. The characters are distinctive, what could be easier to shape than the image of Mary Sue or Jack Sue? The story line is clear, there is suspense, and there is dramatic conflict.

Gu Cancan remembered that in the original time and space, "Providence" was indeed adapted into a TV series, starring Ou Hao, but until she crossed over, this TV series had not yet been released.

Before, thinking of "Providence", Gu Cancan recalled the plot and felt that it was really suitable for adaptation into a TV series, she asked Guan Feifei to find Jiang Meiying and find a way to contact Mr. Qian Lifang, the author of "Providence", and buy the film and television adaptation rights of this book.

Jiang Meiying reluctantly did so, anyway, the market for sci-fi film and television adaptations was in a depression, and the bright era bought the film and television adaptation rights of "Providence" and several other sci-fi films, without spending much money at all.

Few people can persuade Gu Cancan to decide something, and Su Luo and the others have already come to their senses.

Just like when Gu Cancan wanted to shoot "July and Ansheng", he still directed and acted by himself, and many people in the company opposed it, but Gu Cancan went his own way, and as a result, the box office reputation exploded, and even won a lot of awards, which swollen the faces of the opponents.

She wants to make a sci-fi film, so let's shoot it, in case a miracle happens.

……

After all, making that sci-fi movie was a few months later, and Gu Cancan still had a lot of things to do.

After "Buried Alive" was finished, editing began immediately. In the past, Gu Cancan always had to do it herself, and she was worried that others would not be able to achieve the effect she had in mind.

But after making a few movies, Gu Cancan felt that this was really tiring, a movie needs countless links from the beginning of shooting to the post-production, involving many positions, she has to rely on herself to be busy, and it is not good to be tired.

It's good for the director to do the director's job, and the editor naturally has the editor for editing, and you must learn to trust the professionalism of professionals.

At most, when there is a result, Gu Cancan will correct it.

rushed to the bright era, Gu Cancan handed over the memory card to the company's editor, communicated with him in detail, and then Gu Cancan left the editor and went to the artist center instead.

She went to find Wan Qian, Jiao Junyan and others.

"Thirty-three Days of Broken Love" is about to be released, and the publicity work is about to begin.

Pushing open the door of the artist center, Gu Cancan found that many artists in the company were present, well, most of them were girls.

A group of female entertainers sat around and were playing cards.

Seeing Gu Cancan coming, the whole room suddenly fell silent.

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