On August 29th, the 6th China Film New Power Forum was held in Changchun, Jilin. Yang Andi, vice governor of Jilin Province, attended the forum and delivered a speech. Mao Yu, executive deputy director of Publicity Department of the Communist Party of China Film Bureau, made a keynote speech at the forum, and Lu Liang, deputy director of Publicity Department of the Communist Party of China Film Bureau, made a concluding speech. Sun Xianghui, director of China Film Archive (China Film Art Research Center), presided over the opening ceremony of the forum. Member of the Party Group of China Federation of Literary and Art Circles and Secretary of the Secretariat, Zhang Hong, Party Secretary of China Film Association; Zhang Baozong, Executive Vice Minister of Propaganda Department of Jilin Provincial Committee of the Communist Party of China, Lei Zhenyu, Deputy Secretary of Changchun Municipal Committee and Minister of Propaganda Department Zhao Ming attended the forum.
The forum was hosted by the State Film Bureau, hosted by the China Film Art Research Center, and co-organized by the Propaganda Department of the CPC Jilin Provincial Committee (Jilin Film Bureau) and the Changchun Film Festival·China Organizing Committee. More than 200 people attended the forum, including relevant responsible comrades of directly affiliated units in Publicity Department of the Communist Party of China, responsible comrades of film authorities in various provinces, autonomous regions and municipalities, representatives of state-owned and private film enterprises, representatives of young creators, experts and scholars.
The forum is based on "new era, new journey and new strength — — The theme of "Movies with Audience". Wang Baoqiang, Liu Xiaoshi, Rui Cui, Shao Yihui, Su Liang, bid for the Olympic Games, Liu Xunzi Mo, Zhang Chiyu, Dai Mo, Desert, Evonne, Xie Junwei, Zou Jing, Yan Kai and other new generation directors, Ke Zhang, Su Biao and other new generation screenwriters, Chen Zhixi, Gong Geer, Wang Yilin and other producer representatives, Xu Jian, Li Jie, Zheng Zhihao, Ling Lvwei and Dai Linyan.
Senior practitioners such as Fu Ruoqing, Ning Hao, Yu Dong, Frant Gwo, Han Yan, Chen Sicheng, Da Peng, Wang Changtian, Lu Yang, Wu Ershan, Wang Yibing, Zhang Miao, Wang Hongwei, Rao Xiaozhi, Yin Hong, and Huang Yichuan also discussed and exchanged ideas with the new film power in combination with their own creation and work experience, which reflected the fine tradition of Chinese filmmakers passing on from generation to generation.
讨论中，论坛嘉宾一致认为：对中国电影而言，新力量强，则电影强；新力量强，则电影事业前程似锦、充满希望。期待中国电影新力量们锐意进取、砥砺前行，在建设电影强国新征程中作出更大贡献。
■ 毛羽（中宣部电影局常务副局长）
肩负使命 勇于创新
在建设电影强国新征程中作出更大贡献
毛羽
党的十八大以来，电影界深入学习贯彻习近平新时代中国特色社会主义思想，贯彻落实习近平总书记关于电影工作的一系列重要指示批示精神，坚决落实党中央关于电影工作的决策部署，围绕中心、服务大局，脚踏实地、克服困难、砥砺前行，取得了来之不易的成绩。特别是在三年疫情结束后，一大批优秀电影争先上映，不仅创造了今年春节档、暑期档的观影热潮和市场增长，更将全国各地不同年龄的观众重新拉回到影院，再次建构起中国电影与观众的紧密联系。经部领导批准，我们重启中国电影新力量论坛，把大家召集起来谈想法、听意见、共讨论，主要目的是面对2035年建成电影强国的宏伟目标，广大电影工作者特别是青年电影工作者如何肩负使命、勇于创新，在增强电影文化影响力中凝聚力量、奋发有为。
"The New Force of Chinese Film" has gone through the course of nearly 10 years. In the past ten years, the new force of Chinese film has thrived, and a large number of directors and screenwriters, such as Ning Hao, Jason Wu, Guan Hu, Wu Ershan, Chen Sicheng, Xú Zhēng, Han Yan, Frant Gwo, Xue Xiaolu, Lu Yang, Rao Xiaozhi, Cheng Er, Wen Muye, Dapeng, Tian Xiaopeng, Zhao Ji, Zhang Ji, Dong Runnian, Chen Shu and Ran Jianan, stand out and create. In recent years, they have actively participated in the task of creating key films, such as Me and My Father by My People，My Country and My People My Homeland, King of the Sky by The Sacrifice and The Wandering Earth, Miracle and Stupid Child, Enthusiasm, Wan Li’s Return, Unknown, Hugging You through the Winter, etc., which carry forward the core values with the distinctive features of new mainstream films and win the support and praise of the audience; They display their talents and abilities in diversified creations, innovate the expression of film art and the application of film science and technology, and constantly enrich the supply of products in the film market, such as Feng Shen, detective chinatown, Dying to Survive, A Little Red Flower, A Writer’s Odyssey, Three Wan Li in Chang ‘an, the list of new gods: Yang Jian, Deep Sea and Bears. With their own creative experience, they actively cultivate new film talents, such as Bad Monkey, Seven Impressions, One-on-One Production, Dream General, etc., and have established a relatively mature talent discovery and training system. The emergence and growth of new forces,It has brought about new changes in film form, genre and discourse mode, new attempts in film investment and financing mode, new possibilities of media integration and cross-border talents, which has become the glory and dream of China’s film prosperity and development, and accumulated valuable resources for the future of China’s films.
At present, the Party is leading the people of all ethnic groups in the country to move towards the goal of the second century. The burden of building a film power in 2035 and the mission of building a modern civilization of the Chinese nation have historically fallen on the shoulders of the younger generation of filmmakers. In this context, let’s talk about the new force of film, which has richer connotations than before: the new force is no longer fighting for survival, but is to become a new force to tell the story of China well and enhance the soft power of China culture; Become a new force to improve the industrial structure and innovate and develop kinetic energy; Become a new force to promote the healthy development and continuous progress of China films; It has become a new force to change the world’s films and influence the world culture.
Since the beginning of this year, the film industry has overcome the major blow brought by the three-year epidemic and regained its confidence in development and prosperity with tenacious vitality. The emotional connection between China’s films and China’s audience is increasingly strengthened, and they go in both directions, which reflects the achievements of high-quality development of domestic films and the cultural self-confidence that China’s audience is increasingly proud of. In the face of achievements, we should adhere to the problem orientation, keep a clear head and find out the shortcomings and gaps. To this end, we should realize that:
The movie power lies not only in how many screens there are and how high the box office is, but also in the ability of artistic innovation, market expansion, application of science and technology, the influence of the resulting movie works and the soft power of the movie culture.A powerful film country requires that movies should have sufficient leading and driving role in social, cultural and economic life, and should show the beauty of ideals, beliefs and sublimity, so as to inspire people to move forward with vigor and vitality. It must have a strong pulling effect on economic and social development. At present, film creation still can’t meet the needs of the audience, and it can’t give back to the expectations of more and more China films "tap water" for excellent films; China’s film production, distribution, screening, ticketing platform and other links mainly rely on the theater box office, and still don’t know how to turn online and offline people into greater value, and have never found an effective way to profit from the development of post-products; In the field of investment and financing, on the one hand, the degree of specialization of investors is not high, and non-professional capital has entered the film field, which has brought about a bad trend of quick success and shoddy work. On the other hand, due to the influence of the economic environment, it is difficult to invest and raise funds this year, and the enthusiasm and confidence of capital in the film still need a long recovery period. Behind all this, all kinds of talents needed for film creation and film economy are still shortcomings and bottlenecks that restrict progress and development.
Secondly, a strong film country cannot be strong at home and weak overseas, or beautiful at home but can’t go out.After 30 years of reform to adapt to the market economy and fierce market competition with American films after China’s entry into WTO, the film industry has finally embarked on a road of confident development. This year, in the competition between domestic films and imported films, the market share has exceeded 80%. In the world box office rankings, China and the United States have gone hand in hand this year, and the gap has narrowed to about 200 million US dollars, leaving other films far behind. However, these have not changed the shortcomings of China films’ difficulty in going abroad. In recent years, China’s films have been released and screened simultaneously overseas, and more audiences are still Chinese, which makes it difficult for them to enter the mainstream foreign audiences. In the global market, they are far less influential than China’s material products, which is still far from our goal of building a film power. In this regard, how should young filmmakers shoulder the mission? I would like to take this opportunity to share some thoughts with you.
第一，走出小我，拥抱时代，讲好中国故事。习近平总书记深刻指出：“任何一个时代的文艺，只有同国家和民族紧紧维系、休戚与共，才能发出振聋发聩的声音。”站在历史新的起点上，聚焦时代主流，把握时代脉搏，洞察时代气息，讲好中国故事、传播好中国声音是中国电影的时代命题和时代使命。我们希望年轻的电影工作者，融入时代洪流，通过电影讲好中国故事，通过电影增强中华民族现代文明建设。我们希望看到的电影，是在正确价值导向引领下有着精彩故事所支撑的电影，是在面对复杂生活能够准确表现时代希望和人民期待的电影，是在新鲜的创意中能够塑造出经得起时间检验的生动人物形象的电影，是在光影奇观里能够闪烁时代思想光芒的电影。只有这样，青年电影工作者才能够找到自己的价值，拍出的电影才能拥有以文化人的力量，才能够在中华民族伟大复兴进程中树立起电影的精神坐标。
Second, care for the audience, be grateful to the audience, and enhance the resonance ability of the film.When the Film Bureau launched the "New Force of Chinese Film", it also put forward the slogan "Movies and audiences are together" and took it as a distinctive label of the new force, which has continued to this day. This is an advocacy, but also a spirit. I sincerely hope that young filmmakers will have an audience in their hearts, adhere to the people-centered creative orientation, and make films that can vividly reflect the people’s yearning and pursuit of a better life, deeply explore the people’s rich and moving inner world, and truly describe the people’s pursuit and persistence in the value of truth, goodness and beauty, so that the film can resonate with the people’s creative practice and thoughts and feelings at the same frequency, and truly "write for the people, express their feelings for the people, and express their feelings for the people." "The film is with the audience" also requires us to continuously deepen the reform of the film market, meet the viewing needs of the audience in all directions, and establish a closer interactive relationship between the film and the audience.
Third, based on China, look at the world, and grow stronger in the opening up.In the face of the great changes in the world in the past century, I hope that young filmmakers will uphold the cultural tradition of openness, tolerance and eclecticism, build a narrative system of China’s films, break the "clash of civilizations" through the exchange and blending of films, and show the world a credible, lovely and respectable image of China. Young filmmakers grew up in China during the period of reform and opening up, and you have the natural advantage to solve the problem of cultural differences. I hope that your films will have a richer world expression of China’s story, cross the historical and national barriers with cultural commonness, and find an artistic expression acceptable to the world audience. I also hope that young filmmakers, like Huawei’s pioneering spirit in the world in the early days, will strive to establish a smooth and effective overseas China film distribution and sales network, and realize the normal screening of domestic films in overseas theaters through market means.
Fourth, work together to form a joint force and strengthen the foundation of the film industry.Film is an economy with a highly developed industrial chain, and creation is the leader. Only with the strong mutual support of all links in the industrial chain can a complete industrial structure be constructed. At present, the structural, regular and conceptual problems of the film market still exist. For example, the traditional unified distribution mode of the whole cinema has not adapted to the increasingly personalized viewing needs and diversified creative patterns of the audience, and it is necessary to achieve a breakthrough in the differentiated distribution and screening mode of focusing and dividing lines; The phenomenon that a large number of strong films are released together on holidays still exists, and the balanced and reasonable regulation mechanism of schedule and film arrangement is not yet mature, and the market potential has not been fully tapped. We must continue to work hard on the creation and construction of weekend stalls; The share ratio of box office income between producers and markets has lagged behind the actual development of the film industry, and the creative side is short of blood and the industrial chain is out of line. It is necessary to conduct in-depth research in the distribution field and form more reasonable distribution rules by means of market competition. Driven by economic interests, the phenomenon of stealing reports, recording and broadcasting has existed for a long time, which seriously interferes with the healthy development of China films. Therefore, it is necessary to further strengthen the construction of credit system and supporting laws and regulations. In addition, the technological innovation and industrialization of China’s films are still in a backward position, and it is a long way to go to realize the high-level scientific and technological self-reliance of films. These also require young filmmakers to carry forward the fighting spirit of the older generation of filmmakers who are struggling to reform and fight their way out in a seamless way, and solve one problem after another on the road ahead!
习近平总书记在党的二十大报告中指出：“青年强，则国家强。当代中国青年生逢其时，施展才干的舞台无比广阔，实现梦想的前景无比光明……广大青年要坚定不移听党话、跟党走，怀抱梦想又脚踏实地，敢想敢为又善作善成，立志做有理想、敢担当、能吃苦、肯奋斗的新时代好青年，让青春在全面建设社会主义现代化国家的火热实践中绽放绚丽之花”。对中国电影而言，新力量强，则电影强；新力量强，则电影事业前程似锦，充满希望。让我们锐意进取，砥砺前行，在建设电影强国的新征程中作出更大贡献！
(Excerpted from the speech at the 6th China Film New Power Forum)
the first group
■ Wang Baoqiang (director of "The Octagon Cage")
From "Group Performance" to Director
Baoqiang Wang
When I was a child, I saw the movie Shaolin Temple at home, and I buried a movie dream in my heart. After I had this idea, I never gave up. When I was 6 years old, I went to Shaolin Temple, but I found that Shaolin Temple was only the location for shooting. After years of practicing martial arts, I still wanted to make movies very much. Just after 2000, I came to Beijing Film Studio and became a "North drift" extra actor.
Mass actors are also actors, which was a great encouragement and affirmation for me at that time. I felt that my movie dream had come true. Later, through years of hard work, I became an actor, began to try different roles and types, cooperated with some excellent directors, and accumulated a lot of shooting experience and creative inspiration.
I began to have the stories I wanted to tell, the emotions I wanted to express and the energy I wanted to convey, and I began to have the idea of filming "In the octagonal cage". But because the first film I directed was not so successful, my creation was questioned. But these doubts also inspired my stubborn fighting spirit. With the help of my good friends, I insisted on finishing the film, accompanying it to release and watching it meet the audience, and achieved the current results. I think as long as you work hard, nothing is impossible.
Thank you to everyone who supports us. In the future, I will definitely make persistent efforts to launch more high-quality works. I want to bring more China films to the world in the future, and I believe I can do it, because I am still young, and I have a long way to go, and I have the motivation and passion to create, so I will definitely show the world the new power of China films one day.
■ Liu Xiaoshi (Director of King of the Sky)
Artistic creation is a kind of "spiritual return home"
Liu Xiaoshi
My life experience determines my view of movies. It took me 22 years from studying movies to finishing the creation of my first movie. It was like a lost journey. I traveled in the dark every day. Although I had a forward belief, I had no end and direction. One day, my good friend passed away. I finally spent only 14 days on his story and complete script, and the process was often moving. This is the movie "King of the Sky". Within 14 days and 22 years, I realized that for a creator, deep communication and life experience are far better than deliberate observation and approach.
Honest creative attitude is also very important, which requires sincere criticism and praise, a sense of historical and social responsibility, and correct output of values. The correctness of these values often goes beyond the boundaries of skin color, race, nation and country, and is a universal human temperament.
Some people say that movies lose their meaning of existence without criticism, but I don’t quite agree with them. Praise is an ugly contrast. The literature of good people in the Soviet Union has played an indelible role in social progress. Tolstoy, like Dostoevsky, shines among the stars of mankind, and penetrating criticism has an indelible power and role in the progress of human civilization and society. However, the expression of selfish anger will appear narrow-minded and short-sighted. Movies are public cultural products, not tools for venting anger and selfish expression.
In my opinion, artistic creation is essentially a kind of "spiritual return home". The true feelings and the beautiful vision of the world and the future can be realized through movies, which is the unique charm of movies that distinguishes them from other arts.
■ Rui Cui (director of "She Disappeared")
Paying attention to sociality and pursuing commerciality
Rui Cui
The first characteristic that my ideal movie needs is sociality. Filmmakers have a special mission different from workers in other industries, because in every film, you have the opportunity to speak for a group. Because of their own situation, their marginal or low status, they can’t spread their feelings, so we filmmakers have the responsibility to speak for them. The audience heard and saw. Then the experience and feelings of this group will be magnified and more people will pay attention to it.
When we were making The Disappeared She, the first thing we paid attention to was what topic the film was discussing. We want to convey some positive energy to the audience through this story: care about the other half around you, pay attention to his needs, understand his difficulties, don’t neglect communication, don’t tie yourself up, and so on.
The second thing that my ideal movie needs is commercialization. The audience loves to watch, likes to watch, and comes to watch, which is the best destination for movies.
Since the audience is expected to go into the cinema to see the film, the film needs to have the characteristics that it must be watched in the cinema. Still take "Disappeared She" as an example. Apart from the story and text, we have made a lot of efforts in the appreciation of the film. Whether it’s the gorgeous and complicated scenery in the early stage, the selection of highly saturated colors, or the tight-paced editing and exaggerated soundtrack, we are trying to present an immersive audio-visual feast for the audience.
We hope to give the audience an unforgettable, refreshing and impactful feeling. Movies are about moments, and times have changed. The audience can’t remember every fragment and plot of the movies they have seen, but they can remember the bamboo sea in Crouching Tiger, Hidden Dragon and the folding city in Inception. We also hope that they can remember the starry sky under the sea in Lost Her.
■ Shao Yihui (director of Love Myth)
Show your true feelings in an unreal world.
Shao yihui
My ideal movie, first of all, is free, diverse, eclectic, not complacent, not looking ahead and looking back, not worrying, being brave in innovation and breakthrough. Whether it is a commercial film, an art film, an author’s film, a documentary film, etc., there should be room for survival, and a hundred flowers will blossom and each will get what he needs.
Commercial films that rely on narrative routines and conventions should look for new variations and new vocabulary in routines. At present, commercial films that combine realism with topical and social emotions are a new attempt, and our real society is a treasure house that can be continuously excavated. No matter the depth or breadth, there are always anxious, exciting and curious topics in all walks of life and fields, thus ensuring that creators can make various types of stylization attempts within a reasonable range.
Art films should be more daring to rebel against conventions and routines, seek breakthroughs in the film itself, explore new issues at the level of philosophy and significance, grasp the current living conditions of people, expose the complexity and diversity of life, and reflect the style of the times and the eternal plight of human beings.
My ideal movie should show my true feelings in an unreal world. Movies are not responsible for creating reality, but only for creating a real feeling. The story is the restoration of material reality, but it is not material reality. The "truth" that the film looks like is the truth that has been carefully processed and logically arranged. If the logic is not well compiled, it will make people feel that it is not "real", but in fact, the core behind it is really compiled. What happens in the real world is often illogical, or the logic is difficult to arrange in two hours. But emotion should be true, and only truth can move people.
My ideal movie should be original, and it is also the basic backbone and attitude of the creator. I don’t pick up others’ wisdom, follow others’ advice, and don’t repeat the same mistakes. In an era when human stories have been told for a long time, we should encourage and cherish originality, which is a more difficult, lonely and respectable road.
■ Su Liang (director of "Learning Dad")
Keep touch and influence in the audience’s mind
Su Liang
During my art exam, a teacher I met told me that the exam is not that complicated. You just need to learn to write a good article, which can be about your father, your mother or your best friend, but there is an ironclad requirement, which must come from your life and your emotions.
I am very grateful to this teacher for letting me know what is the most important thing when I first entered the university.
In fact, I wrote a lot of stories before shooting the movie "Learning Dad". In the end, only "Learning Dad" can make me willing to spend a few years. I feel as if I have to have strong empathy and empathy for a group or thing, so that I can face myself frankly.
On the way home from the roadshow of "Learning Dad", I was very sad all the way, because I saw too many parents telling their own stories along the way, and many parents also asked in tears, what is the right thing to do as parents, and how can they survive?
In fact, I really want to do something for them, but I understand that movies can’t solve practical problems in their lives. After watching the movie, they still have to face the hardships in life and continue to be a hard-working passer. But I hope this film can keep some touch and influence in their hearts, even if it is insignificant, which is the most essential original intention of my film creation.
On the road of my personal creation, I hope I can do it for a longer time, and I have never worried that my creation will dry up. I think because life is always changing, the relationship between people is a direction that can be continuously explored. As long as you are still full of curiosity and desire to explore life and the times, and can really think about the desires and deficiencies of those who come to watch our movies, I think the creation will always be fresh and rich.
The first group dialogue
Accumulate life experience and strengthen industry communication
The reason for this group’s dialogue
Yin Hong, Vice Chairman of China Film Association and Professor of Tsinghua University, presided over it.
The first group talked about the scene
During the dialogue session, Fu Ruoqing was deeply touched by the speeches of the five new directors. He said that all five directors were very sincere. "In their own creative process, they not only respected the market and the law of creation, but also played a different understanding and pursuit of the film. These five directors are all successful among young directors. From the persistence of director Wang Baoqiang along the way, to the love of director Liu Xiaoshi for aviation science fiction, and the understanding of Shanghai city by director Shao Yihui, the speeches of other directors are also very sincere. "
Ning Hao participated in the first Forum on New Forces of Chinese Film. Looking back, Ning Hao said with a smile that ten years ago, when organizing new forces, not many people came, and everyone’s topics basically revolved around how to "cheat investment" and how to make a small film within a controllable range, which was more pragmatic. "Now, the new power has become bigger, and many people are not good at judging it with simple new power. Frant Gwo and the Olympic bid are new forces, which have contributed a lot to the box office. They have also experienced many exploration tasks and challenges. At this year’s forum, we can see the solid growth of new power, and the responsibilities that the backbone needs to bear have begun to enter the discussion topic of new power.
"I don’t have the experience of studying film in college. My creation comes from life. There are many directors who grow up in life and cooperate with me. No matter what style type I create, the most important thing is to make the audience feel sincere and believe." Wang Baoqiang said in the dialogue that accumulation is very important for creators, whether they are actors or directors, they should try to accumulate more. "Creation comes from the authenticity of life, and the authenticity of life must have its own creativity."
"In the Octagonal Cage" is an attempt by Wang Baoqiang. "In the Octagonal Cage" is very real, but it can’t be too real. Because there are things expressed by film art, I want to create a sense of rhythm that has both commercial rhythm, empathy and emotional state, and artistic expression, but it also makes it easy for the audience to understand what you express. " Wang Baoqiang said, "I didn’t want to play a repetitive role before, and I wanted to make the audience feel fresh. This kind of character has visibility, and so does my future creation as a director."
Liu Xiaoshi is a film student, but he admits that he has been far away from movies for many years. "Only when I get in touch with director Ning Hao occasionally can I get in touch with filmmakers. I get more contact with scientists and soldiers, including what I want to shoot in the future, and it is related to the cognition and experience accumulated over the past 15 years."
Liu Xiaoshi likes science and technology, aerospace, interstellar travel, artificial intelligence and other topics that have nothing to do with movies, but he often comes into contact with related topics in his daily work. "My usual reading and experience are related to these concepts. Fortunately, I can combine my hobbies in daily life with movies and make them into movie content."
Rui Cui is a child who grew up in an alley. She grew up in China for 20 years, went abroad to study film, and returned to China after ten years of film work, making her first film, The Disappeared She. During the dialogue, Rui Cui said that in the film industrialization, people pay more attention to the excellent production and exquisite pictures, but the core point of industrialization is the scale of innovation, which can continuously create good genre scripts. "This requires us practitioners, directors and screenwriters to invest more in the types of creation that we love. I will continue to work hard and continue to create under the guidance of my predecessors. I hope that China films can also be shown in more overseas mainstream theaters and seen by more audiences."
Shao Yihui voiced for the screenwriter in the dialogue. She said: "I worked as a screenwriter for many years before making a movie, and found that many investors don’t respect screenwriters, especially young screenwriters. Some film and television companies will say that because you are young and have no works, you can’t have this signature, or you have little money, but if you don’t have the first one, they will never have works and signatures." She called for more attention and support for the scriptwriters.
Su Liang was deeply impressed by many films in this summer’s archives. He said in his speech that he was full of respect for directors including Wu Ershan and Wang Baoqiang when he saw "Goddess Part I" and "The Octagonal Cage" this summer. They still choose this way and attitude in this era. I hope there will be more such film creators. "
Su Liang also said that during the Spring Festival, I was thinking about "Wandering Earth 2". Similarly, everyone has been eating and sleeping every day for a few years. Why has director Frant Gwo changed so much? "I hope there will be more filmmakers like this, and they can stick to it and give us new directors a good guide."
In the message to young directors, Ning Hao said with a smile that directors who still need hope should not be directors. "They must all be particularly powerful and energetic, just do what they like."
Fu Ruoqing hopes that young creators will strengthen communication with other links in the industrial chain. He said that every successful director has one thing in common, that is, full communication with investors and publishers, and full communication with investors at the creative end will make the creation more powerful, and better communication with the announcement will make the film perform better in the market. "A good director must not rest on his laurels, but should strengthen communication, fully communicate with the investment at the upper end and the market promotion at the lower end, and everyone can understand and promote each other, so that a film can be truly recognized and successful in the market."
the second group
■ Olympic bid (director of "Put all your eggs in one basket")
Show people’s life from multiple perspectives
Shenao
As a filmmaker, I think that I am not only engaged in a dream and lofty career, but also fortunate that I can participate in and show the value of the main body of society that shares weal and woe with this era with the help of a cultural phenomenon, audio-visual art and multiple perspectives, to present the value and cohesion of China culture, and to share the feelings of home and country with the same heart and emotion.
At the same time, I also pay attention to the fact that literary and artistic creation can’t get lost in the tide of market economy. Only by deeply integrating into people’s lives, paying attention to ordinary people’s lives and feelings, dreams and hopes, ownership and loss, and paying attention to the practical experience of people’s lives, can more audiences find enlightenment in movies and get education from spiritual life.
After The Beneficiary, I created a number of screenplays, all of which were based on real people in social propaganda materials. Finally, I chose a case related to the telecom network fraud platform that I thought could complete self-expression and social significance, and filmed the movie "Put all your eggs in one basket".
At the initial stage of this project, almost everyone didn’t realize that it was a work with wide social influence except producer Ning Hao. Our common understanding is that it is a minority who has been defrauded by telecommunication networks, and there are few cases of criminals who have been deceived into working abroad and whose victims have become perpetrators, especially for China’s huge population base. We have no idea about the so-called ineffective sanctions, but we just hate this kind of crime, sympathize with the victims and pay high tribute to the police.
It is precisely because of the unknown market prospect that we have to reduce the production cost again and again, lobby the actors to join us again and again, and urge all departments to cooperate in order to shoot at a reasonable scale.
After the film was released, it achieved unexpected good results. I know that this is the result of a combination of many factors. At the same time, I also deeply introspected the criticism from the audience, and will correct it in the follow-up work. I wish our new Chinese film forces help each other, and the film industry in China will flourish and fly brilliantly.
■ Liu Xunzi Mo (director of "Make a Famous Name")
Creators should cherish the power that can infect others.
Xunzimo Liu
In my movies, the characters always come first, and they always push the story. All the shots, techniques, light and shadow colors in the film and all the wonderful moments in the play should be given by the characters themselves and realized only through the hands of the creators.
I think it is very important to listen to the role. The soul of a movie should always be found in the eyes of the role.
I like to observe the versatility of people, so I like to think about the versatility of characters, and I also hope to influence people in reality through movie characters. I want to show the audience more aspects of human nature, so that everyone can substitute for the real self. When you get out of the cinema and return to reality, you can have more room for thinking about others and yourself.
I believe in the complexity of human nature, but I also believe that human nature is good. A movie may not change a person, but I just want people to hesitate and waver after watching my movie, and then want to swear at others or hurt others in their lives, so I am very satisfied.
I always think that we are equal to the audience, and I will not look up or down at the audience. I think watching movies is a discussion between the creator and the audience. My creative path began with online drama. Every time I upload the progress bar of a series, I will take a deep breath, because I know that the audience will have a panoramic view of the laughter and abuse at the moment I go online. So at that time, I learned that creators should be sincere and don’t play tricks with the audience. The audience can see it at a glance.
I think creators, whether directors, producers, screenwriters, actors, etc., should cherish the power that can infect others. They can overestimate and underestimate, but don’t ignore or forget it. Movies are things that make people open their hearts. Every time I say this to my friends, I feel very cordial, which is also the meaning of my filming.
■ Zhang Chiyu (directed by Moon Man)
Cross-border and Innovation Help China Comedy Movies "Go Global"
Zhangchi fish
In recent years, comedy films such as goodbye mr. loser and Hi, Mom have achieved very good results in the domestic market. As a genre deeply loved by Chinese people, China comedy movies not only have rich creativity and unique jokes, but also have profound cultural connotations. But at present, in the international market, it seems that we haven’t found a resonance point with the global audience.
So, how to find this resonance point? How to make China’s comedy films truly "go out", my answer is: cross-border and innovation.
Cross-border and innovation mean the creative integration of different types of themes and elements, and comedy has inherent advantages in this respect. Comedy can serve as all kinds of flavoring agents, especially the cross-border combination of comedy and science fiction. C-3PO and R2D2 in Star Wars and TARS, an interactive robot in Interstellar, all add a lot of interest to the epic story with their unique sense of humor.
Then, when the elements of China’s comedies meet with modern science and technology, and when oriental philosophy is integrated into the exploration of the universe, how can we create unique and global comedies?
It was with this in mind that I created Moon Man.
Of course, in the face of the topic of "going out boldly", Moon Man’s overseas box office performance is obviously only "bold", but I always believe that China’s comedy culture is profound and rich, which represents the Chinese nation’s attitude towards life, social thinking and historical summary.
Going abroad, China films not only need higher quality production, but also need to find resonance points with global audiences, and comedy is the best resonance, because there may be geographical restrictions on language, but laughter is the universal language. I believe that as long as we stick to our original intentions, dare to cross the border and make bold innovations, China’s comedy films will surely be able to burst out laughing all over the world.
■ Dai Mo (director of manslaughter 2)
Take root in reality and embrace technology.
Daimo
Telling a good story is the bottom of the pyramid for making a movie. In my opinion, a good story should first be rooted in reality, close to life and concerned about the people. As creators, we have the responsibility to cast our creative perspective into people’s daily life, show the truest people and the most vivid emotions, and touch the hearts of the audience. Secondly, film creation is closely linked with the times. As creators, we should put the individual destiny changes of characters in the background of the times and show the spiritual bearing and style endowed by the times. Thirdly, film creation should show the characteristics of China and tell the story of China well. As film creators, we should take this as the soil and integrate culture into our works. Finally, as creators, we should constantly innovate to meet the expectations of the audience. Movies should not be static, and creators should not stick to stereotypes, but should be brave in making bold breakthroughs in theme, type, content and form.
Creators should also consider combining industry and aesthetics in their film creation. First, we should embrace industry and technology. We should make good use of tools to serve the creation, make our film production standardized and streamlined, and finally reach the ideal state of industrialization, so that as creators, we can also focus on the content creation itself. Secondly, we can try serial exploration to create a brand effect. But this by no means means imitation and repetition, but creating the same strain but refreshing content under the same brand.
During this time, I feel that the film market has changed, the aesthetic taste of the audience has also changed, and new aesthetic principles have emerged in the market. The mainstream audience grew up under the influence of the internet and games, and their aesthetic taste was biased towards entertainment. As creators, we should approach them and get to know them. Facing the unknown future, the creators should first strengthen their cultural self-confidence, build up their enthusiasm and confidence in China’s films, and infect the audience through their works, so that the audience can enter and stay in the cinema.
■ Desert (director of "I want us to be together")
The movie changed my life.
desert
I think movies have changed my life. Some experiences in school since childhood have influenced my creative concept, which keeps me curious about people all the time. I also want to find out how many undercurrents of human nature converge when something happens. There is always hope in movies, but where is our beautiful world?
After I was admitted to the Film Academy, it was like a fish swimming into the ocean. In fact, I always felt that I was a shy little boy. I saw the teachers, brothers and sisters set an example at school and gave me courage, letting me know that you should choose persistence in the face of confusion, justice in the face of injustice, efforts in the face of ideals and so on.
I often feel that the work is holding me forward, and it takes a long time for a work to go up and down. When you finish it all, I will feel that the work is always waiting for you in your life stage, and it never leads, just waiting for you quietly.
When crossing the finish line, my life will have another understanding and experience, and I am especially grateful to the film. If there is no film, my life will be mixed.
The movie gave me the coordinates of my life. I can now recall what kind of work I made 10 years ago, where I made it, who I was with, and even the time. I have made an online drama and a movie about friendship and love, respectively, and then I want to make another movie about family. I will continue to create with my heart, and I want to make more movies with more themes.
On the background board behind today, I think these climbers are actually filmmakers and some new forces. I think we are all climbers, and we are brave enough to climb the peak with fire.
The second group dialogue
Bold innovation and breakthrough to improve the quality and level of creation
The reason for this group’s dialogue
Yin Hong, Vice Chairman of China Film Association and Professor of Tsinghua University, presided over it.
The second group talked about the scene
"In 2016, it was also in Changchun, and it was also a group of new directors. It was also such a scene that everyone shared their creations and put forward the Changchun consensus that’ quality is the lifeline’." Yu Dong recalled the second China Electronic Power Forum as if it were yesterday. He said in the conversation that this year’s summer file has given a lot of inspiration to the film industry, and it is of great significance to hold a new power forum under such a new background, which has provided a very important inspiration for future film creation. "We are also watching the changes of the audience every day and thinking about how to face today’s audience’s viewing needs. I very much hope that young directors can come up with your sincere film works to face today’s audience, and we will continue to support you. "
Frant Gwo shared an episode in the process of "Wandering Earth 2" going out at the forum. "We contacted publishers in North America, Europe and Southeast Asia at that time, trying to find out the real way for China films to go out. When communicating with a publisher in Europe, he asked whether" Wandering Earth 2 "could be removed, because the audience in Europe didn’t know what" 1 "was, and I said that for the release, we also did. Then he asked if Chinese could be removed. Chinese was unnecessary, and I felt a little uncomfortable. I asked him, if all the elements about China were removed according to your whole set of logic, it would be better to say that it was a Hollywood movie. He was right, it would be better to sell it, and we would’ talk about it very successfully’. "
Later, Frant Gwo reflected on this process. He thought it might become a topic. "What kind of movies do we want to convey, what kind of values do we want to convey, and how can we make others understand? This is a pain point when we do overseas distribution and overseas publicity in the future. We must find a way to solve this communication problem."
"Creators should always keep introspection. The audience is the best mirror, which can help us find out the shortcomings in our creation, and at the same time, it can also test whether our creation is divorced from life and the era of separation." In the dialogue, Han Yan said, "We should create cautiously and cherish the audience who sit in the cinema and support China films."
The movie "Put all your eggs in one basket" directed by the Olympic bid has just exceeded 3.4 billion yuan at the box office. In the dialogue, he admitted that the standards of people are becoming more and more narrow and single when examining movies. "People often think that box office success is a great success, which bothers me. I think every step of my life may be downhill. I think the current evaluation system may be too thin. Within this evaluation system, including accounting and actor selection, it is the biggest confusion for me." He believes that there are still many dimensions worth exploring in film, which are rich in film noumenon and social value. "I hope filmmakers can unite a force to broaden this dimension, so that our audience, fans, film critics and film practitioners can enrich the standards for evaluating films.
In his speech, Liu Xunzi Mo expressed the hope that film investors can open their hearts to accept something unfamiliar to them and really resonate with the audience and creators. He said: "There must be something calculated for investment, but many things can’t be calculated. Before the Olympic bid, everyone didn’t think that his films would be very high at the box office, but now they are showing good results. My films at that time all said that the theme was not suitable and there was no market, but the audience liked it after the release, so I think it is very important to be sincere and face the creators, audiences and scripts sincerely."
As a new director, Zhang Chiyu hopes to start from some small points and improve the fault tolerance rate of his works little by little. He said that film industrialization is not only to subdivide the types of work and make the scale bigger, but also to pay attention to some daily behavior norms.
"I have always had a wish. I hope to work for 6 days and have a rest for 1 day, because at present, the crew has been shooting for five or six months without stopping, which I think is very affecting the quality. I have a great burden on starting the machine now. I can be very calm and objective before starting the machine, or try to judge how this work gets better step by step. But after starting the machine and working continuously for three or four months, I only think about how to finish it every day. Wu Ershan’s director and crew can go to work normally. I am particularly envious. I hope that I can do it for 6 days and take a day off. "
"manslaughter 2" gave Dai mo some creative experience. He said that the preparatory work was very important. "I shot very smoothly because I had enough preparatory time. I think the preparatory work is very important for young creators. Last year, I filmed the new work "Three Battalions", and the preparation time was much shorter. I found that after experiencing a new understanding of the film, there may be something that I can’t help but grow on you. Now I feel that I want to learn a lot. "
The desert believes that young creators must produce works with new ideas. "The idea, the cast or the theme of expression can be anything. Film creation is a long process. This year, follow the trend. After three years, the wind direction has changed, and the taste of the audience has changed. Many things will be late when it is released again." He believes that film creators should have a little explorer spirit, even if they are not favored by others at this moment, they should be extremely firm in their hearts and stick to the day when their works are finished and seen by the audience. "
Third groups
■ Ke Zhang (screenwriter of "Volunteer Army: Attack by Soldiers")
Make good use of "source flowing water" in modern history
Ke Zhang
As a literary and artistic creator, our creation is not a passive water, but a source. The source comes from thousands of classic literary and artistic works at home and abroad, from ancient Greek mythology to post-modern art, including China history, especially the modern history from 1840 to the present.
If you have sufficient knowledge of the history of China in the past century, you will find that it has historical inevitability. Who can save China and what doctrine can save China, interpret the past, confirm the present and show the future. When you truly "know history and reason", you will have a high degree of creative self-confidence, and then produce artistic fiction and expression on the basis of rationality, thus achieving the combination of realism and romanticism.
For example, The Pioneer, a film I created before, is not easy to write, but when I finished reading nearly ten million words about Comrade Li Dazhao, I was deeply shocked. His life involved a wide range of historical events, which had a great influence on the politics of China in later generations. He was really a unique man in the world. So we extracted two most important creative anchors — — "Modern film time and space staggered narrative", lines "I believe". The former interweaves Li Dazhao with the people and events in the history of China from 1917 to 1927, forming a strong narrative spectacle. The latter summed up Comrade Li Dazhao’s greatest revolutionary achievement with an inspiring line, that is, he believed that communism could save China, and he would try to make others believe it, so more and more people believed it until his prediction came true.
I think technology itself is a very important thing. On the one hand, you should improve your technology and keep in line with international standards, instead of standing still. The second is that we should keep our technology in line with the young audience, instead of making old-fashioned expressions. Writing movies that the audience loves to see and hear, at the same time, has a certain leading and exploratory nature, which I think the current literary and art workers should pay attention to.
■ Su Biao (screenwriter of Enthusiasm)
Make more contributions to the film industry and burn diligently.
Su Biao
As a screenwriter, I cherish the right to turn words into images, so my view of movies is not one view, but two moods. One of the moods is gratitude, which is a movie that allows a young town to settle down in Beijing. It’s also a movie, like a strong rhinoceros, which broke me through, allowing the self-abased and closed child inside to reach out his small hand and bravely high-five with hundreds of millions of viewers, which resonated gracefully.
The second mood is called fear. For me, this opportunity to turn words into images is fragile and fluid. Over the years, the rapid development of China films is obvious to all. Market, audience and creators are all changing, progressing and changing in this rapid development. I know that as a creator, if you are a little slack or arrogant, even if you can still be called a new force in your age, the pen of light and shadow in your hand will still be ruthlessly taken away.
I don’t know if you remember the difficulties during the epidemic. After the epidemic, we became the first one to stand up in all industries. The audience came back. They turned off the Tik Tok and came to the cinema to hug us again like old friends. In the past three years, the ups and downs, fragility and strength, decadence and pride of the film have made me feel that both the new force and the backbone should maintain this gratitude and fear.
As a newcomer to the film, I am also grateful and scared for this opportunity to speak, because I am afraid that I can’t speak well, I can’t speak correctly, and I can’t speak as well as others. But when I came to the scene today, I saw the directors sitting around me, all of whom I usually love and respect. I realized that my shoulders are responsible.
Therefore, in the future, I will also break my own constraint, and at the same time, I will try my best not to disgrace the name of the new power of Chinese film, and do my best to contribute more and burn diligently to this fascinating cause like other predecessors.
■ Chen Zhixi (producer of Enthusiasm)
Live up to the expectations of every audience.
Chen Zhixi
I always believe that what we are engaged in is a very romantic career. We have participated in weaving the most magnificent dreams, and have a deep resonance and connection with the widest audience. In the past decades, there have been many excellent films in China film market, including both realistic genre films and imaginative visual blockbusters. We strive for perfection on the road of innovation in the film industry, just to live up to the expectations of every audience.
As a producer, I have been lucky enough to participate in China films in the past ten years. The film projects I participated in and invested in have contributed more than 20 billion yuan to the film market, which is my honor and my luck.
I am determined to change from an actor to a producer, from the front to the back. I’ve always wanted to try new things and explore the meaning of this industry with one movie after another.
From "Sorry" in 2012 to "Enthusiasm" in this summer’s movie, I have always believed that brave people will be rewarded from this world, and if they love movies, they will not be afraid of failure. In my opinion, we don’t need to pursue topics and "circle positions" in every work, so I always try more stories that others seem "impossible", accompany one director after another to grow up, break the mold and challenge more themes, choices and possibilities as much as possible.
Over the years, we have gradually figured out the market preference and wind direction. We want to do what the market likes, but we can’t just do what the market likes. I have always believed that we love movies more than other results that love movies brings us. In my mind, the constant pursuit of the upper limit is the most fascinating part of the film. Don’t forget that we were all inspired by the charm of light and shadow.
■ Gong Geer (producer of The Wandering Earth series)
Let high-tech serve the audience better
Gong Geer
In 2015, with the support of director Frant Gwo, I had the honor to participate in the creation of the sci-fi film The Wandering Earth.
That was my first time as a producer, and "doing science fiction" was also the first time for our young creative team. Under the guidance of the director, the crew started with the Chinese people’s deep feelings for the land and felt the concept that Chinese civilization and other civilizations in the world are one, and the creative direction gradually became clear. The film finally met with the national audience on New Year’s Day in 2019. The audience gave us great tolerance and encouragement, and the film made some achievements. I am deeply grateful.
In order to better serve the audience, six months after the film was released, director Frant Gwo organized a questionnaire survey to understand the audience’s needs. We find that under the impact of diversified entertainment methods, the audience’s information digestion ability has improved rapidly, and they prefer fast-paced, high-information-density films. Therefore, the creative team summed up the experience and lessons in the past filming process and devoted themselves to the creation of Wandering Earth 2 with the expectation of the audience as the goal.
On the first day of the New Year’s Day in 2023, Wandering Earth 2 was released simultaneously in 9 countries around the world. Up to now, it has been released in 38 countries and regions around the world, and the global box office has exceeded 603 million US dollars. The next step is to release it in Europe and Japan.
Through on-the-spot communication overseas, I feel that "science fiction" is a "universal language" that spans cultural differences in the new era, and scientific and technological progress is the common aspiration of all mankind. Wandering Earth 2 has caused audiences all over the world to think about the common future.
Thinking about the common future is also the focus of our next work. Maintaining a leading position in the understanding and use of artificial intelligence will contribute to the safe development of the film industry. I will work hard with the creative team to explore and contribute to solving the difficulties, pain points and blocking points that restrict the high-quality development of the film industry.
■ Dai Linyan (Ali Pictures CMO)
Good movies, good publicity and good audiences go hand in hand.
Dai linyan
This summer, nearly 500 million people went to the cinema to watch movies. Among them, we were delighted to find that many high-frequency movie users returned, and we also saw many people watching movies together and the number of "two brushes" and "three brushes" increased.
For example, in the movie "She Disappeared", we saw a large number of female audiences walking into the cinema together. We also saw that the proportion of "Three Wan Li in Chang ‘an" with more than three people attending the movie reached 18.9%, and a large number of family users chose to take their children to experience the excellent traditional Chinese culture, including films such as "Put all your eggs in one basket" and "Enthusiasm", which are being shown. More and more viewers commented under the guidance of social issues, and the success of the summer file market was also the success of breaking the circle of movie reputation.
Moviegoers are becoming more and more enthusiastic and cautious at the same time. We see that the explosive movies in this summer are actually not fierce before the screening, but with the screening and release, word of mouth spread, and a movie has achieved "reverse decline" and "broken circle" at the box office for several consecutive weekends.
In the promotion of summer movies, we can see that they no longer trust individual KOL (opinion leaders) and large-scale recommendations, but pay more attention to ratings and comments, and also participate more deeply in the word-of-mouth communication process of movies, becoming an integral part of film promotion.
The theme of today’s forum is "Movies and Audiences Together". We believe that the combination of film publicity and audience is getting closer and closer, and we have also updated and upgraded our publicity ideas. We hope that we can continue to mobilize the audience’s strength and drive a wider audience to create together, and at the same time, we can better assume social responsibilities while expanding commercial value. Good movies, good publicity and good audiences work hand in hand.
■ Jaco (President of Cat’s Eye Film)
Announcing and upgrading to boost the prosperity of summer market
Jaco
From the beginning of 2023, from Spring Festival to summer, we have witnessed the prosperity of China film market. Whether it is a record high of 20 billion summer box office or a brilliant achievement of breaking 100 million for 69 consecutive days, it is worth cheering. It indicates that with the joint efforts of all colleagues in the film industry, the market continues to boost, and the people’s enthusiasm for watching movies continues to rise. We are moving closer to the beautiful vision of having new films every week and growing up on weekends.
In addition to the improvement of the movie market, the announcement of movies is also changing quietly. The data shows that this year’s overall film quality is excellent, with long-term advantages. From the perspective of announcement, the announcement cycle is lengthening, especially the long-term announcement ability after screening, long-term word-of-mouth fermentation, long-term topic marketing and long-term accurate distribution, which have become the key elements of the total box office of the film.
The prosperity of the market depends on the endless stream of high-quality films, the further maturity of the film market, and the overall upgrade of the publicity mode. Under the new situation, opportunities and challenges coexist for every film practitioner, so it is imperative to provide differentiated and upgraded publicity capabilities. Through the solid growth in the past two years, with the trust and encouragement of industry partners, and through the valuable hard-fought combat in the past several periods, especially this summer’s file, we have also gained a lot and made some improvements.
At present, we can provide more professional and accurate services for different types of films in the same period, and continue to cultivate deeply. Cat’s eye advertising business has gone through several growth stages, from a single main advertising business to a modular and professional matrix advertising business today. We are very confident to meet more challenges, including director Frant Gwo mentioned this morning that artificial intelligence is also the direction that our publicity team has been thinking, exploring and trying. We will continue to keep our learning mentality, respond to market changes, follow the pace of the industry and meet a better tomorrow.
■ Zeng Jiyuan (General Manager of Lianrui Film)
Pay attention to ordinary people and believe in the power of beauty and warmth.
Zeng Jiyuan
In recent years, the film market in China has changed greatly with high frequency, constantly presenting new features, and the so-called experience has been constantly broken. How to deal with challenges in change requires determination, persistence and professionalism.
Lianrui participates in various types of films and faces different market environments. The underlying logic we understand is that we should adhere to the harmonious resonance between mainstream values and market feedback. Understand the content of the work and the values carried by the content, and understand the real people behind the market data. Identify and screen out the bright spots of truth, goodness and beauty in film works, accurately find the corresponding people, understand their viewing needs, realize two-way going and emotional resonance, and carry out multiple rounds of effective communication.
In practice, we firmly believe that good works can speak, and do a good job in distribution and marketing around the film itself, spread positive word of mouth with professional strategies, and do not blindly pursue the sense of form and deformation beyond the film itself to prevent self-attack. We insist on symbiosis and win-win. Let the publicity work not be a one-way street "intermediary", but a circular interaction of all links related to the film. It is necessary to strengthen exchanges and interactions with all links in the industrial chain to achieve sound growth of the film ecology and win-win cooperation in the industry.
Lianrui’s transformation to content research and development has the following experience: always pay attention to ordinary people and always believe in the power of beauty and warmth. The works produced by Lianrui in recent years are mostly realistic themes. From the starting point, we strive to be from the perspective of ordinary people, based on the present, close to the times, immersed in reality, and do not avoid the contradictions in real life, but emphasize the warmth and beauty of the landing.
We are good at market insight and publicity, but Lianrui’s main business is not creation. We are willing to use professional experience and resources to help the creators, hoping to be service-oriented teammates of outstanding creators and new creative forces and contribute to the birth of good works.
The third group dialogue
Respect the laws of art and market.
Connect with the widest audience.
The reason for this group’s dialogue
Director of the Media Center of China Film Archive,
Huang Yichuan, President and Editor-in-Chief of Contemporary Film Magazine
host
The third group talked about the scene
In the dialogue, Ke Zhang introduced three questions that he often asked himself in his creation. Did he use the rules of film to create? Are you telling the story of ordinary people? Do you have the emotional strength to empathize with the audience? "If there are none of these three, I think this movie is not good." He also said that the really good-looking movies are stories about people, which have the power of literature and drama. Only when such things are made, the audience will be willing to pay for them instead of being shelved.
This summer, with the roadshow of Enthusiasm, Su Biao had many close contacts with the audience. Su Biao said frankly, "Observing them is the happiest thing for me this year." In the dialogue, he said that there are 500 million summer audiences, and it is difficult to describe and summarize them one by one, especially young audiences. Their ideas and cognition have changed a lot in recent years. I think creators should strengthen their study and approach the audience in their thoughts, instead of speculating their hearts. "We should make progress with the audience, play together and deliver our sincerity to them."
Chen Zhixi shared his experience in working with the creators. She said that it is normal for everyone to have different views on film creation. "We often do some research. We have a group together. When we encounter a problem, we will throw it into the group. There are more than 20 group members after 90 s and 00 s. Let’s see what everyone’s judgment is. If our film is to face the audience, we must hear more voices and sum up the correct voices in these voices."
Gong Geer introduced the "going out" of China’s films in combination with the The Wandering Earth series. He said that The Wandering Earth didn’t expect overseas distribution, but only distributed it in North America, Australia and New Zealand, and streamed it in other regions. During the release of Wandering Earth 2, North America, Australia and New Zealand were achieved at the same time, and good results were achieved. In the process of global release, the needs of different places have given Gong Geer a lot of experience. "The release strategies and needs of different regions are different. For example, our release in Japan needs to be scheduled one year ago, and the release will be at the end of 2023 or 2024. We have personally felt how different the audience in each region looks at the same movie." He said that if we continue to consider the following international distribution, we need to establish a more professional team to collect and sort out the distribution demands and details of various regions, the characteristics of the market, etc. "We need to prepare the corresponding materials simultaneously six months or even one year before the release, otherwise there will be time worries."
Dai Linyan, Jaco and Zeng Jiyuan, three representatives of Xuanfa enterprises, also shared in the conversation. Dai Linyan said frankly that the publicity work is only a modest contribution to the icing on the cake, and it depends more on the attraction and appeal of the film itself. "All we have is the experience accumulated by the platform, the user’s ticket purchasing behavior and data, and the iterative play in the process of rolling different projects can be quickly achieved. In practice, it still depends more on the content of the ontology and the sincerity and openness of our creative team to make the film word of mouth together."
Jaco believes that the premise of publicity is cognition. She said: "Cognition is the starting point of all publicity, including genre cognition, theme cognition, audience cognition, etc. Once a consensus is reached on this starting point, the second time we should think about how to decide the schedule strategy based on this cognition. Under cognition, there is the whole grand strategy, schedule strategy and publicity strategy. The following is the initiative layer, which is the rhythm and the weight of publicity points. This is to be dismantled layer by layer.
Zeng Jiyuan shared his cooperation experience with mature directors and new directors in his speech. She said that mature directors cooperate, the communication cost is very low, the cognitive starting point and framework are consistent, and everyone can face all difficulties and challenges together. When we communicate with the new generation of directors, the cost of communication at key nodes is very high. "The new director has not experienced the test of the market and the friction of the audience, and there are many edges and corners. This is a valuable thing in his creation, but how to transform it into something that the audience likes and accepts during the publicity period requires everyone’s joint efforts, not just the publicity efforts." Zeng Jiyuan said.
Dapeng and Chen Sicheng, as "experienced people", also gave suggestions to the new generation of creators. Dapeng said that "Put all your eggs in one basket" and "Learn Dad" have been polished after years of creation, and they didn’t just step on the spot and become explosions. "I want to tell all young creators not to step on the spot, but do their own things in a down-to-earth manner, and I will come to you later."
Chen Sicheng also said that there is no creative law at all. "The only law is that everyone shoots more, and there is no real success or failure. The lessons of failure are more important than the successful experience. Now the market is vast and the audience is famous. My suggestion can be shot as much as possible, and it can be expressed as much as possible."
Fourth groups
■ Evonne (director of "New God List: Yang Jian")
Deep integration of animation and traditional culture
Evonne
As an animation creator, my biggest feeling in the past five years is that domestic animated films are gradually diversified in theme selection. When the film White Snake: The Origin, which I directed for the first time four years ago, was released, the public’s impression of domestic animation was still "animation is for children". Last year, when the film "The New God List: Yang Jian" directed by me was released, I found that people already wanted to see more domestic animated films for adult audiences.
But this year, domestic animated films show more possibilities. Bears Come and Go: Return to the Earth, Deep Sea, Three Wan Li in Chang ‘an, and Tea No.2 Middle School are all totally different themes. In the future, I also plan to try to combine science fiction with China traditional culture.
The "birth" of an animated film is as short as three years, and as long as seven years. How to keep the market acumen in the long-term creation process is very important for the creators. The way we choose is to hold internal screening activities at different stages of creation, collect feedback from the audience for the elements such as stories, characters, scenes, rhythms and even music in the film, and then adjust the film according to the questions raised by the audience about the existing content.
The animation film industry in China is entering a golden period of vigorous development. From the creative level to the technical strength, China’s animated films have become more and more competitive on the international stage. At the same time, compared with their foreign counterparts, our creators are younger and more creative. As a member of China’s animated film industry, I am glad to have been born in such an era of blooming flowers. At the same time, I always remind myself to remain modest, actively absorb the essence of traditional culture and integrate it into the creation. This integration is not only a tribute to tradition. In the future, we will continue to work hard to create excellent domestic animation for the audience, so that movies can truly become an indispensable part of people’s lives.
■ Xie Junwei (Director of Chang ‘an Three Wan Li)
The movie is here, and our "Chang ‘an" is here.
Xie junwei
2023 is the 10th anniversary of the establishment of Zhuiguang Animation. In the past 10 years, Zhuiguang has produced eight animated films, and I grew up with Zhuiguang Animation, completing the identity change from a role animator to an animation team leader, animation director and animation director.
Three Wan Li in Chang ‘an is my first work as a director. In the creation of "Three Wan Li in Chang ‘an", we adhere to the principle of respecting historical facts and develop reasonable artistic creation in the blank of history. We show the familiar and unfamiliar poets Li Bai, Gao Shi and Du Fu to the audience with flesh and blood, so that the audience can feel their youthful aspirations, their talent and spirit, and their unremitting pursuit of ideals in the face of life adversity.
In the creation, we realize that while excavating traditional culture, we must combine it with the current spirit of the times. We are looking at the lives of these poets, and at the same time we are looking at our own lives. The persistence and choices of these poets in the torrent of history have inspired and inspired us a lot, helping us to move on and create a greater era.
I remember that during the road show, a college graduate said that he was confused when he found a job after graduation, but after watching Three Wan Li in Chang ‘an, the stories of these poets inspired him and gave him the motivation to move forward. This is the purpose of making this film.
Therefore, the significance of movies to me has also changed over the years. At the beginning, movies were a medium for me to break away from ordinary life, and I experienced different characters’ lives through different movies. Later, I want to explore the meaning of those different lives from the friendship, love, parting and reunion described in these films. Now, through light and shadow, sound and color, sight and hearing, some thoughts and feelings about life are conveyed to the audience, and through the magical medium of movies, tens of millions of viewers can get some comfort and strength from it.
■ Zou Jing (Director of Chang ‘an Three Wan Li)
On "Keeping Right and Innovating" in Three Wan Li in Chang ‘an
Zou Jing
This summer, the release of Three Wan Li in Chang ‘an made us very happy, and we strongly felt the China audience’s love for traditional cultural themes. This film is the opening work of "New Culture Series", which aims to explore the most shining part of China culture, so we chose to tell a story about the Tang Dynasty, poetry and poets.
In my mind, a good movie should be able to express the strong feelings of people in this land and reflect the sound and breath under the torrent of our times.
At the same time, combined with my own experience, I think there are two points worth considering. First, "Persistence", The Three Wan Li in Chang ‘an fully shows the treasures contained in China’s traditional culture. Through the film, we let the audience, especially the young people, feel the sincere and true feelings flowing from the poetry culture and feel the strong cultural self-confidence, which is the right path in the world that we must keep.
The second is "innovation". Chang ‘an Three Wan Li tries to find a breakthrough point to connect with the contemporary audience, and makes a reasonable re-creation on the basis of conforming to the historical principles, making it easier for the modern audience to substitute themselves and enter the story, thus establishing a mapping relationship between the incomparably brilliant Datang and today’s great era. The audience felt the connection between poets and themselves from the original stories, which is the "innovation" of Three Wan Li in Chang ‘an.
This is a new attempt and exploration of China’s animation theme. We believe that the power of culture will open a new door and let more people who like the country and the country enter the cinema.
■ Yan Kai (director of Tea No.2 Middle School)
Concentrate on creation and respect the audience.
Yan kai
2023 is the 101st year of China animation. At the beginning of the new century, there have been many excellent animation works, and the audience has more and more confidence in domestic animation films.
Up to now, China animated films have been deeply rooted in Chinese culture and civilization. Many works draw strength from traditional culture and show many stories of China. While constantly exploring the cultural treasure house, we should also pay attention to the stories of contemporary China people. When preparing for the film topic selection, we think that there are still many unexplored themes in China animated films at this stage, and more original China stories in the new era are needed. The culture not only has history and legends, but also has unlimited creative space.
We have a long history, fantastic and magnificent music movements, as well as all kinds of magnificent songs, music composed by ordinary people at present, and scientific and technological notes developed by various industries. The creators have a very large space to create, exert their imagination and compose diverse and rich music movements. Diversified and diversified creations will give the audience more choices.
I think telling a good story with heart, avoiding arrogance and rashness, not blindly following the trend, concentrating on creation and respecting the audience, the audience will also feel the good intentions of the creators.
In recent years, animated films have changed from scale growth to quality upgrading, and the types of works are rich. With the empowerment of emerging technologies, the innovation of production mode and the optimization of management process, animated films are becoming more and more industrialized and IP-oriented, and their development has a new trend. More and more excellent works appear, which makes the audience full of confidence and expectation for domestic animation, breaks the audience’s prejudice against animation and makes the audience no longer disappointed. It is our common challenge, and I firmly believe that we are full of opportunities.
I hope that when the audience enters the cinema, they can have many choices, and every scene of a hundred flowers will live up to the expectations of the audience. I also hope that more and more China stories will go abroad and be loved by more people. I believe that through our unremitting efforts, the future will be better and better.
■ Wang Yilin (producer of "Super Flash: Ledi Acceleration")
Relying on animation IP, explore more possibilities of ecological empowerment
Wang Yilin
Aofei Entertainment has been established for 30 years, and has successfully launched many well-known animation IPS such as Pleasant Goat and Big Big Wolf, Super Flash, Meng Chicken Team, Beckon Bear, Balala Magic Fairy, Armored Warrior and Quantum Team, which form the core of Aofei Entertainment Industry. These IPs are popular parent-child IPs and classic national IPs, which are deeply loved by the public, and the wide audience circle covers from preschool children to youth groups.
In terms of film content, Aofei has been constantly innovating in the last two years, and has produced such works as Pleasant Goat and Big Big Big Wolf’s Basket Out of the Future, Meng Chicken Team: Meng Chuang New World, and Super Flash: Le Di Acceleration released this summer. We have developed the stories and elements of animated films that conform to IP according to the different tonality of each IP.
This year’s National Day, Olympic Games will release the third film of the series "Beckon Bear: mission to mars". At the same time, Aofei is also making the ninth movie of Pleasant Goat series, the second movie of Meng Chicken Team, the second movie of Super Flash and the fourth movie of Beckon Bear.
Over the years, Aofei has always insisted on building an animation culture industry ecology with animation IP as the core, and created an "IP+ full industrial chain" operation platform integrating animation, movies, licensing, toys, babies, fashion play and theme business. Promote the progress of Aofei’s entire industrial chain with the power of boutique IP.
This year, we have innovated the form of IP realization, from focusing only on the use of IP image in the past to growing into IP commercial case marketing. In the next step, we will continue to rely on "Aofei IP+ full industrial chain" to explore more possibilities of IP ecological empowerment.
The outbreak of summer box office shows us more possibilities of movie content and types. Consumers are more diverse, more creative and prefer differentiated content than we thought. As filmmakers, we should work harder and persist, meet the future and seize the opportunity.
The fourth group dialogue
Animation is a lonely and poor industry, but it has great development potential.
The reason for this group’s dialogue
Director of the Media Center of China Film Archive,
Huang Yichuan, President and Editor-in-Chief of Contemporary Film Magazine
host
The fourth group talks about the scene
"There is no backbone in the animation industry, and they are all new forces." In the dialogue with animation creators, Wang Changtian said, "The animation industry is a very new industry in China, and it is also a lonely and poor industry. The average creative cycle of each animated film is four or five years. During this time, you only talk to yourself, and no one can help you. Unlike live-action movies, there are actors and directors to help you. Animation movies flow out of the director’s mind, and we respect these creators very much."
In Wang Changtian’s judgment, animated films should account for 10%-15% of the box office of domestic films. "In a good year, 20% and 10% are the basic market share. Assuming that the box office of domestic films in China is 50 billion, the total box office of animated films will be between 5 billion and 10 billion, with an average of about 10 animated films to be released a year. The average production cycle of each film is four to five years for directors, and we need about 50 mature animated film directors. In fact, there are not many directors who can make weighty works in the market now, and there is a big talent gap. I very much hope that the new force of film directors can pay more attention to animated films. “
Luyang also has plans to shoot animated films. "I have been paying attention to cartoons. There is a huge potential space for animated films in China. This space is not only creative, but also in the market and business. We can see that there are several animated films after the Spring Festival this year, with a single film exceeding 600 million yuan. Not only children, but also adult audiences can read the feelings after the experience in the story. What everyone reads in the same movie is different. Family fun with rich meanings may be an important direction for future animated films. "
Evonne believes that animation is very suitable for expressing imaginative scenes that are not so easy to be seen or presented in the real world. Animation is not limited to the virtual world. For example, The Lion Boy and Three Wan Li in Chang ‘an are all animated films based on the real world and real life, which have touched countless audiences. "I hope that more animation teams and live-action directors will join the animation industry in the future. In essence, everyone is telling stories in one way."
After the creation of Three Wan Li in Chang ‘an, Zou Jing fully felt the power contained in traditional culture. "In the future, we can integrate Chinese excellent traditional culture with many modern directions, including science fiction and other realistic themes. This is a re-creation and re-packaging of traditional culture. We can put philosophical things such as China people’s philosophical thinking about nature and human’s ultimate imagination into it, and we can try it in both cartoons and animated films. “
Yan Kai talked about the origin of the creation of "Tea No.2 Middle School". "This IP started nine years ago. At that time, there were 20 people in our company. Everyone talked about the script together and kept doing IP on campus. Until a few years ago, we started making movies, and we felt that our feelings for the campus had faded a little. We found a school in Changchun and stayed for three months, having classes with teachers and students and eating the school cafeteria. I have completely experienced junior high school life, and I have more experience. I have seen the teacher’s difficulty and understood more teachers, so we also hope that this film will take this opportunity to call for mutual understanding between teachers and students. "
Children’s movies are the field that Wang Yilin specializes in. He also shared his creative experience in children’s movies. "Making movies is not the same as drama series. It is important to have more emotions in it. Whether you can empathize with the characters in the story is very important. What everyone has been talking about today is that if we can be moved, the audience can be moved to do such empathy."
He also shared how children’s movies can get commercial returns. "On the basis of empathy, if we have a stand-up drama story and a more popular movie story, it is a natural thing to do image authorization and blind box next, that is, a long-term thing, that is, something we do every day."
Fifth groups
■ Xu Jian (Director of Visual Effects of Mojing Trina)
Strive to develop digital special effects to help build a strong film country
Xu Jian
With the vigorous development of China films, the visual effects industry in China has also made gratifying achievements. Looking back ten years ago, when there was a great demand for digital special effects in China films, the visual effects enterprises in China were just starting, mostly "small workshops" with a dozen or twenty people, which were far behind the developed countries in technology, experience and process.
In the past ten years, China film visual effects people have worked tirelessly, completed the reversal and greatly improved their comprehensive ability. China visual effects team has fully controlled the creation and production of "visual effects blockbusters" in China in recent years. Not only did it meet the creative needs, but it also gained a good reputation in the industry and outside, and a number of excellent works with good stories, good visual effects and good market performance were born frequently.
Based on the characteristics of visual effects industry and the classification of application scenarios, we can see that today’s visual effects industry has made a lot of progress and success, but it has not reached the world’s leading level in all aspects. The general reasons are summarized into two categories:
First, there is still a big gap in some difficult tasks, such as biological special effects and large-scale understanding of fluids and soft objects. The reason is that there are few related projects and the visual effects teams lack practical scenarios for technical accumulation and iteration. Second, the income of visual effects team is low due to the limitation of film production cost, which indirectly leads to the fact that high-end compound artistic talents, technical talents and management talents rarely enter the visual effects industry, especially in the face of the high coincidence of talent demand in the game industry today, the problem of talent depletion in the film visual effects industry has become more and more serious, and we also call on the competent authorities to issue relevant policies as soon as possible to support it.
Nowadays, AIGC is developing rapidly, and I believe that the visual effects practitioners in China will seize this opportunity and work hard with many colleagues who love movies to achieve the goal of becoming a film power.
■ Li Jie (President of Alibaba Pictures)
Building a "Big and Strong" Film Market
Li Jie
We just went through a meaningful summer vacation. From the second place in the history of Spring Festival and May Day to the first place in the history of summer, the film market in China has not only basically completed a comprehensive recovery, but also gradually revealed a brand-new look that is both "big" and "strong".
Today, we look back at the tail of the strongest summer file in this history. The significance of the 2023 summer file is not only to refresh the box office history, but also to present a more healthy and powerful film market form in multiple dimensions with the attitude of a "hexagonal warrior". We have seen the importance of multi-schedule combining weekend schedule, small schedule and large schedule for building a "big and strong" film market.
In July, driven by many high-profile films, such as Disappeared She, Three Wan Li in Chang ‘an and Enthusiasm, the box office fell on Saturday for four consecutive Sundays, and the single-day box office on weekends continued to be at a high level of 400-500 million. This is a very rare achievement. Therefore, we say that the success of the summer file is actually the success of the weekend file.
The weekend file not only provides more options for the film side, but also meets the needs of the industry. If there is no diversified small-scale schedule and weekend schedule, the film market in China can only be "big" but not "strong".
To build a bigger and stronger film market in China, we must ensure the diversification of local story types and the strong emotional resonance of the public. In the next four months, we will continue to launch various types of films to bring more effective supply to the whole film market. We believe that domestic films have reached a critical moment, and whether they can continue to provide diversified summer files needs to be exerted in many aspects, such as types, schedules and users. We hope that Alibaba Pictures will make greater contributions to the film industry through the construction of platforms and content.
■ Zheng Zhihao (CEO of Maoyan Entertainment)
Domestic films have won the recognition of the audience.
Peter
Eight months ago, we thought about whether our film reputation was "enthusiastic", whether our box office was "sacred" and whether our creation was "desperate". Frankly speaking, I am not confident. I should make a review. But today we see that the confidence of the industry, which is more precious than gold, is back. We see the audience coming back. We see our creators coming back. We see all the industry partners coming back.
This year’s summer file is very lively. There are 2 movies with over 3 billion box office and 4 movies with over 2 billion box office. There are five films that have exceeded 1 billion box office. "The box office has fallen" frequently, and many films have brought surprises to the industry. Three Wan Li in Chang ‘an achieved nine falls, six in the octagonal cage, five in The Lost She, the first part of Gods, and three in Enthusiasm. The good reputation of constantly "breaking the circle" has raised the long tail effect for good movies, helping the market to continue to break through the box office ceiling. During the summer file, from July 9, the box office of the market fell on Sunday for five consecutive weeks.
The new record of summer file is the result of China’s films. As a member of the industry, we feel the support, understanding and encouragement of the national film authorities for the film industry; I also feel the full passion of a large number of film practitioners; I also feel the longing, expectation and persistence of China audiences for domestic films in recent years, and their growing confidence, pride and recognition.
Today’s creators are different from before. Director Wu Ershan and the first part of "Feng Shen" have already held five city premieres, 24 city tours and 170 long roadshows in 33 days. After this meeting, he will go to perform again. "octagonal cage" held 129 face-to-face activities in 21 cities. We believe that more and more creators will join us. We also believe that the box office of China movies will never stop at 80 billion or 100 billion. We believe that the spring of China movies has just arrived.
■ Ling Lvwei (Chairman of Wuxi Digital Film Industry Co., Ltd.)
"combination of reality and reality" will lead the future
Ling lvwei
Wuxi Digital Film Industrial Park was approved in 2011 and officially opened in 2013. There are 12 digital studios and 3 underwater sheds, and there are currently 5 newly-built studios. At the same time, in order to develop and improve its own industrial service platform, it includes co-shooting, fund financing, project approval and film and television trading. As a digital park, we pay attention to the construction of our own digital production platform, including collaborative production and virtual shooting system.
In the past ten years, more than 1,200 film and television dramas, including Monkey King Thrice Defeats the Skeleton Demon on the Journey to the West and Girl Country by The Captain, Chinese Doctors and The Eight Hundred, were filmed and produced in the park, among which a number of films won the "Five One Project" award in Publicity Department of the Communist Party of China, the "Five One Project" award in Jiangsu and the Golden Rooster Award.
With the development of virtual shooting of LED and artificial intelligence, at the end of 2021, based on the existing technology platform and the overall development plan, in line with the national strategy, based on the needs of the industry and the trend of technology, we joined hands with China Film Science and Technology Research Institute to build a 5G intelligent virtual shooting joint laboratory. The project is mainly based on the virtual shooting of LED screen, and further integrates the application of 5G network transmission and artificial intelligence. It consists of three core parts: 5G Smart Virtual Photography Center, AIGC Film and Television Science and Technology Innovation Center and Film and Television Intelligent Computing Center.
After more than a year’s efforts, on June 20th, 2023, we released the largest 440-screen LED vertical screen shooting system in China. At the same time, we also tried AIGC in publicizing posters, making plays and setting virtual scenes. The next step will also be to further improve laboratory equipment, build national key laboratories, participate in the production of standards, land more film and television projects, and cultivate innovative talents in science and technology.
We believe that technology will promote the film, and the combination of reality and reality will lead the future. In the new era and new journey, we will continue to make new contributions to the development of film science and technology and the construction of a powerful film country in China.
The fifth group dialogue
Give full play to the advantages of complete industrial chain
Activating the Factor Market of China Films
The reason for this group’s dialogue
Wang Hongwei, Vice President of China Film Directors Association.
host
The fifth group talks about the scene
"Making a movie is a joint effort." Wang Yibing said in the dialogue that there are various departments in the film crew. When the film is produced and released, it is a process of joint efforts, whether from production, distribution, or to cinemas and cinemas. In more than ten years, the film market in China has grown up little by little. "Put all your eggs in one basket" is a new work of Bad Monkey Film. In both films, Wang Yibing can feel the full commitment to bid for the Olympic Games. "Whether" Put all your eggs in one basket "can achieve such results this year or it has a huge relationship with the accumulation of the Olympic bid. After the end of" The Beneficiary ",we did a lot of re-launch work, and many experiences and lessons were reflected in this time.
At the 5th China Film New Power Forum, Zhang Miao also spoke on stage as a representative of the new power. At this year’s forum, he has become a "senior". In his speech, Zhang Miao was deeply touched. "Now there are only two countries in the world that can produce movies on a certain scale and industrialization, one is the United States and the other is us. The reason is particularly simple. Only these two countries have two basic prerequisites for the development of the film industry. The first is that our real economy and ontology market are strong enough, and the second is that we have our own cultural heritage and export needs. I feel particularly lucky to be able to continue making movies in such an era. "
"Believe" is the most frequently mentioned word in Zheng Zhihao’s dialogue. "We believe in the future. We believe that the current spring of the market is a beginning. We believe that the film market in China will reach 100 billion box office in the next few years. We believe in the audience, we believe in the younger generation of creators, their rise and their learning ability. All these beliefs give us a chance to build a better platform to serve everyone today. Let us bring so many dry goods to share today. When we sit here next time, we will gain more dry goods and growth. I believe there will be more gains and growth when we get together again next time. "
In his speech, Xu Jian called on the industry to pay more attention to visual effects practitioners. He said that the film industry is a very complex and compound talent-intensive industry, and compound talents are very scarce in the whole market. As the only entity in the whole film creation and production as a company group, the visual effects industry particularly needs talent accumulation and company system construction, and it also needs time and funds to build it. "I speak for everyone. There are many outstanding talents in this industry. If you meet very good partners, visual effects directors and visual effects producers, please be kind to them. If you meet good visual effects companies, please be kind to them."
Li Jie said in his speech that if you want to achieve the prosperity of weekend stalls, you must believe in the importance of scientific booking. He said: "Before the scientific booking is important for the weekend schedule, I think all directors want to enter the big schedule, which is a kind of laziness, because I don’t know who to sell the film to, and I don’t know in which schedule." He also suggested that the market try an adjustable box office accounting mechanism. "For example, if it is a literary film, it needs more films and shows. Can the film side reduce the accounting ratio and give more to the cinema line, so that the cinema line can support the literary film. For the extremely hot film, we will reduce the accounting ratio, let the film side get more, and even adjust the accounting ratio back two weeks after the release. We hope to have a flexible settlement system.
Ling Lvwei focused on "innovation" in the dialogue. When Wuxi Digital Film Industrial Park was approved, innovation was an inseparable theme. No matter whether the film is from black and white to color, film to digital, or the current virtual shooting, innovation is always on the road. Ling Lvwei said: "Our park is in AIGC, and data mining on the whole system has actually come into being. We use AIGC when making some short films. If AIGC builds an industry model, it will take a long time, but if the content end or the bottom layer does not take certain precautions or management, some problems may occur. At present, we have added AIGC content to our laboratory and tried to do some research in this regard."
Sixth groups
■ Xie Jin (Secretary-General of Wave Film Week)
Support youth forces in all directions.
Xie Jin
We always talk about market diversity, but this premise is to have a strong film market chassis. Only by reserving enough excellent creators can we usher in a new creation and market peak. On this basis, the diversity of creation can be realized.
Therefore, during this year’s Wave Film Week, China Film announced the first investment scale of "China Film Young Filmmakers Program" of 1 billion yuan, and plans to invest 30 to 50 original films by young filmmakers in the next three years. This plan is more for film talents who are interested in creating commercial value and genre narration, and serves the audience, the film market and investors. China Film will provide a full-cycle incubation channel through the advantages of the whole industry chain, and give all-round support to potential young directors, screenwriters and their original projects.
Making a film is a matter of threshold, and it is a technical co-ordination work that needs to follow the industrialization process and meticulous assistance. Looking at the industry ecology, young filmmakers lack enough experience in project trading ability, production experience and market situation judgment, while domestic excellent film and television companies have many years of market production experience, professional judgment on market trends and powerful resources to support the whole process. Therefore, film and television companies have a full responsibility to use their own advantages to spare no effort to help young filmmakers enter the professional film production process and combine their own exploration and thinking about the world with existing resources. So the Wave School was born. Wave School hopes to pay more long-term and practical attention to the creators beyond the sight of Wave Film Week. Guided by the above-mentioned vision, we will subdivide and cultivate courses and allocate professional resources, and provide a platform for creators who have the ability to enter the mainstream market to train, communicate and spread. We expect them to further correct the deviation between their creative ideas and the mainstream market after leaving college education, and send their works to the public at an early date.
■ Conley (founder of Ma Culture)
Yip Wong (content manager of "Golden Key Venture Capital" program)
Explore all-round commercial film and television projects of young creators
Conley
Yip Wong
The development of any industry is inseparable from the young power. China’s films also need young creators’ feelings about the present era and their sincere and ardent desire to express themselves. In order to protect this enthusiasm, we have established the "Golden Key Venture Capital" program, with the aim of "true guidance, true shooting and true release", and comprehensively explore the commercial film and television projects of young creators.
We carefully analyzed the difficulties faced by the new directors and integrated their most scarce resources. Experienced predecessors, influential artists, meticulous and responsible producers, operators who are good at trading and the fund pool that pays attention to new forces are all included in the Golden Key Venture Capital Plan. Here, all senior practitioners are no longer judges, but a group of planners with decades of experience, and they are also those who can help the project to be implemented in the future. Everyone will directly participate in the development and creation of the project, and the blessing of these senior filmmakers will greatly enhance the competitiveness of the film in the market. This model is also the first time in venture capital activities.
Of the 2,235 registered feature film projects, 12 were selected for the annual film list of the Golden Key Venture Capital Program. At present, 12 projects are being actively promoted. Two units will be turned on this year and three units will be turned on in the first half of next year … …
In addition, we found that besides mature scripts, there are many excellent, creative and expressive outlines, and many enthusiastic creators have not continued to create the outlines. Some of them are at a loss in the face of huge industries, and some are trapped in daily necessities and cannot concentrate on their creation. Based on this phenomenon, we specially set up the "Pen" fund, so that more creators can put aside the immediate interference and devote themselves to creation as much as possible. The first issue received 1,580 submissions, and intensive screening is under way.
As a member of the film and television industry, the more we know that creation is not easy, the more we want to let the latecomers know that the stars are not far away.
■ Li Ziwei (Executive Officer of FIRST Youth Film Festival)
Give the new generation creators a different kind of nutrient supply.
Liziwei
Many great films imagine an ideal life in the future. As filmmakers, we should always ask ourselves "What kind of future do we want?" To create a more dynamic and growing film industry.
There is no absolute boundary between commercial films and artistic films, and they are by no means antagonistic. Art film is a minority, but it is always the engine of film creativity, maintaining the flexibility and vitality of the creator’s feelings and thoughts, and constantly trying film narrative and film language. If the film market gives more opportunities to art films, it will be beneficial to the nurturing of film creation ecology. But in the current market, the creators of art films are still facing the loneliness of lack of applause and the embarrassment of financial constraints.
FIRST has always advocated "diversity movies" — — It not only develops the film industry, but also encourages artistry and experimentation, which exists as a form different from mainstream commercial films. At the same time, apart from the establishment of film festival, film market and youth culture, FIRST has built a production and cultivation section for 13 consecutive years, because observing the current film industry environment, it is not difficult to find that the creators of central power are always scarce. How to accelerate the expansion of talents in central China and cultivate more "qualified filmmakers" is the pain of the whole ecology.
Therefore, the FIRST training camp, short film season, filming season, laboratory, etc. have spent 13 years giving practical shooting production guidance from different dimensions such as director, screenwriter, photography, production, editing, art, recording and performance, so as to create fertile soil different from traditional college education, with a view to providing a different nutrient supply for the new generation of creators.
With the help of these works, we may be able to form the power before the butterfly change, so that the high-frequency words of the industry have another kind of firmness, such as "hope, persistence, courage, and must be filmed".
The sixth group dialogue
Let more young people get what they want
Let more projects land and finish shooting
The reason for this group’s dialogue
Wang Hongwei, Vice President of China Film Directors Association.
host
The sixth group talks about the scene
Although Rao Xiaozhi is still a "new force", he has helped several young directors make their first films and put them on the market. In the dialogue session, Rao Xiaozhi said that he had been a drama director before he joined the film industry, and when he was in the theater industry, he knew many drama directors who had dreams of movies, but also worked in the theater. "I wanted to be a film director in 2007. For various reasons, or because I was not brave enough, I didn’t become a film director until 2015 and 2016. I may also lack the help of my predecessors and courage. I encourage people with dreams, and I am willing to realize their dreams together when their scripts are mature. I’m just a director’s studio. I don’t have any special business demands. I’m communicating with them in a warm-hearted way. Help them achieve a little success, but it is not enough. "
Xie Jin introduced the related concepts of Wave Film Week. "From the early days of film week to now, we have always emphasized one-stop. Each director unit has its own support plan, and we have provided a platform for new directors. Wave Film Week hopes to select people here, not projects. We don’t have the link of script venture capital, and we very much hope to select people on this platform, whether he has projects for us or each of our different companies has projects for them. It is a process of mutual selection and matching. "
"I understand young creators and new directors. The bigger problem is that I don’t know where the biggest difficulty is, where the biggest pit is, and the film is an irreversible form. A major mistake in a certain link can lead to the failure of this project." Conley believes that the advantage of Golden Key Venture Capital is that the whole team has sufficient experience in the market and the actual market-oriented operation team. "Simply put, we have enough experience of failure and enough tuition fees. We can’t tell any young creator how to succeed and how to become an excellent director, but I can tell him where he may make key mistakes in this process."
Yip Wong said, "Other film venture capital is to choose movies, and the golden key is to make movies. Our directors and directors and actors invited to be producers are not judges here, but more enthusiastic planners, and more to help us choose good film projects to land in the future. They can directly participate in them. We are the players who are committed to the game. We should give full play to these experienced insiders, their experience, resources and their enthusiasm. Their help is not superficial, so let the project land and be able to shoot it. "
Speaking of cooperation with young people’s creative forces, Li Ziwei has a very simple metaphor: "The mutual visit between two patients, have you taken medicine now, has he given fluids, etc., and no one can convince anyone." She said: "FIRST, as a public platform, does not participate in investment or other interference, so we will let it be presented in the original ecological way as far as possible. This is our basic position for 17 years. We are a very small platform for young people, so we can do our own thing in a down-to-earth manner. As for finding money or resources, it depends on whether my system can be constructed to make them feel safe and let capital come to us to feel safe. This is more urgent for me now.
Wang Hongwei is not only the vice president of China Film Directors Association, but also the chairman of "Green Project". He introduced that this year’s collection of the Green Onion Project has ended, and this year’s opening will begin soon. "We will, as always, work with friends and businessmen to support young directors after the epidemic and let them take the first step as soon as possible."
Wang Hongwei said that the first generation of post-90s directors present today will only be about 45 years old in 2035. "Even if we are still young in 2035, we will still be’ new forces’, which can ensure the development of China films. From this perspective, we seem to have no reason not to be optimistic, and there is no reason not to have confidence to make China films develop better. "
■ Lu Liang (Deputy Director of Publicity Department of the Communist Party of China Film Bureau):
May the new forces in the future be more beautiful and stronger.
Form a vigorous force to build a powerful film country
Lu Liang
Ten years’ Forum of New Forces has accompanied and witnessed the arduous and extraordinary development of China’s films in recent years. Now, China’s films have reached a new historical starting point, and this generation of new forces will shoulder the heavy responsibility of building a powerful film country without hesitation. We have no way out. We will succeed only if we turn our love for movies into motivation.
At this new power forum, we fully exchanged new experiences, new ideas and new understandings, not only about creation and production, but also about publicity, marketing, technology and venture capital. The film is not only a story presented on the screen, but also the contribution of countless people outside the screen. Every industry has unique and precious experience, and every link in the film industry chain embodies the efforts of filmmakers.
It is gratifying to see that everyone has improved their political stance, cultivated their patriotic feelings, become more and more good at respecting the market, respecting laws and discovering laws, and become more and more globally aware of big movies. Little by little new forces are understanding and supporting each other, forming a grand force, which will push China films to overcome difficulties and move forward continuously.
At this new power forum, we saw that new movies are establishing close and good relations with new audiences. Audiences love movies, are willing to go into theaters, and are willing to empathize with movies and grow together. This is our greatest confidence and the biggest dividend given to movies by the times. We can deeply feel the love of the audience, and then establish a firm belief that we must return the best film works to the lovely audience.
At this forum of new forces, we felt that the new forces favored and explored the excellent Chinese traditional culture. This is a real cultural awakening and cultural self-confidence, and it is the symbolic spirit of the new forces. Film is an exotic art category, but we are confident and capable of using it to continue Chinese civilization and prosper China culture.
In this new power forum, we really feel the unity, sincerity, courage and confidence of all the new forces and the backbone. The film will always be with the audience, provided that the filmmakers stand hand in hand and face the future flowers and storms with common beliefs. From the laughter and laughter of everyone, we really feel the consensus of United struggle, sincerity and win-win progress.
At this forum of new power, we also saw a gratifying world vision. The vision of new power has turned to a broader overseas market, which is the new blue ocean of China films and the task given to China films in the new era.
The new force of Chinese film is almost ten years old. May we care for it more carefully, support it more carefully and cultivate it harder. I believe that the new power in the next decade or two will be more beautiful and stronger, forming a vigorous force to build a powerful film country.
(according to the order of speech)
