This director needs to apologize

Chapter 76: Seclusion and restraint
According to Warner Bros.' arrangements, "Holiday" is scheduled to premiere in London on Thursday, January 1, and be released worldwide the next day.

In a different time and space, the distributor has also changed from Paramount to Warner Bros., but it is still the same as the original time and space "Roman Holiday". Hollywood is determined to use the popularity of Princess Margaret until it is bald.

Regarding the overseas distribution of "Holiday in the City", Shen Pengfei is more concerned about the distribution of Moying. The latter only writes about the increase in face and money in the annual report, while the former involves real money and silver income and a precious reputation.

She was a middle-aged woman in an agency, and although Platinum Jue had already collected the commission, there was still a lot to be said for Warner's "performance bonus."

Sister Shen spends time in Warner Bros. every day and tells Da Zhuang that she doesn’t plan to return to China during the Spring Festival and wishes she could live directly in their headquarters building.

She updates the box office results of "Holiday" in East Asia more diligently than Warner China.

When it comes to Lao Gu and Lili's overseas promotion schedule, she has a more sense of ownership than Warner Bros.

With her unremitting efforts, "Holiday in the City" won the opening number of 2910 halls in North America, breaking the previous North American opening record of 2560 halls for a Chinese-language film, and unknowingly released another small satellite.

The trio of Platinum Jue summarized the performance of "Holiday in Magic City" and found that the opening brick turned out to be a wild small yellow croaker. It may not look big, but its value is really high.

The domestic box office was 1.6 million, enough to rank in the top ten of the year, ranking eighth.

It seems that the ranking is not high, but if imported blockbusters are excluded and purely domestic films and co-productions are counted, it has already ranked among the top five.

In the eyes of the general public, it obviously belongs to the category of "There is no hero, so Zhuzi becomes famous."

But in the Chinese film industry, "Holiday" has a completely different meaning.

It is the purest dark horse among domestic films after the reform, and it is a subversive work that breaks the rules of film production that have been common in the industry in the past few years.

An independent production company (the affiliated circle of "Holiday in the Magic City" is very clear), a new director and screenwriter, a new actor (Gu Yuehe is pure and new in the film industry), and a behind-the-scenes team.

The theater one-day tour had all the BUFF points filled, but it became inexplicably popular after it was released.

Not only was it a hit at the box office, but it was also a long-lasting hit, running for 7 weeks in the fiercely competitive Lunar New Year period.

What is the box office secret of domestic movies in the past few years?Big investment, big production, co-production in N places, star gathering.

Sun Wangquan and Wang Xiaogang both said similar things, "Without big scenes and big casts, why should the audience go to the cinema to watch movies?"

However, "Holiday in the City", a love dessert with no money or skills, has suddenly emerged as a new star, and it just cut a big piece of the cake in the Lunar New Year movie that is packed with blockbusters.

Relying on the "large-scale screening" of Sao Broken Leg to impress theaters, and establishing a reputation through integrated online and offline marketing, Platinum Jue's combination of punches that transcended the times had immediate results and shocked the industry. Small.

Now that Ma Yunteng is out to play, he no longer looks up as the son of Ma Erye of the Magic Film Group, but as the producer of the hit movie "Holiday in Magic City".

Not only did it rank among the top ten at the box office of the year, its score was also unreasonably high. It opened at 9.2 and opened at 8.8, only losing 0.4 points, and its reputation was overwhelming.

What is the concept of the domestic movie Broad Bean with a score of 8.8?That is on a par with award-winning overseas films by Sun Wangquan, Wang Jiawei, and even Xie Jing.

Since the founding of Broad Bean, there have been very few domestic commercial films that have scored an 8, and none that have scored a 9. "Holiday in the City" is the first of its kind.

What's more important is that "Holiday in the City" has also achieved success both inside and outside its walls. There are not many domestic films these days that have the luxury of being released globally.

Whether Lily can become an instant hit in Nuts is still unknown, but Lao Gu is really popular in Bang Country. Less than 10 days after the movie was released, there is already a local fan base.

In the past, it was normal for Lao Gu to organize airport pick-ups. When he returned to China, he even formed a group to accompany him to fly to the Magic City. When he couldn't buy any peripherals on the market, he went to Tang and Song Film and Television, and directly bought out the company's inventory, leaving Lao Cai I'm so happy that I can't find any clues.

To sum up, "Holiday in the Magic City" made Bo Jue gain both fame and fortune. He not only established a banner, but also made his name famous, and also made money.

Chen Yiming and Bao Nana have been away on business trips, and Ma Yunteng, who is in charge of Platinum Jue, is forced to fall into "happiness troubles."

The reason is very simple. The popularity of "Holiday in Magic City" continues unabated, and demands from all aspects are naturally coming in. The media invites interviews, colleagues talk about cooperation, and associations invite discussions, all day by day.

None of these big guys can handle it. The little professional knowledge he learned in college has long been packed up and returned to the professor.

He finally waited until Chen Yiming came back, but when he heard that the real master was coming back, he was going to retreat, and tears almost came out of his eyes.

"Tie Zhu, please find an opportunity to show your face in public. After all, we are newcomers to a new company. If we are too high-minded, we will not be able to step down."

Chen Yiming didn't know what to do. Did he think he didn't want to show off his dignity in front of others?
But it’s already late January, and the literary script of “1” has not yet been released. Compared with going out to show off, which one is more important!

"Forget it, the crew is busy every day. It took a lot of effort to arrange the preliminary work. I have to take advantage of this free time to rush out the script, otherwise the filming will be delayed and all the money will be lost every minute!

After I finished working on "1951", I had to give myself a big vacation, and this wave of work really exhausted me. "

Upon hearing this, Ma Yunteng was already on the verge of persuading him, but he finally took it back.

It can be seen from the look on his face that Chen Yiming has been tortured a lot during this period, and he has lost a lot of weight visibly to the naked eye.

Da Zhuang originally planned to invite Chen Yiming to join in a game at night and introduce him to several friends in the circle, but now he has changed his mind.

The three of them reviewed the recent situation and found no major problems, so they ended the meeting hastily.When Chen Yiming returned to the rental house, he didn't even bother to eat and fell asleep.

Just as the solid feeling of lying on a familiar bed penetrated his senses, a wave of sleepiness hit him, and he was pulled into a dark and sweet sleep.

……

Film is a typical audio-visual art. How important is the literary script on paper?
This is a matter of opinion, and every director has his or her own answer.

Chen Yiming is new to this time and space, and his knowledge of directors in the industry is limited to the Internet. However, Chen Yiming is still very familiar with many famous directors from the original time and space.

For example, the national teacher who was a photographer relied heavily on scripts written or adapted by famous literary figures. Eight out of ten stories he invented were flops.

The little poet-reciting master who is as famous as the Imperial Master is also a case of people being addicted to food. "Farewell My Concubine" written by the master screenwriter Lu Wei is a classic, and "The Promise" written and directed by himself is a murder case, and the differences are clear.

Feng Xiaogang was able to jump from art to director in the institutional era because of his ability to write scripts. Most of the early films he directed were screenwriters. He also relied on his unique Beijing-style humor to create the world of Feng's comedy in China.

However, his screenwriting style is too prominent and he cannot get out of his comfort zone. Once he enters unfamiliar territory, it becomes ineffective.

Jiang Wen is the only Chinese director who truly understands both the audio-visual language and the literary language.

If you line up the names of these four people and draw a one-way arrow, you can roughly explain the director's attitude towards literary scripts.

The one who was dismissive was Brother Kaizi, because he relied on his poetry to protect his body, and the script and screenwriter were a complete constraint on his talent.

The one who is weaker than him is Jiang Machi. Although he wrote the script himself, he also edited it carefully because he has new ideas every day and is confident that today's script will be better than yesterday's.

Next up is Feng Xiaogang. He was born in a wild country and knows how much he weighs. He usually co-writes with famous literary figures to avoid exposing his weak literary skills.

After he became a little steel cannon, he followed the example of the others and climbed up the tree to show off their skills. He wrote, directed and occasionally performed on his own. His red buttocks that had been well hidden in the past were immediately exposed to others, and the result was naturally embarrassing.

The one who is least confident in screenwriting is Guoshi. His background as a photographer has often been criticized by serious directors. Most of his early award-winning films were adapted from famous works, and the scriptwriters were either the original authors or famous screenwriters.

However, starting from "Hero", Guo Shi finally couldn't restrain his creative desire and began to be deeply involved in script writing. Then there were "House of Flying Daggers" and "The Golden Armor" that were both critically acclaimed.

Since then, the gorgeous images and empty content have become the typical impression of Guoshi movies.

The experiences of these four great directors clearly reflect the awkward position of literary screenwriters in the film industry.

Do Chinese movies lack good stories?
The shortage is severe, especially since China does not yet have an IP pool for original comics, and it will only become more and more scarce in the future.

So is there a future in being a screenwriter in the Chinese film industry?

There is no future, so change careers as soon as possible!

Because under the director-centered system, which powerful director can restrain his desire for expression?

The more films I direct, the stronger my inner desire for expression becomes.

The result of extreme depression is often that the director abandons the screenwriter and does it himself.

Even if I don’t have the writing skills to write it myself, I still have to make a few major changes to the finalized script.

In many cases, it is not even the director who deliberately wants to show his presence, but there will inevitably be increases and decreases from words to images. The imagination of the screenwriter and the director cannot be completely consistent. It is completely reasonable for the director to modify the script based on his own understanding.

Self-writing and directing may seem like a broad road, but it is actually a highway without speed limit signs. It is easy to step on the accelerator and get high, and end up getting a ticket without realizing it.

If a director indulges his desire for expression wantonly and completely integrates himself from a bystander monitor into a creator, he will gradually forget one truth.

From the image to the audience, it also goes through a round of increases and decreases, and it is the increase and decrease of thousands of people. The more subjective the director's expression is, the farther away it is from the audience's perception.

In the end, the director shot the film heartily, but the audience was confused and couldn't even understand the plot without the help of the film critic's reading comprehension.

Then there will inevitably be a war of words between trashy movies and trashy audiences.

After filming "Holiday in the Magic City", Chen Yiming had a unique insight based on his directing experience in his previous life.

The director's boundary lies not in what he expresses, but in what he does not express.

To paraphrase the famous line from "Let the Bullets Fly", is the script improved this way or that?

In fact, it is best not to change it.

Restraint is the most valuable quality of a director.

(End of this chapter)