Chapter 332 If Hollywood wants to remake it, you can invite me to direct it
In August, "Terror Cruise" held its premiere event in Singapore.
It is now 2007, and Gong Li and Huang Hexiang of Singapore have not yet divorced.
However, it’s soon.
This time Gong Li returned to Singapore from the United States, and the couple had a rare reunion.
Before Gong Li broke up with Zhang Yimou, she met Huang Hexiang, the Asia Pacific president of British American Tobacco Company, who is the same age as Zhang Yimou, through Hong Kong female writer Liang Fengyi.
Then he broke up with Zhang Yimou and quickly married Huang Hexiang in anger.
Mei Yanfang and others tried to persuade her, but to no avail.
Through Gong Li, Wang Shu met Huang Hexiang, who was the same age as Zhang Yimou, that is, a 57-year-old little old man.
Under normal circumstances, except for annual fitness maintenance at this age, it is no longer useful.
If you had more fun when you were young, you are more likely to shed tears at this age.
The only way to get back on your feet is to take drugs.
After Gong Li went to Hollywood to pursue her career, she and Huang Hexiang spent less time together and separated more, and their relationship faded away.
In addition, with Huang Hexiang's wealth, he will definitely not stay at home alone in an empty room, unless he really has no choice but to do so.
In the original timeline, the two finally divorced in 2008.
But anyway, when Gong Li was young, maybe she really liked older people.
Being with Zhang Yimou may be due to the charm of Lao Mouzi and the long-lasting love.
Ke Huang Hexiang
A proper love plot.
After the premiere, Wang Shu stayed in Singapore for two days at Gong Li's invitation.
"Director Wang, there is a producer in Hollywood who wants to buy the rights to adapt "The Tuner". Please ask me to ask about your intention."
Gong Li is the host, entertaining Wang Shu, Liang Jiahui, Zhou Hai has a delicious meal.
The premiere this time was exactly the same as the one in Hong Kong. Zhou Xun and others did not come, but the trio of Gong Li, Liang Jiahui and Zhou Haiwei.
This is because Liang Jiahui and Zhou Haiwei are more famous in Singapore than Zhou Xun and others.
Before Zhou Haiwei, he also starred in film and television works produced in Singapore.
With the two of them here, their role is far greater than that of Zhou Xun and others.
This kind of overseas premiere is not only a matter of the actors’ schedules, but it is also not necessary for all of them to be present.
"The right to adapt "The Tuner"?" Wang Shu was subconsciously surprised.
As for Hollywood, it was the producers who wanted to buy the rights to adapt "The Tuner" instead of the film and television companies who came to the door first, and he knew the reason.
Hollywood’s system is different from domestic entertainment.
Although it is understandable that whoever saves the plate has the greatest say.
But in Hollywood, many movies are actually produced when independent producers obtain the rights to adapt novels or other film and television works, then find screenwriters to write them into scripts, and then take the scripts to film and television companies or other The investor pulls investment.
After getting the investment, we found a director and actors, and then brought together the entire crew.
The filming of the movie then started.
In the entire crew, the producer is the biggest, and although the director also has a great say, he is actually just a part-time worker hired by the producer.
This is the producer-centered system.
The project structure used in the production of most Hollywood movies, the art director and photography director cooperate with the director to form the core artistic creation team.
The executive producer and production director serve the producers and form the main management team.
After the management lines of the two teams crossed, such a matrix structure was formed.
The main purpose of this structure is to clarify the boundaries between artistic creation and market demand, and to complete production according to the budget and standards jointly established by the two core teams, reducing the risks caused by excessive concentration of power.
In Hollywood film production behind-the-scenes, a group of people will often talk about a film from various angles, including actors, producers, directors, photography directors, art directors, and even post-production special effects directors, etc. The lines are not the same either.
In the production specials of domestic films, you can often only see the director talking non-stop, and then the producer and actors take turns to praise the director. A common line is that the producer will say that the director is very serious. The actor said that the director inspired him a lot.
This is the difference between Hollywood movies and domestic movies.
Hollywood movies are a team effort, and the movies produced must be responsible to the investors, otherwise the producers have to go into the factory to screw.
Domestic films belong to the director. On the surface, the film produced is responsible for the investors, but in fact, the director is happy more than anything else.
Especially for big directors, even if the film fails, they can't lose their jobs.
Because there are famous and powerful directors, there is no guarantee when they will make money again, so they can always attract investment.
The representative figure among them is Jiang Wen. Nine out of ten movies he made failed, but he was still able to attract investment.
For example, his current film "The Sun Also Rises" made Yang Shoucheng suffer a loss.
When filming "Let the Bullets Fly" in the future, Yang Shoucheng still invested money in him without saying anything.
Of course, there is also the reason why Jiang Wen found Ge You and Chow Yun-fat to star.
But it was precisely because of Jiang Wen that Ge You and Chow Yun-fat were found.
Producers, on the other hand, are different. If investors lose money, the investors will question their vision and stop investing.
......
Producer-centered system has always been a word that has been bitten by everyone in the Chinese film market. In fact, no one abroad emphasizes this concept.
Because in areas where the film industry is relatively mature, this is a fact that cannot be disputed.
In the past 100 years, a group of American filmmakers have always opposed the producer system, believing that they stifle film innovation.
In China, the current stage is a director-centered system.
In the era when Chinese films were under centralized purchasing and marketing, the director was solely responsible for the production after the project was established, making the director the only position with experience in controlling the entire film production process.
So in the early days of the reform of the film industry system in the 1990s, China's first batch of domestic genre films were named after the director, and the producer was only responsible for financing or giving the name as a friendly gift. This kind of inertia It continues in many movies today.
Later, Chen Guofu joined Huayi and Poly Bona to enter the production of Hong Kong films, which represented that the mainland began to fully absorb the operating system of Hong Kong Island films.
It’s just that Hong Kong Island’s film supervision system was formed after the 1980s and matured with the growth of Hong Kong Island’s independent production companies.
Different from the responsibilities of Hollywood producers, a supervisor is more of a coordinator, serving as both a guarantee and a guide.
The functional positioning is to solve the administrative management and supervision in film production, not the decision-maker. This is a job function that emerged after the collision of East Asian culture and Western industrial system.
Therefore, the organizational structure of most medium- to large-scale domestic film projects is generally such that the producer, as the representative of the employer, pursues profit maximization. As the core of the entire production team, the director maintains the quality of the film.
In the current domestic film market, producers or producers often assume the role of balancing the interests and services of multiple parties.
The three form the top of the pyramid structure.
According to the ideal vision, they should cooperate and restrict each other to form a perfect integration of profit, quality and management.
In other words, under the director-centered system, although the director has the greatest say, the voice of the producer must also be seriously considered.
Just like Zhang Yimou and Zhang Weiping in the new picture, Feng Xiaogang is the same as Huayi's Big and Little Wang.
Although the two great directors have the greatest say in the plays they direct, the producer or producer also has absolute say in which actors to use or other aspects.
In fact, in the early stages of the development of the Chinese film market, the output of domestic films of a certain quality was extremely limited.
The risk mainly focuses on whether the director has the ability to narrative images and the choice of subject matter.
At this stage, as long as the artistic creation reaches a certain height while taking into account the coherence of the image narrative, you can basically obtain profits from the market.
In short, around the turn of the millennium, audiences mainly judged the quality of a movie based on who the director was and then the starring cast, and decided whether to go to the theater and buy tickets.
Since 2008, the audience's demand for domestic films has begun to diversify. The purpose of many viewers is no longer to watch a "good film by a certain director", but to watch it. It’s “the kind of movie I want to see.”
Since then, movies have officially entered the "marketing era" from the "product era".
As a result, a group of "producer-style directors" with market thinking and relatively accurate judgments of market demand began to step into the forefront.
This is particularly evident in the Chinese film market in 2013.
A producer-style director has absolute say, everything is decided by the director, and the producer is just a worker who helps the director manage the crew.
As for the producer, although he also has a say, he usually just invests money.
Everything, listen to the director.
In the era of "producer-style directors", due to entering the traffic era, the "big-name actor-centered system" emerged.
In short, the big-name actors who bring money into the group have the final say.
There are many representative figures among them, including Zhao Yanzi, Zhang Ziyi, etc.
For example, Zhao Yanzi's role in "Painted Skin" was originally for Zhou Xun, but the crew was forced to modify the script to increase her role, and she and Zhou Xun were the double heroines.
Another example is Zhang Ziyi, who starred in the movie "The Climber". Originally, she didn't have many roles, but she also insisted on revising the script and turned a positive male-led movie into a romance movie.
It can be said that since 2008, China has had a director-centered system, a producer-centered system, a producer-style director-centered system, and a big-name actor-centered system coexisting.
It will be divided into four types, mainly depending on the status of the director and actors, as well as the source of the crew's funds.
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But no matter what, Hollywood is a producer-centered system.
To put it simply, Hollywood follows a capitalization process, and whoever pays for it is the boss.
With money in hand, the producer organizes screenwriters, starts writing, then shoots, and then post-production, even the announcement and distribution.
If the director is not well-known enough, he can often only be regarded as an acting teacher for the actors in the crew.
The script in the hands of the producer sometimes has rigid storyboard rules, leaving the director with very little creative space.
This is the first one, and the second one is that they don’t even have the editing rights for the movie.
Of course, there are also big directors in Hollywood who can not only change the script at will like Chinese directors, but also have editing rights and so on.
But, this is a minority.
Most directors are basically workers in the industrial assembly line who are only responsible for teaching actors to act and filming the content of the film according to the script.
"Yes, there are producers over there who want to remake "The Tuner" into an English version." Gong Li said with a smile.
When Liang Jiahui and Zhou Haiwei heard this, they both looked at Wang Shu, curiously waiting for his answer.
The two of them thought that the fact that "The Tuner" was noticed by Hollywood producers also proved that this movie was extremely good.
Wang Shu thought for a moment after hearing this, and said: "If we can cooperate, it's not impossible."
"Cooperation?" Gong Li was surprised.
She thought Wang Shu was interested in investing, but Hollywood producers not only had the connections to attract investment, but they also wouldn't use Yishu Company's funds.
Because it’s too troublesome and unnecessary.
This is only possible unless investment cannot be obtained.
Wang Shu knew that Gong Li had gone wrong. He smiled and said: "I mean I am the director, and I not only wrote the script, but I also directed the Chinese version of "The Tuner"."
“If the producer you mentioned really has an idea, he can definitely help me get a work visa to the United States and invite me to direct the Hollywood version of "The Tuner"."
Wang Shu paused for a moment before saying, "I think there is no one in this world who is more suitable to direct this movie than me, right?"
In the original timeline, Jia Ling's "You" "Good Li Huanying" was purchased by Hollywood to adapt it into a Hollywood version of the movie, and Jia Ling was invited to serve as the producer.
It is true that many directors in Hollywood would not invite Jia Ling to direct under normal circumstances.
But even if Jia Ling is invited, Jia Ling will not be able to play.
Because of "Hello Li Huanying", Jia Ling is actually only a nominal director. The real success lies in the fact that she has more than a dozen professional assistant directors to assist in the filming.
She herself does not have excellent directing skills.
Wang Shu is different from Jia Ling, he has.
Furthermore, the script was written by himself, and he had already filmed it once.
If it were to be filmed again, it would just be a new batch of actors and a re-shoot.
Not only is it easy to use, it may also be more sophisticated than the original version.
When Gong Li heard what Wang Shu said, she was shocked at first, then suddenly realized, as if she had never thought of it before.
Liang Jiahui and Zhou Haiwei also did not expect Wang Shu to answer like this, and looked at him in great surprise.
If Wang Shu is really invited to Hollywood to direct the English version of "The Tuner".
Wouldn't it be
Gong Li calmed down all kinds of emotions, she deeply I glanced at Wang Shu. We are both Chinese (Gong Li has not yet been naturalized in Singapore). Of course, we hope that there will be big directors from the mainland in Hollywood.
This can also be used as a group to keep warm.
She said: "Hey! Why didn't I think of that before?"
"Director Wang is the director, and he is the screenwriter and director of "The Tuner"."
"Since Hollywood wants to remake it, they can definitely invite Director Wang to direct it in person!"
Hearing this, Zhou Haiwei echoed, "Yes! There is no one in the world who knows better than Director Wang. The script of "The Tuner" is directed by Director Wang himself."
(End of this chapter)