I am a historical film director in the entertainment industry.

Chapter 344, "Ten Send-Offs to the Red Army," Overseas Copyright.

From an industrialization perspective, the director system is relatively outdated.

Because many directors often don't care much about market demands, have a strong sense of personal subjectivity, and focus more on showcasing their own ideas.

Ideally, this idea would align with market demand.

However, if this idea is incompatible with the market, then the box office will inevitably be a disaster.

This is why many great directors in mainland China are excellent at making art films, but their commercial films are often disappointing.

For example, Efficient Delivery, he also directed films in Hollywood.

However, during filming, producers often demand that the delivery crew film in a certain way or in a certain way.

Gao Xiaosong said that even a small-time director like himself couldn't accept this situation, let alone those established and famous directors in mainland China.

This has led to many mainland directors being unable to adapt to the Hollywood film shooting model, and they generally choose to return to China to develop their careers after making one or two films.

Secondly, mainland Chinese directors and Hollywood production companies look down on each other. When mainland Chinese directors go to Hollywood to develop their careers, they all hope to cooperate with the six major film production companies.

However, the six major film production companies do not particularly value mainland directors; to put it bluntly, they look down on them.

This isn't about discrimination, but rather that mainland Chinese directors haven't proven their worth in Hollywood, so it's impossible for them to be treated with the highest standards right from the start.

Whether it's top domestic directors or A-list actors, their salaries are always discounted when they come to Hollywood.

In addition, mainland Chinese actors do not have box office appeal worldwide, making it difficult for them to land leading roles in big-budget films.

However, Hollywood also has many independent film production companies, which are simply small film production companies.

In fact, small film production companies can also make good movies. Li An initially collaborated with small film production companies.

This led to his encounter with his benefactor, James Schamus, and the two collaborated on several classic films, including "Eat Drink Man Woman," "The Ice Storm," "Crouching Tiger, Hidden Dragon," "Lust, Caution," and "Brokeback Mountain."

When they encounter small film production companies, the big-name directors from mainland China tend to look down on them and are less willing to cooperate with them.

They are in a very awkward situation, neither good enough for high-end jobs nor good enough for low-end ones.

Another important reason why Cheng Sheng didn't go to Hollywood was the market.

In the future, due to the rapid growth of the mainland film market, many mainland directors will simply give up on developing their careers in Hollywood.

At most, he occasionally collaborates with Hollywood; his main focus remains on the mainland.

2019年624.66亿、2018年609.76亿、2017年559.11亿等等。

It is obvious that the domestic market will grow year by year in the future. The market is already big enough, and there is no need to go to Hollywood to make a living.

Even in the disastrous year of 2020, the total box office revenue of mainland China reached 204.17 billion yuan, making it the highest-grossing market in the world that year.

In Cheng Sheng's view, Chinese filmmakers do not necessarily need to go to Hollywood to develop their careers.

Although Hollywood movies are aimed at a global audience, they primarily express Western culture and have a very one-sided understanding of Eastern culture.

Take "The Forbidden Kingdom," starring Jackie Chan, Li Lianjie, and Liu Tianxian, as an example. The effect presented almost completely abandons the Chinese people's understanding of the character Sun Wukong.

This is not the Sun Wukong in the hearts of Chinese people. To capture the cultural essence of the Sun Wukong character, it should be done by Chinese directors.

Of course, there are also things that Chinese filmmakers can learn from Hollywood, such as the producer system.

Most films are art forms that entertain the masses, so it's natural to understand what the masses need and create films based on those needs.

Only when audiences are willing to spend money on tickets can the film market grow larger and larger, and only with a larger market can there be funds to produce more sophisticated films.

However, Cheng Sheng is not in this category. He has the advantage of the simulation panel, so if the producer system is used, it will restrict Cheng Sheng's performance.

Therefore, this is also why Cheng Sheng did not go to Hollywood to develop his career.

Of course, not going now doesn't mean not going in the future.

If given the chance, Cheng Sheng would still like to go to Hollywood and make a movie that would shock Hollywood or the world.

The cocktail party is over.

Cheng Sheng returned to the hotel. He had just finished showering when he received a call from Catherine.

Because the film festival is over, Catherine will be returning to France tomorrow.

So tonight is the last time, and perhaps the two will never have the chance to meet again in the future.

The last night.

Cheng Sheng did not refuse.

……

The next day.

Because I stayed up too late with Catherine last night.

When Cheng Sheng woke up, it was already noon.

We invited the entire film crew to have lunch at the hotel.

Then Cheng Sheng began arranging for people to return to China.

He will stay in Venice for a few more days because the overseas distribution rights for "Ten Red Army Soldiers Sending Off" have not been sold.

Originally, this kind of thing was done by the Xijiang government.

However, the Xijiang government was not very knowledgeable about such matters and could only entrust Cheng Sheng to sell the overseas distribution rights of the film.

It's about three o'clock in the afternoon.

airport.

"Bon voyage, everyone."

Cheng Sheng waved goodbye to the crew and said.

Zeng Li opened her mouth, wanting to speak to Cheng Sheng, but because there were many people around, she didn't say what was on her mind.

However, Cheng Sheng understood what Zeng Li was trying to say from the shape of her mouth.

He turned around, took out his phone, and sent a message to Zeng Li.

Zeng Li felt her phone vibrate, opened it, and saw a message from Cheng Sheng. A bright smile appeared on her face, and then she reluctantly entered the airport.

After seeing Zeng Li and the others off, Cheng Sheng began contacting film distributors, intending to sell the overseas rights to "Ten Red Army Soldiers Sending Off".

As a film that won the Golden Lion Award and also produced a Venice Film Festival Best Actress winner.

The overseas rights to "Ten Red Army Soldiers Sending Off" should sell very well.

But after meeting the film producers and seeing the prices they offered, Cheng Sheng fell silent.

too low.

The prices offered by these film companies are far too low.

They've almost all fallen below Cheng Sheng's bottom line.

Judging from the attitude of these production companies, they clearly won't be offering high prices anymore.

The buyout was $8 million in North America, $5 million in Southeast Asia, $3 million in Europe and America, and a little over a million dollars in other places.

The total global amount is around 20 million US dollars.

Compared to the previous "Three Kingdoms" and "Tang Dynasty 1", it's just a fraction of the whole thing.

However, upon further reflection, this is also normal.

After all, "Ten Red Army Soldiers" is not a movie like "The Great Tang Dynasty 1", and there is no immersive experience or special effects, so it's normal that foreigners are not interested.

It's like a movie called "The Battle at Lake Changjin" in another time and space.

(End of this chapter)