Perfect Life

Judging by Li Qian personally, he believes that, to a certain extent, people like Shi Kuiyong are the real geniuses, and someone like himself, with thirty or forty years of life experience and knowledge, is close to leading this era. The "pseudo-genius" formed after 20 years of vision is actually only the capital of Chinese people.

Genius is admirable, desirable, but also frustrating.

If you go in the right direction, a genius can make any impossible possible, but if you go in the wrong direction, even if your head is broken, geniuses are rarely willing to stop, review and reflect on the path they have chosen.

Everything stems from the paranoia of genius.

Paranoia is good, and paranoia is bad.

Because he has a vision that has been ahead of this time and space for nearly 20 years, Li Qian clearly knows in which direction the current society will develop. He will know music, records, movies, TV series, and even the entire entertainment industry. The most correct What will be the direction of development.

With this huge advantage that is close to a prophet, and to a certain extent even surpasses a prophet, Li Qian has a very clear plan in his mind as to what path Minghu Culture will take in the future.

At this time, both Lu Lingxi and Chen Kefang looked puzzled, Lu Lingxi was better, and Chen Kefang looked like a smile instead of a smile, and said, "You mean to say that literary films are dead?"

Lu Lingxi pursed her lips and smiled, turned her head to look at Chen Kefang, then quickly retracted her gaze and landed on Li Qian's face - she was really curious about how Li Qian would answer.

It's not the first time for her, and it's not the first time she's heard this kind of argument even purely from Li Qian.

Literary films are, or have become, synonymous with the niche.

Back then, the "One-Armed Swordsman" shot by Mr. Chu Yuan, with its distinctive image style and extremely classically beautiful character depiction, combined with a clear and concise narrative technique, became very popular in the shadow market in the late 1960s. In between, Jianghu people gave him the nickname "Chu Yidao".

Although this film and Mr. Chu Yuan himself were criticized by some big figures in the film industry at the time, they believed that such a film deviates from the arts and is intended to entertain the public. But at that time, this movie swept the north and south of the country, and affected by this, martial arts novels, martial arts movies and martial arts TV series became an extremely important branch of domestic literature and film and television works in the following three decades.

Thirty years later, the works of the biggest names in the film industry who criticized him at that time have been neglected and can only be kept on the shelf, but Chu Yuan was hired as a visiting professor at the Shuntian Film Academy in 1981, and later turned into a full-time professor. During the three years from 1988 to 1992, he personally served as the director of the director department of the Shuntian Film Academy. He retired in 1992 and was awarded a tenured professor. The following year, he was invited to serve as the honorary dean of the Shuntian Film Academy.

Du Weiyun, the great director who is now known as one of the domestic film troikas, is his private disciple. During the filming of "The One-Armed Swordsman", he was one of the crew's drama executives. Du Weiyun's directing style has also largely inherited his style. The advantages of a teacher. The great director Qin Wei gave a speech when he first won the Best Director at the Cannes International Film Festival, and repeatedly claimed that he was a "disciple outside the door" of Mr. Chu Yuan.

And it’s not just them. During the years when Chu Yuan taught the Shuntian Film Academy and served as the director of the directing department, a considerable number of related talents have emerged from the film academy. At present, many of them have emerged and become the backbone of the domestic film industry—nearest For a few years, Lu Lingxi from the 87-level directing department, Wu Han from the 89-level directing department, and Lu Ping from the 90-level directing department are all authentic disciples of the old man.

As for the film "One-Armed Swordsman", since the late 1970s, it has become one of the models and textbooks that must be taught in major film and television art schools in China.

Even looking at it now, the quality of the film itself is still exceptional.

What's even more absurd is that, to this day, this film, which has been repeatedly criticized by countless literary and artistic filmmakers, has been classified as a "treasure of domestic literary and artistic films".

Which is it? What is wrong?

There may be only one conclusion left: the more literary ones have been eliminated by the times. As a result, the less literary, but more popular in nature, survived and became the banner of art.

At this time, Li Qian had some wrong answers, but said slowly: "The 1960s and 1970s was an era when European art films were popular all over the world, because at that time, the art of film was still in the exploratory period, no matter whether it was a filmmaker, It is still a movie audience - of course, when we look back now, we should admit that because of the developed economy, there were not too many people who could afford to watch movies in those days. These people are all very interested in movies, practitioners , to the audience, they have a supportive and positive attitude towards the artistic exploration of films, no matter how bizarre they are. But by the 1980s, this exploration has basically ended.”

Speaking of which, Li Qian habitually spread his hands and pursed his lips before continuing: "After twenty or thirty years of rapid development and active exploration, what is the boundary of the film is still vague, and it is still highly explorable. , but as a tool of expression, some of the techniques commonly used in film have been basically explored from an industrial and artistic point of view, and are basically mature. At that time, the three major European film festivals were world-renowned because of their Representing European films and the cutting edge of the entire world film industry!"

Chen Kefang listened and hugged his shoulders.

The corners of his mouth twitched slightly.

In a place like the film school, it is really not uncommon to hear this kind of discussion or discussion, but what is rare is that this time it is a student who has not graduated yet, talking freely in front of his two teachers.

And the problem is that although what Li Qian said has not been completely finalized, it is not a new tone in a place like the Film Academy.

Some professors in the academy are even more extreme than Li Qian. Some people simply believe that when the Venice Film Festival is born, it means that the exploration of European art films has come to an end. This is the same as autumn and harvest, so we need a festival to celebrate.

From this point of view, the Venice Film Festival was founded in 1957, then even the 1960s and 1970s can be regarded as a "return to the light" of European literary films.

Therefore, for Li Qian's sudden start of a long speech, it seems that he is going to teach himself and Lu Lingxi a class, but what he said is nothing new. Chen Kefang felt a little funny at first, and then felt a little unhappy in his heart - these things, still use you come talk to me? It's hard to say anything else. Can I know less than you about the history of film development? Are you coming to teach me a lesson now?

But then, the arm that was holding her shoulders loosened unconsciously, and the whole person suddenly felt a shrug, and then she raised her chest and looked solemn—

"Literary and artistic films will never die, but the market for literary and artistic films is gone."

"European filmmakers have done a lot of exploration for the development of films, but the fragmented national boundaries in Europe and the fact that they have so far struggled to form a full-scale industrial system make it difficult for them to keep films going down. It developed, and so American filmmakers took over."

"They are economically developed, the market demand is strong, and the industrial base is strong. Therefore, since the 1980s, European art films have been unable to beat Hollywood. Now, Hollywood's major production companies have formed a complete film industry system. , to the recent "Titanic" that I participated in the soundtrack, it has actually proved that all the countries in the world and all the filmmakers have no power to fight back."

"As far as I know, this movie has been shown in more than 100 countries around the world, and it has won the No. 1 all-time box office in almost all markets!"

"Films are made for people to see, not for self-rewarding. Therefore, the box office is not absolute, but it is absolutely indispensable."

"The pride of Europeans in art films for many years makes it difficult for them to let go of their stature and go the commercial route. Even if they want to go, it's still the same thing. Their industrial and market foundations are not enough. But we have a large domestic market. There is no need to have such a big burden. Although from the early years, it has been very popular in our country to study European literary and artistic films. Until now, there are still many directors, screenwriters, and actors in China. They all highly praise literary and artistic films, but really, I'm not that obsessed, and I think, I can't be that obsessed."

"Now, several major Hollywood production groups have enough resources, and they can mass-produce a lot of commercial films every year. These films are not artistic, but well-made, with special effects and special effects, very good-looking, and popular stories. Easy to understand, exciting, popcorn movie! Enough to make audiences all over the world pay! Europe has completely fallen, and Japan has become a big ticket warehouse for Hollywood. It’s just a year or two of work.”

"Our country is hard-hearted and dares to stand up to the United States and not let go of this market. UU Reading www.uukanshu.com only gives them a quota of 20 movies per year, but look at the data, they come in 20 movies every year. That's all, I have killed so many domestic movies and lost their armor and armor, and I can't resist at all!"

"Besides, even if not a single Hollywood movie is included, our country's economy has developed so fast these years, and the progress of domestic movies will simply not catch up with everyone's consumption appetite."

"Looking further in the long run, we can't always guard our own land! The US market is huge. Considering the global nature of English, its market is indeed super huge, but the market for our Chinese movies is not small. Ah! With so many people in the country, once the economy increases to one billion people, how big will this market be when it fully develops? What about Japan, South Korea, and Southeast Asia in East Asia? I think these places should naturally be The back garden of Chinese movies, Hollywood has not had time to completely take it down, we should take it down, Hollywood has already captured, we have to take them back!"

***

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