Hollywood legendary director

In Hollywood film crews, the core is always the producer, which is commonly known in the industry as the "producer-centric system."

But France is not Hollywood. In this regard, it is not so trustworthy.

In certain crews, it is common to see that the director also serves as the producer.Luc Besson also likes to do this.

And Lehmann, as a director, naturally speaks from the director's standpoint. Because of empathy, he is not willing to intervene in the director's work.

Basically, Wen Ziren controlled the shooting of "Chain Saw".

But Hollywood can have such a system, naturally there are people's reasons.

For example, when the director is shooting, he is very happy and doesn't follow the plan. If no one can restrict it, it will be a disaster for the crew and the movie.

In the history of film, there have been countless cases and lessons, telling those film companies that if they were filmed by the director's ideas, it would not be enough to pay.

Frankly speaking, such supervision is certainly not harmful, but blindly limiting the director's creative space is certainly not beneficial.

You know that directors are all reduced to filming machines. Is that kind of work really the so-called "seventh art"?

There is no spirituality, as it is the product of batch production and streamlining on the industrial production line.

Speaking of producer-centered system, I have to mention its ancestor, Alvin Salberg, who once ran Universal and MGM, and was the first big-time producer in Hollywood history.

In 1917, Europe was fighting for the "World War I", and the Republic of China was only five years old. The last symbolic figure of the dynasty, Ai Xinjue, Luo Puyi abdicated again.

When the whole world is like a boiling porridge, the United States is still singing and dancing, and is not disturbed by the international turmoil.

But at that time, the center of gravity of the American film industry was still New York on the East Coast.

At that time, Alvin Salberg had just got a job with a monthly salary of $15—the secretary of Universal Pictures' New York office.

Slowly, while the company's qualifications rose steadily, he entered a film crew "Carousel" as a producer.

This is a project invested by Warner itself.

At that time, the great director Strohheim also liked to mess around during filming-this was not a problem at the time, just didn't follow the script to shoot? Many directors did it when they had new ideas.The "Sunglasses King" in the Mainland can even write scripts on the spot and then shoot them.Although in Hollywood, he doesn't even have a prerequisite for getting a chance.

The consequence of this is the budget overrun.

Unfortunately, Strohheim is not James Cameron. He didn't learn the skills of others. With such an overspending, Alvin Salberg quit and went straight to the top Warner executives and said that he would fire the director. Let this irresponsible director go away.

Warner executives are naturally very worried. You said that more than half of the film was made, and suddenly the director was kicked off. Then the project will not be finished yet, or else, it will be over if you forbearance more investment. The idea of ​​most film companies at the time.

But Alvin Salberg is obviously capable, and he can handle the rest, but such a director cannot stay.

Later, Strohheim was dismissed directly.

After the "Carousel" incident, Alvin Salberg became more and more reused by Warner, and he was unambiguous, directly leading and establishing the position of the producer-centric system in Hollywood and defining this system. The core concept of —— control the budget and complete the movie.

This kind of thinking was a good word for those film companies, that is, investors, and it was based on their perspective.

What can't you agree to?

As a result, such a distribution of crew power was quickly accepted by the film industry, and it was adopted as a rule in a sense.

After all, is business return the first consideration for those investors?

What kind of artistic pursuit, what theme creation, what role depth...all stand aside.

Producers are influenced by this concept, and they also pay more attention to the type of film, the market response of the actors and the commercial nature of the content, and even more emphasis on the visual and auditory senses of the audience, and more attention to the rhythm and fluency of the story the elements of.

Everything they pay attention to is not based on personal aesthetic preferences, or even for the movie itself, but on market requirements, market trends, and viewing trends of specific groups of people.It is a purposeful filming.

I can't say whether this system is good or bad, but it must have an inevitable contradiction with the director.

As for Lehmann, he certainly doesn't like this kind of gesticulating filming system.

But producers do need to have.

After all, a qualified producer can save a lot of things for the crew.

A brief summary is: can understand the market better than the director, the fashion better than the audience, and the capital better than the investors.

......

Los Angeles, Warner Studios Studio Three.

Wen Ziren looked at the shot that had just been taken, then used the director's monitor to adjust it to watch it several times, and then nodded in satisfaction.

Naturally, Lyman doesn't care about his shooting work, as long as he can control his scale, he can do whatever he wants.

And he didn't live up to Lyman's advice to him that night.

After the filming returned to the right track, the filming atmosphere of the crew became visible to the naked eye.

The progress went well, and he himself was happy.

"Okay, pass, prepare for the next one."

Even the shouting voice was filled with joy and confidence.

I put the megaphone aside and picked up the shooting plan to continue to figure out.

To be honest, Wen Ziren treats the shooting very carefully.

A group of people are also watching.

He may be in the same mood as when Lyman first filmed "Buried Alive", always full of energy.

Had it not been for Lehman's previous life to have several years of studio experience, he might have been like him.

Is it the first time? You can't demand too much.

What's more, the budget of the crew is sufficient. If it is really the poor 1.2 million US dollars in the previous life, I believe that he is pressed, and he will not have any new ideas.

When Lyman was filming "Buried Alive," didn't he always worry about money?

I only thought about how to complete it smoothly, so naturally I didn't have the mind to think about the character's motivation and behavioral logic.

Looking back and looking at that work, Lehman can also find a lot of improvement.

People, there must be a process of improvement.

Lehman believes that after Wen Ziren makes a few more movies, he will become more mature with experience.

After all, the talents of others are there, and the shooting skills and aesthetic concepts are also unique.

At the very least, Lehman wondered if he would do a better job than him if he were to shoot "Saw Cry."

Those exquisite killing agencies and clue arrangements are still quite impressive.

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