Rebirth Enchanted Xiangjiang

Hou Xiaoxian and Qiao Feng said that the red lanterns were hanging high, that they talked about Taiwanese movies, and talked about their own movies.

Talking about it, I began to feel that the investment in literary films was too difficult to pull, and I begged grandpa to tell grandma to pull the investment and the result was unexpected.

Qiao Feng didn't take this, because he had already seen it, Hou Xiaoxian said so much later that he wanted to bring up this topic, and the ultimate goal was to invest in himself.

But Qiao Feng didn't want to invest in Hou Xiaoxian's movies.

Because Hou Xiaoxian's movies are too literary.

Moreover, his literature and art are different from those of Lao Mouzi.

Lao Mouzi's literature and art are mostly red sorghum, chrysanthemum beans, and red lanterns hanging high. It has connotation and storytelling, and the audience can see it.

Hou Xiaoxian is not. His movies basically do not take the audience into consideration, and make the movie completely with his back to the audience.

Of the audience who enter the movie theater, there may not be one in a hundred who can watch his movie.

Many of Hou Xiaoxian's fans are directors and writers of art films.

The Japanese literary director is Hirokazu Eeda, who explicitly rejected the honorary title of "Successor of Ozu Yasujiro", but regarded him as a father-in-law on the road of the movie, because it was his "Love in the Wind" that pushed Hirokazu Eeda to the film.

After watching his work, South Korean director Lee Cangdong decided not to be a writer at the age of 43. He started filming movies and later became the leader of Chungmuro.

In the second decade of the 21st century, Bi Gan, an emerging director from the Mainland, believed that the recognition of him would really produce the "feeling of winning an award."

American director Jim Jamush, on the Cannes award-winning stage, confessed unabashedly: I am his student.

Section Chief Jia Zhangke Jia is the number one fan of "his". He once wrote eloquently, "Every time I see him is my best time..."

Even Xu Anhua, the leading director of Hong Kong's No. 1 literary and art film, who was the same age as him, said that after decades of studying his "My Childhood", he never dared to show signs of axe while shooting life scenes.

There are also such as the old Coppola who made the "Godfather" trilogy, Japanese master Akira Kurosawa, and so on. Too many directors have given him super praises and love his movies.

Compared with the ardent pursuit of his peers, Hou Xiaoxian's films are often treated coldly by the audience.

Hou Hsiao-hsien often shoots the simplest stories, with few lines and slow rhythms that have changed over the years, keeping many people out of the threshold of watching movies.

In fact, this can't really blame the audience for not understanding the appreciation.

"Less lines and slow rhythm" correspond to Hou Xiaoxian's iconic "long shots and sense of distance", as is the poetic aesthetics in Hou's films.

But what the audience is watching is the plot, watching the climax of the plot, the story is dramatic, the conflict is a little bit more, a bit more intense, at least a bit twists and turns.

How about Hou Xiaoxian's movies?

Basically it won't make you feel this.

The long shots of large sections only bring the audience dull, dull and dull.

Apart from other things, just take Hou Xiaoxian’s first film to enter mainland cinemas and the assassin Nie Yinniang, who won him the Best Director Award at the Cannes International Film Festival. , Experience the film charm of this master up close.

The picture is beautiful, but the plot is unclear.

People want to see the "Assassin" Shu Qi fly into the sky in the movie, and want to see her and Zhang Zhen stage a lingering love tragedy, and the demand for watching movies has not been met.

So I don’t care whether you are a master or a master.

As some viewers commented, whether the movie is good or not is not played by the director or a few people.

Because since you get the movie show and sell it to the audience, then you have to respect the audience and pay for the audience's money.

As a result, you made money from the audience, and you also left the sentence that my movie is not for you, because you are not well-trained.

In that case, why do you want to sell it for the public show? You carve it into a disc for those who like your movie to watch, go hi, right?

Qiao Feng disagrees with Hou Xiaoxian's director style or attitude towards the audience.

Why does Qiao Feng like Fatty Wang Jing?

The biggest reason is that Wang Jing really started filming from the perspective of the audience.

Whether it's making those shit comedies, restrictive movies, or following other big-selling movies, he knows that they are what the audience likes.

When he took out the film, the audience would not praise him at all, nor would they feel that the money for the ticket was completely fed to the dog. Even if the audience didn't like it that much, at least they felt that the money was not so wronged.

Qiao Feng feels that only people who respect the audience and banknotes like Wang Jing can really broaden the road of Chinese movies and move to a higher level.

Instead of blindly making literary and artistic films, go to domestic and foreign awards.

That would not be possible.

Otherwise, directors from France, Britain, and Germany won no more awards at the three major European film festivals than Chinese directors, and their film industry must not be much better than China.

But what about the facts?

In future generations, they are far behind China.

Why did China move from the current situation to the world's second largest film market and the second largest film industry?

Are they the literary and artistic films made by Lao Mouzi?

It is not.

The rise of Chinese movies began with the hero of the first domestic commercial blockbuster filmed by Lao Mouzi.

The same is true for the United States, which has been the largest market for movies from the beginning.

The reason why Hollywood films can cross the world, in the film market of various countries, and later even the domestic market is occupied, is not because of their artistic films.

It is neither the salvation of Xiao Shengke nor the silent lamb, nor is it Forrest Gump, Schindler's list.

It’s Jurassic Park, it’s the Terminator, it’s the true lie, it’s the Titanic.

These purely commercial blockbusters are the magic weapon and weapon for Hollywood to cross the world.

If there is no respect for the audience, the commercial blockbuster that respects banknotes, Hollywood will still be Hollywood, but it will only be Hollywood, a small town under California, a place name.

Therefore, Qiao Feng is really insensitive to Hou Xiaoxian.

Only a handful of people would be willing to spend money to watch movies. From the beginning, this was not Qiao Feng’s original intention of making movies.

With that money, Qiao Feng might as well vote for Xu Anhua and Zhang Yimou.

At least they can tell a story that most viewers can see while winning the prize.

What is the relationship between Qiao Feng and Qiu Fusheng? That is the relationship between partners.

Can Qiao Feng not know the investment situation of Hou Xiaoxian's movies?

I must know.

Hou Xiaoxian’s film included Qiu Fusheng’s investment. The sad city that won the Golden Lion at the 46th Venice International Film Festival starring Liang Chaowei and Fang Shiyu Li Leihu the previous year was Qiu Fusheng’s investment.

But not only Qiu Fusheng, but also Yang Dengkui's.

Now Hou Xiaoxian said that the film that was cut off investment is also the investment of these two.

Qiu Fusheng didn't say anything. Qiao Feng and him are partners, so they can't say anything even if they intervene.

The other Yang Dengkui is different.

That man is the number one boss in Taiwan. It was because he was arrested in the anti-criminal operation last year. Hou Hsiao-hsien took a lot of filming to cut off his funds.

That's why Hou Xiaoxian complained and asked Qiao Fengla for investment.

To offend a black boss for a literary film he doesn't like or a literary film that doesn't make money, Qiao Feng is not a fool, how could he do such a stupid thing.

Therefore, Qiao Feng slipped away.

I took my two children to my home in my previous life, the small county that had been back twice, the small village took a look and then returned to Hong Kong.

.........

Thanks to book friends for the 100 coins reward.

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