For many domestic actors, acting in Hollywood crews may have a completely different experience than in China.

Because, Hollywood movie crews refer to those regular movie crews, not independent movies.

It can be said that various systems in Hollywood have become very mature, and these systems have also given them a lot of talents from all aspects.

For example, in a crew, in China, everything may be listened to the director and then divided the work and cooperation. Most of the time, the director will find his own familiar collaborators.

This will make the entire crew more easily controlled and there will be no problems.

But it's different in Hollywood.

Most of the time, directors may have their own fixed partners, but more of them are liquid cooperation.

Because there are a lot of deputy directors with different divisions of labor and cooperation in Hollywood crews.

And these people seem inconspicuous, and they seem to be of little help to filming, content, etc. most of the time.

This is completely different from that in China.

Most of the time, domestic deputy directors need to implement the director's will. Of course, the deputy director, deputy director, or director will also be responsible for part of the shooting tasks.

But this is not the case in Hollywood.

They have casting directors, and there are other assistant directors with different divisions of labor. For example, some crew members will have special assistant directors to contact and communicate with local official departments.

Of course, you may not be the assistant director, or you may be one of the producers.

But the director’s role in Hollywood crew is indeed more about making movies!

Regardless, in comparison, for the director who has always been arguing in China, it does take some time to adapt to Hollywood.

Because here, unless you are a director at the level of Wang Yifan, the director's voice is not as great as theirs in China.

On the contrary, many places will be restricted, such as funding budgets, working hours, etc.

Get back to the point.

Wang Yifan was quite relieved about Chen Shaojun.

Moreover, the film "The Rest of the Desert Island" is also a movie invested by Wang Yifan and written by him.

Chen Shaojun is a Chinese director, so naturally everyone knows that he is Wang Yifan's person, so there is no need to worry about him being embarrassed on the crew.

However, it is certain that Chen Shaojun will definitely not get the final editing rights.

Wang Yifan didn't fight for Chen Shaojun this point, because it was unnecessary. Everyone knows who the director of "The Rest of the Desert Island" is actually not important. The key is that this is a movie by James Lister.

Yes, including Wang Yifan, he also recognizes this because James Lister is the absolute protagonist of this movie. At the same time, the movie itself is a tailor-made Olympic film for him, so James Lister will definitely not let go of the final editing rights.

Wang Yifan didn't want to compete for this, because, in addition to the best actor, there is no need to think about other awards in this movie!

Even if there is public relations, it is just a nomination for public relations, and it is just a gilded plate for Chen Shaojun.

Later, with the Marvel Cinema Universe Project, Wang Yifan will also launch many domestic directors to serve as directors of some superhero movies!

Therefore, the Marvel Cinema Universe Project itself is not only for the sake of interests, but also for the overall aspect of Chinese films.

In fact, many domestic directors have made their mark overseas, such as Chen Hang, Chen Shaojun, and Li Mingjuan. At this time, they are actually quite famous in Hollywood.

But even so, it is difficult to receive a real A-level film contract. It is not about discrimination, but their record is too shallow.

In fact, the media giants in Hollywood do not have that high requirements for directors, but commercial blockbusters often have to increase their requirements for directors a lot.

In fact, the reason is very simple. Most of the time, the cost of literary and artistic movies will not be too high, and such movies do not require that director's hard power.

After all, in literary and artistic movies, most of the time, how many people are there in a crew?

As long as the actors are handled, there will basically be no major problems. As for the director, there is no final editing rights, so most of the time, the director's requirements for such movies will be much relaxed.

However, commercial films, especially A-level productions, often have high requirements for directors and rarely use directors like newcomers, because such movies are often invested in hundreds of millions, and they dare not take risks.

Like Chen Hang, even though he had a movie called "The World of Truman" before, he achieved both reputation and box office success in North America, it was a foreign language film after all. Although Chen Hang was favored by Mina Group, his treatment was not as good as he thought.

Even famous producers will try to outlaw the director and make the director a real tool.

The main reason for these is their distrust of the director.

Yes, or the level of trust is not enough. If it were Wang Yifan, which gold medal producer would dare to shake in front of him?

He can directly change the producer with just one word. It can be said that for strong, famous and well-known directors, there is actually no difference between them, whether it is the producer-centered system or the director-centered system.

For example, Jack Curtis, a top director like this, his movie "The Sixth Sense of the Supernatural". No matter who the investor is or who the producer is, he dare not really take the attitude of listening to me in front of him.

Because Jack Curtis can change producers every minute, and most directors like Jack Curtis, who direct movies usually have the title of producer themselves.

In terms of final editing rights, directors like Jack Curtis basically always hold them in their hands.

The same is true for Wang Yifan.

However, in Hollywood, although top directors can get the final editing rights, in fact, this statement is still indefinitely.

Because even Jack Curtis will be given the title of producer, and then control the entire crew and the production of the entire movie.

In fact, to put it bluntly, it is just maintaining the producer-centered system.

Of course, directors like Chen Shaojun and Chen Hang will not be short of film contracts at present, but it is almost impossible to get the final editing rights.

But in fact, literary and artistic movies, independent films invested by media giants are different.

Generally speaking, in literary and artistic films, the director is likely to get the final editing rights, because this kind of film itself has the director's personal style.

Especially literary and artistic films invested in independent film labels, most of the time, they actually follow the director-centered system.
Chapter completed!