The script of "Spring in a Small Town" has been reviewed by the General Administration and obtained a shooting license and can be prepared for filming.

This film is best filmed in February and March next year, which is the chilly spring season, which is in a serene mood with the characters in the play.

Moreover, we should take pictures in the Jiangnan area and look for mottled old city walls and garden-style old houses.

The scene of the whole film is simple. Because of this, we need to pay more attention to details. We need to find old objects in the furniture in the room, and place them appropriately to restore the appearance of life in that year as much as possible.

Although the investment in the film is not high, we must also strive for excellence and make an exquisite art film with our hearts.

As for the director, Lin Zixuan had plans long ago.

He felt that he should find a director who has a certain life experience and has a good understanding of the life and culture of the south to capture the warm and watery taste.

Zheng Dongtian, a professor in the Director Department of Beijing Film Academy, is more suitable.

Zheng Dongtian was in his fifties and was born in Shancheng. He grew up studying in Shanghai City since childhood. After graduating from the Film Academy, he worked in the Shanghai City Film Studio for a while and has a good understanding of the cultural and cultural relics in Jiangnan.

He is a representative figure of the fourth generation of directors, and his filming style is called "documentary aesthetics".

In the field of film, Zheng Dongtian is not only a director, but also a film theorist. He actively explores new directions of Chinese films, does not exclude entertainment films, and has open ideas.

He is also one of the members of the Film Review Committee, has a certain influence in the Chinese film industry and is an old predecessor.

Lin Zixuan asked Zheng Dongtian to direct "Spring in a Small Town". One reason was that Zheng Dongtian was suitable. It was more safe to ask older directors to direct such films. They had that calm and leisurely state of mind.

Young and middle-aged directors always have ambitions and cannot calm down.

In addition, Lin Zixuan is a little selfish.

He wanted to put Lin Xiaoling into the crew, be an assistant director, and study hard with Zheng Dongtian.

"The Two of Us" can only be said to be a life-like niche art film. With her emotions, Lin Xiaoling's ability to make this film means that she can graduate from the film academy.

"Spring in a Small Town" is the film that truly tests the director's artistic skills. Lin Xiaoling will definitely benefit a lot from studying it.

However, Zheng Dongtian holds several jobs and is very busy with work. Lin Zixuan doesn't know if he will agree, so he waited until the script passed the review before coming forward to invite him and talk about the Tokyo Film Festival.

Lin Zixuan plans to send the members and actors of the "Two of Us" crew to Tokyo to attend the film festival.

Those crew members are students from the Film Academy. They didn’t get a salary for filming. They worked for a year in vain. Although it was a graduation work, everyone was willing to express it.

Besides, these people cooperated well with Lin Xiaoling, and they may continue to cooperate even after graduation.

There are also actors, Xu Jinglei, who need to mention Jin Yaqin, who reduced her pay for filming at the beginning. During the filming, she cooperated very well and worked hard, showing the professional qualities of an old actor and contributed a wonderful performance.

Then it is reasonable to ask everyone to go to Tokyo for a walk.

This film has little to do with Lin Zixuan, but many things cannot be calculated like this, just treat it as a relationship.

"This is a good thing. Since you are willing to spend money, it's good for them to see it." Zheng Dongtian agreed.

"That's the filming of "Spring in a Small Town"..." Lin Zixuan asked.

"I really like this book, but I'm afraid that there are too many things and too many thoughts to make it so I can't feel it." Zheng Dongtian hesitated, "You have to really calm down when shooting this movie. I'm on the cusp now."

Zheng Dongtian is talking about a tit-for-tat debate in the domestic film industry.

In 1996, it became the norm for introducing Hollywood blockbusters. Everyone became accustomed to it. The audience's enthusiasm for Hollywood blockbusters gradually cooled down and they were no longer so popular. However, a debate about "what is a movie" started in the film circle.

One side believes that film is an art first and an industry second.

The other side thinks that film is industry first and art second.

Hollywood blockbusters introduced in China are mainly based on action and science fiction. Domestic filmmakers have found that the degree of industrialization of Hollywood movies is far beyond that of countries around the world, so it is not an exaggeration to describe it as crushing.

The industrialization of the film and television industry refers to the viewing of films as a product. This process includes a series of industrial systems such as product development, production, marketing, and after-sales service.

The characteristics of Hollywood's industrialization are: star system, specialization, post-product marketing, cross-industry penetration, and globalization.

They advocate win-win cooperation, and everyone performs their own duties in this industrial system.

Correspondingly, in the domestic film industry, "circleization" is serious. Everyone is doing yours, and I do mine, and they don't interact with each other, and there is no way to form a complete industrial system.

Zheng Dongtian supports films as industrial products first and art second.

Since movies are industrial products, they must meet the needs of consumers, obey commercial principles, and act according to market rules. In this case, the artistry of movies must be paid attention to.

The other side insists that film is an art and an aesthetic, which uses light and shadow, sound and image to express your understanding of the world, which is humanistic care and aesthetic ideal.

Only when a movie is artistic is it a movie, and selling as a commodity is only an accompanying function.

Although it is just a dispute over order, it is still a dispute between business and art.

Another point is the "director-centered system" implemented by the domestic film and television industry for a long time, which gives directors great voice in filming and can create as they wish.

Once the film is admitted to be an industry first, the director's status will decline sharply.

Directors cannot make movies casually. They must consider the audience and the market, and there will be a position to limit the director's rights.

In Hollywood, this is the right to supervise the production, and most directors in Hollywood do not have the final editing rights. The director is like the actors in the production process of the movie.

The reason why this discussion is quite intense is related to this.

Domestic directors are used to controlling everything in the crew, and no one wants to be restricted. This situation is OK in China. If they cooperate with Hollywood film companies, they will not be spoiled.

Whether the film industry should be industrialized is a problem that the Chinese film industry must face.

If people could hide in China in the past and deceive themselves, then with the introduction of Hollywood movies, they saw the gap and wanted to pretend to be deaf and dumb.

If the artistic path cannot be done, if you continue, you will give up the domestic box office to Hollywood movies, and it will not work.

This debate is both a struggle of ideas and a fuse. (To be continued.)

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Chapter completed!