A group of people talked about the needs of the film market and audience from the story of the movie to the form of the movie.

They look at the problem from the perspective of directors and do not represent the attitudes of film and television companies and theaters. The two are often opposite.

The director wants to make the films he wants to shoot, while the film and television companies and theaters need to make money. The audience wants to see good movies. The difference between the three lies in the definition of "good movies".

"You think art films are good movies, theaters think that money-making movies are good movies, and audiences think that good movies are good movies." Lin Zixuan said, "Everyone has different standards, so it requires all parties to compromise."

At present, the audience's influence will become increasingly greater.

In the past, the director told the audience what a good movie was. They were a leading role because domestic audiences could not see other movies and had no choice.

Now it’s different, the audience can say “no” to the director, this is the change in the market.

However, there is also a situation where viewers like to watch Hollywood commercial blockbusters, and domestic film and television companies will shoot such films in order to make money and to cater to the audience.

Over time, commercial films have flourished, squeezing the market for art films and making art films lose space for survival.

This is an overcorrection. Many things in China have developed to the end.

What Lin Zixuan wants to do is a balance between business and art.

Everyone has different opinions on the newly rising sixth-generation directors. Tian Zhuanzhe supports the sixth-generation directors, and he supports many young directors and helps them.

"They have ideas and creativity, and they also have problems with insufficient experience." Tian Jingshi said objectively, "Unlike us, they are more bold and dare to shoot some taboo subjects. It is not just that this type of subject, but that they have gone further."

The media has never stopped criticizing the sixth generation of directors.

For example, accusing them of being too small, having too shallow thoughts, lacking standards for judging right and wrong, and being overwhelming individualist ideas, etc.

According to Zhang Yimou, the petty bourgeois mood and self-awareness are too strong.

The fifth generation of directors feels that they have a sense of responsibility and mission, and their films are often idealistic and romantic.

The sixth generation of directors is exactly the opposite. They are realism, which is related to their life experience. They are often excluded and wandering in society, and want to take the opportunity to vent their depression.

They are unwilling to praise the mainstream and cannot get to the upper class, so they can only make underground movies.

This topic is quite heavy, and Lin Zixuan revitalizes the atmosphere a little.

"Brother Jiang is the sixth generation, and he has the most say in this issue." Lin Zixuan joked.

"I am not the sixth generation. I agree with some of their ideas, that is, when making movies, you should try boldly and don't care about any rules. There are no rules for the movies, or rules are used to break them, but my creative philosophy is different from them." Jiang Wen explained.

It is difficult for some directors to divide it by the generation, such as Jiang Wen and Feng Xiaogang.

Although Jiang Wen's movies have ideals and romantic feelings, they are not a type of reflection on history. They should be said to be nostalgic, so he does not belong to the fifth generation director.

The works of the fifth generation directors have always been inward, closed and cramped in terms of spatial form, which has a close correspondence with the living environment of Chinese people.

The spatial form of Jiang Wen's movie is outward, open and stretched, and it leads people to a wider world.

If the fifth generation director was filming the story of the yard, Jiang Wen jumped out of the yard and stood on the roof.

It’s even harder to say about Feng Xiaogang. He is not a professional and has not yet formed any style, let alone the generation, but he has been seeking innovation and change.

Lin Xiaoling is the sixth generation here, but she has not graduated yet. Even if she made a movie, she still belongs to the younger generation.

There are no reporters in the hotel conference room, and everyone talks very realistically and not hypocritically. They mainly discuss the current situation and future of domestic films.

You can listen here to the benefits of learning more than taking classes in school, which is equivalent to a high-end forum in the domestic film industry.

The directors were very interested in the last topic when will world-class movie masters appear in China?

This movie master does not mean how many awards he won or how many movies he made, but whether he had contributed to the development of the movie, either creating a new way of shooting or creating a new genre of film.

In short, it is the kind of person who can leave a name in the history of world cinema.

Even the confident Jiang Wen dared not say that he was a movie master, that was just one of his goals.

So, everyone is discussing how long it takes for a world-class movie master to appear in China. This is just guessing and chatting.

Compared with the modesty of Zhang Yimou and others, Mark Muller is full of confidence.

"I don't think you have realized how much the changes in China are. I feel differently every time I come here. In this huge social change, it is easy to inspire creative inspiration." Mark Muller sighed. "You may not have masters yet, but you already have directors of the same high level as other countries in the world. I believe that masters will not be too far away."

Everyone was quite happy about this exchange, and Mark Muller praised "Spring in a Small Town".

I think this is a film that shows the life and emotions of Oriental people. There are also films such as extramarital affair themes in the West. Westerners are more proactive and enthusiastic, and are not as tactful and implicit as Oriental people.

Especially the setting of a small town shows the extremely vivid image of the marriage status.

Marriage is like a small city. The heroine likes to wander on the city walls, symbolizing wandering on the edge of marriage. She wants to go out of the small city and pursue happiness, but is also bound by the small city.

This film has an oriental charm and Western philosophy.

Mark Muller believes that "Spring in Small Town" will be in line with the tastes of the judges. The judges at the Venice International Film Festival are mainly European filmmakers, and occasionally invite filmmakers from Hollywood or Asian regions as judges.

Next, Zhang Guoli and Xu Jinglei will follow Lin Zixuan to return to the capital, and their scenes are over.

Zhang Guoli is going to participate in the filming of "A Sigh", and this time he will be the protagonist of the movie.

Xu Jinglei wants to continue to play the role of Yu Jiaolong in the post-letter of "Crouching Tiger, Hidden Dragon". After the filming of "Spring in Small Town", her acting skills have improved significantly.

I believe that playing Yu Jiaolong again will have a different feeling.

At the same time, Li An, who is far away in the United States, received a script written by Lin Zixuan and four books in the "Crouching Tiger, Hidden Dragon" series.

There is another story about Master Li Mubai. Lin Zixuan did not write it. That story has little to do with the main line of "Crouching Tiger, Hidden Dragon". I will talk about it later. (To be continued.)
Chapter completed!