Lin Zixuan was invited to attend a symposium organized by the Board of Directors of the Xiangjiang Golden Awards.

The theme of this symposium is the cooperation and exchange between Xiangjiang and the mainland film industry, and the attendees include representatives of member representatives from various associations in the Xiangjiang film industry.

These associations are non-governmental organizations, but they have great influence in the Xiangjiang film and television industry.

At present, there are differences between the filmmakers in Xiangjiang. Some people plan to go north and develop in the mainland, while others choose to stay behind and insist on making in Xiangjiang.

Even those filmmakers who want to enter the mainland have concerns. They lack access to the market and do not understand the market.

Or there is no communication channel, both the official and the public, so you can't go to the mainland to say that the movies I shoot must make money, so you can invest in it.

In fact, there are such characters.

It is not uncommon for Xiangjiang filmmakers to pretend to be cool, pretend to be awesome, and deceive investment in the mainland, but that approach can only deceive laymen, and regular film and television companies generally do not believe it.

Wen Jun is familiar with the mainland, and he also believes that Xiangjiang filmmakers find it difficult to adapt to the rules of the mainland market.

The main purpose of this symposium is to understand the market conditions of the mainland film market, let them clear away the fog, and realize how to adapt to the mainland market as soon as possible.

The box office of "Hero" exceeded 200 million, allowing Xiangjiang filmmakers to see the potential of the mainland film market.

The production of Xiangjiang movies is declining, and the number of films co-produced with the mainland is growing.

There are two problems.

First, the growing dependence of Xiangjiang films on the mainland market, and second, in the face of the different needs of audiences in the two places, it is indeed difficult to produce a film that meets both mainland audiences and caters to Xiangjiang audiences.

As the boss of the largest private film and television company in the mainland, Lin Zixuan is fully qualified to answer their questions.

He wanted to take this opportunity to express his opinion. The mainland needs professional filmmakers, not gold diggers.

Lin Zixuan knew that there was no shortage of wealthy bosses in the mainland. He had met him himself if he wanted to enter the film and television industry to play a ticket, or to promote a new actress.

A coal boss found Haomeng Company and was willing to spend money on filming movies, but he had to designate the heroine. It doesn’t matter whether the movie was released in the theater or not, it can be used as a personal collection.

That is, for millions of things, the bosses don’t care at all.

He roughly introduced the current situation of the mainland film and television industry and the things to pay attention to when filming. Some of them are known to everyone, and some are still brewing speculations.

The State Administration of Radio, Film and Television formulates policies to not only listen to the opinions of mainland filmmakers, but also take care of the emotions of Hong Kong people.

"I think co-production is a trend in the future. Our Good Dream Company welcomes you to the mainland to work together and seek development together." Lin Zixuan said in a scene at the symposium.

Many major directors and celebrities participated in the symposium, including Xu Ke, Zhou Xingchi, Chen Kexin, Liu Dehua, Er Dongsheng and Chen Jiashang.

As the host, Wen Jun is responsible for bringing up topics and activates the atmosphere.

In fact, the atmosphere on the scene was not very good, and some Xiangjiang filmmakers had a lot of opinions on the mainland film industry.

"I think the censorship system in the mainland is too strict. If you delete it and cut a drama until it is suitable for the mainland, the co-production will become an inappropriate movie." Chen Kexin complained.

This is where most Hong Kong filmmakers don’t adapt.

Xiangjiang films implement a rating system, and both *** and murder films can be released in theaters, and they rarely need to be deleted, so they find it difficult to grasp the censorship standards in the mainland.

Especially in communication, they cannot understand the meaning of the State Administration of Radio, Film and Television.

"This aspect can be negotiated. As long as it is a really good film, I believe there will be good results. We are responsible for solving the review work, so you can film with peace of mind." Lin Zixuan responded, "This is the case with "Infernal Affairs" and is divided into two versions, Xiangjiang and Mainland, which is also market demand."

Since the movie wants to be released in the mainland, it must meet the needs of the mainland market and the mainland.

Good Dream Company has rich experience in passing the review. Rules are dead and people live.

There are no certain standards for movies. On the premise that the censorship system cannot be changed for the time being, we must try to ensure the artistic and completeness of the movies as permitted by the rules.

"Why should a co-production be made with a proportion of Hong Kong actors and mainland actors? Can the arrangement of actors be strictly proportional? Some people speak Cantonese, some people speak Mandarin, and they have to work hard to explain why this person speaks Mandarin, which is too troublesome." Some people said dissatisfied.

"You can consider it from the perspective of the market. The film is released in the mainland, and having mainland actors participate in it can attract the audience. Moreover, since it is a co-production film, it means a comprehensive cooperation between the two filmmakers. In terms of funds, plot, behind-the-scenes staff and actors, otherwise what is the difference between it and Hong Kong films?" Lin Zixuan explained.

"Hong Kong films have always had their own characteristics, which are closely related to the life of Hong Kong Island. Once they enter the mainland, they use mainland actors to shoot mainland plots. Is Hong Kong film or Hong Kong film?" Someone worried.

This is a view. Many Xiangjiang filmmakers call for maintaining the purity of Xiangjiang films, insist on using local funds, local actors, and abandoning the mainland market.

Some people have also chosen to integrate and try to maintain the flavor of Hong Kong films as much as possible.

It depends on everyone's choice, and there is no way to force it.

It’s just that Hong Kong movies have reached the worst era, and persistence or integration is a question they need to consider.

There was a similar debate in the Xiangjiang film industry as early as 1997, when a wave of immigration appeared in Xiangjiang.

A large number of filmmakers immigrated abroad before returning, including many big stars.

Zhou Xingchi also applied for immigration to Canada, but during the process of applying for an immigration visa, he was considered to have a gang background but had to give up immigration.

Those immigrant filmmakers have not had a good life abroad. Some people describe their situation as third-class citizens: waiting for food, waiting for sleep, and waiting for death.

Some people chose to try their luck in Hollywood, but the results were not ideal. Except for a very small number of successful people, most of them suffered financial losses.

Now, the filmmakers who immigrated at the time are slowly coming back and facing a choice again, and this time they are developing to the mainland.

"Hong Kong films are part of Chinese films. It is not that the taste of Hong Kong films has changed, but that the market has changed and the taste of the audience has changed." Lin Zixuan said in a deep voice.

It can also be said that the era of Hong Kong films has passed.

Due to geographical restrictions, Xiangjiang cannot support such a large film industry. With the development of the mainland economy and the opening of the market, it will be a matter of time before cooperation with the mainland.

The discussion at the symposium was not pleasant. Some people did not recognize the situation, but perhaps they still insisted, had prejudice against the mainland and regarded themselves very high.

It can be foreseen that Xiangjiang Film and the Mainland will go through a process of running-in and adapting to each other.
Chapter completed!