Chinese Showbiz: Indulging in Fame and Fortune

I really don't understand why directors who like to make auteur films are so eager to have their own interpretation of the story. To use an imperfect analogy, I think a movie is like a car. The script is like the blueprint, the producer is like the factory manager who oversees the cost and quality of each stage, and the director, in my opinion, is like a senior assembler.

The didactic tone is too strong. Both a production-centric and a director-centric approach have their advantages and disadvantages; blindly belittling one is problematic. Both actually coexist in both China and Hollywood. What suits our national conditions is best, and currently, the lines between these two are narrowing. The economic base determines the superstructure.

Finally, there's a novel that doesn't just feature rebirth as a mere follower of others' success, nor does it attempt to forge its own path. The best thing about this novel, I feel, is that while knowing the advantages and following others' paths to success, it also tries to forge its own, even leading Huayu Entertainment to greater success.

This book is alright, it's good that it didn't mention those post-85s!

Does anyone really believe the younger brother is a son? I'd believe you if you said she slept with Hong, but I really don't believe she gave birth to a son. Sister Ba Yi is ambitious and clearly wants to become famous, so she's been filming and working very hard. She doesn't have time to have a son.

The company's shares are split as follows: Hu Ying 30%, Zhang 10%, Jiao 2%, and you 58%. Then, for the film's release, distribution, and theater revenue sharing, even with a 100 million yuan box office, the production company gets 40-40 million.

Aside from Bai Bai's book, this is the second book by Fan that I've seen, and I've started reading it. I like the tall and voluptuous type like Fan Bingbing and Jiang Xin.

Everything else is fine; it's just a lighthearted story with no major requirements. However, there's one particularly idiotic part: the way they handle media rumors is incredibly simplistic. They constantly come out to deny things. One day they say you're a traitor, the next they say you're soliciting prostitutes. Do you think you can just keep doing nothing but denying everything?

Well written. Lately, I don't know why, I've started to resist scrolling through Douyin (TikTok). I don't feel like I've been led astray because I'm speaking out against injustice, but actually, I have! Once or twice, I didn't feel anything, but after a while, I started wondering, is there something wrong with me or with society?

Everyone knows the advantages of a producer-centric system; Hollywood is demonstrating it. The problem is, there are very few directors who can actually make a decent, complete film. What's the point of a producer-centric system then? There are hardly any commercially successful directors who can make money; all the major studios are patronizing them. If you try to add a producer to their names, they'll tell you to get lost. Plenty of investors are lining up to get on board.