So You’re the Great Director Everyone’s Talking About?

One thing that the Chinese film industry and capital are doing is driving away the audience. One is the price of the movie, and the other is values. So now no one goes to the movies. Anyway, I haven't gone to the movies for several years. I am disappointed every time I watch it. I twist my values ​​as hard as I can. I can't stand it.

This book seems like the male protagonist doesn't make movies. The author seems to be deconstructing the movie's cliché of stepping on big names. If this is true, there is no need to set up the Nortel directing department for the male protagonist. This is unnecessary and will instead put a layer of shackles on the male protagonist. For example, if the male protagonist's Nortel teacher asks the male protagonist to stop bombarding people in the industry, will the male protagonist be bombarded or change his career? Since this kind of deconstructive commentary should be written with an outsider and an Internet capital background, so that the male protagonist can do things freely and not care about the idea of ​​​​internal entertainment. Otherwise, if you, an insider, just take advantage of other people to expose the shady story, it is tantamount to backstabbing the entire industry. There is no professional ethics at all. Who would like people who break the rules. To sum up, the male protagonist must have a background or capital, otherwise this kind of male protagonist will not survive for long. The power of capital is like Pandora's box, which is more mysterious and terrifying than you think.

He takes a video blogger too seriously. A lot of people scolded Jinlin Shisanchai and Nanjing Nanjing when they were released online.

I like this kind of Huayu novels so much. Nowadays, Huayu novels always win three Oscars? What era are we in now? Don't you understand foreign countries? For example, in the 90s or 00s of Rebirth, will my director pursue high box office without winning awards? Will he die? It won't be countless capital and coal bosses following you with checks. At most, the old guys attack the awards and say they have no connotation, but is this important to the reborn?

There is no need to read Huayu novels where the protagonist complains about other people's works, because he must have plagiarized other people's works and thinks that his own talents are great. What qualifications does a plagiarist have if he complains about other people's works based on the development of the times? ? ? Still riding a horse to show off that you have three righteous views? ? As long as the protagonist's three views are correct, he is not belittling others and highlighting his own plagiarism, but taking advantage of the gap between the times to lead this group of outstanding people of the era.

I feel like disenchantment is something that people are increasingly exposed to as China becomes more powerful in recent years. The disenchantment of celebrities, the disenchantment of foreign countries, the disenchantment of products, the disenchantment of life, the disenchantment of worldviews. Film and television works have always been a frontline in the struggle for the right to speak of value. I've read a lot of novels about film and television creation, and now it's very good to read novels that focus on film and television reviews. Even if some bad movies have been around for a long time, they are still worthy of criticism. After all, their shooting techniques are really good, and their distortions of values ​​and worldviews are also really distorted.

Nowadays, some directors' films are just for laughs. They don't understand the audio-visual language and have never experienced the life of a crew. They really think that they can copy classic movies if they know the plot. It's really ridiculous. Moreover, Chao didn't know how to copy good movies. He didn't watch Kubrick, he didn't know about Akira Kurosawa, he didn't know about films by Hou Hsiao-hsien and Bong Joon-ho, and he didn't write about things such as image style and lens performance that are extremely important to the director. It is recommended that before writing a director's article, you should watch a few good films and analyze the lens language of classic films before writing.

The author's aggression is too low, and what he considers to be the sharpest and sharpest artillery fire seems to the reader to be coquettish, limp and without any strength. So what was originally a bit of fun turned into frustration. The second point is that the author doesn't understand how to do self-media at all, and the copy he writes is far less interesting than the chapter says, and is very offensive.

The protagonist has offended the film and television industry, can there be actors behind the scenes? Even if you shoot it, what about burning your film? Where are you starring in Car Accident? Will the theater arrange a ghost scene for you? What about coordinating to steal half of your box office? So your movie won't be successful

If you want Westerners to understand what happened in Nanjing in 1937, you must tell it in a "language" that Westerners can understand... Regarding the Thirteen Hairpins of Jinling, there is nothing much to say except Zhang Weiping's saucy operations. After all, it was 250,000 lives. No matter how high the founder and guardian of the international safe zone is, it is not exaggerated. Not to mention Mo Yu's choice, in that life-and-death situation, exchanging my bad life for another possibility should be regarded as a sublimation of life in our traditional thinking!