China's films have become a stage for all capital services, and all the purpose is to make money. Fresh meat can attract fans to bring box office, so 90% of the funds are invested in actors, so the money that should have been spent on special effects is naturally gone. In order to conform to the image of actors and the influx of capital, it is even more impossible for screenwriters to be regarded as the first in foreign countries. This is first caused by capital.
But if you say that China movies are hopeless, that's impossible! Nowadays, most of the good movies in China are created at the stage of lack of funds, and the box office and word-of-mouth are completely out of proportion. Take the domestic movies released last year as an example. Among the top 10 domestic films of Douban, only operation mekong broke 10 billion, and the stunning kneeling of A Hundred Birds in the Phoenix only earned 80 million, while Bigan's Roadside Picnic only earned 6 million.
Of course, you can say it's the number of films, but I think it's the audience's own taste in films. The box office of a movie is ultimately determined by the audience. No one will watch the shoddy films, which will naturally lead to a decrease in the number of films and give good films a certain status. But what I saw was the domestic "blockbuster" with bad reputation and general special effects that the audience flocked to. The taste of the audience cannot be improved overnight. From the small screen that the audience usually looks at, we can see the reasons for the present situation of the big screen. How to guide the audience and make them automatically resist bad movies? This is the way out for China movies.
I also want to say something about the types of movies. Because China's film technology is immature, without the accumulation of Hollywood film technology, he can't make a commercial film comparable to Hollywood. Only by slowly learning from Hollywood and investing capital in technology can it be completed. But you said that a qualified commercial film, I think Monster Hunter should be a good example.
"The box office of American movies has gone from 654.38+0 billion yuan to 654.38+0 billion dollars, which has gone through 30 years. In China, the box office in 20 10 was 10 billion RMB, and it reached 55.9 billion RMB in 20 17, so it is predicted that it will exceed 10 billion USD in 2020. " Liu Gang, executive general manager of Shenzhen Venture Capital, once predicted that we can complete the 30-year development track of the United States in only 10 years, so the development space of China's film industry is still huge.
This "fat" has attracted the attention of many capitals including VC/PE institutions. In 2009, Yiyi Film and Television Culture Equity Investment Fund was formally established, claiming to be "the first RMB private equity investment fund with film and television culture industry as its main investment direction" in China. 20 13 Oriental Fuhai, which started to invest in film and television culture, also set up a special film and television culture fund. In 20 15, Shenzhen Venture Capital jointly launched Nortel Red Earth Film and Television Culture Investment Fund with an initial scale of 2 billion yuan. Now almost all large and medium-sized VC/PE have set up film and television investment departments, or simply set up film and television sub-fund companies.
At present, there are two main ways for VC/PE to invest in China film industry: one is to invest in film or film and television institutions alone. In 20 14, jingwei venture capital invested in Han Han's "the future is boundless", and the production cost was 60 million. After eight months of investment and production, it has achieved a box office return of more than 600 million yuan, which has become a typical successful case of VC/PE institutions investing in movies. The other is for related companies in the upstream and downstream of the film and television culture industry chain. In 20 17, the "Top 3" was released 18 days, and the box office accumulated over1900 million. The marketing promoters and co-producers behind it have made great contributions to the media. It is worth mentioning that the investor behind the free media is the local veteran PE institution Tongchuang Ye Wei. The entry of capital makes every link of China film industry full of vitality.
Roughly speaking, China's film industry allowed private capital to enter for only 15 years, but it has become the second largest market in the world, which is a legend. Looking back, this market-oriented force is not strong, destructive and sweeping. Today, Bayi Film Factory has become history, and China films are creating their own new history.
China's film road has been on the road since the introduction of films. The way out lies in the integration of China films into the world film art, which is a process as well as a process. If not from a backward country, but from a rising country or a country that is reviving. With the revival of Chinese civilization, China's films will be based on world civilization, but on the forest of world films. If you don't look at it with paranoid eyes, China's films have been developing, both good and bad. That's the way it is, Yin and Yang coexist. This is in line with China, a country with cultural heritage. All ups and downs are accompanied by the ups and downs of this country's civilization, or high tides or low valleys. We have the characteristics of tolerance, learning and integration, and are good at learning excellent culture and integrating excellent civilization.
Filmmakers in China have been trying and imitating. There is also a market economy that blindly pursues movies and pursues maximum benefits. How's this? Now is the reality. You said it was flawed, you said it was flawed, and the shortcomings were very obvious. But this does not affect some real filmmakers' thinking about China's films. Those works that pursue the maximization of market economy interests and are good at hype are short-lived after all and will be submerged by film history. If you look at it pessimistically, you are a little sad at the moment. If we look at it optimistically, we should be prepared for the revival of Chinese civilization and work hard for it. You can't slack off on the current shortcomings. To prepare for the cultural output of film art, the future should be bright.