"How could you do this? It's so bad." When Sun Li heard this, she couldn't help showing a disappointed expression. She didn't expect that Li Xiaole would say such a thing. The little goodwill she had built up during the previous period was immediately gone.

"As good friends, you help me and I help you. I think this is fair." Li Xiaole shrugged his shoulders matter-of-factly.

Sun Li looked at Rong Yingying who was so frightened that she couldn't speak. Then she thought of her classmates who were deceived by circus tricks and shed tears every day. Her heart softened and she could only look at Li Xiaole helplessly and frowned: "Okay...

…Isn’t it just a scene? There’s a sex scene, a kissing scene...do I need to take off my clothes?”

"Absolutely not. It is produced by China Film Group, and it is 100% positive." Li Xiaole said with a smile, thinking to himself, you have a good idea. I am not Ang Lee, but there is no way I can shoot a sex scene to be nominated for an Oscar.

"Platoon Leader Sun, you can't take the job~ You have signed a contract with your company now..." Rong Yingying advised Sun Li nervously, but Sun Li shook her head: "It's okay, I'm just training now anyway, and I have nothing to do.

.”

Seeing Sun Li nodding happily, Li Xiaole stood up and said, "You can come to the crew to report tomorrow." After leaving these words, he suddenly felt something was wrong and found that he had forgotten something. He turned around halfway and picked up the table to pay the bill in a cool manner.

Shan shook his head in front of them and said: "I'm here for a blind date with you two today, so I'll treat you to this meal."

He left the two women who were glaring at him bitterly and went to check out with satisfaction. After so many blind dates, this was the most comfortable time to check out.

***

A week later, the weather in Chu and Zhejiang gradually turned colder, and Li Xiaole began to put on long sleeves. But when he and Ning Hao stepped into the Beijing Film Conference Building, they felt an extra chill, and Ning Hao couldn't help but tremble.

Shivering, they are here today to attend China Film Group's last quarter film investment meeting.

"Are you cold? Director Xiao Li?" Li Xiaole heard a deep and penetrating voice and felt his shoulder being pinched by a strong palm. He turned around and saw Jiang Wen's rough face, as well as Wei Xiao next to him.

He greeted him solemnly.

"Why is there such a strange cold air in this place?" Li Xiaole asked, feeling a little strange.

"Of course it's cold." Jiang Wen said with a deep look on his face: "It's not only you who are cold, but also all Chinese movie makers."

"Teacher Jiang, are you afraid of the cold?" Li Xiaole understood the meaning and looked at Jiang Wenwen with a smile.

"Am I afraid of the cold?" Jiang Wen looked at him with strange eyes, and also smiled. He put his face closer and lowered his voice and said: "I grew up in the cold weather, but I can bear it, no.

On behalf of others who can bear it, during today’s meeting, you should remember one thing. You must be able to endure everything. Don’t say anything you shouldn’t say, and don’t hold out any hope. If you have it, you will have it, and if you don’t have it, you won’t.”

"Yeah, I understand." Li Xiaole understood the meaning and nodded: "We, the second studio, have no say."

"Wrong~" Jiang Wen shook his head, hugged Li Xiaole, pointed to his mouth and said in a very penetrating voice: "It's because the mouth that speaks is not on our faces."

After saying this, both of them smiled knowingly. As more and more production directors from various group branches came to the door, Li Xiaole found that everyone had a low and depressed look on their face.

Originally, launching a project and applying for investment was a very exciting thing, but everyone seemed to have no hope in this matter. Although no one talked about it openly, everyone knew the reason.

.

In the China Film Group, setting up a project can be simple or complex. As long as there is a script, every production director can become a project director. But whether the filming license can be approved and the group's investment is another matter.

.

Many people have misunderstood one thing. Everyone thinks that China Film Group has the power to share the revenue of imported blockbusters, so China Film Group can make many movies with a lot of money. In fact, the reality is very different from people's impression.

It is a fact that China Film’s largest revenue comes from production and distribution. It makes huge profits of hundreds of millions every year, which makes other private film companies only salivate and envy. But the revenue from this area is a separate project, that is to say

The profits from China Film Production and Distribution belong to the Production and Distribution Department and have nothing to do with the Production Department.

It does not mean that the money earned from production and distribution can be used to make movies. In fact, these are two completely different concepts. The profits from China Film Distribution are mainly used to run the normal operation of the entire China Film Group.

China Film Group’s real film production funds are allocated annually by the State Administration of Radio, Film and Television, its directly subordinate unit.

The films produced by China Film are mainly divided into two types, one is called "key films", which mainly complete the filming tasks of films that promote the main themes married by the country, and some educational children's films. The funds for these films are

The State Administration of Radio, Film and Television will guarantee its investment in special funds, and the income will be almost zero.

These two projects can only be set by the state, and no production director is willing to take over them.

The second type is called "profit-making films", which are handled by Han Sanpin's Second Studio and Yan Fusheng's First Studio.

The investment in "profit-making films" is basically based on the ups and downs of the mainland film market. In 2001, the mainland's full-year production income was only 40 million yuan, and China Film Group alone invested 45 million yuan in it.

The total loss of the 23 movies filmed reached more than 9 million yuan.

So in 2002, the funds issued by the State Administration of Radio, Film and Television for the production of "profit-making films" were only 34 million. However, after the reorganization of China Film Group Corporation, there were hundreds of production directors, and everyone was eagerly staring at this piece of pie.

If "profit-making films" can make money, then all the money earned can be used to shoot movies of the same studio, and the group will even subsidize some.

But even under such preferential policies, few of the hundreds of production directors under China Film Group can make their own blood and shoot a second film.

It may be difficult for people in the future to imagine the difficulties faced by mainland Chinese films at that time. From the late 1970s to the early 1990s, mainland films maintained an impressive record of an average of 0.0 billion viewers per year.

But in the mid-1990s, when American Hollywood films entered the Chinese market, the popularity of DVD players, and the impact of rampant piracy, the Chinese mainland film industry encountered an unprecedented cold winter.

The total national box office in 1998 was only 1.45 billion. In 1999, due to the bombing of the Yugoslav Embassy by the United States, Hollywood movies were stopped for five months. The box office for the whole year was only 840 million. By 2000, the number of moviegoers nationwide dropped to only 840 million.

The freezing point is over 100 million.

Domestic films once only needed a few hundred thousand commercial box office to enter the top ten of the mainland film rankings in the country. However, compared with the average investment amount of each film, which exceeds 10,000, the film industry has become an area that all commercial investors are discouraged from.

In this era, in the entire film industry in mainland China, which has been hit by Hollywood and piracy, there are only four directors who can make money making movies. These four directors are also known as the three masters.

At the top of the list is Chen Kaige, the leader of the fifth generation of directors. Different from the impression given by later generations of frequent bad films, Chen Kaige not only made the pioneering work of the fifth generation of directors, "Yellow Earth", which caused a sensation in the entire film industry.

And it also allowed later great directors such as Zhang Yimou and He Pin to willingly serve as deputy directors. Later, with "Farewell My Concubine", a masterpiece of mainland films, it won the Cannes Film Festival, including the Palme d'Or.

It won eight awards, which is a unique achievement in the history of mainland films.

Both artistically and commercially (overseas box office calculations), he is known as a flagship figure in mainland films.

The second one is naturally the radiant master of later generations, Zhang Yimou. During this period, Zhang Yimou and Chen Kaige were the masters of art films. Whether it was "Alive" or "Red Sorghum", they could be compared with "Yellow Earth"

A masterpiece comparable to "Farewell My Concubine".

Due to Zhang Yimou's high output and Gong Li, a golden brand in the international film industry, Zhang Yimou's reputation in the world film industry is even slightly higher than that of Chen Kaige. The two master titles are well deserved.

As for the remaining master, it is actually composed of two "half-masters". One of them is Feng Xiaogang, who makes Beijing-style comedies. In the cold winter period of Chinese movies, neither Zhang Yimou nor Chen Kaige can reproduce their 4,000 domestic box office hits.

With a brilliance of 10,000 yuan, only this "Yeluzi" origin director of the Lunar New Year film has stirred up the flag of the domestic film winter period.

However, although director Feng Xiaogang's film style is unique and very attractive to the general public, he cannot receive high praise from the picky filmmakers in the industry. Therefore, he has always been given the title of "Master" and has not

He is recognized by the industry, but is liked by the common people and not highly regarded by the industry, so he can only be regarded as a semi-master at best.

And most importantly, Director Feng's films are relatively localized and cannot be understood by foreigners, so they have little international influence.

The last "half-master" is Jiang Wen next to Li Xiaole.

Except for the above four people, whoever makes "profitable" movies basically loses money. Don't mention hematopoietic function at all. In the past, movies were supported by the state, and studios invested and produced by themselves, bought them by themselves, and made movies by themselves.

For broadcasting, the production director can get a fixed commission, and as long as the project can be launched, he will not have to worry about food. But now, everyone is a mud Buddha crossing the river and cannot save himself.
Chapter completed!