What kind of bad thoughts can the director have?

Chapter 33 Migrant Workers in the Film and Television Industry
Yang Shu had been working on the script for a while, and felt that it was not time to think about it. Hearing this, he asked her, "Do you think there will be problems with the settlement?"

Liu Man shook her head: "I don't know, if you don't get the money, you still don't feel at ease."

Jiang Shiyu also said: "Ru He probably won't do it because of Sister Tao's face, but he has to be careful. It's better to ask during working hours tomorrow."

Will billing really be a problem?
It's hard to say, of course it's possible, the film and television entertainment industry is no better than the construction industry for wage arrears, and there are often vigorous lawsuits.

Liu Tao has been in the industry for more than ten years and has gained a lot of experience. A few days ago, he told Liu Man a meaningful story of his own experience.

In 2002, Zhang Jizhong planned to shoot "Dragon Ba Bu", which is the version in which Liu Tao played A Zhu. When the script was adapted, Lao Zhang had a falling out with the director and terminated the cooperation, so he invited director Zhou Xiaowen again.

Zhou Xiaowen is a well-known director in China. He was ordered to take over the rest of the work when he was in danger. It took more than half a year to organize and manpower the adaptation before starting filming. Later, he also played the role of the sweeping monk in the play.

Judging from the quality of the later finished products, it can be said that his "Dragon Ba Bu" is the best among the domestic adaptations of Jin Yong's dramas, and has been widely recognized.

The relationship between Zhou Xiaowen and Zhang Jizhong was good when "Dragon Babu" was being filmed. The only disagreement was whether to choose "high-definition" or "standard-definition" shooting.

Zhou Xiaowen believed that high-definition technology was still immature at that time, and the TV station did not have corresponding playback equipment. After filming and broadcasting, it had to be changed back to standard definition. There was no need to use more expensive high-definition equipment to shoot.

The opinion was very reasonable, so "Tian Long Ba Bu" was finally shot in standard definition, which saved a lot of money.

This is entirely a discussion in the professional field, and should not have brought about conflicts.

However, this really brought about contradictions. Afterwards, everyone analyzed that the cost of shooting in standard definition was clear to everyone in the industry, while the price of high-definition was very scalable at that time, and it was very tricky.

As a producer, Zhang Jizhong has money and property in his hands. The director should have enough sensitivity and self-consciousness on some issues, and it is better not to intervene.

The production cost is saved, but this is a matter between the investor and the producer. What does it matter to you as the director?

Before the filming of "Dragon Babu" started, Zhou Xiaowen paid 60.00% of the director's fee according to the contract, and the rest will be settled after the production is completed.

However, after the filming, Lao Zhang turned his face, and did not pay the rest of the contract according to the contract, and even deleted the sweeping monk played by Zhou Xiaowen from the cast and credit list.

What Zhou Xiaowen can do is to call Lao Zhang's mobile phone constantly to ask for money, but the other party just refuses to answer, and his psychological quality is extremely strong.

In the beginning, director Zhou was very stubborn, and told the reporter: "Kill people to pay for their lives, and debts to pay for money. This matter is endless."

There is nothing wrong with saying it, and it rhymes quite well.

The reporter went to ask Zhang Jizhong if he was in arrears of salary, but Lao Zhang didn't deny it, and said lightly: "I didn't get all the money for this project...No problem."

But everyone knows that the 2003 version of "Tian Long Ba Bu" was very popular and ranked first that year.

In addition, Lao Zhang was the leading producer in the industry at that time, which investor would dare to owe him money?

This matter has been hanging on like this, and my friends couldn't see it and suggested legal means to solve it. As a result, Zhou Xiaowen's stamina was exhausted: "Think about it again."

This happened 11 years ago. At that time, Yang Shu was only ten years old. A student in the fourth grade of primary school, if he heard about it, he might not even think about it and shouted: "This is a stinky hooligan!"

However, now that I hear about this kind of thing, I am a little numb. The film and television industry is full of hooligans, and it is the same all over the world. The more developed the film and television industry, the more arrogant the hooligans are. It is not surprising.

He played tricks in the film and television city, and was often owed wages by the group leaders.

So after hearing this story, my first reaction was: "Director Zhou was retaliated against for a suggestion that cut off people's fortunes, so did I really offend someone because of something?"

He quickly came to a judgment again: "Maybe I really offended people when I proposed the B lottery. Confucianism and peace didn't matter before, but later "Lovers at the Table" became a hit, and I had to pay hundreds of thousands to Lao Tzu once the account was settled, so it was true. Not happy anymore."

Thinking about it this way, it seems that Sister Tao's analysis is correct. Ruhejian invested 30 yuan for her face, and Yang Shu is not qualified to negotiate terms.

"Tian Long Ba Bu" probably earned tens of millions of dollars. Neither the investors nor the producers were grateful to Zhou Xiaowen, and even deducted hundreds of thousands of director fees to make him dumb and eat coptis.

"Lovers at the Table" earns much less money, and the investors and producers are even more unlikely to be grateful to him as a screenwriter, not to mention that this small screenwriter is still playing tricks to get hundreds of thousands more, which is simply unreasonable.

So he analyzed that Ruhe cut off contact with him because he didn't want to have suspicions with Hua'er Film and Television.

After all, Yang Shu is only in his early twenties, a student who dropped out of school due to time travel, and his social experience is too poor. Although there are reasons for being stupid, others must be willing to excuse him.

However, these are still wild thoughts of planning for a rainy day, and Liu Tao is just a kind reminder based on Ruhe's first hotness and then coldness, maybe he is thinking too much.

Liu Tao has cooperated with Zhang Jizhong more than once. Three years ago, she also participated in the 2011 version of "Journey to the West", playing the role of Guanyin.

Her experience is: "Be careful with your words and deeds and don't offend others. If you offend, find a way to remedy it early."

Although Nie Wen didn't call during this period, Liu Man has been in touch with Ruhe's marketing department to understand the effective broadcast data of "Lovers at the Table", and the other party is quite polite.

So the next day she asked the marketing department about the follow-up settlement, and the other party replied very professionally: "We have a good settlement mechanism with each platform, and it is usually very timely. As for your project share, as long as the producer pays you according to the contract The financial department can just make a report and execute it.”

It sounded all right, so Liu Man took the initiative to call Nie Wen again, and his reply was: "Director Liu's director's fee has been settled, and as for the share of the copyright fee, when the time comes, Screenwriter Yang can just find me."

What Nie Wen said seemed to be okay. The contract was signed by Yang Shu, so of course he was the one to settle the settlement.

But Liu Man didn't understand it that way: "I asked about your royalties, but Nie Wen first emphasized that my director's fee has been settled. The implication is that this matter has nothing to do with me. It seems that we must be careful. We will settle the payment as soon as the time is up." .”

Yang Shu didn't want to guess wildly anymore, so he would go to settle the settlement in time, and if there were any problems, he would be open to action. Unlike Zhou Xiaowen, he had many scruples, and he was not afraid of wearing shoes when he was barefoot.

As an artist, he prefers to focus on creation, and dealing with these trivial matters is obviously not his interest and strength.

Liu Man said that she would keep an eye on this matter, so Yang Shu focused all his attention on creation and finalized another script as soon as possible.

He talked about the new idea: "I have been writing the storyboard of "Beauty Tax" for the past few days, and suddenly I had an idea in the middle of the night last night. If so, it might be better."

Liu Man also studied choreography and directing, and he understood quickly: "You mean to make up a play similar to "Lovers at the Table"?"

The routine has been popular since ancient times, and Liu Man's performance in "Lovers at the Table" is very popular. Although it is not yet popular, it has left a deep impression on some audiences.

Yang Shu really wants to continue some of the key elements of "Lovers at the Table" in the new work, and further strengthen Liu Man's image, which is good for future development.

"It's not a drama similar to routines. Our new work must improve, it must be more exciting than "The Lover at the Table", and the plot must be more unexpected."

In fact, Yang Shu already had a rough idea, but he didn't tell Liu Man directly about the plot: "The most important factor in the story of "Lovers at the Table" is traveling through time and space, so I plan to write another play about time and space."

Liu Man was noncommittal about this: "A person travels to another time and space to have a story. The structure is basically similar. What special tricks can this play?"

"It should be possible," Yang Shu said confidently, "I'll write it in these two days."

(End of this chapter)