director of the millennium

"So, the final result is that Da Tiantian went to the crew of "The Taoist Goes Down the Mountain"?"

"Oh my god, why was Director Kaigo the one who got hurt in the end?"

Wu Yuan, who took time out of his busy schedule to return to the company, burst into laughter after learning the final result.

“I heard that the road administration directly invested money, and Starlight Brilliant became one of the main investment companies of The Taoist Goes Down the Mountain. In addition, they also used Legendary Pictures’ relationship in North America, which helped Chen Kaige get the job done.”

"Of course, the most important thing is that Sister Zhiling's role seems to be just a vase. If she is replaced with a vase, Director Kaige can still compromise and accept it."

"Tsk, tsk, tsk." Wu Yuan shook his head and sighed: "I remember that "The Taoist Goes Down the Mountain" was also a Sino-US co-production, right? It seems to be made with Columbia Pictures?"

"I don't know what these people in the industry are thinking. There hasn't been a single successful co-production case so far. Why are they still scrambling to do such thankless projects?"

"It's not a failure, either. 'The Forbidden Kingdom' was a success." Li Xiaoping corrected Wu Yuan's mistake.

"Is "The Forbidden Kingdom" a success?" Wu Yuan shook his head and said, "I still think that two versions of the same film are more promising."

"How is the one-book-two-shoot project we're doing with CJ E&M going?"

During the filming of "Ready Player One", Wu Yuan always took time out to come to the company, of course not to chat about the follow-up gossip of the road administration.

He came to the company today mainly for two things.

The first thing is this one book, two shots project.

The cooperation between Chinese and Korean films began as early as 2000. As Chinese films entered a period of rapid growth, the film industries of China and South Korea began to carry out in-depth cooperation in the investment field.

The main mode of cooperation at the beginning was mainly based on actor output.

Subsequently, Sino-Korean film collaborations began to become more frequent. For example, China's international superstar Zhang Ziyi took on the role in the Korean film "The Warrior".

At that time, South Korea's popular male star Song Seung-heon participated in the filming of "Sunset Angel" directed by Hong Kong director Yuen Kwai.

The most sensational collaboration between Chinese and Korean actors must be "The Myth" in 2005, starring Kim Hee Sun and Jackie Chan.

After the successful collaboration between the actors, the China-Korea film cooperation has deepened into the behind-the-scenes work.

"Assembly", released in 2007, employed a Korean special effects team to create the war scenes, marking the beginning of a deeper level of cooperation between the Chinese and Korean film industries.

Last year, Huayi also co-invested with South Korea's SHOWBOX to shoot a film called "The Great Ming Ape", with a total investment of 2000 million US dollars. Huayi invested more than 1/4 of the money, which is a big deal.

The film uses 100% 3D shooting techniques combined with CG post-processing. The role of the gorilla is created through real-life motion capture technology, which is the first time in Korean film history.

The image of the gorilla in the film was created with extensive use of motion capture and CG technology.

It is not surprising that a product of such exploration of new technology would ultimately fail at the box office.

The box office in mainland China was 1.12 million yuan, and the box office in South Korea was less than billion won. In short, there was no return on investment and the film lost everything.

However, the failure of this movie still cannot stop Korean filmmakers from exploring the Chinese film market.

It is true that the growth of the mainland film market in recent years has been too exaggerated, doubling every year and has already surpassed Japan and South Korea.

Just like Korean TV dramas and idol groups come to China to make huge money, Korean film companies naturally want to make money in China as well.

Among them, CJ E&M, which has a good cooperation with Guangying Times and is still co-producing Korean dramas, has come up with the idea of ​​developing Chinese and Korean versions of the works simultaneously, considering the cultural differences between the two countries.

This is the origin of the "one book, two films" cooperation mode. This is a new model of Sino-Korean cooperation and a milestone attempt and exploration in the history of film.

The greatest significance of "one book, two versions" is that the Chinese version serves the Chinese audience, while the Korean version serves the Korean audience. Although the main story of the script is the same, the specific plot is completely localized and written by the Korean and Chinese screenwriters themselves, taking into full consideration the cultural differences between the audiences of the two countries.

This is different from the situation of "remake movies".

After CJ E&M decided to try this "one book, two films" cooperation model, the first company it approached was Guangying Times.

The truth is that the two companies have already had a lot of cooperation. When it comes to doing business, everyone tends to cooperate with old friends and will not rashly choose new partners to increase risks.

Wu Yuan, who had always disliked cooperating with foreign companies in making movies, did not refuse after receiving Li Xiaoping's message this time, but agreed instead.

"Are "Miss Granny" and "20 Again" the scripts of the Chinese and Korean versions of the same book being filmed in two versions?"

Pointing to the script he had just read on the table, Wu Yuan finally felt relieved after getting Li Xiaoping's affirmation. This was indeed the one-book-two-film cooperation model he had imagined.

If he remembered correctly, the box office of "3.7 Again" in China was million yuan.

"Granny Lai" also performed well at the box office in South Korea, ranking second in South Korea's box office in 2014.

This is also the most successful film project co-produced by China and South Korea.

Such a good project is worth grabbing by Light and Shadow Era.

"Let Li Yang shoot '20 Again'. He is a professional in this kind of youth film."

Wu Yuan just opened her mouth and decided on the director for the Chinese version of this two-part film.

In the field of youth films, Li Yang is regarded as the best director in the country. Li Yang + youth, this title alone can add an extra 100 million to the box office.

It is also because of this that Li Yang is very cautious about taking on youth films. He has not made any youth films since "Better Days".

But the script of "20 Again" is still very good, and it is worth it for him to come out again.

"Okay, this matter is settled."

Wu Yuan casually put the script back on the table, rested his hands on his knees, and said excitedly: "Let's talk about the second thing."

"Has the higher-ups approved it?" Wu Yuan's voice became noticeably more excited and high-pitched.

When talking about this topic, Li Xiaoping couldn't hide her excitement.

"Yes, the higher-ups have approved it. We can prepare a new international film festival, but the official Chinese name cannot be called a film festival. It can only be called a film exhibition."

The words "festival" and "exhibition" immediately have different intentions and definitions.

The former can only be done by the official government in China, while the latter has a more vague definition and can also be done by individuals and private companies.

"However, the word 'film festival' can be used in the English name," Li Xiaoping added.

With a snap, Wu Yuan slapped his thigh and said, "That's enough."

He chuckled and said silently in his heart: "Dean Jia Zhangke, I'm sorry!"

"I snatched your Pingyao International Film Festival first!" (End of this chapter)