This director needs to apologize

Chapter 200 Love Letter Farce
  In fact, youth films are a very broad concept and are not considered a genre in a strict sense.

Because the word youth actually refers to the target audience, which literally means movies made for young people.

Therefore, youth can be followed by various genre film suffixes, which is already a highly mature subcategory abroad.

For example, the youth comedy, the masterpiece "American Pie" series.

Youth thrillers, "Scream" and "Death is Coming".

Youthful love, "Love Letter", "Pumping Heartbeat", "A Little Thing of First Love".

In Hollywood, youth films are actually used to train actors who have just debuted. Their status is similar to the ancient puppet shows in the Chinese TV drama circle. The young and young flowers who rely on their faces to make a living have to flutter here first, and then they can become wet. Qualified to continue climbing to other types.

However, the development of Chinese films is currently too low. Even the introductory youth pain movies have not yet made any great achievements.

Chen Yiming really doesn't want to get involved in this stinky ditch. Making money is great now, but he will be lying in the pit for a few years, and his reputation will be really bad.

So it can either be purely about love, like "Love Letters," or it can be very imaginative, like "Back to the Future."

Yes, although this time travel movie is classified as a science fiction film, in Chen Yiming's view, the first part of "Back to the Future" is the basis for youth films.

However, the movie tells about the youth of the parents of the previous generation.

Chen Yiming has always felt that youth movies are an ironic way of naming them. On the surface, they depict youth, but in fact they describe memories.

This thing is not for people of the same age to see. There is actually a mismatch between the subject and the audience.

If the film is about high school life, then the audience must not be high school students, but high school graduates. If you are photographing college life, the audience must be newcomers to the workplace.

Because only shared memories can trigger emotional resonance, and no one will empathize with the spoiled content.

And as long as it is related to memories, it will definitely involve regrets.

Just because the love is not over, it is difficult to calm down.

This is the narrative logic of the youth pain movie. Wouldn’t the audience trapped in it feel the movie’s bloody choreography and deliberate sensationalism?

Of course you can feel it!

It's just that what they were watching at that time was no longer the characters in the movie, but themselves in their memories.

If Chen Yiming doesn't want to make bad money by spreading nonsense, he must face up to this problem, that is, how to arrange the regrets in his memories and make it sad but not vulgar, or humorous and interesting, on the basis of arousing the resonance of the audience.

By the time Chen Yiming traveled back in time from his previous life, the idea of ​​reversing time and space had already become popular in the field of youth films. From "Twenty Again" to "Seventeen Again", there were movies taking place in every year of adolescence, and the protagonists were No one is left behind, men, women, old and young.

Before Hua Guo, there was "Charlotte", which had a box office of more than [-] billion, and later there was "Hello Li Huanying", which soared to [-] billion.

The core of this idea is the regret in memories.

It can be redeemed or relieved, and it can tell a good story regardless of the direction.

After sorting out his thoughts here, Chen Yiming once again started the video call with Xiangrui.

The connection was quickly connected this time, and Xiangrui happened to be working in front of the computer.

"Yiming, is there something you forgot to mention just now?"

"I have a question. Please answer it truthfully. Do you think a person should cherish the unforgettable regrets of his student days, or regret them?" How should I answer? Regret is just regret. If it can be undone, can it still be called regret?"

Chen Yiming simply asked more clearly, "If you were given a chance to go back to your student days, would you pursue the male idol you once shunned?"

Xiangrui said with a look of disdain, "You damn god, all the boys in my class are crooked and crooked. They make me sick to my stomach, okay? Are you still afraid of them? Are they worthy?"

I probably understand what you mean, is it for a certain movie plot? If I were asked to go back to that time and make a new decision, there would be only one outcome, and that would be to maintain the status quo.

The professor in the screenwriting class told us a code for commercial films, which I think makes sense. He said that during the film process, we can freely explore various possibilities, but the ending must return to realism.

For example, when facing a tempted husband, whether he is pretending to be shaken or really cheating, he must eventually return to his wife and family.

Or a gunman who wanders around the world, whether he saves people or kills people, he will definitely end up wandering again.

My understanding is that the reason why the movie allows the audience to immerse themselves must be due to the authenticity of the scenes and characters. This is the emotional bond that runs through the entire movie.

Since the audience has already identified with the character assigned to the protagonist at the beginning of the movie, the character arc must meet the audience's preset expectations.

Of course, I am referring to commercial genre films, not art films. "

"Okay, I know what you're thinking. I'm busy here, hang up first."

Chen Yiming logged off at the speed of light, completely ignoring the incompetent and furious Xiangrui in the dialog box.

He actually disagrees with Professor Xiangrui's dogmatic ideas. The so-called code is just a cliché of Hollywood business routines, not a theorem that is universally applicable.

However, this code reflects Xiangrui's subjective tendency to some extent. Since he has made up his mind to step back and become a producer, he must respect the authority and status of Xiangrui as a director. Naturally, the script framework must be constructed with reference to Xiangrui's intentions.

In other words, it begins with real life and ends with real life. After half a lifetime of youth, it returns to middle age.

"Back to the Future" and "Love Letters" actually have this structure. The past and the present are two lines that advance in parallel. The former is to guide a period of history back on track, while the latter is to gradually reveal a dusty truth that has been ignored for many years.

The former is more commercial and has more mature routines, but the transformation into the Chinese version has some obstacles that are difficult to avoid.

China's social changes in the past two decades have been too drastic. The generation gap between parents and children is like the Great Rift Valley of East Africa. Moreover, China's vast area and uneven development make it difficult to build a common memory anchor.

This is actually the same dilemma that Wang Xiaogang faced when making "The Great Earthquake". Looking back at the past from the lower reaches of history will inevitably lead to postmodern deconstruction and criticism of modernity. However, in the history of the past twenty years, there are many things that cannot be Take it apart and take a closer look.

Xiaogangpao honestly chose to just watch the show, while Chen Yiming also didn't have the guts to delve deeper into the story.

Therefore, the only way to go is the latter "Love Letter".

This is a typical youth fable in the style of daily life. It is based on the heterosexual memes of the same name that were very common in the student days. It tells a story of a secret love between you and me.

This film was released in 1995 in its previous life and moved to China in 2011. Everything from the rhythm to the style to the actors had to be changed.

The Chinese actors in the movie "Little Days" can't handle it, and the atmosphere of the whole movie is incompatible with Chinese schools. The slow pace of the movie is only suitable for the taste of the first generation of literary and artistic youth. It is difficult for today's young people to have that kind of patience.

At this stage, Chinese movie fans have not yet developed enough resistance from being repeatedly whipped by youth pain movies. It is inevitable that they will directly go against the trend of the fresh trend, and the result of highbrow and low-key is almost inevitable.

Therefore, there is only one idea for the adaptation of Insurance, which is to change it in the direction of a farce about enemies.

(End of this chapter)