This director needs to apologize

Chapter 263: Water Hibiscus in Heavy Makeup

Chen Yiming, who was hungry, met several "acquaintances" he had not known for many days in the hotel restaurant.

For example, Ms. Hou, who holds the title of producer but has almost never appeared on the set, and Director Blevins, who is very willing to pay without any strings attached, and Ms. Shen Pengfei, whose last meeting was traced back to Nuts, etc.

After saying a series of greetings, Chen Yiming felt no sleepiness at all. What's the situation? Is there something big happening that he doesn't know about?

As the above-mentioned people and Da Zhuang sat down one after another, the round table where Chen Yiming sat became a restricted area in the restaurant, faintly exuding an aura of "no one should be near".

This can be regarded as an unspoken rule among the crew.

Chen Yiming can be considered a people-friendly person on weekdays. From the investors to the extras, he basically has the same face. He can pick up topics and make jokes. In addition, he almost never gets angry during filming, so everyone in the crew Not afraid of him.

However, in the current situation, the people in the restaurant still consciously stayed away from Director Chen's table, including the protagonist Yu Nan, who did not move forward.

The pyramid structure of the entertainment industry is nakedly revealed at this moment. The splendid scenery in front of the stage is just an external appearance, and a few big bosses behind the scenes are the real chess players.

The volume in the restaurant seemed to have dropped a level lower, and everyone's chats had the smell of whispers.

Chen Yiming himself has no consciousness of being the center of attention. He just focuses on filling his stomach. He has to go to the city with Da Zhuang in the afternoon and has a conference call with Jushi Workshop in the evening. The whole day is full of things.

The few people in front of them came to Xiangcheng early under the pretext of participating in the shutdown ceremony. They must have their own reasons. Chen Yiming felt that there was no need to inquire, and he would naturally speak when it was time to speak.

He has always been very calm in areas other than filmmaking, and his veteran cadre behavior does not suit his age and experience.

This is the trick of being a man in two lifetimes. It is incredible to the outside world that he is a young man who is less than thirty years old, and his reputation suddenly rises to prominence, but he is not at all arrogant.

Based on his experience in the past few years, he frequently attended upper-class cocktail parties, repeatedly broke out scandalous news, bought houses and properties in an extravagant manner, and gave advice in a shameful manner. This is the inertial development of a normal mind.

As for him, he has great desires for wine, sex, and wealth, but he doesn't touch any of them. Is he trying to become a saint?

As everyone knows, this guy has just experienced it in his previous life and finds it boring to repeat himself.

Although in his previous life, his experience was only at a middle-to-lower level, and he had never seen anyone with a high-end atmosphere.

The few people in front of me were very calm, and they just talked about some romantic topics, which had nothing to do with "Mulan".

Chen Yiming felt relaxed and happy. Anyway, the movie had been filmed and he didn't bother to worry about the rest.

Today's Bo Jue is no longer the Caotai team three years ago.

The investment has a professional team led by a strong team and relatively fixed investors.

In terms of distribution, Lao Niu has a close relationship with major theater chains. Of course, this is also due to the box office guarantee produced by Platinum Jue.

In the publicity and distribution process, Lao Jia's team is the leader in the industry and has good relations with major channels on the Internet.

In terms of overseas business, Shen Pengfei and Megan Allison are both internal and external, and together with Warner China as a strategic partner, they can be regarded as the first row of Chinese films going overseas.

Chen Yiming does not need to shoulder all the big and small things like he did when he ran "Holiday in the Magic City". He can be a hands-off shopkeeper after the movie is finished.

After working on "Mulan", he was ready to let go appropriately in the production process, and moved the high-quality movies that had been tested by the market and time in his previous life to this life to give Xiangrui and others a chance to practice.

Based on his experience, the film industry in this time and space is also facing the crisis of exhausted creative capabilities. If the wave of sequels continues for a few more years, the audience will get tired of it sooner or later.

Bo Jue doesn't need to get into trouble with his peers. As long as he maintains the speed of transportation, he can wait for his ranking to rise.

Let Chen Yiming have enough capital to do some things that "go against the trend" and restore some of the "uneasy feelings" in the past.

Fang lives up to God’s gift and travels through time.

After the lively shutdown ceremony, the crew officially disbanded.

Chen Yiming used his free time these days to hold a full conference call and make arrangements for color grading, editing, special effects, sound effects and other work.

We are currently in the early stages of the complex process, and Chen Yiming does not need to come forward yet. He only needs to put forward the overall requirements.

The majority of the troops returned to the magical capital, while Chen Yiming went north alone and went directly home to visit his parents.

He has been away from home for more than half a year this time. After finishing his post-production work, the movie will be released soon. It is estimated that he will be away from home for another half a year. His mother is in urgent need of comfort.

Three days are intimate, seven days are dull, and fifteen days people hate dogs.

After staying at home for half a month, my mother kicked me out of the house without any surprise, just in time for the release period of "Love Letter". Someone's plan was simply brilliant.

After returning to the Magic City, Chen Yiming inspected the post-production progress of "Mulan". As soon as he returned to Platinum, he was pulled into the promotion team of "Love Letter" by the impatient Xiangrui.

In two days, "Love Letter" will be officially released.

At the end of the summer season and a week before the Chinese Valentine's Day, the schedule for "Love Letter" seems to be just right. However, competing products at the same time are basically Hollywood blockbusters.

Due to the relatively dismal performance in the first half of the year, in order to complete the positive growth task, the film scheduling committee had to give openings to imported films. This year's summer season in July and August, it is rare to open its arms and treat everyone equally.

In the past July, Hollywood blockbusters dominated the market. "Mission: Impossible 4" hit 6 million, and "Ice Age 4" cut 5 million, pushing the market that month directly over the billion mark.

Considering that most of this year's Chinese-language blockbusters were put on the National Day schedule, the committee simply broke the rules and released them all to the imported film "Dog Eat Dog" in August.

In the first half of August, as many as 7 imported films were released, and 5 of them had a box office of over million. Domestic films were suppressed without any success.

The second half of the month is even more brutal. "Batman" and "Spider-Man" are released together, which is simply no way to survive.

Obviously, in order to achieve performance targets, Shangfeng no longer cares about the minutiae. A small-production romance movie like "Love Letter" does not receive preferential treatment just because it bears the Platinum Jue brand.

Hollywood blockbusters are coming fiercely, but at least they are not on the same track as "Love Letter", and they can still compete with each other in a differentiated way.

However, there was also a Taiwanese film at the same time, which was also about youth nostalgia and had been market-proven, so it coincided with "Love Letter".

The name of the movie is "Those Years".

This movie is adapted from the best-selling book of the same name. The author directly serves as the director, and the IP drainage effect is obvious.

It has been released in Taiwan, Hong Kong and Southeast Asia before, setting off a wave of youth films. It was clearly ranked second in the movie rankings of the same period.

Definitely a strong rival.

The premiere dates of the two movies are only five days apart, one is Thursday, August 8th, and the other is Tuesday, August 16st.

The only advantage of "Love Letter" is that it was previewed a week in advance, and all the data were above the standard, allowing "Love Letter" to obtain an average of 23% of the screenings in the first week of its premiere.

This film schedule is not low in August. As long as the attendance rate of the preview theater is maintained after the official release, it means that there will be a box office revenue of 60 to 80 million in the first four days. Including the box office of the preview theater, rounded up to one 100 million.

In this way, when it is released in the first week of September, it is very likely that the box office will top 2.5 million, and it will firmly rank among the top of the year.

If you get the extension key, you can imagine 3 million.

For Xiangrui, a new director, having two consecutive films with a box office of over 2 million within one year is obviously a dream start.

Although a series of prospects are encouraging, the first priority is to remove the stumbling block of "Those Years".

The two films are both in the youth film category, which will inevitably cause a diversion at the box office. What's more, "Love Letter" will have a second week versus the first week of "Those Years", which will naturally be disadvantageous in terms of promotion.

Lao Niu and Lao Jia have been worried for the past two days, and Xiangrui, who doesn't know how to declare, is also restless. This battle is indeed not easy to fight.

Otherwise, the two of them would not have allowed or even encouraged Xiangrui to bring Chen Yiming, who had just returned to the company, for consultation. To this day, Niu and Jia are considered to be big bosses in their respective fields, don't they want to lose face?

At the closed-door meeting, Lao Jia listed the results of "Those Years" released in other places, including NT$2 million in Taiwan and HK$ million in Hong Kong, both of which broke records that had been dusted for many years.

In terms of professional reputation, it is considered by the industry to have opened up a new path for the youth film genre and is highly praised.

Chen Yiming took the time to watch this movie (forgive him for watching the gun version). It is indeed different from previous monsters and ghosts. The narrative is sincere, the details are real, and the emotions are sincere. It fits the theme of the title "Those Years".

Strictly speaking, "Love Letters" and "Those Years" actually follow the same route, which is to bring order to chaos.

When a certain subject matter is deeply explored by the industry, the plot, narrative, rhythm, techniques, etc. have all come to an end, and both the creators and the audience are in an excessively high-spirited "sage time."

Next is the time to return to nature, abandon the glitz and return to the basics, just like the clear water hibiscus in the heavy makeup, because it is simple and light, so it stands out.

The two movies came out in response to the vulgarity of youth films in the past few years, and they all made money that was different from the coquettish bitch's money.

Relatively speaking, the description of school life in "Those Years" is more dramatic, and the conflicts are more explicit.

The campus romance in "Love Letter" is more life-like and stream-of-consciousness. The whole film is as bland as water, and the conflicts are hidden behind the scenes.

This has nothing to do with high or low, it is just determined by the different narrative methods of the two movies.

"Those Years" is a pure flashback, and the selections are naturally typical clips. As the saying goes, what people can remember are big events, which is the truth.

The narrative of "Love Letter" is a little more fancy. It is a two-line narrative with dual perspectives and memories. The events in it require the audience to imagine and complete them based on their own experiences.

The sense of participation is different. The former is a full-scale narrative and the whole process is watched, while the latter is a superficial taste and active brainstorming.

Chen Yiming believes that the core of the future propaganda war should lie on this point.

(End of this chapter)