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Text 0066 [Director generation]

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    A total of 36 actors have been signed by the "Butterfly Effect" crew.  Su Ye, the male protagonist, played by Chen Kun.  Yu Na, the heroine, played by Zhou Xun.  Yu Hao, Yu Na¡¯s brother, is played by Zhou Zhangcheng, an actor from Beijing Repertory Theater. He was selected because the role requires a height of less than 1.6 meters.  Li Jie, Su Ye's best friend, played by Zu Feng, a former cast member of "Waiting Alone".  Su Ye¡¯s mother, played by Guan Zhilin, could not withstand Wang Jinghua¡¯s persuasion and Wan Xiaohu and Wang Zhonglei¡¯s personal visits, so she finally agreed to play the role.  Su Ye¡¯s roommate A, played by Zhang Zhipeng, is a member of the Northern Drifters. He was selected because he was too fat.  Su Ye¡¯s father, played by Chen Daoming, makes a guest appearance.  The doctor, played by Hu Jun, makes a guest appearance.  Yu Na¡¯s roommate, played by Zhao Wei, makes a guest appearance.  Yu Na¡¯s restaurant colleague, played by Yuan Yingyi, makes a guest appearance.  Su Ye¡¯s roommate B, played by Lu Yi, makes a guest appearance.  Su Ye¡¯s date, played by Xu Jinglei, makes a guest appearance.  "The Beaten in the Cinema", played by Jiang Wu, makes a guest appearance.  The above is the main actors and guest stars, as well as the invitation list for the opening ceremony. Among them, Chen Daoming, Yuan Yingyi, Jiang Wu, and Lu Yi will definitely not be able to attend the opening ceremony because of their schedules.  On June 3, the launch ceremony of "The Butterfly Effect" was grandly held in the lobby on the first floor of the Gloria Hotel in Beijing.  As a big investment by Huayi Brothers this year, it deserves a lot of attention.  Wang Zhongjun, Wang Zhonglei, and Wang Jinghua all attended, and directors such as Feng Xiaogang and Teng Huatao were also invited to help out.  In the hotel box, Wan Xiaohu was chatting with Wang Zhongjun, Feng Xiaogang and others.  "Xiaohu, you have to take your time when shooting science fiction films now. Domestic audiences may not be ready to accept domestic science fiction films." Feng Xiaogang is still young now, and he has not developed the vitiligo that later caused his scary skin.  Regarding Wan Xiaohu, He said angrily.  Wan Xiaohu nodded humbly: "Teacher Feng is right, domestic science fiction is indeed not a good entry point. However, I am still young, so I just want to try it out and see if I can break the bones of science fiction. Now there is Mr. Wang.  I am very confident to help out." Wang Zhongjun said with a smile: "I heard from Zhonglei that "The Butterfly Effect" was a science fiction film, and I didn't want to invest in it at first. However, after seeing the script, I felt the urge to film it.  He hasn't graduated yet, but his directing skills can be seen from "Waiting Alone". There are some shortcomings, but the basics are very good. " Teng Huatao suddenly asked Wan Xiaohu: "Why don't you make comedy films anymore?  ¡±, both in terms of plot and style, it is very suitable for novices to control. Why did I suddenly change my style? I am also preparing a project recently, and I am planning to switch from TV series to movies, and I also plan to make a comedy.  Are you making a movie?" Wan Xiaohu didn't answer any more, why he was making a science fiction film.  After all, there were many personal factors behind his filming of "The Butterfly Effect" and he couldn't tell outsiders.  First, the movie is very suitable for his current situation. It goes back to the past and changes his destiny. Second, if he doesn't make "The Butterfly Effect" now, it will be shot by others, and the opportunity will be lost.  It¡¯s really annoying to keep making excuses.  However, he still wanted to get along with Teng Huatao because they were both directors from Nortel.  Teng Huatao started filming TV series and gradually turned to movies. One "Dwelling" became a hit, and the later "33 Days of Love" became a dark horse at the box office.  In terms of TV drama genres, Teng Huatao is very talented, and Wan Xiaohu has many popular TV dramas in his mind. There will be opportunities for cooperation in the future.  "Well, I have this plan, but it hasn't been decided yet. After directing TV series for so many years, I am becoming more and more timid. I am not fully prepared and dare not make a movie right away. I am afraid that if I mess up, there will be consequences." Feng Xiaogang  Said: "It's right to be cautious. Directors can only show their talent after they are thirty years old, and they can make good movies after they are fifty. Not many people like Xiaohu can make good movies at such a young age." "I really want to say that.  I don¡¯t dare to take Mr. Feng¡¯s compliments seriously. However, today is the opening ceremony of ¡°Butterfly Effect¡±. Xiaohu is here to ask for Mr. Feng¡¯s good advice and hopes to make ¡°Butterfly Effect¡± a success.  Xiaohu was somewhat proud.  Feng Xiaogang is a fifth-generation director. Although he has not yet reached his future achievements, he has a huge influence among the audience because he produces movies that are blockbuster during the Lunar New Year every year.  However, as an outstanding figure of the fifth generation of directors, Feng Xiaogang is somewhat incompatible with the directors of this period and pays more attention to the lives of ordinary citizens.  ??The generation of directors in China is not a strict academic concept, but just a conventional statement.  The first generation of directors were pioneers in the 1920s, such as ZhangIshikawa, Zheng Zhengqiu, Dan Duyu, Yang Xiaozhong, Shao Zuiweng, etc.  They laid the foundation for Chinese cinema with staged and socialized silent films (silent films).  As a pioneer, the films of this period are inevitably mixed in quality.  The second generation of directors refers to a group of directors who were active in the film industry in the 1930s and 1940s, such as Cai Chusheng, Sun Yu, Fei Mu, Wu Yonggang, etc.  They were students of the first generation of directors.  Starting from them, Chinese films began to truly liberate themselves from pure entertainment "play" in terms of ideological content, began to reflect social life in a more profound way, and exerted social functions through entertainment.  The third generation of directors refers to directors who were active in the film industry in the 1950s and 1960s, such as Cheng Yin, Xie Tieli, Shui Hua, Cui Wei, Ling Zifeng, Xie Jin, Wang Yan, Guo Wei, Li Jun, Yu Yanfu, Lu Ren, Wang Ping  , forest farmers, etc.  They are artists who entered the film industry after the founding of the People's Republic of China. They followed the principles of realism to express the essence of life, showed conflicts in depth, and made very useful explorations in aspects such as national style, local characteristics, and artistic connotation.  "Little Soldier Zhang Ga", "Shining Red Star", and "Camel Xiangzi" were all born in the hands of directors during this period.  Starting from the fourth generation of directors, directors are no longer wild, but mainly graduates of Beijing Film Academy and trained by major film studios.  Most of the fourth generation directors are students who graduated from Nortel and Shanghai Theater Academy in the 1960s, and they follow the line of combining theory with practice.  They proposed that Chinese films should "throw away the crutch of drama", break the dramatic structure, advocate documentary, pursue a simple and natural style and an open structure, pay attention to the significance of themes and characters, and explore social and cultural relations from life and ordinary people's trivial matters.  The philosophy of life.  Because I have experienced the changes of that era, I often start to develop my talents in my forties (forties). I have experienced the shackles of the times and broken the shackles of the times. As a result, my horizons have broadened and I have tirelessly absorbed new ideas.  Technology, exploring deeper art.  Because this period was still dominated by the state-owned economy, they tended to pay more attention to the artistry of films and divorced from the commercial nature.  After the economy changed, the market economy became dominant, and commercial films flourished, they gradually declined.  The representative figures are Wu Yigong, Wu Tianming, Zhang Nuanxin, Huang Jianzhong and Teng Wenji.  From here we can see that directors who can be divided into different generations have certain things in common.  The first generation of directors is the enlightenment of film, the second generation of directors is the liberation of film, the third generation of directors is about exploration and contradiction, and the fourth generation of directors is about the pursuit of art.  By the fifth generation of directors, they have gradually become stereotyped and have certain commonalities. Their works are characterized by strong subjectivity, symbolism, and allegory.  However, after all, they are currently active directors, so the specific division is still very confusing.  To put it more broadly, the fifth generation of directors specifically refers to a group of directors who graduated from Nortel¡¯s 78-level director class, such as Chen Kaige, Zhang Yimou, Wu Ziniu, Tian Zhuangzhuang, He Qun, etc.  Speaking more broadly, the entire Class of 1978, as well as directors from various departments before and after the Class of 1978, or directors from the same period who graduated from other colleges or were self-taught, are all fifth generation.  Feng Xiaogang is a fifth-generation director. After all, he is not a graduate of Nortel, and he does not have the common characteristics of fifth-generation directors.  Most of the films they have made have done well at the box office, but they are often criticized for not having artistic accomplishments and being vulgar to the audience. They belong to a relatively non-mainstream category in the director world.  Later, Feng Xiaogang claimed that he "can't distinguish which generation at all."  But Wan Xiaohu knows that in the future, Feng Xiaogang will become the first mainland director to have his thumbprint in Hollywood!  It¡¯s worthy of admiration!  After chatting for a while, the emcee walked into the box and signaled that it was time for everyone to go out and be interviewed by reporters.  ¡ª¡ª¡ª¡ª¡ª¡ª¡ª¡ª¡ª¡ª (When writing about Chinese-language entertainment, it is inevitable to write about some directors. Half of this chapter is an informative introduction. I don¡¯t know if you think it is relevant or not. You are welcome to leave a message in the book review area.  If everyone thinks it is useless, I will not introduce it in the future. Also, if you are new to the book, please recommend it and support it!)
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