Film festivals and film awards are actually the two extremes of film art and commercialization. The Oscars in the United States are known as the benchmark for commercial films. Naturally, the three major European film festivals are models of art films. Film festivals can play a role in this capital.

Surviving in the film industry that controls everything is actually the power of capital, because capital also understands that excessive typing and model-based operations in commercial films will inevitably lead to more and more homogenization of films, which will inevitably affect the film industry.

In future development, in order to correct this wrong trend of commercial films, film capital can only draw talents from art films.

If commercial films are the NBA, it is a competition ground for direct dialogue between capital; then art films are the NCAA, where there are both academics and wild people. In short, everyone competes here based on their pure love for movies. The last few

Leaders can be discovered by capital and enter the big stage of the NBA. Therefore, there are many young directors who want to enter Hollywood through the three major European film festivals, and even the organizers of the film festivals are well aware of this.

There are also contradictions and similarities between the three major film festivals of Cannes, Berlin and Venice. For example, Venice is obviously the most conservative in favoring European and non-European films. It pays the most attention to local European film directors and works;

Cannes and Berlin are looking at the world, but even so, Cannes is the most commercial of the three major film festivals. It is like Japan, Canada and other countries with relatively mature film industries, while Berlin focuses on China and other film industries that are still in the process of development.

countries in the development stage.

And there is a very interesting phenomenon. France is the country with the most serious left-leaning ideology among all European countries. The Communist Party was once the largest party in this country, and MAO was once the idol of French young people. But it was born in France

The Cannes Film Festival is the most reactionary. During the Cold War, the Cannes Film Festival was once a cultural bridgehead for the Western camp against the Eastern camp. Even after the Cold War is over, most of the themes of the award-winning Chinese films selected by Cannes will be understood by everyone.

Understand the bias of this film festival.

The Germany that gave birth to the mustache was born in the Berlin Film Festival, which has a very strong liberal atmosphere. The Berlin Film Festival was the first major European film festival to set up special awards for feminist-themed works and directors. Similarly, they

We are also very active in gay rights. Among the three major European film festivals, the Berlin Film Festival is the one that loves Chinese directors the most. But the so-called love is relative. After all, there is no love without reason in the world. I often feel that I am

The Germans, defenders of liberalism, have also done many things that the Chinese find disgusting.

Lin Junxiu chose to premiere "The Embalmer" at the Cannes Film Festival. In addition to this film festival being more friendly to Japanese films, another aspect is that the Cannes Film Festival is the most commercial film festival in Europe. This kind of business is not only Cannes

The film festival does not exclude commercial films from participating in the main competition unit, and the international film and television rights trading market held together with the Cannes Film Festival is also the largest in Europe. Lin Junxiu is not very interested in whether this film can be shortlisted for the main competition unit.

More attention is paid to the international copyright transactions of this film.

Although "The Embalmer" has the typical restraint and thinking about human nature of Japanese movies, this movie is actually a commercial movie through and through. Although the subject matter is serious, the whole story is not depressing. On the contrary, some cold humor makes the story seem

It feels a lot more relaxed. Coupled with the standard Hollywood-style Happy Ending design such as the final reconciliation between father and son and family consummation, as long as the film producers are not blind, they will know that this movie has a box office.

In fact, in the process of the development of local films towards the international market, there has always been a dispute between the two extremes of "nationalization" and "universalization". Many people like to shout that "what is national is what is global", as if you only need to combine local films with

If the national characteristics are shown authentically, your movie will be invincible in the international market. But in Lin Junxiu’s view, we don’t mention art movies, but in the commercial movie category, movies that are too national are actually incompetent in the international market.

You can't sell your results.

To put it simply, as far as China's most well-known cultural IP "Journey to the West" is concerned, if your adaptation is to show "monkey play", "Buddhism and Taoism" and other national elements, although it will also have overseas audiences

People come to see it, but the box office is definitely not going up. Because the people who come to see it are all curious. Once everyone finds that they can’t understand the story of this movie, then who will come to see it? But if you compare "Journey to the West"

"The Sun Wukong in "Wukong" is packaged as "individual heroism" and is made to show Sun Wukong as a tragic hero who resists the system and ultimately fails. As long as the story is complete and the special effects are good enough, this movie will be a big hit in the international market.

premise.

For a commercial film that wants to make a mark in the international market, the essence of its story must also show some universal values, such as family, love, friendship, etc., but when showing these universal values, you can combine your own national values.

Fusion of east and west. In this way, foreign audiences will be attracted by the exotic scenery and understand your story at the same time. Then the film will most likely make money.

This is the case with "The Embalmer". The core value of this movie is "family love". Don't really think that Europeans and Americans are as indifferent as the marketing account says. Why do parents kick 18-year-old children out of the house? What kind of children care about the elderly?

Parents are indifferent... We are all human beings. It is impossible that you are the only one in the world who loves your family and parents, while others do not. Anyone with a little common sense will know this as long as they pay attention to the American Thanksgiving holiday.

Americans also love their parents, but their way of getting along with their parents is slightly different from ours.

Going back to the movie "The Embalmer", this movie actually analyzes family relationships through the heavy, sad but unavoidable topic of death. The main line of conflict in the story is that Kobayashi Daigo and Kobayashi Mika confront the couple about the embalmer.

Family conflicts and reconciliation caused by a dishonorable career; and the hidden thread is the reconciliation between Kobayashi Dawu and his father and his boyhood.

In addition, in addition to the female hot spring owner, there are several funerals with special meaning in the film. The length of the film is limited, and no director will waste a scene without reason. After watching the original film, Lin Junxiu discovered

This movie is really "politically correct" and strives to please all audiences as much as possible. For example, at the opening of the movie, there is the funeral of the TRANS boy. The movie does not directly promote whether TRANS is good or bad, but through the boy's death.

The reconciliation with his father resolves the entire discussion on TRANS on the relationship between father and son. For the liberals, the boy can finally dress up as a woman after his death; for the conservatives, the father finally forgives his son. This is the family

Victory. In addition, there is the funeral of a young man and the funeral of an old father. The film does not avoid the cruelty of the film, but shows the tenderness at the funeral through the three daughters saying goodbye to their father.

It can be said that the movie is not overly sensational. On the contrary, it has always been tolerant. This is an emotional characteristic of the Japanese, and it is very good for the movie. There is a type of director who just wants to stand in the cinema with a whip and ask questions.

Why didn't the audience cry? Because he himself was moved to death by himself. This is the difference between a good director and a bad director. A bad director will express his emotions on the surface and always feel that he tortured the protagonist to death and made several important characters cry.

It's called a tragedy, it's called touching... To be honest, watching a group of adults crying on the screen is more disturbing than ignorant babies. I guess the audience has already begun to feel sad for their wallets.

While Lin Junxiu was busy dealing with film producers from various countries in Cannes, Vernalossom Club started a new round of recruitment for AKB48 members. Due to the influence of the Fujimoto Sara documentary, the number of people signing up this time has increased to a higher level. Now more and more people have signed up.

More and more girls with dreams of stardom are considering AKB48 as their first goal. Unlike before, they would only consider entering the idol circle after they were eliminated by major record companies and film companies. Today's AKB48 is no longer Morning Musume.

The group can compete. AKB48’s influence has begun to break through the narrow circle of idols.

Vernalossom Club has also begun to collect excellent scripts and songs, because both Lin Junxiu and Akimoto Yasushi feel that they need to consider the personal development of some of the top members of AKB48. Lin Junxiu is very repulsive to the "group soul" thing. In Lin Junxiu's view

Now, only those groups that can’t get ahead are bundled together to sell group love. The result? The internal conflicts among fans are getting bigger and bigger, and the TOP members are becoming more and more dissatisfied with the group.

After all, being an idol is also a profession. If you have outstanding performance in the company, but the company tells you that you must develop with your team. Therefore, your network resources must be distributed to other people in your team.

The performance and bonuses earned should also be distributed to them. Maybe you will consider starting a business together once or twice, and bear with it! But, what about after three or four times? Human nature cannot stand the test, and most people do.

Selfish.

This will only lead to two results, either the ace member can't bear it anymore and changes jobs to other companies, or he simply chooses to sink together. Either of these two results will be a huge loss to the company. So Lin Junxiu and

Akimoto Yasudou feels that after AKB48 reaches a certain stage of development, they should go their separate ways like SMAP. This will give full play to their popularity and abilities, and the influence they gain on their respective paths will feed back to the team.

In this way, a good cycle can be formed between the team and individuals, and it will also facilitate the gradual graduation of these members in the future.

"Maeda Atsuko and Oshima Yuko must not follow the same route, otherwise we will have internal strife." Akimoto Yasu said with some annoyance as he looked at the plans of his men.

When SMAP chose to develop solo, they very smartly divided the "variety show department" and the "drama department" internally, and the leader of each department was naturally SMAP's 2 TOP. Do you really think Masahiro Nakai can't act?

The average ratings of the TV series starring the protagonist are second only to Takuya Kimura in the entire Johnny & Associates. As for whether you think Kimura Takuya will not host it, how come the New Year's special program that he co-hosts with Akashi's saury every year is on the New Year's prime time?

To put it bluntly, the two deliberately chose a path not to conflict with each other so that they could leverage each other's strength.

"No resources can be distributed equally. They have to be distributed according to the position and needs of the two people. Forget it, let them come in and talk to me in detail."

So the two people who had just returned from foreign affairs were called to Akimoto Yasushi's office, and it was very rare for the two of them to see Akimoto Yasushi waiting for them there with a straight face. No matter how there were rumors about their relationship outside, privately the two still remained
Chapter completed!