Regarding the issue of policy tilt towards Hong Kong movies, Qiao Feng thought he would have been in talks for a long time, but it surprised him.

The final resolution was decided after only two meetings with multiple departments.

China Film has made policy preferences on imported films in Hong Kong, and the specified share of imported films in Hong Kong films compete with other countries and regions. In addition to the regulations, Hong Kong films will be given a special share of three films per year.

Of course, the shares of these three parts are not certain, and it still depends on whether they can pass the review. Only when the review is approved by all aspects can the shares of the three parts be obtained.

However, neither Qiao Feng nor the relevant departments felt that there would be any problems with this.

Whether or not a problem depends on the relationship between the two parties. As long as there is no problem with the relationship, it is impossible to find three movies that have passed the review.

In addition to the most valued movie import share, the details of the co-production film were also renegotiated.

The general direction remains unchanged. Qiao Feng values ​​details such as investment share, number of actors on both sides.

Generally speaking, according to the "Regulations on the Management of Sino-Foreign Cooperative Films", there are three types of co-production models. The first is "joint filming", that is, a filming form that is jointly invested by both China and foreign parties (including funds, labor or physical objects), jointly filming, sharing interests and jointly bearing risks; the second is "cooperative filming", that is, a filming form that foreign parties contribute to filming in China, and China provides equipment, equipment, venues, labor services, etc. for a fee; the third is "commissioned filming", that is, a filming form that the foreign party entrusts China to film on its behalf in China.

However, basically no one chooses the third model.

In the previous two modes, Hong Kong basically chose collaborative filming. It is Hong Kong companies that contribute money, actors, equipment, filming locations and extras in the mainland. Such films are said to be co-production, but in fact, the mainland basically makes a lot of money.

The reason for this is that Hong Kong companies feel that they are more professional, understand the market better, and their actors are more box office appeal.

Not to mention at this time, even Hong Kong filmmakers who went north ten or twenty years later thought so.

But at that time, many of them valued the mainland market more and had to choose joint filming, so they could only use a certain number of mainland actors according to regulations.

But I feel that mainland actors don’t hold on to the box office, what should I do?

They were foolish, and didn’t they stipulate that one of the male and female protagonists must be from the mainland? That simple, more box office-oriented male protagonists use Hong Kong, and the heroine is given to the mainland actors.

This is the ten years since the new century. A large number of co-productions were starring Hong Kong and Taiwan male artists, and mainland female artists became heroines.

Why do everyone think that there are many mainland actresses appearing, especially the big and small flowers born in the 1970s and 1980s.

This is the reason.

Not a male actor, but not as good as an actress.

It was just based on deep-rooted prejudice and some market choices, so the most popular Hong Kong co-production films at that time had to use those big and small flowers.

However, Qiao Feng felt that such too strict regulations were not conducive to the market, nor was it conducive to the common development of film markets and film talents in Hong Kong and the mainland.

It's still the example above.

In everyone's impression, female artists in mainland China seem to be overwhelming male artists, and the same goes for Hong Kong. However, on the contrary, female artists in mainland China who are in co-production films have ended up in the actresses, and the Hong Kong film and television industry has encountered a gap that is far greater than male actors, or more accurately, no one follows the successor.

In the second decade of the new century, due to the booming market, both actresses and male actors in the mainland have ushered in a boom, and male actors no longer can only serve as the second male lead in co-production films like before.

Instead, they have played more male leads, and even the Hong Kong king and actors have to match the popular male actors in the mainland.

But at least there are still a few young male actors from Hong Kong and Taiwan who can make it.

On the other hand, the actresses are almost dying.

In Qiao Feng's impression, young Hong Kong and Taiwan actresses can become the leading female lead in mainland film and television dramas. Only one popular one is Xiaolongbao, but Xiaolongbao is also a born-80s. Oh, and if there is also an angel baby, it would be two. But her acting skills are not much better if she is terrible.

In the 1990s and 2000s, no Hong Kong and Taiwan actress could beat.

If Hong Kong movies want to maintain glory, at least they can maintain a certain degree of competitiveness, the actors are also an indispensable puzzle.

So, Qiao Feng wants to try to change it.

The staff of the two places should not be limited so as to be so destined. On the premise of considering the appropriate script, restrictions can be appropriately relaxed. Hong Kong actors are more suitable. Then there are more Hong Kong actors in the main creators, and mainland actors are more suitable, and more mainland actors can also participate.

The same is true in terms of staff proportions.

In this way, on the basis of ensuring the quality of the film, actors from both places can also increase their exposure and popularity in each other's market, which is more beneficial to both parties.

Hong Kong will not cause actors to be divided after the prosperity of the mainland market, nor will the mainland cause yin and yang decline in the past few years.

And investment.

Qiao Feng doesn't just want to ask for rewards that he doesn't know how to do.

The mainland has relaxed restrictions, but he went back to persuade Hong Kong film and television companies to choose more joint filming in the co-production mode.

The mainland film and television creation is very short of money at this time. If the previous collaborative filming model is still chosen, it will still have no good effect on the mainland film and television industry.

Only joint filming is better for both sides. Of course, the benefits of the mainland will be greater at this time.

In any industry, only a large amount of hot money will flourish.

The reason why Hong Kong movies have been in a golden decade is that people outside the circle have seen making money by making movies, so they flocked to invest and created the prosperity of Hong Kong movies over the past decade.

If the mainland film and television industry wants to develop, it cannot be separated from the influx of large amounts of funds.

At this time, the mainland was not rich, and if you want to develop better than the original time and space, Hong Kong and Taiwan were the biggest source of hot money.

However, if Hong Kong and Taiwan film and television companies want to invest money in the mainland, they still need to solve the problem of joint filming.

Hong Kong film and television companies are actually very willing to make movies with the mainland, because there are too many good mountains and rivers in the mainland and the labor costs are low, so it costs very little to hire extras.

Therefore, in recent years, Hong Kong and the Mainland have made many movies together.

Like Xinlongmen Inn or something.

However, it is all Hong Kong companies that invest money or make up the vast majority.

Therefore, mainland studios like to make movies with Hong Kong very much.

Because after the filming, the copyright in the mainland belongs to the studio, and the money earned has nothing to do with the Hong Kong company.

Judging from the immediate interests, it seems that this is more beneficial to mainland studios.

But in fact, such a shallow participation will not have much effect on the development of film and television in the mainland.

At the same time, after earning a profit from the mainland distribution rights for co-production without spending much money, mainland production companies also lost the right to earn profits from these films overseas.

The same is true for Hong Kong movies. It seems that it has paid the distribution rights of the mainland but obtained the copyrights from other regions outside the mainland that have made greater profits. In fact, it has lost the right to speak in the mainland film market in the future to a certain extent.

If you want to change this situation, Qiao Feng feels that the first thing to do is to solve the treatment problem of co-producers.

For Hong Kong companies to get the treatment of domestic films, getting the treatment of domestic films means that they can get benefits from the mainland box office split.

For mainland studios, they can also earn overseas box office revenue.

In this way, the willingness of cooperation and investment between the two parties will be greatly enhanced.

In the short term, Hong Kong companies may feel that they are at a disadvantage, but in the long term, Hong Kong companies will benefit more from it.

What the mainland has obtained is only more overseas profits, while what Hong Kong movies have obtained is more important opportunities for survival, development, and even continued glory.

Is it necessary to choose which one is more important?

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Chapter completed!