Dreams of the Fragrant River

: Nine Hundred And Ninety-Two [Disagreement And Persistence]

For Hong Kong people who pay attention to movies, this Spring Festival has been very lively.

“The God of Cookery”, “The Great Inner Detective”, “The Big Three”, “Police Story 4” and “King Kong” are fighting on the same stage, giving those low-budget films no room to survive.

In the end, Cheng Long was more powerful, beating Zhou Xingchi, Zhang Guorong and Zhou Runfa, and the Hong Kong box office of “Police Story 4” got 57.5 million.

However, Zhou Xingchi won by the number appeal.

For industry insiders, they are more concerned about the news of the Hong Kong International Film and Television Exhibition. Especially those small and medium-sized companies, who want to sell their films overseas, either turn to the agents of large companies (often cheated), or run around the world with their own copies. In the past, Taiwanese filmmakers would buy movies with popular stars when they saw them, but these two years have not been enough.

Once the Hong Kong International Film and Television Exhibition is held, even if you don’t get a ticket to the exhibition, you may be lucky if you set up a stall outside the venue.

For big companies such as DreamWorks and Golden Harvest, what they value more is the strategic development significance brought about by the growth of the influence of Hong Kong films after the International Film and Television Exhibition was held. Even Jiahe, who is crazy about making money from filming, is very positive about this, because the markets in Japan, South Korea, Taiwan and Hong Kong are shrinking, and they hope that their films can be accepted by international filmmakers (especially Europe and the United States).

Shao Yifu will be much calmer. His Shaw Brothers and Metropolis have long stopped production, and only occasionally come out to shoot one or two films to brush their presence. He also wants to increase the influence of Hong Kong-made TV dramas through international film and television exhibitions and sell TVB dramas to more regions.

After preliminary negotiation, Kang Jianfei made a compromise. In the future, the broadcast rights of the Hong Kong International Film and Television Exhibition Awards Ceremony will be obtained by tvb and Phoenix TV in turn, and the first broadcast rights will be ceded to tvb.

The Hong Kong International Film and Television Exhibition is initially scheduled to be held in March every year, after the Hong Kong Film Awards. The two are not in conflict, on the contrary, they can promote each other. One is based on Hong Kong films, and the other is for the whole world. Especially those films that have won the Academy Award can also sell for a better price when they are sold at the film festival.

All these are good to say, Kang Jianfei’s most depressing thing is that many Hong Kong counterparts are too short-sighted.

Including Zou Wenhuai, when planning the Hong Kong International Film and Television Exhibition, most Hong Kong filmmakers believe that Hong Kong films should be the main body of the exhibition works, and at most some Japanese, Korean and Taiwanese films should be added, and European and American films should be excluded.

This is because I am afraid that European and American films will dominate the audience, but the question is, if you have excluded others, will others still pay attention to this film and television exhibition?

Only by giving benefits can European and American filmmakers be attracted to participate. Many people understand this truth, but it is selectively ignored. They only want to seize short-term benefits.

You said that in ten years, the Hong Kong International Film and Television Exhibition will be made into the world’s premier film and television event? Hehe, I still don’t know what Hong Kong will look like in ten years, so I won’t think about it.

This kind of mentality is actually quite normal. Capital is chasing profit. How can ordinary filmmakers and investors think about such a long-term perspective? This should be something the government should do.

But the problem is that there is no Film Development Council in Hong Kong today, and no one can make long-term plans for Hong Kong films!

Kang Jianfei believes that he should stand up. He hopes to make the Hong Kong International Film and Television Festival the most influential film festival in Asia. Instead of 20 years later, when everyone mentions Asian film festivals, they can only think of the Tokyo Film Festival and the Busan Film Festival in South Korea, completely forgetting the existence of the Hong Kong Film Festival.

Kang Jianfei finally clapped the table after several unsuccessful statements. He said with a strong attitude that if everyone still insists on their own opinions and only care about their immediate interests, then DreamWorks will withdraw from the film festival, and the stars of the Oriental Entertainment Brokerage Company will not be allowed to attend the exhibition.

As soon as this statement came out, everyone was stunned.

Without the participation of DreamWorks, and without the participation of popular stars, it would be a fart Hong Kong Film and Television Exhibition. Not to mention that European and American filmmakers will not pay attention, and even local fans in Hong Kong are dismissive.

No way, everyone can only sit down again to discuss and expand the number of non-Chinese-language films. And Kang Jianfei also set up a special fund to support young directors all over the world. Although the money is not much, it can attract countless underappreciated filmmakers.

Film company bosses and investors naturally disdain Kang Jianfei’s approach. However, the vast majority of conscientious, visionary and aspiring colleagues hold a positive attitude, and Kang Jianfei’s prestige in the industry has risen to a very outrageous level.

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They have regarded Kang Jianfei as a well-deserved leader in the Hong Kong film industry.

During this period, Kang Jianfei’s phone kept ringing every day. Many directors, including Cheng Long, Zhou Xingchi, Er Dongsheng, Xu Anhua, Xu Ke, To Qifeng, and Lin Lingdong, all expressed their support for Kang Jianfei. UU reading www.uukanshu.com

Hong Kong Film Awards Organizing Committee, Hong Kong Directors Guild, Hong Kong Film Critics Association, “Film Bi-Weekly” and many other organizations also participated one after another to discuss various details of the film and television exhibition.

The most mainstream opinion of everyone is to imitate the three major European film festivals and set up various competition and non-competition units, taking into account the commerciality and artistry of the film, of which the artistry is more important.

The owners of the film company headed by Zou Wenhuai have completely opposite opinions. They believe that the Hong Kong Film Festival should be mainly commercial, and the non-competition section should be done whatever you want, but the competition section must be reserved for commercial blockbusters.

The two sides quarreled so much that it was impossible to reach a consensus at all, which could only drag time and slowly grind.

Without Kang Jianfei’s participation, the dispute would definitely be won by the film company bosses. After all, capital is the most powerful.

The whole month of March has passed in the middle of the quarrel, and even the attention of this year’s Academy Awards has dropped a lot.

Kang Jianfei’s “Resident Evil” has gained a lot, winning four technical awards for best modeling design, best visual effects, best art direction, and best original music.

The real big winner is Xu Anhua. “Women Forty” not only took home a silver bear trophy from Berlin, but also won the best picture, best director, best screenwriter, best actor, best actress, best actress in one fell swoop. The six awards for supporting actors almost swept this year’s Hong Kong Film Awards.

By the way, this “Forty Women” is also produced by DreamWorks. It not only has a good reputation, but also has a strong box office. It can be said that it has both fame and fortune.

In addition to the Academy Awards and the Hong Kong Film Festival, the Hong Kong film industry is also worthy of attention during this time, that is, John To and Wei Jiahui co-founded “Galaxy Image”. In the original time and space, this company thriving in the ten years after the decline of Hong Kong films, with good films and good films emerging one after another.