Latest update April 1st, 2015 6:34 PM
Can Chinese Stories Compete with Hollywood?
From left to right: Raymond Zhou, Xu Zheng, Ma Ke, Fang Li,
Wang Haifeng, Roddy Wang Yat Ping, Anthony Chen. Photo credit: SIFF
Chinese filmmakers have been somewhat frustrated by the annual quota of14 additional IMAX or 3D films from Hollywood. In the 17th Shanghai International Film Festival, a discussion named “Chinese Stories VS Hollywood” was launched among film professionals. How do Chinese stories rise to such a challenge? What exactly is the focus of Chinese filmmakers and what are their attitudes towards Hollywood? Is a win-win possible in the long run?
XU Zheng, director of LOST IN THAILAND (with a B.O. of about $200 million) and the actor of THE GREAT HYPNOTIST, a recent successful thriller, said: “We boast a large film market with an increasing number of audiences, but there are not enough good films to satisfy local taste. We should thus put local viewers’ demand as our priority and only after that could we prepare ourselves for going global. Sometimes, we should not despise a popular film featuring Chinese characteristics merely because it is not widely accepted outside China. We should abandon such a sense of cultural inferiority.”
Besides, Xu Zheng suggested that China should build an integrated and comprehensive industrial chain like that in Hollywood and try different types of genre film-making. Looking ahead, he believed the Chinese filmmakers might as well produce independent films or unique art films, despite the fact that he himself made very successful films. As for how to confront with Hollywood, Director Xu expressed that we should master the conventions of filmmaking and analyze potential audiences’ tastes at first, and more importantly, figure out how to export the oriental values in a proper way. That’s the real challenge when competing with Hollywood.
WANG Haifeng, President of Filmko Holdings and Producer of THE MONKEY KING 3D, a film that is successful both at home and and in other parts of Asia. He said: “Personally, I think we’d better march into Hollywood instead of guarding against it. For example even though they may take the larger part like $300 million while we can only gain $30 million, it is still quite a revenue for us.” Why did Filmko choose to make a film featuring Monkey King? Wang explained when they found there are only three Chinese characters that are known to foreign audiences: Mao, Monkey King and Bruce Lee. He also said that some American producers were interested in China’s ancient stories like Gods of Honor (Feng Shen Bang) and Classics of Mountains and Seas (Shan Hai Jing).
Tian Xia Bang Chang, a noted writer in China, pointed that:” There is no shortage of impressive stories but the skills to adapt them. Therefore, it is not advisable to confront Hollywood directly. We should make more efforts to re-process a good Chinese story.”
FANG Li, CEO of Laurel Films, argued that: “In fact, we are not antagonistic to Hollywood, but would like to work hand in hand with it to make our stories travel around the world. The industry will see a lot more Hollywood directors and writers collaborate with their Chinese colleagues in the hope of creating more Chinese film tailored to the considerable size of Chinese viewers. We will reshape each other thereafter and reap higher profit which is the ultimate goal of investors. They will help us improve the industry and transmit our culture, and at the same time we will bring substantial returns to the Hollywood studios in China. As the Chinese viewers have a final say for the box office, how to dig the Chinese stories maybe what Hollywood is going to do in the coming years if they want to make more profit.”
He also predicted that the top Hollywood filmmakers would sooner or later find out a way to bridge the two markets. Moreover, with the globalization of film production, we tend to make films in the cost-effective area no matter in China or the U.S. Furthermore, with joint efforts, both sides will win more targeted film viewers.
Anthony CHEN, the winning director (ILO ILO) of Taipei Golden Horse Award for Best Picture quoted that: “Yesterday, my agent in American told me nowadays all Hollywood studios want to get access to China. Their concerns are that Chinese filmmakers and companies may know how to shoot Hollywood movies in a few years whereas American directors still will find it difficult to get a clear picture of Chinese culture by then.”
MA Ke, co-founder of Beijing Bu Yi Le Hu Film Company and the producer who maintains a close relation with celebrated director JIANG Wen (LET THE BULLETS FLY), confessed that:” Admittedly, we are a toddler compared with the time-honored Hollywood film industry and our market is far from mature. So, why don’t we film Chinese stories with Hollywood skills and technologies? Second, sincerity and devotion will make a real difference. Before exporting our works, we need to prioritize the quality of story.” In addition, he also called for mutual cooperation as every market has its latent rule.”
A consensus was thus reached to work with Hollywood in this panel: Chinese stories today with Hollywood techniques and technology.
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