Tao Mu had always acted resolutely and decisively. Now that he had decided to be the producer of the mainland remake of "Black and White", he asked Director Xu Musen to bring the screenwriter of "Black and White" to the capital that night. Tao Mu also invited Zhou Hong, the director of "The Great Wall of Flesh and Blood", and the screenwriter team to serve as a consultant.
Sure enough, when professionals go all out, the efficiency is simply on another level. Under the guidance of director Zhou Hong and screenwriter Fan, combined with the various professional film critiques Tao Mu had seen in his previous life to give a general direction for the revision. The script for "Black and White" took only a week to revise. Screenwriter Fan was best at adapting war dramas. The characteristic of classic Second Sino-Japanese war dramas was that the plot was full of ups and downs. The original script of "Black and White" focused more on the description of human nature. Whether it was the plot or the lines, the whole script was full of concise but thought-provoking fatalism. Now with this strong alliance, the revised script not only echoed the mainstream theme values, but also became more sophisticated and effective in terms of lines.
A week later, Tao Mu went to visit the leaders of SARFT with the revised script. Tao Mu was a person with high EQ, and was sophisticated in all aspects related to socializing. Normally he liked to keep good relations with all the people he came across and valued maintaining these contacts. So when he had use of them, it would not give people a tendency to "use people when he had need and forget people when he didn't". In addition, at the previous Lingxiao Award ceremony, Tao Mu left a good impression on the leaders of SARFT. Therefore, in this meeting, when Tao Mu took the initiative to bring up the passing of the script of the remake of "Black and White", the leaders of SARFT were not too rigid.
But they couldn't help but drag Tao Mu to listen to a spew of complaints.
".....You don't know how difficult those people in Hong Kong are. Their eyes and noses practically grow on their foreheads, acting so arrogant just because they could make a few movies. They look down on mainland movies and feel that our mainland cultural system is lacking any positive aspects. We spent great amounts to invite Hong Kong production teams to co-produce a movie because we see that the development of Hong Kong film industry is good, so we want to exchange money and resources for them to support mainland movies, right? But in the end, what do they do?"
"While looking down on us, they also want to come to the mainland to make money. It is the same crew but the treatment is completely unequal. Even if it is an unknown third-rate star who comes from Hong Kong, when they come to make a movie, they want nothing more than to live in a five-star hotel. Looking down on mainland actors, and saying that mainland actors are not good at acting in movies and TV dramas. Though it is called a co-production film, but the hero and heroine have to be their Hong Kong people, Taiwan people, and only the corner roles are left to us."
Yet it was not enough for the mainland to retreat to such a level. The Hong Kong people could still stir up all kinds of trouble: ".....often uniting to reject and bully our mainland actors. And the most overboard thing is that they could even spread the unequal treatment to two different lunch boxes."
So later, SARFT issued a written document. Clearly pointing out that in the co-production of Hong Kong/Taiwan and the mainland, mainland actors must play the main role. And various other clauses. The main purpose was also to protect mainland actors from being bullied by the Hong Kong/Taiwan crew.
As for the review of scripts, the leaders of SARFT were even more resentful: ".....things that clearly cannot pass the review. Don't mention their Hong Kong movies, even if they are Hollywood blockbusters, we SARFT will treat them all equally. If it can't pass, it can't pass. Isn't it the same process for our mainland moviemakers? Why are they so much more noble just because they are from Hong Kong? Asking them to change the script and they are full of complaints, shouting that we don't understand the art of film and that we are just blindly directing. When dragging it to the end they half-heartedly serve up complete nonsense just to get by. And then after the release, when the response is not good, the blame is shoved to us again."
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After The Vicious Cannon Fodder Was Reborn Pt 2
Lãng mạn**Not Mine, For Offline Purposes** Growing up in an orphanage since he was a child, Tao Mu, who had suffered so much, never thought that his life was actually a result of picking up the wrong script. Eighteen years ago, two children were born at the...
