The Director of Music Department

For many domestic actors, acting in a Hollywood crew may have a completely different experience from that in China.

Because, the crews of Hollywood movies here refer to those formal movie crews, not independent films.

It can be said that Hollywood's various systems have been very mature, and these systems have also allowed them to give birth to many talents in various fields.

For example, a film crew may listen to the director in China, and then divide the work and cooperate. Most of the time, the director finds his familiar collaborators.

In this way, the entire crew will be more easily controlled and there will be no problems.

But it's different in Hollywood.

Most of the time, directors may have their own fixed partners, but more of them are fluid collaborations.

Because, Hollywood crews involve a large number of different types of work, and various sub-directors with different divisions of labor.

And these people seem inconspicuous. Most of the time, they seem to be of little help to the filming, content, and so on.

This point can be said to be completely different from the domestic one.

Domestic assistant directors, most of the time, need to implement the will of the director. Of course, the assistant director, the assistant director, or the director will also be responsible for part of the shooting tasks.

But this is not the case in Hollywood.

They have casting directors, as well as various other assistant directors with different divisions of labor. For example, some crews will have an assistant director who is responsible for communicating with local official departments.

Of course, he may not be the assistant director, but he may also be one of the producers.

But the director's role in the Hollywood crew is indeed more on the production of the movie!

Regardless, in comparison, for a director who has always said something in China, it does take some time to adapt in Hollywood.

Because here, unless it is a director at the level of Wang Yifan, otherwise, the director's right to speak is not as great as they do in China.

On the contrary, many places will be restricted, such as capital budget, such as working hours, etc., etc.

Closer to home.

Wang Yifan was more at ease with Chen Shaojun.

Moreover, the film "Remains of a Deserted Island" itself is also a film invested and written by Wang Yifan.

And Chen Shaojun is a Chinese director, so naturally everyone knows that he is Wang Yifan's person, so there is no need to worry about him being embarrassed in the crew.

However, Chen Shaojun certainly cannot get the final editing rights.

Wang Yifan did not fight for Chen Shaojun for this, because it is not necessary. Everyone knows who the director of "Remains of a Deserted Island" is actually not important. The key is that this is a James Liszt movie.

Yes, including Wang Yifan also recognize this, because James Liszt is the absolute protagonist of this movie, and this movie itself is a Chong Austrian film tailored for him, so the final editing rights, James Liszt will definitely not Let go.

Wang Yifan also didn't want to fight for this, because this movie itself, except for the best actor, other awards, you don't need to think too much about it!

Even if there is PR, it is nothing more than a PR nomination to plate Chen Shaojun with gold.

Afterwards, in the Marvel Cinematic Universe plan, the same Wang Yifan will also start many domestic directors to serve as directors of some superhero movies!

Therefore, the Marvel Cinematic Universe Project itself is not only for profit, but also for the overall aspect of Chinese movies.

In fact, many domestic directors have made their mark overseas, such as Chen Hang, Chen Shaojun, and Li Mingjuan. At this time, they are actually quite famous in Hollywood.

But even in this case, it is difficult to receive a real A-level big production film contract. It is not discrimination, but their record is too shallow.

Some literary and artistic movies, in fact, the Hollywood media giants, on the contrary, do not have such high requirements for directors. On the contrary, they are commercial blockbusters, so the requirements for directors often have to be improved a lot.

In fact, the reason is very simple. Most of the time, the cost of literary and artistic movies is not too high, and the hard power requirements of the director are not so high for this kind of movies.

After all, in literary and artistic movies, most of the time, how many people are there in a crew?

As long as the actors are dealt with, there will be basically no major problems. As for the director, there is no final editing right anyway. Therefore, most of the time, for this type of film, the director's requirements will be relaxed a lot.

However, commercial films, especially large-scale A-level productions, have relatively high requirements for directors, and seldom use directors such as newcomers, because such films cost hundreds of millions of dollars at all times, and they dare not at all. adventure.

And like Chen Hang, even if there was a previous "Trumen's World" that won word-of-mouth and box-office results in North America, it was a foreign language film after all. Although Chen Hang was favored by the Mina Group, the treatment was still It's not as good as expected.

Even well-known producers will try to supersede the director and make the director a real tool man.

And the main reason for this is their distrust of the director.

Yes, or the level of trust is not enough, if it is Wang Yifan, which gold medal producer would dare to shake in front of him?

He can directly change the producer with a single word. It can be said that for a strong, famous and well-known director, there is no such thing as producer-centric or director-centric. What difference.

For example, Jack Curtis, such a top director, his movie, "The Sixth Sense of Supernatural", this movie does not care who the investor is, or who the filmmaker is. In front of him, he dare not really show it. Make a gesture that you want to listen to me.

Because Jack Curtis can change the producer every minute, and most directors like Jack Curtis, he usually directs a film by himself with the title of producer.

In terms of final editing rights, directors like Jack Curtis will basically hold them in his hands most of the time.

The same is true for Wang Yifan.

However, in Hollywood, although it is said that the top directors can get the final editing rights, in fact, this statement is still inaccurate.

Because even Jack Curtis will hang the title of producer, and then control the entire crew and the production of the entire movie.

In fact, to put it plainly, it is just maintaining the producer-centric system.

Of course, for directors like Chen Shaojun and Chen Hang, there will be no shortage of film appointments at the moment, but it is almost impossible to get the final editing rights.

But in fact, literary films, independent film labels and literary films invested by media giants are different.

Generally speaking, for literary and artistic movies, the director is highly likely to get the final editing rights, because this kind of movie itself has the director's personal style in it.

In particular, the literary and artistic films invested by independent film labels, most of the time, actually follow the director-centric system.