Zhang Ran explained in detail the structure of the Hollywood script based on Gu Hye-sun's story, telling the midpoint of the story, telling the bad guys approaching, and telling the soul night. He spoke very carefully, and quoted widely, using many Hollywood and Korean movies as examples to analyze it, making the audience in the audience fascinated.

The auditorium was very quiet, and everyone was listening carefully. Even the teachers from East and West University were attracted by Zhang Ran's explanation. Zhang Ran was not talking about profound theories, but practical skills. These skills were compared with the movies we usually watch, which made people feel enlightened.

An hour and a half passed quickly, and Zhang Ran began to end: "This is the structure of identity contrast movies. I hope it can be helpful to everyone. There are many structures of Hollywood movies, such as horror movies often have haunted house structures, and road movies are golden wool-shaped. If you are interested, you can come down to study them yourself. Today's lecture ends here!"

Zhang Ran looked at the time, then looked at the audience below, and smiled and said, "There is still a little time. If you have anything you want to ask, you can ask questions!"

A boy wearing glasses stood up and asked, "Mr. Zhang Ran, I especially like your movies and I hope to be a director like you. What do you think is the most important thing for a new director?"

Zhang Ran looked at the boy and said, "There is a store selling discs outside our Beijing Film Academy. There are all kinds of discs in it. Many discs that you can't buy can be bought here. The owner of this store is a student who failed the exam for the director department many times. It is said that he didn't score enough in the cultural course, so he gave up on the exam and started a DVD business opposite the school, saying that he would make his own movies when he saved enough money. I often bought discs there, and I became more familiar with him. I admired his spirit very much, so I told him, "Do you have a script?"

Show me the script you wrote. He told me that he wanted to write a great story, but there is no concept that satisfies him yet. After a while, I asked him again, did the script be written? He told me that he was still conceiving. Later, I never asked again. I said this story was to tell everyone that if you want to make a movie, then do it. If there is a camera, then do it. If not, then write the script and draw a storyboard. If you don’t do anything, it will always be just a fantasy!

In addition, I think you should not be impatient as a director. Don’t think about what I want to do when I first film. For the director’s profession, accumulation is particularly important. Don’t think about eating it in one bite. Many directors who become famous at a young age often have poor subsequent development due to lack of accumulation. Not to mention others, even I am now facing a bottleneck. One of the important purposes of participating in the Olympics is that I think that a lot of things can be accumulated. I think the growth of a director is natural, and you must not be too eager for quick success or instant benefits. Many things cannot be successful in one go."

Next, a student stood up and asked: "The South Korean government recently reduced the protective quota for domestic films released by Korean cinemas to meet the needs of the South Korea-US free trade agreement. This move was opposed by many Korean film industry figures. I wonder what you think?"

Zhang Ran is very impressed by the fighting spirit of Korean filmmakers. The rapid rise of Korean films in recent years is separate from this fighting spirit: "Movies belong to the cultural industry, and protecting movies is the protection of culture, which is definitely necessary. The whole of Europe, like France and Spain have their own film protection policies. I think there is no problem with filmmakers requiring local film protection. The real problem is that the quota is beneficial to the film industry? I think there is a certain number of Hollywood movies in the market, and the film industry is from the film industry.

The development is beneficial. We all know that Hollywood is powerful and audiences also love to watch Hollywood blockbusters. If they want to regain the audience from Hollywood, then the filmmakers must rack their brains and do their best to make the movies well. If there are no Hollywood movies, or there are fewer Hollywood movies, the pressure on competition will be much smaller. For many filmmakers, they can make money by making a random movie, and then they will definitely not make movies with their hearts, and the entire film market will be flooded. China's current film market is now flooding, which is one of the reasons!

I spent eight years in the United States. I grew up watching American movies and saw the strength of their pop culture. However, the differences between the East and the West are also very large. Our Eastern nations have their own feelings and expressions. Although Hollywood movies are powerful, they are always separated from us. They cannot reflect the emotions of our Eastern people, and they cannot reflect our joys, angers, sorrows, and happiness. Even if Hollywood movies can suppress us for a while, they cannot suppress us for a lifetime. So, I think we should have confidence in ourselves, our Eastern culture, and our movies!”

A Chinese student stood up and asked, "What do you think is the biggest problem with Chinese movies now?"

Zhang Ran thought deeply about the problem of Chinese films: "Yesterday, I chatted with Director Park Chan-woo, and he told me that Korean movies are in trouble now. He told me that with the recovery of South Korea's economy and the promotion of the government, in 2000, the local Korean movies reached 59, basically returning to the scale before the financial crisis; and there were also phenomenal blockbusters like "Common Warning Zone". The huge commercial success of "Common Warning Zone" stimulated the joining of venture capitalists with a keen sense of smell. Due to the influx of hot money, the market has been driven by the complexity of the market.

Rong, in recent years, Korean films have developed particularly rapidly. However, with the box office failures of several large-scale films in 2002, external capital began to withdraw from the film industry, and many production companies went bankrupt. In the first half of this year, more than 50 movies were released in South Korea, but the average production cost of these 50 movies reached the historical highest value, with a negative return on capital of 24.5%, and the losses were very strong. Director Park Chan-woo believes that more capital withdrawals will be followed, and with the large-scale withdrawal of capital, Korean films are likely to enter a trough next.

But I don’t think so. I think the withdrawal of hot money is a good thing for the entire film industry. Hot money can indeed drive the market, but at the same time it will lead to a large number of shoddy movies in the market, leading to the flood of bad movies. After the hot money fades, the film market will fall into a trough, but it will also squeeze out the bubble of the entire industry. I think as long as there are people like Park Chan-woo who really love movies and as long as they can continue to produce excellent works, Korean movies will soon get out of the trough!

Chinese films are following the old path of South Korea, and now a large amount of hot money is beginning to flow into the film industry. These people do not love movies, nor have they thought of operating movies as an industry. They only have one purpose to make money. Hot money comes in and leads to many bad tendencies, such as focusing on stars and neglecting creation. More than half of the cost of many movies is used to pay celebrity pay, and the funds invested in creation and production are very small, so all kinds of shoddy movies are rampant in the entire market.

There is a big difference between the Chinese market and the Korean market. The Chinese market is particularly large. It took South Korea only three or four years to hit the ceiling, and the hot money began to retreat; while it took China ten to fifteen years to hit the ceiling. During this period, the Chinese film market will inevitably be flooded with bad movies under the driving force of hot money. If everyone endures for four or five years, it will pass, but fifteen years, the audience's patience is limited, and over time, they will lose confidence in domestic movies. If one day the audience mentions domestic movies and directly say they are bad movies and don't go to the cinema to watch them, then Chinese movies will be done!

The purpose of our establishment of the Asian Film Academy is here. When the current hot money in the film industry is flooding, we will cultivate a group of excellent genre directors, protect the ecology of Chinese films, and keep the audience's confidence in Chinese films. Let the audience know that although there are many bad domestic films, there are still a group of people who are still making movies with their hearts!"

The Chinese boy who asked the question was very moved after hearing Zhang Ran's words, and stood up and bowed deeply to Zhang Ran: "Director Zhang, I am a film student, and I am not qualified to represent anyone, but I represent myself, a young man who also loves Chinese films to pay tribute to you!"

Zhang Ran smiled and waved his hand: "Since you are a film student and love Chinese movies, then make movies seriously. To maintain the vitality of Chinese movies, we who love Chinese movies need to work together!"

Countless hands were raised from the audience, waiting to ask Zhang Ran questions. The lecture that was originally one and a half hours was dragged by the students and refused to end. It took more than two hours to finish.

On the evening of October 19, the Asian Film Academy Awards held its first award ceremony in Haeundae, Busan.

The red carpet at the awards ceremony was brilliant!

Chinese actors Zhou Xun, Aaron Kwok-sung, Liu Hua, etc., Korean actors Song Kang-ho, Lee Young-ae, Jeon Ji-hyun, Japanese actors Miki Nakatani, Ken Watanabe, etc., the star shines may still be on the red carpet of the opening ceremony of the Busan Film Festival.

Korean female stars have always been bold on the red carpet, and have taken turns to make the headlines of Korean media. However, the Korean female stars who attended this time are all big names, so they don’t dress properly for the headlines.

Zhang Ran discovered a strange phenomenon. Korean actresses don’t wear jewelry. Not only are they shiny on their necks, but there are very few people wearing earrings. If they are little stars, they may not have sponsorship, but Jeon Ji-hyun and Lee Young-ae don’t wear jewelry either. It is probably because of some other conventions.

Zhang Ran walked on the red carpet alone, and did not bring a female companion. It was not suitable to look for Zhou Xun or Tang Yan, so he walked on the red carpet alone.

Seeing Zhang Ran appear, the reporters on both sides of the red carpet immediately turned the camera, aimed at him in unison, and pressed the shutter crazily.

"Zhang Ran! Zhang Ran" Fans on both sides of the red carpet waved various support cards and screamed.

Zhang Ran smiled and waved to the fans, which caused a louder scream.

After entering the venue, Zhang Ran found his place, but he did not sit down, but greeted the guests who came to support the audience everywhere. Although the Asian Film Academy Awards were organized by the Korean side, Zhang Ran, the president of the Film Academy, is also the host, so he must express his gratitude to the guests who came to support the audience. Any movie award cannot be separated from the support of celebrities. Without the support of celebrities, there will be no attention and the award will not have any influence.

After saying hello, Zhang Ran returned to his position. On his left is Jia Niaoliang, who was nominated for Best Actor, and on the right is Chen Daoming, who was nominated for Best Supporting Actor. In front is the crew of "Hanjiang Monster" led by Bong Joon-ho, and behind is the crew of "The Life of Matsuko Despised" led by Takaya Nakajima. The three crews are also the three favorites of the grand prize.

When Jia Niaoliang saw Zhang Ran take a seat, he showed a flattering smile and asked, "Teacher Zhang, do you think I have a chance to win the award?"

Zhang Ran looked at him and said lightly: "Do you think you are at the level of winning the award?"

Jia Niaoliang also knew that he had almost no chance of winning the award. The fact that he was nominated was mainly the charm of the character and Zhang Ran's grasp of the camera, he smiled embarrassedly: "I will continue to work hard!"

It was soon eight o'clock in the evening, and as the lights on the stage lights officially kicked off.
Chapter completed!