China Entertainment: Director’s happiness is so simple

Lu Ping'an's two summer movies both exceeded 200 million, with explosive results and good reputation, attracting numerous media praises.

But it can also lead to discordant sounds.

It's dark and the roads are slippery. This society is complicated. If you climb higher, there will be villains looking for trouble.

It is said that Lu Ping An finally learned how to make money.

For example, in "Twenty Again", someone listed various income from the movie, such as advertising, copyright, account sharing, etc. Lu Ping'an's personal income was at least 100 million.

You, a great director, don't make big blockbusters, but specialize in these small-budget movies, taking advantage of everyone's family sentiments and making so much money, it's so unethical! You are just after money!

Of course, many fans have come forward and said that the film is very good and that the adaptation rights have been sold to many countries. This is also a cultural export. How many domestic films can currently sell foreign adaptation rights?

But in this era, the voices of netizens are not very effective after all.

It is actually very easy for those who really want to set the pace. If any famous person, expert, or public intellectual stands up and says something, the responders will be connected directly.

Fortunately, at this stall, the charity activities launched by Han Hong, Yan Danchen and Guorong have had excellent results.

Han Hong led the team, and the Red Cross, which was still very authoritative at this time, participated, as well as many charities to jointly care for the elderly. Yan Danchen, Guorong and Xingchen Wu Guohua jointly announced that they would donate to Barabala.

In an era when charity is not considered a show, this is very effective.

Han Hong even went a step further and said that the finances would be disclosed, which is where she stepped in with her own charity plan.

As a result, some discordant voices on the market suddenly changed their views.

Of course, some people will still think this is a show.

But this kind of thing, you can't just talk nonsense without evidence.

What's more, if there is an investigation, everyone will soon find out that Lu Ping'an, Guorong, and Han Hong have done so many things in the past few years.

Therefore, Han Hong and others are also open-minded, upright, and confident. They are more confident than many people in the Red Cross. They are not afraid of you causing trouble at all.

The discordant voices surrounding "Twenty Again" quickly subsided.

Most of the media also returned to "humanistic care" when commenting on the movie.

But various comments about Lu Ping An are still there.

This time, I changed my explanation and said that both movies exceeded 200 million, but they were still less than half the record of his "Wonderful Night 1"!

This shows what?

It shows that "Wonderful Night 1" is overrated, so much so that Lu Ping'an himself is overrated.

Even the box office of "Wonderful Night 1" may be fake!

Others say that with Lu Ping An’s current honors and achievements, he shouldn’t still be involved in such ordinary movies.

You, Lu Pingan, are already a great director, so you have to pursue higher and better things.

Is one Oscar statuette enough?

Don't forget that "Brokeback Mountain" is a foreign film. Since you have the ability, you must use Chinese cultural films to compete for the Oscars!

It is also said that Ping An Lu has begun to decline!

After all, the ratings of both movies are not particularly high!

This film is not as good as "Brokeback Mountain", not even "Source Code", "One Wonderful Night" and many previous films.

If you get a perfect score on the Xueba test, you are performing normally, but if you get a score of 90, you are substandard.

You have a safe road now and you are greatly below the standard.

It was already July 29 when Lu Pingan learned about these claims from the mainland.

When Hu Qingquan came to the United States, he talked about the results of the layout of Southeast Asia and mentioned these things in passing.

Hu Qingquan said: "Don't take it too seriously. The current situation is actually not bad. These voices are not loud. The overall evaluation of you in the industry is also very good. They are basically positive about "Twenty Again". The theme of humanistic care has allowed Xiaoyan to take the initiative to do charity in caring for the elderly. The social response has been good. The Golden Rooster Awards and other awards are also very interested in the film. This is proof that the trend is good. In addition, your "Initial D" Although it is relatively popcorn and not nutritious, it is also the first car-themed blockbuster in China that is successful. It is of great significance to fill the gap in the market. Besides, it also increases the Southeast Asian market. This kind of cultural export is not a trivial matter. And whoever wants to go out in the future will have to give you three points of face."

After saying that, Hu Qingquan also added: "On the whole, these two films will indeed have some small impact. After all, your status is different now, and the outside world will have higher requirements for you, so It’s time for us to start the next phase of planning.”

After hearing this, Lu Ping'an laughed and said, "The great poet's trap has come after all."

Hu Qingquan laughed loudly when he heard this.

Cheng Long on the side was a little confused: "What is the great poet's trap?"

Hu Qingquan then began to explain to Cheng Long.

The so-called great poet's trap is a concept put forward by Lu Ping'an and Hu Qingquan when they discussed the matter after the failure of "The Promise" by the earlier great poets.

The reference is to the concept of “middle-income trap” in national development.

Just as the country has not liberalized its thinking, its industrial structure has not been upgraded or transformed, and it cannot find new growth drivers, GDP will stagnate or even continue to decline.

For creators, to put it simply, it is the various internal and external limitations they encounter in their mentality and actions.

In terms of mentality, it is a question of whether you can get off the altar or not.

Your spirit, your talent, and your luck cannot support you to create higher achievements or maintain your peak condition.

It's like falling into a trap, and various indicators such as fame and status begin to continue to decline.

In this regard, although "thick blood" can withstand many external losses, what is difficult is the collapse of one's own heart.

This is extremely painful for artists.

Guorong had shared this with Lu Ping'an back then.

If you have been obsessed with the glory of the past, or taken the adulation of society beyond the limit for granted, and then lost yourself, then wait for destruction!

The typical example is a great poet.

The same goes for Lao Mouzi.

The only difference between the two is that the former really feels like he has reached the altar, while the latter is probably more modest.

So at that time, Lu Pingan simply named this mental dilemma the "Great Poet's Trap."

In terms of action, this is what Lu Ping An is currently experiencing.

The higher the status and the more honors, the more people will be put on the shelf.

Then the public will raise corresponding expectations based on your status, status and honor.

If you fail to meet such expectations in the future, well, wait for the scolding.

Therefore, many creators will transform or retreat behind the scenes when they reach a certain level.

In short, it is extremely difficult for most people to sing all the way.

Therefore, either proactively or passively, after entering the "trap" stage, the space for "free creation" will become smaller and smaller, and then you will basically have to experience a drastic change in actions and mentality.

After hearing this, Cheng Long nodded with emotion and said, "That's a good statement!"

He was very sympathetic.

In fact, he is experiencing this situation now.

The peak has passed, and no matter how hard you try, you can't break through the peak period, so all kinds of negative comments such as "the situation is declining", "getting old", and "passed" began to surround you.

"At this time, you really need a big heart. Peace, you have to stay awake. Really, this is the experience of people who have been there."

Cheng Long then told his story.

I think back to when I was young and frivolous, and what happened to me later.

Lu Pingan and Hu Qingquan listened with smiles, not listening for fun.

At least it's good if people are willing to share their experiences with you.

In fact, Hu Qingquan was able to talk to Lu Ping'an about this matter because he had already made corresponding plans.

Lu Pingan himself has actually realized this a long time ago. Otherwise, why would he have dumped a movie like "Painted Skin" with a score of less than 7 points before and not directed it himself?

It is conceivable that if "Painted Skin" is directed by him, no matter how high the box office is after it is released, the criticism will definitely be even greater!

As for how to break through this "great poet trap"?

For other creators, there are only two ways to get rid of this trap. One is to look at it more broadly, admit its own shortcomings, and seek transformation; the other is to produce better works.

Many people go crazy for the latter. For example, Ning Caishen finally used drugs and fell into the abyss.

But for Lu Ping An, this is simple.

He has no shortage of good works.

At the same time, he will not rely solely on his works to achieve breakthroughs.

The methods to learn from the national level to break through the "middle-income trap" are: emancipate the mind, liberate productivity, adjust and upgrade the industrial structure, and develop new markets

Calculated, it means establishing a film industry system, reducing the number of directing works, and turning to films of higher quality or reflecting social issues. In terms of commercial films, the focus is on films that can create higher box office records, and retreating behind the scenes to a limited extent. , cultivating a new generation of directors and actors, the company getting involved in more types of film and television themes, etc.

From "being a director who can work both in the hall and in the kitchen" to "being a producer or filmmaker who can work both in the hall and in the kitchen".

Output higher value on a larger and wider scale.

In this way, the mere "great poet trap" is not a problem for him at all.

This is what directors, company owners and leading figures in mainland films should do.

And he has already been doing it.

Therefore, regarding Cheng Long and Hu Qingquan's concern, Lu Ping'an showed the same confidence as always: "Don't worry, I will be steady and will not let go."

Cheng Long happily patted Lu Ping'an on the shoulder, a little hard, out of the pride of those who had experienced it and his expectations for the new generation, but also out of a little personal grudge. After all, he had been filming for so long, and he was technically incompetent. This old man suffered a lot in front of the newcomer Lu Ping'an.

Hu Qingquan also smiled and nodded without saying anything. He came here to talk about these things just to hear Lu Ping'an's answer.

Now that Lu Ping'an is very clear-headed, what else is there to say? Just continue to assist him. He can still work for ten to twenty years and keep growing.