The Director of Music Department

The genius remembers the address of this site in one second: [] The fastest update! No ads! For many domestic actors, acting in a Hollywood crew may have a completely different experience from domestic ones.

Because, the crew of Hollywood movies here refers to those regular movie crews, not independent movies.

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

For example, a film crew, domestically, may listen to the director for everything, and then divide and cooperate. Most of the time, the director finds his own familiar collaborators.

In this way, the entire crew will be easier to control and there will be no problems.

But in Hollywood it's different.

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

Because, the Hollywood film crew involves various types of work, and there are a lot of different assistant directors with different divisions of labor.

And these people seem inconspicuous, and they seem to be of little help to the filming, content, etc. of the film most of the time.

This point is completely different from that in China.

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

Not so here in Hollywood.

They have casting directors, and various other assistant directors with different divisions of labor. For example, in some crews, there will be assistant directors who are responsible for communicating with local official departments.

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

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

No matter, in comparison, for a director who has always kept his promise in China, it does take a while to get used to it in Hollywood.

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

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

Closer to home.

Wang Yifan was quite at ease with Chen Shaojun.

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

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

However, it is certain that Chen Shaojun will not get the final editing rights.

On this point, Wang Yifan did not fight for Chen Shaojun, because there is no need, everyone knows who the director of "Rest of a Deserted Island" is and it doesn't matter, the key is that this is a James Lister movie.

Yes, including Wang Yifan, who also recognizes this, because James Lister is the absolute protagonist of this film, and the film itself is an Olympic film tailor-made for him, so James Lister will definitely not have the final editing rights let go.

Wang Yifan also didn't want to fight for this point, because, apart from the point of best actor in this movie itself, there is no need to think about other awards!

Even if there is public relations, it's just a nomination by public relations and gilding Chen Shaojun.

And later, in the Marvel Cinematic Universe project, the same Wang Yifan will also activate many domestic directors to direct some superhero movies!

Therefore, the Marvel Cinematic Universe project itself is not only for profit, but also for the overall aspects of Huaguo's movies.

In fact, many domestic directors have made their mark overseas, such as Chen Hang, Chen Shaojun, and Li Mingjuan. They are actually quite well-known in Hollywood at this time.

But even if this is the case, it is difficult to receive film contracts from real super-large productions. It's not that they discriminate, but their record is too shallow.

For some literary films, in fact, the media giants in Hollywood do not have such high requirements for directors. On the contrary, they are commercial blockbusters, so the requirements for directors are often raised 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 this kind of movies do not require so much hard power from the director.

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

As long as the actors are settled, there will basically be no major problems. The director does not have the final editing rights anyway, so most of the time, for such movies, the director's requirements will be relaxed a lot.

However, commercial films, especially large-scale productions, most of the time have relatively high requirements for directors, and they rarely use new directors, because the investment of such films can easily be hundreds of millions, and they dare not take risks at all. .

And like Chen Hang, even if "The Truman Show" had a good reputation and box office in North America before, it was a foreign language film after all. Although Chen Hang was favored by the Mina Group, the treatment was Not as good as expected.

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

And the main reason for these lies in 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 tremble in front of him?

He can directly replace the producer with a single sentence. It can be said that for a powerful, famous, and famous director, there is no such thing as a producer-centered system or a director-centered system. What a difference.

For example, Jack Curtis, such a top director, his movie, "The Sixth Sense of Spirituality", no matter who the investor is or who the producer is, in front of him, he dare not really put it in front of him. Act like you want to listen to me.

Because Jack Curtis can change the producer in minutes, and most directors like Jack Curtis, the films he directs, usually also have the title of a producer themselves.

As for the final editing rights, directors like Jack Curtis basically hold them in their hands most of the time.

The same is true for Wang Yifan.

However, in Hollywood, although it is said that top directors can get the final editing rights, in fact, this statement is still not accurate.

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

In fact, to put it bluntly, 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 present, but it is almost impossible to get the final editing rights.

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

Generally speaking, for literary films, it is very likely that the director will get the final editing rights, because this kind of film itself has the director's personal style in it.

Especially for literary films invested by independent film labels, most of the time, they actually follow the director-centered system.