To control the risk of artists, the film and television industry must learn to say no

However, the film and television industry, which has been trapped by capital for too long, should actually learn a little bit from Wu Yifan to say nothing about capital and flow.

“This world is not what we ordinary people can imagine.” 

This is a line from the famous movie “Old Paoer”. One of its actors, Wu Yifan, has recently become a target of public criticism. Unlike some of the previous inferior stars, his problem has already been revealed. From being favored by capital to collectively canceling the contract by many brands, more chain screenings may have exploded in the last few days. 

Just as few people knew about Sun Yining a month ago, Du Meizhu’s name was rarely known a week ago , but it was her revelation that triggered this round of public opinion storm. At the same time, the voices of several “official media” also made the situation move towards. Expansion of development. 

Wu Yifan, who has a high starting point in film and television, has been keen on variety shows in recent years. The most recent big-screen movie has been “European Raiders” in 2018. Will the finished “Qing Zan Xing” (cooperating with Yang Zi) be officially launched in the future Suspicious. 

Wu Yifan is certainly not the first artist whose participation in works may be stranded due to his personal behavior. The right and wrong surrounding him may have been uninterrupted since he returned to China. However, the film and television industry, which has been trapped by capital for too long, should actually be after Wu Yifan. A little bit of learning to say nothing about capital and flow. 

Official media voices, brand decoupling, film and television companies suffer

In fact, since the end of May this year, the information about Wu Yifan’s “gossip girlfriend” has not stopped. When everyone used to be just the same as Gina and Qin Niu Zhengwei before, it was just another occasion (or marriage), but The subsequent development surpassed everyone’s expectations. 

To control the risk of artists, the film and television industry must learn to say no

▲ Notices related to controlling the risks of inferior artists 

After more information was disclosed, more than a dozen brands endorsed by Wu Yifan in the past collectively announced the termination (or non-renewal) of the contract in just 24 hours. At the same time, China Women’s Daily also criticized the Wu Yifan incident under real names, and the China TV Drama Production Industry Association. The Youth Work Committee (in charge of the State Administration of Radio, Film and Television) also issued a red-head document with real names to give instructions on the Wu Yifan incident. 

At this stage, the information disclosed by both parties is definitely not within the reach of ordinary people and netizens. Although there is support and standing in line for both parties in terms of public opinion, it must be seen that under more public opinion, protection and Supporting women and female groups occupy the mainstream, and the decoupling of many brands shows that the capital has given up and compromised under pressure. 

Although Wu Yifan’s accomplishments and achievements in film and television are generally negligible, the filming of “Green Hairpin” seems to be in a state of suspension. It is necessary to know that some artists whose works are relatively light before turn over. Wu Yifan and his works, who have caused such a negative social impact, have little chance to appear in front of the public. 

To control the risk of artists, the film and television industry must learn to say no

The sir shoot here puts aside the news that Kris Wu was highly praised by the “Beijing Circle” and the “Hong Kong Circle” after it has been disclosed by many media outlets. It is important to know that before and after Kris Wu’s return, it happened to be the period when the flow economy decides everything. Box office numbers It’s just a reference. It’s the key to keep traffic artists with a certain degree of exposure and high news heat. 

The notices issued by various ministries and commissions and the official media after the inferior artists have caused a certain degree of impact on the industry are very few real-name diss. In terms of importance, subsequent film and television works and variety shows that Wu Yifan participated in will face suspension and substitutions. Even if he is a Canadian citizen, he will not escape legal sanctions for illegal acts in the Mainland. 

Get rid of capital and traffic, and get out of the quagmire of inferior artists

By the end of this year, the four returnees are almost 30 or over 30 years old, and it has been six or seven years since they returned. According to common sense, through these years of studying and polishing in China, they should have achieved grades and have masterpieces, but it is regrettable at least At present, at the film level, the achievements of the returned four sons are not ideal. 

Of course, it’s okay to return to the country’s four sons, as well as other men’s and women’s groups debuting artists, including “A Dream of Red Mansions”, which provides a large number of outstanding talents for the mainland film and television circles . Each actor, singer, and artist will have various choices and positionings. Different, the overall evaluation still depends on the work and daily character as the standard, which is also an additional requirement for his status as a “public figure “. 

Judging from the current development trend, the appeal of capital to the Chinese film and the Chinese film and television industry may still be coveted by the flow of attraction. At the same time, the mainland film and television industry has never had much scrupulousness about the source of funds. The industry itself has thresholds and circles , and there is a mentality of ” living above oneself”, which also makes the cooperation between the two sides unequal and absolutely mutually beneficial. 

To control the risk of artists, the film and television industry must learn to say no

When the power of capital is strong enough to allow artists to form absolute economic autonomy, if the artists have poor morals and poor self-discipline, problems may only happen sooner or later, but the magnitude of the situation and the degree of influence are different. 

This is somewhat different from the early art theater, film and television companies, and economic company models, which restrict and control actors and artists in economic and other aspects. However, from the current ecological environment of the film and television industry in the mainland, it is not a problem to let artists be responsible for their own profits and losses. Good thing, after all, this helps the artist and his team to pay attention to the project when choosing a project. 

But at present, mainland film and television companies use shares to tie up artists and directors. Like some film and television companies signing new recruits, they also face risks and uncontrollable factors. After all, film and television companies themselves are easily deceived by some so-called false information. At the same time, some directors And high-traffic artists will also tie up their own resources and connections. 

These directors and artists may be risky and publicly doing well in their project cycle. When the resources they carry are separated from the director and artist’s project period, the probability of problems and risks will increase. These problems are also extremely difficult for film and television companies. Avoid it completely. 

According to incomplete statistics, there are not a few films and TV works that have been removed from the shelves, stopped broadcasting, and replaced due to celebrities’ personal misdeeds (including violations of laws, crimes and personal qualities) in recent years, but from the 2015 “Monster Hunt” After the replacement and reshoot, few films and TV works have outstanding performance in the later period. Some works have either adjusted their screening channels or treated the offending artists in a very low-key manner. 

Although capital still has a strong desire and coercion for flow at this stage, it does not completely mean that film and television companies have no autonomy at all. Compared with capital and outsiders, film and television companies themselves, in addition to a little nepotism, are more important to the industry. There is a clearer and more accurate understanding of internal interpersonal relationships and ethics. After all, through the baptism of the past few years, especially the success of some film and television projects that say no to traffic, film and television companies have the courage and courage to reject traffic stars and have plans. Capital control. 

To do a good job in Chinese film and television, start from the restriction of artists

In the past ten years or so, some bad deeds and illegal behaviors in the mainland film and television industry and employees have been repeatedly prohibited. In the rapid social and economic development and the more open environment of globalization, these things are actually very difficult to prevent and avoid. Regardless of whether it is a political or business term or an entertainer, high income will contribute to this situation to some extent. 

Although there are many performing arts associations and organizations similar to actors’ unions in the Mainland, it is difficult for these organizations and associations to fundamentally impose strong disciplinary measures on artists and actors, even if some people’s actions touch the bottom line of the law. And the punishment is more carried out by the state machinery, no matter whether it is the individual actors or their works, there is no other follow-up solution. The loss is not only the film and television company, but also a waste of many works. 

To control the risk of artists, the film and television industry must learn to say no

Not long ago, Han Xiaoli, president of the China Film Distribution and Projection Association, wrote an article that he promoted the great party-building spirit and worked hard to start a new journey of film power. President Han expounded this point of view through General Secretary Xi’s important speech on July 1, and also indicated that for a long time to come, the production of film history works in Mainland China must respect the people and focus on the leadership of the party. . 

Becoming a film power may be the long-term dream of many mainland film and television industry practitioners and audiences. It is also the direction that our party has been working hard on in cultural construction, but without a good foundation for all this, it will be difficult to find a more ideal one. direction. 

This year is the Hong Kong Chinese actor Andy Lau for art forty weeks in, and his situation, as the mainland thirty or forty years ago, there are many known as “Naiyouxiaosheng,” the young actor, but they are by their own cultivation and powerful Constraint to obtain longer-term performance vitality, which has an excellent role model for many young actors in the Mainland at this stage. 

Now that Internet companies have done a comprehensive coverage of the film and television industry, it is more difficult for film and television companies to do projects entirely on their own. The key Internet companies’ ideas and ways of thinking about projects are not exactly the same as those of traditional film and television companies, and their restraints and methods for artists are even more extreme than the practices of many brokerage companies. 

In contrast, at this stage, film and television companies hope to have stronger binding force on their artists and actors participating in the project, because in their opinion, all bad behaviors will not break out today, they will break out in the future, and the outbreak will affect it sooner or later. The project itself. For capital and Internet companies, it is best to explode every day, and then get a lot of traffic, which is what they want to see. For them, film and television projects no longer have the same value and benefits as traffic. 

Even though there are too many accusations and “stigmatization” of the film and television industry, most practitioners are more self-disciplined and restrict their words and deeds. After all, whether it is a lesson from the past or the current more transparent and open Internet platform, It is a restrictive factor for them. When the intensity of punishment is far from offsetting the pleasure of income, their own cultivation level and the strict constraints of the film and television company will be very important. 

As far as the overall development of the mainland’s film and entertainment industry is concerned, Wu Yifan will certainly not be the last inferior artist. In the future, film and television companies will either keep their eyes open or impose stricter restraints and controls on artists and actors. 

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