to invest and make films. Our film market will become the world’s largest box office market in the next three years.”
Huang noted that there are challenges, such as distribution, to overcome.
“Each link of the Chinese film market is very weak,” he said. “We have hundreds of distribution companies, but none of them could compete with one of the ‘big six’ in Hollywood, not to mention distributing our films overseas. So what we now focus on is to make the local market bigger and stronger.”
The “big six” film studios of Hollywood are 20th Century Fox, Warner Brothers, Paramount, Columbia, Universal and Walt Disney Studios.
Huang pointed out that the Chinese film market has a huge potential for growth and cited the South Korean film market as an example. He said it is small, but it releases nearly 1,000 films each year, while in sharp contrast, China releases about 200 domestic films per year.
“We should develop the domestic film market before the international,” he said.
Data from the last few years show that domestic films enjoy a larger share of the market, more than imported ones, and the works that reflect the country’s own culture and lifestyle are more popular, said Amy Liu, senior vice-president of Entgroup, a domestic film research firm.
“Moreover, a key issue we should note is the popularity of the Internet in China, which is a good opportunity for China to breakout and surpass the US, and it is a fact that more and more young audiences like watching films at home,” added Huang.
Ye Ning, the vice-president of Wanda Cultural Group, said: “We all agree that China will have the world’s biggest film market in the next several years. Each filmmaker should quickly find their orientation and location. And it is of great importance that each participant needs to love, take root in and understand the Chinese film market.”
However, what the Chinese film industry lacks is the industrial logic, including initial exploitation, production and later distribution, Ye pointed out.
“Our film industry is still at an early stage, which is like a baby. Chinese filmmakers should keep calm, not get conceited and arrogant, making efforts to set our own script, shot, technology system and a channel to communicate and resonate with local audiences.”
Ye added that the Chinese film industry has much to learn, step by step.
“Our company is now making The Ghouls, a thriller. We have a mature team and grasp advanced technology, but we still meet unexpected problems in the process of filming,” he said. “We welcome foreign filmmakers to come to China and work with us to create a great story. It is now the right time and opportunity for both of us.”
Miao Xiaotian, president of China Film Co-Production Corp, said: “China has produced more than 600 films each year, we need more young filmmakers. However, we still need to improve in the field of creativity, the development and application of high-tech in the film, the exploitation and sales of derivative products. And it is necessary to enhance the international competitiveness of Chinese films.”
According to a report by EntGroup in January, the biggest threat to China’s film industry is not Hollywood blockbusters, but what domestic filmmakers need to do is to improve their own quality, particularly making more “highconcept” films.
The “high-concept” movie is the conceptual product of movie industrialization and commercialization, under the background of gradual maturing of the film industry by means of small and medium-sized investment and big marketing to maximize the interests of filmmaking.
Launched in 2006 by the Motion Picture Association, the MPA Film Workshop has become a bridge connecting young Chinese filmmakers with the rest of the world, and the selected winners will go to the “big six” in the US to learn films systematically and have an opportunity to introduce their film projects to Hollywood film companies.
However, when Chinese films try to attract more international audiences, they face many problems and challenges, according to experts.
An issue hindering the Chinese films “going-out” is language. Andre Morgan, a Hollywood filmmaker and president of the Ruddy Morgan Organization, a film and television entertainment company in the US, said at the moment the rest of the world is still quite eager for Chinese culture and history, so there will be audiences to see Chinese films, but the language is a big problem.
“English is the international language of film. The single biggest challenge for the Chinese film industry is we build up the domestic industry where people speak Chinese, they act in Chinese and they think in Chinese, but there are not many people in the rest of world who can access the Chinese language quickly. That is the big disadvantage when we talk about going to the international market,” Morgan said.
Morgan also suggested filmmakers should pay attention to and satisfy the taste and consumption habits of young people. Moreover, there should be abundant experienced producers to guide young Chinese filmmakers, helping them to find a balance between creation, marketing and distribution.
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