How do small fresh youth films win the market correctly? A good script base, balance business and art

in recent years, one of the most important types of Taiwanese movies is youth campus films, and the most concentrated temperament of this type is small freshness. The recent release of "Liu Nong Cafe" brings together almost all the key elements of desktop fresh movies, but it has not won the popularity of the market, does it mean that the limelight of desktop refreshing is over and is no longer popular?

Fujii, who wrote songs for Stefanie Sun, made a movie "six Cafe" based on his novel of the same name. In such a Taiwanese film, the leading actor is from the mainland and the heroine is from Hong Kong. fortunately, male No. 2 was born and raised, and many audiences commented that Brotherhood is more natural than the love line. On July 28th, the first day of the film's release, the box office hovered at the level of 2 million, with Douban rating 5.1. what went wrong? Is the problem of "Liu Nong Cafe" a sign that desktop fresh youth films are no longer popular?

stills of" Liu Nong Cafe "stills

< strong > did not do well at the box office on the first day of release. What went wrong? < / strong >

Wu Ziyun directed "Liu Nong Cafe" on its opening day, the box office hovered at the level of 2 million, with Douban's score of 5.1, below the passing line. In the comments made by netizens, the criticism of the film focused on the dissatisfaction with the story itself.

in terms of content, Liu Nong Cafe is a typical Taiwanese fresh youth film, adapted from director Wu Ziyun (pseudonym Fujii Shu). The original novel has a good reputation and foundation, and the score of the novel on Douban is 7.8. Wu Ziyun is not the first writer to make a film across the border. The previous nine knives are successful examples, but directors of this type all face the biggest and must-be challenge-how to tell stories. It is obviously a problem for Wu Ziyun to check the works and satisfy the audience in different media.

according to the story presented by Liu Nong Cafe, Wu Ziyun is better at writing skills. He presents the film in the form of a chapter, and there are too many things to say. Under the big theme of growing up, love, friendship and family affection are all stuffed in, but there is no logical way to express the setting and development of the key characters. Guan Min Green, from a pure teenager in order to talk about long-distance love, to give up life after losing love and affection, the turning point of the character is not properly emotionally paved. The way of rendering a tragedy for the sake of tragedy has attracted a large number of viewers to think that they "don't know what to say."

hard wounds in casting are also subtractive items. In a Taiwanese youth film, the leading actor is from the mainland and the heroine is from Hong Kong. Listening to them speak with a Taiwanese accent, it is difficult for the audience to enter the play. In the later release version, the deletion of the beginning and end destroyed the overall plot and structure. However, the friendship line between Dong Zijian and Lin Baihong is the highlight of the film.

" those years, the girls we chased together "stills

< strong > desktop refreshing youth films, are not popular? < / strong >

the scenery of cycling around the island, the coffee shop suddenly entered on a rainy day, the refreshing costume, and the good brothers on the side. To sum up, "Liu Nong Cafe" gathers almost all the key elements of desktop small and fresh movies, does it mean that the type of desktop refreshing is over and is no longer popular?

in recent years, one of the most important types of Taiwanese movies is youth campus films, and the most concentrated temperament of this type is small freshness. "those years" by Nine Dao and "Cape No. 7" by Wei Desheng have triggered a trend of small freshness in Taiwan and the mainland market. at that time, there were also shallow-style films in the mainland, such as "lovelorn for 33 days", "Love of the Hawthorn Tree" and "Starry Sky." audiences are nostalgic in the movies, temporarily peel off the reality, and see what they look like when they are young.

Xiao Qingxin has gone from the minority to the public in Taiwan. Jay Chou once said that this has a lot to do with the reality of Taiwan. Taiwan's film creation funds are limited, and people are forced to focus their creative energy on small costs. Shooting this kind of theme does not need much money to complete, and the publicity also saves money. Take a poster to show the protagonist and the title of the film, and the audience will know what the film will be. At the same time, young Taiwanese directors, when they do not have rich life experience, tend to choose the areas they are good at, so the direction of the script focuses on adolescence, and Xiaoqing has newly formed the climate and market.

however, the small and fresh style is becoming barren in the fast-growing mainland film market, which is also due to the lack of emptiness of its creative form. The core of Xiaoqing lies in the nature of the story, evoking people's good memories of youth. But "Liu Nong Cafe" did not get much praise, that is, the content of the play ignores the reality, and the characters in the film are suspended and naive, invincible in youth, but hard to hide their wounds.

< strong > how to win the market in the right way? < / strong >

the success of youth films lies in all the bits and pieces, to the final patchwork of the plot, a heavy blow to the audience's heart, a mixture of smiles and tears, and the memory of the good old days. Therefore, the success of "my Girl Age", also from Taiwan, is very simple. The number one riffraff fell in love with an ordinary girl. After many years, the two separated met in the street, and the riffraff grew into the "Daoming Temple." ordinary girls become "post-it girls", blending the memories of youth, and the generation who grew up watching Meteor Garden seemed to see youth and "my girlhood." In "Liu Nong Cafe," low achiever fell in love with high achiever, and the story separated because of the gap in vision, without an in-depth account of "why to separate", directly made low achiever go to a dead end, and it was really difficult for the audience to empathize.

so, can youth movies still play refreshing? How to win the market in the right way? First of all, it is necessary to have a good script at the bottom. Whether it is the early Nine Dao's "those years" or Wei Desheng's "Cape No. 7", their success has one thing in common, that is, they have a good script at the bottom.

in recent years, mainland youth films have been in full swing, but they have entered a cycle. First kiss, derailment, abortion and love triangle have become inseparable keywords. "to Youth", "deskmate you" and "that year in a hurry" were even rated as "abortion trilogy". As a result, the tone of the publicity of youth films later took "We don't have an abortion" as a gimmick. "gardenia blossoms", "left ear" and "whose youth is not confused" all draw a clear line with "abortion". In fact, it is not these routines that go wrong, but it is still necessary to have a good book. For example, the Japanese youth film "Spice Girl at the bottom" may become a case. The gist of the story can be explained in a single sentence. Low achiever girl studied hard and was admitted to an ideal first-class university, and its attraction is that, because of dreams, it can be said that low achiever's transformation and progress are truly moving, which can be said to be an inspirational model for youth films.

choose the image that really matches the character. Correct casting is a key element in the success of a youth film, such as Wang mainland to my Girl Age, Ke Zhendong to those years, Chen Bolin to the Blue Gate, a youth film oriented mainly to a female audience. the male image is the basis for many films to stand and shine.

know how to strike a balance between business and art. Most of the youth films cost small and medium-sized, so most of the leading actors and actresses use new people, so why do the audience want to see a movie with no big stars? When it comes to commercial embellishments, some directors choose big-name stars as guest stars, such as Andy Lau in "my Girl days," or the director himself is a topic figure, such as Zhao Wei's "to Youth". Or choose a tricky schedule, such as "33 days lovelorn" released on Singles Day. In short, it is necessary to give a gap to open up the marketing situation, so that the audience can become interested in the film and pay for it in advance.

Xiao Qingxin used to be unique in blockbusters, which shows that the younger generation is willing to pay for the stories of youth, but what kind of films do audiences of this era need to think about.

Edit: vian