Asia-Pacific Film and Television Dong Wenjie: Respect industry rules and get close to the audience and the market

In 2015, two films co-produced by Asia-Pacific Future,"Run! The box office of "Brothers" and "The Quest for the Dragon" has exceeded 2 billion yuan, but Dong Wenjie refused to accept the title of "2 billion sister" called by her friends. She said that the accumulation of box office figures was meaningless.

In 2015, the box office of China films reached 44 billion yuan, with domestic films accounting for 54%. Among them, the fantasy adventure action special effects blockbuster "The Quest for the Dragon" has been well received by the audience for its superb visual effects and ups and downs of the plot, and has become a benchmark for the industrialization of China's film industry. From the perspective of co-producers, what role does the film play in the development of China's film industry? As a co-producer, how do you observe and think about the current movie market in full swing? Recently, Dong Wenjie, co-producer of "Seeking the Dragon" and founder of Asia-Pacific Future Film and Television, accepted an interview with reporters.

From leading the successful production and distribution of the kung fu blockbuster "Ip Man" in 2008 to exploring the commercial promotion of the artistic film "Thousands of Arrow Hearts" in 2012, from trying the variety movie hit "Run!" in early 2015 Brother "will test the water at the end of the year, a milestone work in China films that will explode on the big screen. Dong Wenjie has done a variety of film projects, and each one is a household name. Dong Wenjie said that her choice of film projects has always been "guarded without restrictions"-there are no restrictions on film types and a high degree of defense against investment risks. She said that what attracts her is always "high-quality stories and sincere emotions." Many people regard investing in "Seeking the Dragon" as just a money-making business opportunity, and she participates more because she appreciates the talent and persistence of director Wu Ershan, and the film's contribution to improving the standard of China's film industry.

From this point of view, Dong Wenjie is not quite like an entrepreneur in the traditional sense, but a dream chaser with a profound film complex and an excellent cross-border resource integrator.

Paying attention to the "Dragon Seeking Technique" and paying more attention to industrial upgrading

Dong Wenjie's fate with the "Dragon Seeking Technique" dates back to four years ago. Because she is a best friend with Wu 'ershan's sister Wu' erhan (also a core member of the planning and creative team of "Seeking the Dragon") and has known Wu 'ershan for many years, she has been paying attention to this project while the film was still in the script writing stage. "Before Wu 'ershan filmed" Sword Laugh ", we would get together from time to time to talk about movies and the film market." Counting, she was one of the first industry insiders to pay attention to Wu Ershan. "Wu 'ershan's advertising works," Sword Laugh "," Painted Skin 2 ", etc. all have outstanding image style characteristics and strong visual expression. I have always believed that he is one of the few directors in China who can control high-concept visual blockbusters. Each of Wu 'ershan's works surpasses its predecessors and reaches a high level. He doesn't want to repeat himself, and there are infinite possibilities ahead of him."

However, when talking about the box office of "The Quest for the Dragon", Dong Wenjie couldn't hide her disappointment. "It is a pity that this film has all the elements to become a phenomenal film, but in the end it did not reach the height it should reach. It was unwilling to accept by all participants, including many viewers who like this film."

In terms of return on investment, reputation and influence of the film,"The Quest for the Dragon" is an out-and-out success and ranks among the top three in domestic film history. But why does Dong Wenjie, as a producer, have such a strong sense of regret? "I hope that" The Quest for the Dragon "can break through the box office revenue of 2 billion and 3 billion yuan, not only from the perspective of investment income. What I am more concerned about is its impact on the industry and creators. If a film lasted four years to create, cost more than 300 million to produce and publicize, and the shooting time in the studio alone reached 2742 hours. It gathered 2007 top creative talents from China, the United States, and Japan and the front-line actors of Chinese films, and originated from the super IP The blockbuster "Ghost Blows Out the Lamp" failed to achieve box office and revenue exceeding expectations, which would be a blow to those investors and creators in the industry who want to be down-to-earth and create high-quality products for years. There will be more film investors and creators who dare not or are unwilling to devote themselves to creation, but will take opportunistic and shortcut, hoping to make clever "hot money" to earn a vote and leave. If such a thing happens, it will not only hurt the fast-moving China film industry, but also the China audience who is eager for good films. China films need to grow and progress in a baton by baton. I regret that the box office of "The Quest for the Dragon" failed to take over this baton and ran forward dozens of kilometers. While improving the industrialization level of China films, it can also bring the box office capacity of the China film market to a new high. Therefore, I particularly hope that there will be more films like "Monster Hunt" and "Mermaid" so that creators and investors can achieve results that exceed expectations. This will greatly enhance the confidence of creators and enhance the confidence of capital. It also enhances the confidence of the industry. This is the meaning of box office numbers." When Dong Wenjie explained her inner anxiety that the box office of "The Quest for the Dragon" fell short of expectations, she could clearly see the sadness in her eyes.

Stay away from the spotlight and get close to the audience and the market

. In 2013, Asia Pacific Future Film and Television (Beijing) Co., Ltd. was established and has been focusing on the production of film and television content since 2015. This platform-based content company, which is positioned to integrate film and television project development, incubation, investment, production, marketing and distribution, like its founder, gives people the feeling of being low-key and restrained. Although I invested in producing "Run! Big hit films such as Brothers and Dragon Quest have signed an exclusive global strategic cooperation and first-view agreement with top international film master James Shams and his production company, and have signed contracts with several first-line producers and directors who have outperformed the best in the Chinese film industry. There are many blockbuster works in the film list for the next three years. However, since its establishment, Asia-Pacific has not held a press conference in the future, and the company's executives and employees have rarely participated in various industry activities. Speaking of this, Dong Wenjie said: "I hope the company and colleagues can be far away from the spotlight and close to the audience and the market. Everyone can put their time and energy into the development and production of good projects in a solid manner, rather than some unnecessary social circles."

"Since we are involved in this industry, we hope to really produce some good works, works that can withstand the test of time and the audience." Dong Wenjie often emphasizes to colleagues that to be a "long-distance runner", we cannot only focus on immediate interests. We must believe that the growth of the audience far exceeds the speed of our progress, so we must run forward. The future slogan of the Asia-Pacific is a "work that shares the soul." Dong Wenjie explained that those "good works that can touch the soul" are the direction of the Asia-Pacific's future efforts and pursuits. Talking about the film industry, Dong Wenjie looked excited."The charm of the content industry is that it is creation-intensive, talent-intensive, and capital-intensive. It cannot be subverted by the Internet or other channels, and no giant giant can monopolize this industry. This is an industry that truly blooms flowers bloom, and it is also an industry that must respect talents and creativity. Because of this, there is room for growth and infinite possibilities for future development for new companies such as the Asia-Pacific Future."

Why is Asia-Pacific positioned as a platform company in the future? Dong Wenjie explained,"As far as the content industry is concerned, creativity and creation are suitable for individuals or small team-based organizations, while investment, financing, marketing, and distribution can all be mass produced on a large scale. Therefore, Asia-Pacific hopes to build such a platform in the future to integrate resources and strengths from all aspects to provide the best services to creators such as screenwriters, directors, and producers, and to promote the creation of creative talents under the guidance of common concepts and common values. Create high-quality masterpieces that can meet and lead the needs of the audience."

"Leave a mark on time and write poems for life. Even if we die, our works will still be passed down in the world." Dong Wenjie said back to her original intention of creating the future of the Asia-Pacific:"Only movies and the times must not be let down."

This is the best and worst era.

"The Quest for the Dragon" is called "a flag of China's film industry" in the circle. As one of the film's producers, Dong Wenjie said frankly that this is only the beginning."China's film market is getting bigger and bigger. In such an increasingly huge market, in the end, when we must face Hollywood and compete with Hollywood blockbusters, we really can't just rely on youth films, comedies or small-budget horror thrillers to work hard. Although there are many excellent films in these types of domestic films, looking around the world, under Hollywood's heavy industry system, if we only have these films, we will have great difficulties in survival, and we may eventually be crushed to the point where the film remains. After all, movies are the product of the integration of art and technology, and are special commodities where commerce and art. We must pay attention to and invest in the production of high-concept blockbusters with first-class industrial standards, visual effects special effects and advanced software and hardware technology, and invest in the production of those real commercial films, work hard to learn and progress, and continuously narrow the gap between us and the American film industry. Only when films like "The Quest for the Dragon" are produced one by one can we 'arm wrestling' with Hollywood in the same arena in the future."

As for the question "What stage of development is China's films at?" Dong Wenjie used Dickens's famous saying: "This is the best era and the worst era."

Dong Wenjie said that no one would disagree that China films have caught up with the "best times." When China's economy is in decline and all industries are experiencing varying degrees of recession, only the film industry has maintained ultra-high growth, and the upper limit of growth is not visible for a while, so there is no difference in the limelight. Faced with asset shortages, countless investors have targeted the film and television industry and invested money in it. Its popularity and concern are the luck given to filmmakers by this era.

However, in Dong Wenjie's eyes, this is the worst era for filmmakers. The pursuit of capital has undoubtedly put this industry and filmmakers under unprecedented pressure and anxiety. "In the past few years, when movies weren't paid so much attention, most of the filmmakers were people with movie sentiments and dreams. Most filmmakers were working hard to create and make good works. For example," The Legend of Tianyun Mountain "," Old Well "," Furong Town "," Alive "," Farewell to My Concubine "," Qiu Ju Litigation ", etc. are all products of the past era. There was no heavy investment and no one was jealous. People who love movies strive to produce good works one after another for the audience, recording the times and touching the soul. The good quality of those movies has not been damaged yet. Now that times have changed, capital has focused on the film and television industry, as well as on the few outstanding film and television creators. It can be said that every film director with a successful work or popularity has a fund chasing him to invest in them and their projects and make them rich overnight and worth hundreds of millions of dollars. Under such circumstances, how can the creator devote himself to creation? They are brainwashed by investors every day, and their minds are filled with capital markets, price-earnings ratios, gambling profits, new third boards... How can they quietly polish the script?"

China's film industry not only benefits from the enthusiasm of capital, but also suffers from the enthusiasm of capital. "After the Spring Festival, 35 film and television companies in my own WeChat circle of friends are advertising for recruitment, and the conditions they offer to candidates are becoming more and more eye-catching. The popularity of the film and television industry is evident. Like the film and television industry in China, every film and television person sets up his own company, which is complete with development, production, marketing, and distribution. They are all rushing to go public, mergers and acquisitions, which is rare in the world. Creative talents are unlikely to create good works under the weight of gambling terms. In the United States, works like "Avatar" that have been honed in ten years can be born, because directors and creators only need to face the quality and time requirements of professional film companies, and film companies and their executives need to be responsible for profits, shareholders, and gambling performance." Dong Wenjie finally said,"I hope that China's capital can become more and more professional, respect the characteristics of the film and television industry, and respect the laws of content creation. China's film industry should not treat filmmakers as cash cows, nor ignore the characteristics of the industry and encourage them-let the creators belong to the operators. Only then can China's film industry develop healthily. Don't wait until this industry is ruined, the investment is lost, and the chicken feathers are all over the place, to review and reflect on today's madness."

Editor: yvonne