Writers from the four countries jointly solve the problem of transnational cooperation. What should we pay attention to in cross-cultural cooperation?

how to integrate different cultural backgrounds into the script? How to cooperate and communicate with multinational teams? How to talk about a "love" of cultural collision? The second advanced workshop for young screenwriters, sponsored by the China Film Foundation-Wu Tianming Youth Film Special Fund, the Management Committee of Tianjin Binhai High-tech Zone and the China (Bolong) Film and Television Industry Base, was held in Tianjin on December 7. A forum on "the possibility of transnational cooperation of film writers" attracted more than 200 students.

original title: youth Writers Forum mentors of the four countries jointly solve the problem of transnational cooperation

how to integrate different cultural backgrounds in the script? How to cooperate and communicate with multinational teams? How to talk about a "love" of cultural collision? The second advanced workshop for young screenwriters, sponsored by the China Film Foundation-Wu Tianming Youth Film Special Fund, the Management Committee of Tianjin Binhai High-tech Zone and the China (Bolong) Film and Television Industry Base, was held in Tianjin on December 7. A forum on "the possibility of transnational cooperation of film writers" attracted more than 200 students.

following the successful conclusion of the first advanced workshop for young screenwriters at the beginning of this year, the second workshop invited four internationally renowned screenwriters-one of the most representative screenwriters in Japanese cinema, Haruhiko Arai, who wrote "tragedy of w" and "late Night Canteen 2"; the famous French director and screenwriter Fr é d é Auburtin of "Paris, I Love you" Hollywood screenwriter Steven Gary Banks and the famous Chinese screenwriter Reed served as workshop tutors. In addition, we also invited Yan Ni, a special lecturer from Hitotsubashi University in Japan, as a special guest of this forum. Ellen R.Eliasoph, president of Weixiu Pictures Asia, as the guest host of the forum, is the first Hollywood executive representative in China, introducing "fugitive" into China as the first part of the blockbuster film, and has participated in the distribution of series such as the Matrix and Harry Potter as well as many Hollywood blockbusters.

at the beginning of the forum, host Ai Qiuxing said: "when Chinese and foreign dramas are developed in cooperation, they may face problems because the structure of Chinese plays is different from that of foreign plays. How to deal with the drama structure in different cultural backgrounds and integrate it is very important for cooperation. " Under the guidance of the host Ai Qiuxing, the screenwriter teachers expressed their views on the forum of four famous screenwriters both at home and abroad. To express their views on the "possibility of transnational cooperation between screenwriters": Haruhiko Arai suggested: "We must first learn the national culture and history of this object." Fr é d é ric Auburtin firmly believes that "only a good storyline can cross cultural differences." Steven Gary Banks said: "although we are now engaged in cross-cultural cooperation, but in essence, we still have some emotions in common." Reed believes that "movies are the language of the world, and good stories can be understood all over the world."

in his opening speech, Yan Xiaoming, vice chairman and secretary-general of the China Film Foundation, said: "everyone knows that Chinese films have developed very rapidly in recent years, and it is now recognized that no matter in terms of the size of the market, or in the number of films is growing very rapidly. But there are fewer and fewer films with good reputation at the box office. This reflects that the film is not only an industry, but also an idea, we creators need to have a unique solution, genius ideas, and then turn it into a film to present to the audience. At present, the China Film Foundation-Wu Tianming Youth Film Special Fund is a very valuable fund. These young people are working hard to improve their professional level from teachers' lectures in the past few days. Lay a small foundation for the future. "

Ni Xiangyu, secretary of the work Committee of Tianjin Binhai New area, said: "as a government, we never forget that all the performance of our efforts in the economy is to respect and make people physically and mentally happy, lighter and happier. Know more about the realm after enjoying material life. To this end, we will support this happiness industry like the real economy, and support the industry that this country brings enjoyment to more people. It also supports everyone's sharing with this community, and inspires people to think that tolerance for multiculturalism, in short, good works, our government will do its best whether it is public policy or all the conditions given.

how to introduce good stories from other countries into China, how to place successful screenplays at home, and how to make localized adaptations to connect them with their own cultural soil? While the film creative team is gradually internationalized, how can creators from different cultural backgrounds form a good consensus on the spiritual content and ideology expressed in the script itself? under this consensus, how do they form a unified overall style element in the expression of their own personality, and let a good script + excellent creative team create a new viewing experience for the audience? This has always been the focus of international film cooperation, and it is also the most common dilemma of transnational film cooperation.

< strong > Haruhiko Arai: cross-cultural cooperation requires understanding each other's culture < / strong >

Ellen R.Eliasoph, president of Weixiu Pictures Asia, has a lot of experience in transnational film cooperation, and as a host, she mentioned the Last Samurai co-production in Japan and the United States. "as far as I'm concerned, the completion of this film is not very poor," Arai said.

after that, he criticized the phenomenon of Japanese films blooming inside and outside the wall. Many Japanese films have received a mediocre response at home, but have gained a lot in international film festivals. "they are filmed from the perspective of Europe and the United States. when it comes to Japan, elements such as samurai, belly-cutting or geisha must exist. I'm afraid this is to meet the needs of foreigners."

talk about some film directors representing Japan, such as Anjiro Ozu, Akira Kurosawa and Kenji Mizoguchi. Akira Kurosawa is a lot of original works adapted from Shakespeare, which Haruhiko Arai calls "Akira Kurosawa who belongs to the world". His film is a feeling that runs through the east and west cultures. Ozu's famous Tale of Tokyo also has the same relationship. He believes that the real Japanese-style film should be Ren chivalrous film (equivalent to Chinese martial arts film): "one of the main themes expressed is about Japanese-style human feelings, that is, a theme of justice, truth and human feelings." but it's a pity that this kind of film has little market in the world.

Hirohiko Arai suggested to the young screenwriter that if we encounter a script with a cross-cultural theme, "We must first learn the national culture and history of the object we want to write."

< strong > Fr é d é ric Auburtin: good stories can span cultural differences < / strong >

Fr é d é ric Auburtin shares the experience of participating in the creation of Paris I Love you, a concept film in which 18 directors from different countries each spend two days making a five-minute short film. Because of cultural differences and different pursuits of personal expression, some of the ideas previously decided have been overturned, and all creators are constantly adjusting and adapting our previous plays. It took us a long time and energy to finish it.

Fr é d é ric Auburtin mentioned his recent comedy "Special Envoy": "what I am doing is actually a French remake of a British comedy. I remade this film by someone else, and now it is being remade by someone else." I find that only when the storyline is quite good can we cross cultural differences. "

< strong > Steven Gary Banks: cross-cultural cooperation needs to pay attention to the expression of emotion < / strong >

the most basic problem in the context of international cooperation is the difference between Chinese and foreign script structure. Ai Qiuxing asked Steven Gary Banks about the script structure: "what is the difference between the story structure written by Chinese playwrights and that of foreign countries?" Steven Gary Banks has a lot of experience in this area, he said: "in traditional Chinese movies, it often takes more time to present the story, they will naturally let the story appear, but in the West we may strongly introduce the story, because in our current fast-food environment, we want to get into the character more quickly, this is the difference."

on the question of which types of movies are suitable for remaking, Steven Gary Banks said: "I think the simplest thing is action movies." Because action movies are more determined patterns, or chase scenes, or fight scenes. So this is relatively simple. It is relatively simple and intuitive for you to save the heroine from point A to point B. Perhaps the most difficult to say is the comedy, because of the cultural differences, the joke is also different, so it is more difficult to remake.

speaking of advice for young Chinese screenwriters, Steven Gary Banks said: "although we are engaged in cross-cultural cooperation, in essence we still have some emotions in common, and we should also pay attention to the in-depth expression of these emotions. I think it should be a two-way process, on the one hand, we need to understand each other's culture, on the other hand, we need to look at our own life from another perspective. You must immerse yourself in a different culture.

< strong > Reed: good stories can be read all over the world < / strong >

in response to the difficulty of cross-cultural adaptation, Reed said that he recalled that when the masterpiece was first released at the Cannes Film Festival, applause lasted for ten minutes. Reed sighed: "some people use Chinese regional culture or a regional culture from all over the world as an excuse. I think this is because they are not confident enough about the characteristics and characteristics of the film." In fact, really good movies can be understood by the whole world. "

Reed encourages the young filmmakers present: "We must surpass in the cultural vision and cultural values before we can make a new film, which we have been waiting for for a long time." only in that unexciting historical time and space can we express this story brilliantly, all of which requires us to innovate and make efforts to make such a film. I hope to see such a movie born in my lifetime. "

Wu Tianming Youth Film Special Fund, launched by the China Film Foundation, was founded in 2014 and is the only public welfare fund under the China Film Foundation to support the youth film industry. The fund will inherit Wu Tianming's lifelong dedication and dedication to Chinese film, set up a public service platform and a training platform for young film talents, and carry out special film selection and reward activities. support and promote youth film projects with more potential for development, and support all aspects of film projects in major film festivals, film and television companies and professional film and television colleges within and outside the United Nations. We will earnestly help a group of cutting-edge young filmmakers who can push Chinese films to a higher level and gradually develop into an incubator of Chinese young film talents, focusing on training three groups of talents-- young directors, screenwriters and filmmakers, so as to enhance the influence of the new force of Chinese film.

Edit: yvette