IM · Interview | Huang Xufeng: How important is impulse to become a director

IM: We talked about Li Jiahe's "Earth", this film was shortlisted for the "Film Corriers" short film unit of the 75th Cannes International Film Festival. Li Jia and director seem to have a little relationship with you. Can you tell me how he entered your field of vision?

Li Jiahe and "Earth"

Huang Xufeng: Let me first explain that "Di" has nothing to do with the door of the factory, but the Li family is an employee of our company. One day after get off work, I saw a young man downstairs. Do he tell me that you know the person on the second floor? Our company is on the second floor of C4 on the second floor of Dongyi Industrial Park. I asked him what he was going to do. He said that he wanted to know the company, and he saw the lights lit. I asked him what he wanted to do. He said that he was a director and made a short film. He wanted to come to work in this company. I added a WeChat with him, and he came to the company the next day. After two or three months of work, he told me that "Di Er" went to Cannes. I roughly learned the operation mode of "Earth", which is a very small team. Li Jiahe is from the School of Film and Television of Hebei University of Science and Technology. He knows what he wants. He himself has all the tasks including screenwriters, directors, editing, color adjustment, and production.

IM: Let me explain why we talked from this film. The cost of 5,000 yuan in works is shortlisted in Cannes, coupled with the background resume of the Li family, giving a "little man" counterattack. There are three Chinese short films in Cannes this year, and they are all young directors. I think this is a good phenomenon. Do you think the "short film" method is a good channel recognized by the public by the public?

The 75th Cannes Film Festival won the poster of the Chinese short film "A Cliff Raising the Sea"

Huang Xufeng: The short film is definitely an indispensable step towards the creation of his creation. Creating a short film is a very serious thing. As a film festival, especially the Youth Film Festival, how to accompany the young directors more completely from scratch, help them sort out the working methods and workflows, understand their creative orientation, and accompany them step by step from the short film to the long film. This is the significance of making a film festival. The domestic film festival basically has similar training camps in the field of short films. For example, the IM Film Festival has continued to do it for two sessions. The freshness and vitality of the film must come from the young creators of these generations.

IM: Assume that you are now a young creator after 00, will you still insist on making movies? Does maintaining this enthusiasm or this persistence have something to do with your growth background?

Huang Xufeng: Before I came to Beijing, I opened a bookstore and 5 years of bar. I did not officially go to class, but I watched a lot of movies. The film is known as the seventh art, and is the most popular and most public art form. It covers music, painting, photography, and even various art categories such as architecture. I love this art form from the heart. Even if I am a producer, I hope to use my work to present my understanding of this world through this form of life. Over the past four years, our company has made 18 works, such as "Spring River Water", "Balloon", "Back to South Sky", etc. In each of the works, there are part of my side conveying my understanding of this world.

IM: What do you think of the classification of literary and commercial films?

Huang Xufeng: We have always had a very clear proposition. I hope we can become a brand that creates beauty and goodwill. Beauty belongs to the beauty of video and the beauty of movies, and the goodwill is the social responsibility I think that the mass cultural communication carrier I think at the age of a movie. We can show that it is not easy for life, or exposed some ugliness, but when the movie is released in the end, we may want to give the audience the feeling that life is worth it.

If the audience is interested in seeing all our works in our company, they will actually find this characteristic. We are willing to do those interesting and valuable contents, rather than very stereotypes to divide the products into the so -called commercial films and so -called literary films. I talked to our company's directors: there are two types of movies, one is the movie you made for the movie; and the other is a movie made by the audience. Both movies have its audience and its channels.

In the final analysis, it is still a problem: young creators still want to continue to think about why they are directors? Do you really have an opinion on this matter? Does this thing want to shoot? These issues are particularly important. A director must use his own movie language to convey the understanding of this world -love or not love, hate or hates, likes or does not like what, what may agree with and may not agree.

IM: When the producer, when do you think the best moment or the happiest moment, when is it?

Huang Xufeng: The happiest time is that I think I found a good material -a director, an idea, a script or an outline. I will witness the entire process of the entire work, which is a very important growth and learning experience for me.

IM: I found that several directors have worked with you the first work, and the third part and the third part will continue to cooperate with you. For example, Fang Liang, such as Wei Shujun, how can you cooperate with these directors? What kind of process is this process?

Huang Xufeng: If it is not surprising, a director will find a professional producer. Sometimes I want to sign a director, I am very simple. I chose to do this because I love and I am professional. A producer can help a director complete the expression of TA, and at the same time allow TA expression to land. Because when the movie becomes an autonomous life, the final fate is to see more audiences. How to make movies be seen by more audiences, this is the direction of our next step. IM: The last question is to return to the Li family and 5,000 yuan to be shortlisted in Cannes. It makes many young creators move. Money is not a problem, technology does not seem to be a problem, so what problems will young creators face, or what does TA need most? Can you answer it again.

Huang Xufeng: The most needed is the determination to love and express. The first step of becoming a director is to express true feelings, never to commit to snakes. All artistic creations must first present a real self, then find the technical way to form a script, and then find your possible partners and investors. A correct methodology and attitude of being a person make us a director, not something else: not the part of vanity, not a red carpet, not the cheers of the film festival, not a flash ... not all of this. In the end, you find that you are alone, you are alone, you are not alone, you live in this world, you have an urge to tell stories. This impulse makes you a director.

I hope that all creators who want to be a director can obtain the path to become directors through their own methods and efforts, and then use this very beautiful artistic form to complete our understanding of this world. I hope everyone can succeed.

(Thanks for this article [Bump Mirror DOC] Zhang Lao's teacher has strong support.)

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