The current situation of Hong Kong film Writers: less market and less talent

March 2, the Hong Kong Film Writers Association held a "20-year Hong Kong Film Script Recommendation Award" at a hotpot restaurant in Tsim Sha Tsui, Hong Kong, and in the past 20 years, the Chich Hong Kong Film Productions had a total of 42 finalists and then selected five "Best of the best". (South all reporter Zhu Yanxia intern Huangfi) But, said is the ceremony, the day of the situation rather than say more like a simple press conference ——— originally not too big rectangular restaurant Hall with a screen separate two parts, Hall Two-thirds area continues to be the food and tea fragrant rice restaurant, The ceremony venue is only one-third of the venue, at film writers, the media in this space, especially appear cramped.　　Li Wenzho, who is a member of the Writers ' Association in the field, because the association funds limited, the venue is by the association member Wen June Friendship provides, and the dozens of media's presence also causes the host Party to be pleasantly surprised, because is the day awards the protagonist only is belongs to the film industry not to be high, the person is not too dazzling behind person ——— movie screenwriter. Lau said: "The film has to open (shoot) because the script OK", Xu-Hua said: "I am the writer is a big guy," said Winter, "director of Winter to listen to the writer of the Winter Sheng speech" ... All the words of the day are stating a fact: a good film is a good writer. In recent years, Hong Kong films, which have been the dominant players in Chinese-language films, have also faced bottlenecks, and the Hong Kong film writers have been doing well in the transition from the focus of the Chinese-language film market to the mainland and Hong Kong's shadow people moving northward. What is their future path?　　South Metropolis Daily reporter recently interviewed the front line of the Hong Kong film still adhere to the West, Lau, Chen Wenqiang, Li Wenzho and other people, hoping through their voices to pry. Their eyes "bestofthe best" lau heart water is not "infernal Affairs", the heart of the West Bank is not "sweet Honey" five "recommended screenplay award" and an "Audience favorite screenplay Award" in the same day, "Infernal Affairs" (Mak, Felix) at the same time to embrace the two awards, the rest of the "Recommended script award "From The Big Guy" (Wei Jiahui, Shanehai, European athletes, Ye Tiancheng), "Woman 40" (Chen Wenqiang), "Honey" (Bank West) and "New Love" (Er-dong Sheng) obtained. The award-winning writers list, perhaps you may not know the whole, but if you talk about their writers of these film title, perhaps your brain has emerged in the immediate emergence of a number of related scenes of the scene characters, all of the Hong Kong produced by the feelings and memories of the film.　　And in the shadow People's mind, "bestofthe best" is which work? Bank West: The favorite screenplay is "intimate" 15 years ago, "Honey" (1996) the day of one of the "script recommended award", but when interviewed by reporters in South America, talking about his favorite script, she chose the 2008 "Intimacy", "I and all the audience are (similar), It will be better and more impressive to compare new and recent things. To win thisThe requirements of a prize can stand the test of time, intimacy is absolutely not in line with this requirement. I can't say the work is particularly good, but I have a special feeling about it, may also because many people will feel (this work) stuffy, does not make sense, does not have the matter to happen, like a particularly weak, unpopular child, I myself will be special to this child, thought that it was born is a congenitally deficient person, can appear already very happy. Lau: Love "Infernal Affairs 2" script more than "Infernal Affairs" 2002, a "Infernal affairs" of the emergence of the cop of Hong Kong broke the old pattern and set a Hong Kong-produced commercial film another peak, the sequel again and again. On the same day, the director Lau on behalf of MAK, Felix led the "script recommendation Award" and "Audience favorite screenplay award." However, the result is somewhat different, Lau said his favorite screenplay is actually "Infernal Affairs 2", "that [works] to me feel very big." "Infernal Affairs" is very good, but if only from the script, "Infernal Affairs 2" tension is greater. "Chen Wenqiang: The most heart-water script?" Chen Wenqiang's "Woman 40", which has not yet appeared, has made a sensation in the Chinese cinema in 1995. He has twice won the best screenwriter Award in the Hong Kong Film Awards, but he told reporters that the most heart-water script is still not there, "including my own screenplay, other peer script, do not say 100 points, 90 points are not." The same is artistic creation, oneself will have some progress, the progress will have some requirements, will be some things before the flaws see more clearly. "South Paparazzi: The living environment of Hong Kong writers:" Where we can make money. "Small market, less money, less talent, thanks to a co-production" "The Status Quo" "Made in Hong Kong" has been a brand, but with the booming of the mainland film industry in recent years, the expansion of the mainland market has shifted the focus of Chinese films, " Hong Kong film is no longer unique, no longer has a great advantage, whether writers, directors, investors are good, in fact, are facing a transformation.　　Li Wenzho reporters to the south. Lau and Li Wenzho that in the ever-efficient Hong Kong film environment, the tactile sensitivity of the content producer, the writer, was immediately responsive to the change in the audience's tastes, which was seen as an important factor in the ability of the Hong Kong film industry to remain competitive in the commercial market. Lau said, "Because Hong Kong is very small, some of the topic of things will soon be very bad, Hong Kong writers will be very tactile to dig." "But now the dilemma is: small market, less money, less talent."　　In recent years, Hong Kong film has produced two hundred or three hundred pieces of work each year from its peak to about fifty or sixty works a year, and the narrowing of the Hong Kong market has become apparent. "(Chinese film) The main market is still in the mainland", "if it is not a co-production, many of us will change careers", "I feel the need to leave the local color, do not so Hong Kong" ——— in "the future direction of Hong Kong film Writers", Lau, Li Wenzho, the west, respectively, gave the above three replies, Once created countless classic people proud of the "Hong Kong produced, Hongkong-made", in the trend of Hong Kong filmmakers going northward, the writers also need to conform to this trend without exception. Shore West said: If not a co-production, a lot of people will change careers, even if it is always insist on filming of Cantonese films in the West, in the film cross-regional cooperation increasingly frequent environment, will also say: "This orientation is affecting everyone, I personally will not condemn the co-production." Because if it is not a co-production, many of us will change careers, because of the co-production, our positions of talent to find business. Because there are only dozens of plays in Hong Kong, no shot, not enough to feed so many people, they have no food to change careers. I think the co-production can at least raise a lot of our film practitioners, this is understandable, where can make money to go where. Lau said: Or is it to focus on the transformation of the mainland market from Cantonese to Putonghua, and then to the conflict and integration of regional culture, the writers of Hong Kong will need time to adjust to their future orientation and content of creation, but would this shift in the creation of the mainland to a tilt make Hong Kong films lose their harbor flavour?　　Director Lau even said two "no way, no way". He said: "If as a director, you have the guts to just play in the Pearl River Delta, there is no problem, you can make such a play, very authentic Cantonese; but now it is a big market, it is really a big market of Mandarin, I think now still concentrate on the mainland (market) first. He said that now the writers "need more people to see more things to study the taste of the mainland now audience." "Li Wenzho said:" Co-production in the theme of cooperation can be more Li Wenzho more think that the Hong Kong-produced films now need to skim the local color, "the past Hong Kong film is very authentic, and now there is so much space in mainland China, can be some subject matter, geographical areas can be more with the mainland." In the past, Hong Kong has been combined in investment and production, but more is the combination of Hong Kong investors and mainland investors, but not at the creative level, now there is no more than investment cooperation, the theme of cooperation can be more. "The Writer: Don't hang yourself in a tree. Multiple occupations, multi-Habitat development" status quo "in the film writers industry for many years Chen Wenqiang that, as a personal unit of writers in the creation of the support is very low, one on the other hand reflected in the writer's remuneration calculation. According to the introduction, the present remuneration of film writers in Hong Kong is mostly in the form of "phased payment". Need to be divided several times to collect the original script fee is not high, and in the process of selling the script will often encounter some quite "exploitative, unfair" conditions, such as the box office higher does not make the screenwriter to get more script costs, There is no commission, and as the script has been modified has not been used in the story of the bridge section, writers can not be used in another work. In terms of the writer's income, Li Wenzho to reporters in the south, "I am ashamed to say that in the past years, the so-called remuneration of Hong Kong films has been quite different from that of the mainland, for example, over 10 20 years ago, the script fee of a film in Hong Kong might average about 200,000 HKD, and in the mainland forty thousand or fifty thousand Yuan After so many years of change, now incenseHong Kong plays still remain at HK $ two hundred thousand or three hundred thousand, but in the mainland it may have reached 500,000 or even a 1 million-yuan script, so the remuneration of the writers of the film is relatively low, only to see more of the film writers turn into directors and producers. In 2008, the first attempt by the West Bank to self-guide film "Intimate", began to change from the writer to director identity. While talking about the film in the interview with the Shore West, she is now encountering a problem with her own jokes. Now I want to make a play for the director of the West Bank, I know the other side West director, she has a lot of things are not understand, I did not understand I can say do not know you, but I can not ignore the director of the West Bank, this is very annoying.　　I know how much money I have, I know where I can go, I know there are some fields I don't like to shoot ... From a screenwriter to a director or other position, such cases in Hong Kong, the film is a large number of a big tie, such as Jing, Chen, Gao Zhisen, Ma Weihao, Wei Jiahui, and so on, your first reaction may not be their original screenwriter identity, instead of its director, producer, actors and other aspects of the development more familiar with,　　The same is the writer of the senior Film and television humanities has also mentioned "writers are not reconciled to just when the writer, willing to be a writer will feel the return unreasonable." Whether it's still a Chen Wenqiang of pure screenwriter work, or is trying to identity transformation of the shore West, the industry peers "multiple habitat development" are somewhat Xu helpless, the former think the writer is in the passive position is not the ideal career choice, and the latter is straightforward said: "The writer takes so much time to write a script,　　It is not an actor can take a lot of things at the same time to do, there are a lot of advertising racket, so this is a developed industry, unless you are concurrently (other business) such as you red open a restaurant, use your reputation to do other things. Industry insiders Weibo reproduced @ Hong Kong Film Writers Association: In 2011, the Hong Kong Film Writers Association moved 20 years. To commemorate the local writers have been a creative way to serve the industry for many years, hereby set up the "20-year screenplay Recommendation Award."　　The General Assembly ad hoc online voting for the entire city to participate, from the 42 out of the nomination film to choose your idea of the "20-year recommended screenplay Award" film. @ I'm Manfred: the 20 anniversary of the screenwriter, before and after the selection of a total of 42 excellent screenplay, this year, especially the election of five bestofthe best, the results are as follows: "Woman 40" "Honey" "Big Guy", "New Love", "Infernal Affairs".　　Absolutely deserved!　　@ Fruit Pig: These five movies, no one is a costume film, not a blockbuster, no one is not to impress people, no one is not withstand the test of time.　　@ Wei gentleman: Siao, Maggie Cheung, Andy Lau, Shing, Tony Leung, respectively, won the golden like movie actress, five pieces are box-office. (Southern Metropolis Daily)