Rebirth In Hollywood

"Because Disney is creating a movie with its heart, to create a movie, it must first determine where the heart of the movie is. This is the most important thing."

Although there is a lot of water in these words, Ryan is really saying that Disney's film creators are doing, "It's not easy to put your heart into a movie, you have to start this early on. Work is like the foundation of a building, you can't build a tall building without a foundation, the heart and emotion of the film are the foundation, and emotion comes from the transformation that human characters experience, this is called the character arc."

This kind of professional terminology, the following people have no problem understanding.

"Characters usually come in a base image, but by the end of the story, they change and become a better person, often with very positive messages mixed in, and that's what we're sculpting from the beginning. The characters change, the story It will change, the action and humor elements will change, but the heart of the film is the core.”

"For example, we can make a superhero movie with a heart and turn it into an animated movie with Disney characteristics, rather than a Marvel-style superhero movie."

As if the idea was a good one, Ryan paused, then continued, "It's a Disney animated movie, just adapted from Marvel, and that's what makes this movie special. Then we'll add dazzling action and great Laughs, the picture of the film will also be beautiful, we use the latest rendering technology, it gives the film a new look, but the most important thing is its plot and emotion.”

"And these will be the foundation of the success of this film."

Ryan took this sudden burst of thought to heart, and perhaps this will be a new model of cooperation between Disney and Marvel.

"But that's just the basics."

Having been in this industry for so many years, Ryan can be said to be deeply enlightened, "and the skills you have learned are necessary to transform the foundation into success."

“A lot of people will question whether we will ignore the human aspect if we learn too much technology. Whether we will ignore how to tell a story, I don’t think these two aspects are contradictory. Movies are about technology and stories, about technology and imagination. A combination of the two forces.”

Ryan told film school students, "After we learn all the techniques in film school. Always remember that movies are about human beings. Movies are human, and movies use your heart to communicate with the audience."

"As for how to communicate, it will be directly related to the success or failure of the film."

There was no noisy voice below, "Let me tell you some of my own experiences,

One is to tell an interesting story that will keep the audience seated and unpredictable, so they can't wait to know what's next; the other is to promote the story with unforgettable charismatic characters. Charisma is the key; the third is to put the story and the characters into a believable world, no need to be realistic, just make the story believable, and that's what makes our film different from everyone else. "

"and also!"

"The production of films must be controlled! Respect for film language, production guidelines, and three-act structure is very important for film practitioners!"

"Audiences are used to a certain look and feel of the movie, and we help them fit in. We don't ask them to think about the production, technology, and techniques of the movie. We hope that when the lights are dimmed, the audience is completely drawn into the story, and at the end of the movie Don't think about anything before. That's our goal. All we do is make the audience happy, that's our business, that's our fulfillment."

"Therefore. We have to dig out a story that has never been seen before and form a resonance with the audience. Even if it is to let the audience see a subject they are familiar with, we have to show it in a way that has never been seen before, and show them a story they know but have not seen before. the past world..."

The applause in the auditorium suddenly sounded like a tide. Ryan's words obviously resonated with many people. The applause lasted for a few minutes, and it didn't stop until Ryan tapped the microphone several times in a row.

"Finally. I'm happy to be a film industry practitioner."

This is the most waterless of all Ryan's speeches, "If you go into the electronics industry. A lot of electronics have a lifespan of about three years, and after five years it's basically a pile of scrap metal. But if you make a good movie , its lifespan..."

"It's eternal!"

After finishing speaking, Ryan turned off the microphone.

All the people stood up and applauded for him, and the last words just spoke to the hearts of those who are about to enter the film industry.

The speech was over, and like all the people who came to the speech, there was a communication activity that was actually answering some questions.

"I hope you don't ask some too tricky questions." Ryan joked.

As the temporary host, Chen Jiazheng ordered a student, "The male student in the second row from the left in the fifth place."

Someone immediately passed the microphone, and the male classmate's question was not polite at all, "Hello Ryan, I have a question, Disney's films are indeed very successful now, but it cannot be denied that traditional Disney cartoons have been around for a long time. Hasn't appeared. Excuse me, has Disney abandoned traditional Disney cartoons?"

"That's a question that a lot of media, including in North America, are asking."

Although somewhat surprised that the other party didn't ask Chinese movies first, Ryan replied, "Disney will bring back the traditional Disney fairy tales, but we will find the appetite of modern audiences."

"Can you tell me in detail?" Another girl stood up after being named.

"Let's put it this way, one of the big problems with the old Disney fairy tales of yesteryear for audiences today is that there's always a female character waiting for a guy to come and save her."

Hearing Ryan say this, everyone below laughed, and when the laughter passed, Ryan continued, "All the women I know, including my sister Taylor Swift, my good friend Drew Barry None of Moore, my goddaughter Lily Mohsin, and all the female producers and publicists at Disney would sit there and wait for the men to come and save them."

Ryan stretched out his hand to indicate the direction of the female student. The other party took the microphone again and said, "Yes, it is true, and I will not do it either."

"It's not the kind of story that audiences today want to hear and want to see," Ryan said with a righteous look, "so when we start to recreate Disney-esque fairy tales, when I'm talking about stories that audiences need today, what I'm asking for is Create a strong female protagonist and let her drive the story rather than wait for a man."

"For example, "Tangled" recreated by the Disney animation department." Ryan simply promoted his own works in advance, "The same is true of Rapunzel, Le Pei, who lives on a high tower in the fairy tale and waits for the prince. The arrival of the story, we said that the story is not good, she should be the protagonist, she should want to leave the tower, the male protagonist should be forced to embark on the journey with her, she is the main force driving the story."

The speech did not take up much time. The Film Academy took a lot of effort to invite Ryan, and it was more about communication.

Then, the students' questions unexpectedly turned to Chinese films.

"First, "Crouching Tiger, Hidden Dragon" won the Oscar, and "Hero" has a North American box office of more than 50 million US dollars. Does this mean that Chinese films can successfully enter the US market in the future?"

"Sorry to tell you, this is just an isolated phenomenon."

Ryan doesn't intend for them to continue this useless fantasy. "Crouching Tiger, Hidden Dragon is directed by Ang Lee, who has directed films such as "Sense and Sensibility" that are very different from his personal cultural background. Full of American flavor, "Crouching Tiger, Hidden Dragon" is an oriental story interpreted in a Western way, attracting American audiences with exotic flavors. Americans are very unfamiliar with Chinese movies, and their expectations for Chinese movies are only exotic, so "Crouching Tiger, Hidden Dragon" Crouching Tiger, Hidden Dragon is fairly popular in America."

"In order to suit American tastes, Ang Lee's first version of the script was even written in English and later translated into Chinese." Seeing the suspicious eyes from the audience, Ryan shook his finger, "You don't need to doubt this. , because I am the largest investor in the film, as well as "Hero", let me just say one point, more than 60% of the theaters where this film is released are theaters near Chinese-American communities."

"Everyone, let me tell you very clearly that North America with Hollywood is a very exclusive film market, and even the success of European films in North America is rare."

Ryan's words seemed to inspire these students, and one of the following asked, "Mulan is a movie that tells the story of China in an American way, do you think this would be a good model for Chinese culture to enter Hollywood? "

"I don't think so." Ryan still shook his head, "Disney just used the content of this story, and it has nothing to do with Chinese culture. Because this is a story about a girl disguised as a boy, Hollywood generally thinks it attracts It's easier for boys to go to the cinema than girls because girls go to boys' movies and boys don't go to girls' movies. So Disney thinks about what stories will attract girls and boys at the same time, and "Mulan" is exactly that The story Disney wants."

"What kind of Chinese films can enter the mainstream film market in North America?"

The topic was completely entangled in this, and Ryan also expected this, but he did not intend to say those ethereal things, "This is a problem faced by the whole world, and the problem faced by the rest of the world's film industry is the American film market. Very, very difficult to get in!"

Perhaps Iran, North Korea and other countries are restricted areas for films from other countries due to institutional issues, but North America is also a region where overseas films cannot successfully penetrate due to some natural reasons. (To be continued) ()