The relationship between Zhang Weiping and Zhang Yimou began in an in-circle dinner in 1989. That night, Zhang Weiping drove his Xiali to send Zhang Yimou home. The two of them chatted casually all the way, chatting everything, but they didn't talk about the movie. Zhang Weiping, who knew nothing about the movie, didn't even know what the director did.
Therefore, Zhang Weiping didn't know anything about Zhang Yimou and his movies, and he was not interested in asking about them. The two had been together for eight years.
In 1997, the two combinations of Zhang Yimou and Zhang Weiping started to cooperate, but the first finished product, "Say It Well" did not make a hit as expected, but instead lost more than 10 million yuan.
Fortunately, Zhang Weiping is brave and continues his initial thinking and will continue his cooperation with Zhang Yimou, and does not give up easily like most short-sighted investors.
In fact, his persistence destined to his success. After "No One Leaves" and "My Father and Mother" were put into the market one after another, the generous commercial profits and subsequent artistic achievements quickly helped him recover his previous losses and brought the two to a peak.
Zhang Weiping is very brave. If not, he would not have been able to obtain his current rich commercial status.
Since he dared to throw away his iron job and go into business, he has been based in society with a keen eye and decisiveness. Fresh attempts have always been irresistible to him, and this is true for business, friends and Zhang Yimou.
When Zhang Yimou wanted to make a blockbuster, Zhang Weiping dared to raise hundreds of millions of dollars to accompany him down the river. Such courage was unique at that time. He became the true first in the country in the sense of the doubts and disdain of the people.
"Hero" made a lot of money, and its success depends on the courage of investors and the trust between friends. It has started the trend of blockbusters that has been prosperous until today.
"Hero"'s box office in North America jumped nearly 60 million US dollars, with a total overseas box office of 1.1 billion yuan, becoming a well-deserved model of Chinese commercial blockbusters, which suddenly aroused the enthusiasm of domestic investors to make blockbusters.
Zhang Weiping's marketing strategy for "Hero" is in an absolute sense for his success in China.
He boldly used many extreme shooting and marketing methods, auctioned audio-visual copyrights for the first time, chartered business jets for publicity, and spent more than 10 million yuan for bombing publicity for the first time.
This marketing strategy has been emulated by countless film distribution companies until now. The role of later publicity was also repeatedly used by domestic film and television institutions as experience.
By the time of "The Ambush on Ten", this three-dimensional publicity strategy had already been put to the extreme by Zhang Weiping, which had already set off a wave of momentum and heat before it was released. All of this laid a solid foundation for the film's final hot box office.
But from this professional resume, Zhang Weiping is definitely a rare talent in the film and television industry, but...
These routines of his have been left over from Hong Kong circles and Hollywood. Perhaps they were original by him, and perhaps they were just used by Western learning. Anyway, no matter what, his trick is still like now, and it is even a bit outdated.
At the same time, like many older filmmakers, Zhang Weiping is a little too arrogant and too immersed in the glory created in the past. He has long lost the most basic grasp and understanding of the market. He is still the old routines ten years ago. He doesn't know that the market and audience are constantly changing and moving forward. In the past, it was targeted in the 1960s and 1970s, now it is the 1980s and 1990s, and in the future it is more likely to face the post-00s and 200s, and now it is the 190s and 190s and 200s. The past routine feelings are now unplayable.
Not to mention the post-90s and post-00s who are now gradually becoming the main force in the market for movie viewing, they are becoming less and less interested in the feelings of the fifth generation of directors and the older generation of filmmakers.
Maybe you think your feelings and art are very touching, but I'm sorry, we really can't understand it and don't have much interest in watching it, so Feng Kuzi, one of the three major directors, would swear in a furious manner and curse: Garbage audiences create garbage movies.
One of the most intuitive characteristics of the fifth generation of directors is the feelings of family and country. It is not that this thing is outdated, but your straightforward shooting techniques are really outdated. The audience has long been tired of watching it and does not feel the passion and blood at all. It is not as interesting as the war film "Save the Soldier" produced by Piss in 1998.
You have always been complacent and entertaining yourself, and others will not stop waiting for you. Although there are restrictions on the number of imported movies in China and will protect domestic movies, the restrictions are not that you do not import them at all. Even if there are only a few movies, the gap is too big and it can still impact the original industrial chain and ecological chain.
And now it is the era of mobile Internet self-media, and cinemas are not the only screening channel. Although films and TV series on streaming platforms are still restricted, they are much more relaxed than cinemas, and there is no limit on quantity. At the same time, after paying on-demand broadcasts, if theaters continue to play these old routines, they will sooner or later be counterattacked by streaming platforms. This is the real marketization, allowing viewers to vote with their feet and watch movies they are interested in.
So Lao Touzi has now realized that his past is outdated and is gradually not working. Big stars and directors are not as reliable as good scripts. No matter how easy it is to play marketing, the wine is not fragrant enough, it will not attract audiences. Not only can they not make money, but even the most basic honors will be lost step by step. In the end, they will be lost in their later years and will be beaten to death by the next wave on the beach.
Although this day has not really come yet, Lao Touzi has already felt that the final result of their generation is nothing more than a new generation to replace the old ones. Just as their fifth generation of directors replaced the third and fourth generations, they used to represent the most advanced ideas and the most professional and fashionable directorial level and artistic level in the film and television industry. Now, they are no different from the old stubborn people who were self-confidant in the past.
So this time, no matter whether Li Changsheng takes action or not, the two of them are destined to part ways. It is hard to complete the mirror. It can only be said that they have a decent breakup. In the final analysis, he did not owe him Zhang Weiping what he said, nor did he sell himself to him. He is free, and he stays free.
Therefore, Zhang Weiping didn't know anything about Zhang Yimou and his movies, and he was not interested in asking about them. The two had been together for eight years.
In 1997, the two combinations of Zhang Yimou and Zhang Weiping started to cooperate, but the first finished product, "Say It Well" did not make a hit as expected, but instead lost more than 10 million yuan.
Fortunately, Zhang Weiping is brave and continues his initial thinking and will continue his cooperation with Zhang Yimou, and does not give up easily like most short-sighted investors.
In fact, his persistence destined to his success. After "No One Leaves" and "My Father and Mother" were put into the market one after another, the generous commercial profits and subsequent artistic achievements quickly helped him recover his previous losses and brought the two to a peak.
Zhang Weiping is very brave. If not, he would not have been able to obtain his current rich commercial status.
Since he dared to throw away his iron job and go into business, he has been based in society with a keen eye and decisiveness. Fresh attempts have always been irresistible to him, and this is true for business, friends and Zhang Yimou.
When Zhang Yimou wanted to make a blockbuster, Zhang Weiping dared to raise hundreds of millions of dollars to accompany him down the river. Such courage was unique at that time. He became the true first in the country in the sense of the doubts and disdain of the people.
"Hero" made a lot of money, and its success depends on the courage of investors and the trust between friends. It has started the trend of blockbusters that has been prosperous until today.
"Hero"'s box office in North America jumped nearly 60 million US dollars, with a total overseas box office of 1.1 billion yuan, becoming a well-deserved model of Chinese commercial blockbusters, which suddenly aroused the enthusiasm of domestic investors to make blockbusters.
Zhang Weiping's marketing strategy for "Hero" is in an absolute sense for his success in China.
He boldly used many extreme shooting and marketing methods, auctioned audio-visual copyrights for the first time, chartered business jets for publicity, and spent more than 10 million yuan for bombing publicity for the first time.
This marketing strategy has been emulated by countless film distribution companies until now. The role of later publicity was also repeatedly used by domestic film and television institutions as experience.
By the time of "The Ambush on Ten", this three-dimensional publicity strategy had already been put to the extreme by Zhang Weiping, which had already set off a wave of momentum and heat before it was released. All of this laid a solid foundation for the film's final hot box office.
But from this professional resume, Zhang Weiping is definitely a rare talent in the film and television industry, but...
These routines of his have been left over from Hong Kong circles and Hollywood. Perhaps they were original by him, and perhaps they were just used by Western learning. Anyway, no matter what, his trick is still like now, and it is even a bit outdated.
At the same time, like many older filmmakers, Zhang Weiping is a little too arrogant and too immersed in the glory created in the past. He has long lost the most basic grasp and understanding of the market. He is still the old routines ten years ago. He doesn't know that the market and audience are constantly changing and moving forward. In the past, it was targeted in the 1960s and 1970s, now it is the 1980s and 1990s, and in the future it is more likely to face the post-00s and 200s, and now it is the 190s and 190s and 200s. The past routine feelings are now unplayable.
Not to mention the post-90s and post-00s who are now gradually becoming the main force in the market for movie viewing, they are becoming less and less interested in the feelings of the fifth generation of directors and the older generation of filmmakers.
Maybe you think your feelings and art are very touching, but I'm sorry, we really can't understand it and don't have much interest in watching it, so Feng Kuzi, one of the three major directors, would swear in a furious manner and curse: Garbage audiences create garbage movies.
One of the most intuitive characteristics of the fifth generation of directors is the feelings of family and country. It is not that this thing is outdated, but your straightforward shooting techniques are really outdated. The audience has long been tired of watching it and does not feel the passion and blood at all. It is not as interesting as the war film "Save the Soldier" produced by Piss in 1998.
You have always been complacent and entertaining yourself, and others will not stop waiting for you. Although there are restrictions on the number of imported movies in China and will protect domestic movies, the restrictions are not that you do not import them at all. Even if there are only a few movies, the gap is too big and it can still impact the original industrial chain and ecological chain.
And now it is the era of mobile Internet self-media, and cinemas are not the only screening channel. Although films and TV series on streaming platforms are still restricted, they are much more relaxed than cinemas, and there is no limit on quantity. At the same time, after paying on-demand broadcasts, if theaters continue to play these old routines, they will sooner or later be counterattacked by streaming platforms. This is the real marketization, allowing viewers to vote with their feet and watch movies they are interested in.
So Lao Touzi has now realized that his past is outdated and is gradually not working. Big stars and directors are not as reliable as good scripts. No matter how easy it is to play marketing, the wine is not fragrant enough, it will not attract audiences. Not only can they not make money, but even the most basic honors will be lost step by step. In the end, they will be lost in their later years and will be beaten to death by the next wave on the beach.
Although this day has not really come yet, Lao Touzi has already felt that the final result of their generation is nothing more than a new generation to replace the old ones. Just as their fifth generation of directors replaced the third and fourth generations, they used to represent the most advanced ideas and the most professional and fashionable directorial level and artistic level in the film and television industry. Now, they are no different from the old stubborn people who were self-confidant in the past.
So this time, no matter whether Li Changsheng takes action or not, the two of them are destined to part ways. It is hard to complete the mirror. It can only be said that they have a decent breakup. In the final analysis, he did not owe him Zhang Weiping what he said, nor did he sell himself to him. He is free, and he stays free.
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