Regular art schools offer short-term refresher courses, including the Beijing Film Academy and the Drama Academy.
The refresher course is also called a crash course, and the lecture content is divided into two parts, one is basic and the other is practical.
The teacher will not explain the performance knowledge so systematically, but only let the students have a general understanding of the performance method, and then accumulate performance experience through practice after arriving at the crew.
This is not a scam of money, it can only be said that everyone takes what they need.
Xiao Ye reported to Wang Baoqiang for the advanced course of the Beijing Drama Academy, and for a year, he rehearsed the drama while studying, combining theory and practice.
The School of Drama attaches great importance to the teaching of theoretical foundations, which just makes up for Wang Baoqiang's lack of knowledge.
During this period, he can continue to play supporting roles in film and television dramas.
Xiao Ye didn't know the company's follow-up arrangements for Wang Baoqiang, but she could see the company's attention from this script called Soldier Assault.
Soldier Assault is a group drama, Wang Baoqiang plays one of the roles, and the role is very heavy.
In comparison, Huang Xiaoming and others have become famous, Wang Baoqiang is not well known to the audience, and even Xiao Ye feels strange to get this role.
According to the above, this is a collective performance of young actors in the company.
"The opportunity is rare, you have to seize it, raise it when you encounter a problem, and I will solve it."
Xiao Ye reminded.
"I know, Sister Ye."
Wang Baoqiang agreed.
After Wang Baoqiang left, Xiao Ye looked at Sun Li's resume, which was the task assigned by Mr.
Lin.
It is said that it was because Liu Dehua praised Sun Li that it attracted the attention of Mr.
Lin, and after watching Sun Li's draft video, he decided to sign her to the Good Dream Company.
Xiao Ye had heard of this talent show.
Singapore's TV stations made a big fuss, setting up examination areas in the four cities of Beijing, Shanghai, Huacheng and Chang'an, first for the competition in each examination area, and then for the competition in Huaguo.
They invited celebrities from the domestic show business industry as judges.
Lau Tak Wah was a judge in the Singapore finals, and the Hong Kong star also found time to shoot commercials and participate in various social activities during the filming.
For a star like Liu Dehua, salary is not his main source of income.
Advertising and commercial performances are the focus, and his appearance fee in the mainland is hundreds of thousands, but it is just a matter of showing up and singing a song, and the money comes quickly.
Thinking of Liu Dehua, Xiao Ye couldn't help but think of Huang Bo in Xiangjiang.
In July, my brutal girlfriend was released in Japan and South Korea and other countries, causing a sensation and climbing at the box office.
Young audiences, in particular, are the main group of moviegoers.
In the past, the Chinese films that sold well in these two countries were all Hong Kong films, and Cheng Long's kung fu film was the most popular, and now this romantic comedy will be added.
Huang Bo and Gao Yuanyuan went to Japan and South Korea to promote and were warmly welcomed.
This result was unexpected by domestic media and film and television companies, and my brutal girlfriend seemed to have a tendency to sweep across Asia, and everyone was wondering why.
Is it because the plot is unconventional, or is there a market for this kind of romantic comedy The point was made that a new generation of young audiences has grown up, young people who are tired of the old stuff, who like to be rebellious and subversive, who are different.
Although young people in Asian countries live in different countries, their psychological needs are generally similar.
My Sassy Girlfriend is in line with the tastes of a new generation of viewers, which is a major factor in the success of the film.
Nowadays, directors in their forties and fifties in China are nostalgic and shoot stories of the sixties and seventies, and the sixth generation of directors focus on marginalized groups in society and shoot literary films that are not popular.
Lin Xiaoling pays attention to the needs of a new generation of audiences, which is why the film is successful.
Perhaps filmmakers should pay attention to what young people want to see, they are the future of this society.
Xiao Ye attaches great importance to this matter, and has studied a lot of comments and the analysis report of the Good Dream Company itself.
During her three months in the UK, she had contact with foreign agents and found that foreign agents were not nannies for actors, and they needed to master all aspects of knowledge.
Not only does he choose the right script for the actors, but he also is proficient in all aspects of film production, from budgeting to publicity, and is simply an all-round talent.
They will analyze the gains and losses of a movie and avoid similar mistakes next time. and the boss of the film company, as well as the producer, argued with reason, and the initiative was very strong.
Domestic agents are more like nannies and housekeepers, or liaisons, who have not gone deep into the production of films, are not professional, cannot take the initiative, and have no right to speak.
This is related to the general environment of the domestic film and television industry.
The director is the center of the crew, and too much intervention by the agent can easily arouse the director's disgust, and the result is counterproductive.
After returning from the UK, Xiao Ye saw the gap and was determined to be strict with herself, she wanted to understand the industry thoroughly, and she couldn't be in a state of half-understanding.
Free novels bring you joy and joy ---> storyskyline.net
In the past, she wouldn't think about signing up for an acting class for Wang Baoqiang, she felt that it was not her responsibility, it depended on the company's arrangement, she was just a small agent, and she didn't have so much power.
Now her way of looking at things has changed, from taking care of actors to cultivating actors, which is a big shift.
Xiao Ye realized that he had to take the initiative in his own hands and looked at the work of the agent from a certain height.
For Xiaoye's transformation, Lin Zixuan was happy to see it.
He thinks about the problem from the position of the boss of a film and television company, and it is inevitable that the actors will leave in a company.
There are many reasons for this, either they feel that they are taking less money, or they feel that the company is unfair, or they want better development prospects.
There has been no incident of actors leaving in Good Dream Company for the time being, mainly to create a relatively fair environment.
Moreover, these actors have not yet reached the time of popularity, and some popular actors have a relatively peaceful mentality and little ambition, which maintains the situation.
But this situation will definitely be broken.
With the influx of social capital, more and more film and television companies with strong backgrounds and strength will emerge, offering conditions that actors cannot refuse, especially for famous actors.
It is normal to be poached.
There are also actors who choose to open their own studios or film and television companies, and make money by being their own bosses.
In the future, the film and television industry will develop towards diversification, which is a more complex situation, and how to deal with the relationship between various film and television companies and deal with the problem of actors leaving needs to be taken seriously.
There is a bond between the film and television company and the actor.
In China, agents and actors are affiliated with film and television companies, and this model limits the development of both parties.
If actors want to appear in the plays of other film and television companies and make money for them, there may be conflicts, and the films of Good Dreams need actors from other film and television companies, and they must also coordinate the relationship between the two parties.
The agent is caught in the middle, balancing the disputes between the film and television companies and the actors.
How to solve the problem of being poached, how to make actors and film and television companies get along, Lin Zixuan feels that the agent is the key, and he wants to do an experiment. t1706231537: