Li Haoxun, a film producer, completed his postgraduate study of business entertainment at Full Sail University. But in fact, his exposure to the film-related field was long before his postgraduate study. When it came to the reason for being engaged in the movies, he believed that movies were artistically the closest to life and commercially the most widely-accepted by the public. Li Haoxun always has a unique insight into product exploration and market development. By chance, he got to know Mimi Zhang, a producer, through friends and communicated a lot about the movie market.
Zhang cooperated many different types of movies with Li who was found to be fairly keen towards the film and the film market. He adjusted the overall control of the film and the cast budget according to Li’s suggestion, thus easing the pressure on the film production. At the same time, Li also practiced a lot about film production in the cooperation. Zhang recommended Li to the production of movie Underset, a Sino-US joint film, which was extremely impressive to Li. Themed in suspense from the period of Republic of China (1912-1949), it talked about newly-married Bai Xiuying avenged the death of her husband Zhang Qianyue, and finally fled the troublesome area together with the aid of righteous young man Zhong Fengxiang. The whole vividly depicted the dark humanity like Rashōmon.
During the interview, Li believed that there was still a definite difference between the micro movie and the full-length footage from the perspective of experience. In recent years, he has collaborated with Zhang over Bamboleo, The Taste of Hometown, Victory, The Last Note and Underset. It took four or five days for a dozen people to shoot a micro movie of three-or-five-minute duration. As the micro movie was short and the whole shooting was flexible, it could instantly stimulate the director’s imagination of the film media, test the professional and physical quality as for how to narrate a complete story in minutes, quickly transform the spontaneous feeling into images, and show the diffuse time and vast space feeling in the space. In fact, a slew of short films are the consciousness of investors and advertisers manifested to the audience through the internet platform. Meanwhile, the co-produced films by Li and Zhang have won awards such as the Asian World Film Festival, the Asian American International Film Festival and the Houston International Film Festival.
Micro film is where the movie industry initially embarked its journey, while 90-minute film is the commercialization outcome, so they are significantly distinguished as for the duration. On the one hand, the movie with more than 90 minutes allows for flexible treatment of space, time and narration, while the one within 15 minutes is more demanding for the creator’s ability to deal with time and space as well as scheduling. On the other hand, the micro movie production, in its own right, can often jump out of the constraints of the industry and present the director’s freer film language and independent essence. It follows that the micro movie is the same as the full-length one as for the professional quality, but more demanding for the capability of instantly converting inspiration into images.
When it came to Sino-US co-production, Li couldn’t help amazing that, compared to more than 30 years ago, China’s international perspectives have been greatly enhanced. When Hollywood movies were introduced to China in the 1980s, it was impossible to put on the latest ones such as Star Wars, which were quirky and hard for Chinese audience to grab the meaning of the pictures and the politics presented in the movie. It is completely different now. Not only has the number of films increased greatly, but also the time of screening is more synchronized, even earlier, around the world.
Meanwhile, academic works are also poplar in China. It has been reported recently that Ulysses, a book even all Greek for readers in the West, sells good in China. In fact, Chinese viewers are now the ideal audience for Hollywood movies as they are willing to watch and accept anything. Today’s problem is that China’s movies are not well-accepted by foreign countries. Hollywood is armed with the internationally well-known brand, untold movie stars and countless sophisticated screenwriters. Rather than just following huge budget and stunning special effects, many excellent movies pursue the great script at the very beginning. The script functions as the cornerstone without which the movie will never be a hit.
Without doubt, Chinese movies also make many contributions. For example, they now have been equipped with many new themes, stories and locations, and many excellent professionals including photographers, fine artists, directors and music producers. But they suffer from an undesirable system which always relies on the director for anything. To give full play to the advantages and potential of the Chinese film industry, efforts should be doubled to maximize all the good resources and ensure the full function of producers. Finally, Li said that he hoped to participate in more excellent movies in the future.