August 20, 2007: Professional Training Program for Chinese Film Crews | 2007年8月20日: 中國電影人才培訓計劃 | 2007年8月20日: 中国电影人才培训计划

It's been 27 years since films have became a significant part of my life.  I remember in 2000 while promoting "The One" in Beijing saying, "You don't have to see Jet Li's films, but you need to watch Chinese films".  I'm glad Chinese films have made a drastic improvement in the past few years; theater audiences have increased, and new box office records have been set.

Filming in Europe and North America, I feel that movies are an industry.  If we want chinese films to flourish internationally, it can't be a question of having a particular film succeed, but rather the entire film industry in China needs to march together towards the international community.  Being a Chinese filmmaker, naturally I hope that China's film industry can develop global influence.  Right now the news is usually focused on specific producers, actors, or the idol TV shows, which I don't necessarily oppose, because we can find talented people through these venues.  But from the perspective of exporting Chinese movies, and having foreign movies filmed in China, we are facing many production problems.  To develop a national film industry, our foundation must be solid.  I would like to see an orderly plan of some sort to develop and cultivate behind-the-scene talents from Chinese film schools or a professional film crew training program.

We need to cultivate professional crews to connect with and enter into the international film industry.  Adjustments are needed -- from assistant directors, producers, make up artists, prop masters, transportation and catering.  For countries which are already established in the international movie industry, we can see that all of these areas are managed by professionals.  For example, transportation.  How do we effectively set up and maintain vehicle use and parking space to not conflict with filming?  If there is professional training for each department, in the long run it will save time and money.  After all, the crew's purpose is to support the director's vision, giving him/her the best technical and creative resources possible.

Language training is also very important.  Everyone should be able to understand the filming terminology used in Cantonese and English.  For example, with international co-productions, you hear cases of the director and assistant directors communicating in English, while others on set might not understand; or of Hong Kong assistant directors who can't speak Mandarin properly.  How is he/she to help direct the actors?  When things are frantic, it's easy to have misunderstandings and unhappiness on the set.

I knew some farmers that worked in my earlier movies who, through many years of hard work, have become producers.  I am very happy for them because this is the result of individual initiative and struggle.  If there is a system by which we can train these talents, then we can truly march on to the path of the international film community.

A country with a strong film industry can't concentrate exclusively on the cast; the crew is also a vital component.  Filming is team work, requiring talent both in front of and behind the scenes.  We have many movies and TV shows to help cultivate actors, but there is still a need for a professional training system for those who are passionate about working in the film industry.

So, how to develop a system for cultivating professional crews?  It requires professionals from all the various departments to come together, discuss the issue, and set up an effective plan.  In the future, when major films come to China for production, we will easily be able to find professional crews to coordinate with the director on all aspects of filming.  But to achieve this we need to have worthwhile discussions and be realistic about how to deal with all of these details.

Aside from cultivating talent, this plan should also encourage annual conferences to discuss and further understand rules and regulations used in the Western film industry, such as employment systems, financial organization, insurance regulations, etc.  We need to learn the positive attributes from the Western world and adapt them to create a workable Chinese film industry.  With the fast-rising development of the film industry, the next few years is a critical time in setting up professional training programs and technical schools.

These are just some of my humble opinions on this subject that I wanted to share with all of you.|電影在我生命中是重要的組成部份,伴隨我27年了。記得2000年在北京宣傳<宇宙追緝令>的時候我說過: "你可以不看李連傑的電影,但要看中國的電影。 〞很開心看到中國電影這幾年突飛猛進的發展,進電影院的觀眾愈來愈多,也創造一些票房佳績。

在歐美拍戲讓我體會到,電影是個工業。如果我們夢想中國電影有天走向世界,那必定不是某部戲成功而已,而是整個電影工業邁向國際。身為電影工作者, 當然希望中國成為電影工業王國,在全球有很大的影響力。目前大部分媒體都偏重於某個導演,演員,選秀等,我本人並不反對,可在這些節目中發掘人才。但隨著中國電影走出去,外國電影進來中國拍片,我們正面臨很多制作方面的問題。若要成為電影工業王國,基礎必須打好。我渴望看到中國電影技術學院或職業培訓計劃的成立,有系統的培養幕後人才。

我們需要培養專業幕後人才與國際接軌。從副導演、制片、化妝、道具、到交通飲食調度。在先進的電影工業國家,我們看到這些都由專業人才管理。譬如車調,在大型制片中,如何有效調度車輛,不影響工作情況之下排列車位等。若每個部門都有專業訓練的話,可以節省成本和時間。畢竟所有幕後工作人員是配合導演的創作,給他提供最大的技術保證與創作空間。

隨著電影的國際化,語言訓練也很重要。電影專業的普通話,粵語與英語,每個部門都應了解。比如在國際合拍片常聽到導演和副導演用英語溝通,其他工作人員可能不懂;或有香港的副導演普通話都說不好,怎麽對演員教戲呢？現場一急,就很容易發生誤解和不愉快。

我認識一些農民在我早期電影做廠工,他們經過多年的奮鬥,現在做了制片,燈光師等。我很為他們高興,但這些畢竟是個人努力的成果。若有系統地培養人才,打下長遠穩固的基礎,我們才能邁向電影強國之路。

一個電影強國,不能只註重幕前的演員,幕後的人才也非常重要。電影是個團隊工作,人才必須有幕前和幕後。我們現有的電影電視節目造就了很多幕前的演員,但幕後人員需要一個專業的職業培訓計劃,可以給更多熱愛電影的工作者能投入這個工業。

如何有系統地培訓？這需要電影各方面的專家一起探討,制定一個有效的人才培訓制度。將來有大型合拍片到中國來,劇組就可輕易找到熟悉合拍片程序,和具備語言和專業能力的幕後人員。其實這些都要具體到非常技術性的細節,很值得大家來探討。

這個培訓計劃除了培養人才,每年應該舉辦各類研討會,了解西方先進電影工業制度,如工會、融資方式、保險制度等。學習西方的優勢,創立符合中國國情的電影工業制度。隨著電影業的蓬勃發展,在未來幾年內,可能看到成立專業技術學院或培訓計劃的重要性。這是小弟的一點愚見,提出和大家分享。|

电影在我生命中是重要的组成部份,伴随我27年了。记得2000年在北京宣传<宇宙追缉令>的时候我说过: "你可以不看李连杰的电影,但要看中国的电影。 〞很开心看到中国电影这几年突飞猛进的发展,进电影院的观众愈来愈多,也创造一些票房佳绩。

在欧美拍戏让我体会到,电影是个工业。如果我们梦想中国电影有天走向世界,那必定不是某部戏成功而已,而是整个电影工业迈向国际。身为电影工作者, 当然希望中国成为电影工业王国,在全球有很大的影响力。目前大部分媒体都偏重于某个导演,演员,选秀等,我本人并不反对,可在这些节目中发掘人才。但随着 中国电影走出去,外国电影进来中国拍片,我们正面临很多制作方面的问题。若要成为电影工业王国,基础必须打好。我渴望看到中国电影技术学院或职业培训计划 的成立,有系统的培养幕后人才。

我们需要培养专业幕后人才与国际接轨。从副导演、制片、化妆、道具、到交通饮食调度。在先进的电影工业国家,我们看到这些都由专业人才管理。譬如车 调,在大型制片中,如何有效调度车辆,不影响工作情况之下排列车位等。若每个部门都有专业训练的话,可以节省成本和时间。毕竟所有幕后工作人员是配合导演 的创作,给他提供最大的技术保证与创作空间。

随着电影的国际化,语言训练也很重要。电影专业的普通话,粤语与英语,每个部门都应了解。比如在国际合拍片常听到导演和副导演用英语沟通,其他工作人员可能不懂;或有香港的副导演普通话都说不好,怎么对演员教戏呢？现场一急,就很容易发生误解和不愉快。

我认识一些农民在我早期电影做厂工,他们经过多年的奋斗,现在做了制片,灯光师等。我很为他们高兴,但这些毕竟是个人努力的成果。若有系统地培养人才,打下长远稳固的基础,我们才能迈向电影强国之路。

一个电影强国,不能只注重幕前的演员,幕后的人才也非常重要。电影是个团队工作,人才必须有幕前和幕后。我们现有的电影电视节目造就了很多幕前的演员,但幕后人员需要一个专业的职业培训计划,可以给更多热爱电影的工作者能投入这个工业。

如何有系统地培训？这需要电影各方面的专家一起探讨,制定一个有效的人才培训制度。将来有大型合拍片到中国来,剧组就可轻易找到熟悉合拍片程序,和具备语言和专业能力的幕后人员。其实这些都要具体到非常技术性的细节,很值得大家来探讨。

这个培训计划除了培养人才,每年应该举办各类研讨会,了解西方先进电影工业制度,如工会、融资方式、保险制度等。学习西方的优势,创立符合中国国情 的电影工业制度。随着电影业的蓬勃发展,在未来几年内,可能看到成立专业技术学院或培训计划的重要性。这是小弟的一点愚见,提出和大家分享。