The star-studded Hollywood Adventures opened far below estimates with a $9 million opening day and $26-$27 million weekend, only 9th best 2015 debut among Chinese films.
by Albert Wang for China Film Biz
March 19, 2012
This past week saw Steven Spielberg’s War Horse repeat as the top film at the mainland Chinese box office, taking in $5.9 million to bring its total two-week haul to $14.7 million. Falling one place from #2 to #3 was Journey 2: The Mysterious Island, which earned $3.4 million for the week to bring its cumulative box office total to a cool $56.6 million over 31 days of screening.
Debuting at #4 was Robert Rodriguez’ Spy Kids 4: All the Time in the World in 4D, bringing in $3 million for the week, while Conan the Barbarian dropped to fifth place with $2.8 million in its second week of release to bring its total box office to $5.9 million.
Perhaps the most interesting news at the box office was the successful debut of A Simple Life, starring Hong Kong star Andy Lau, which brought in $5.2 million in just 4 days. This was good enough to earn the film the number 2 spot at the box office, making it the lone non-Hollywood film among the week’s top 5.
The success of A Simple Life serves as a reminder of the amazing talent that the Chinese filmmaking diaspora has to offer. Ann Hui, the film’s director, is one of the foremost talents of the groundbreaking Hong Kong New Wave of the 1970s and 80s, which included Tsui Hark and John Woo among the film movement’s notable members. For many Chinese people around the world, Hong Kong cinema has served as the de facto source of Chinese cinema for decades, and its influence on even Hollywood cinema has been well documented.
After about a decade of depression in the Taiwan film industry, Taiwanese cinema has seen a significant revival, starting in 2008 with the highly popular Cape No. 7 breaking Taiwan box office records despite its lack of name celebrities. This trend of successful films that eschew established Taiwanese stars continued with Monga (2010), Night Market Hero (2011), and Seediq Bale (2011).
As was previously mentioned in China Film Biz, Taiwanese films have also found recent success at the mainland Chinese box office. In just the first 8 weeks of 2012, three films by Taiwanese directors each grossed $8 million or better, and have collectively grossed almost $40 million. Hong Kong/China and Taiwan/China co-productions have collectively taken in over $139 million at the Chinese box office this year for about a third of the overall box office.
Chinese-American filmmakers must also be mentioned in this context. NYU educated and long-time U.S. resident Ang Lee as been on the global stage for nearly two decades, and his game-changing Crouching Tiger, Hidden Dragon became a catalyst in the conversations about global Chinese cinema. And Justin Lin has established himself as one of Hollywood’s more successful directors with his popular installments in the Fast & Furious series. Lin has also made it a priority to cast Asian Americans in supporting roles in his globally popular movies.
Mainland China also has the talent necessary to make globally successful movies, with filmmakers like Feng Xiaogang and Zhang Yimou often leading the charge at the domestic and global box offices. And there are other talented filmmakers who haven’t had the box office success of the aforementioned directors but who would probably be just as capable of directing a successful “global Chinese film”, if given the right opportunity.
But what will a global Chinese cinema look like? It can’t and shouldn’t be a mirror image of what Hollywood has created with its big-budget blockbusters, movies that are often focused more on grand visual spectacle than on the intricacies of a well-told story.
Rather than just pumping money into the film industry while simultaneously imposing creativity-stifling restrictions on its local filmmakers, the Chinese government needs to have a clearer vision of what it hopes to achieve with a global Chinese cinema, so that it can give all the filmmakers in the Chinese diaspora a greater license to creatively explore and produce groundbreaking “Chinese” cinema that the whole world can enjoy.
Even if the government wishes to continue to exercise ultimate control over the content being turned out by its film industry, China needs to make explicit and streamline the rules by which it wants its filmmakers to abide. If the rules can be made less arbitrary and less antagonistic to entertainment, even with these restrictions Chinese filmmakers will find a way to flourish, just as Hollywood was able to flourish (and even experience its Golden Age of Cinema) under the restrictive Hays Code established in the 1930s. If the government can’t find a way to give its filmmakers at least some artistic license, the best and most influential Chinese films will continue to come from places other than the mainland film industry.
Albert Wang is an aspiring producer of US-China film co-productions who joined the Pacific Bridge Pictures team in December, 2011. His previous blog on US-China films can be seen at hollymu.com.
by Robert Cain for China Film Biz
March 8, 2012
To: Those calling the shots in China’s film industry
From: A concerned foreigner
Re: Unsolicited but well-meaning advice
Dear Chinese Film Honcho:
I’ve just read a report from an official-sounding Beijing organization called the Academy for International Communication of Chinese Culture, which tries to explain why “many good Chinese film productions have not yet reached the mainstream audiences overseas.”
Excuse me, but do they know something I don’t? What good Chinese movies? Your movies don’t reach mainstream audiences overseas because they’re generally unwatchable. Even your own people, who have extremely limited movie-going choices thanks to your restrictive quota system, are staying away from these mediocre pictures.
It’s not that Chinese filmmakers can’t make good movies. People like Ang Lee, Wong Kar-Wai, Wu Tianming, Liu Jiayin, Lou Ye, Tsui Hark, Wayne Wang, Justin Lin, and others have shown the world that they know how to make artistic and crowd-pleasing films. In perhaps the ultimate compliment, Hollywood gave a Best Foreign Language Oscar to your Taiwanese brother Ang Lee’s film Crouching Tiger, Hidden Dragon a while back. More recently the Best Picture Oscar went to a movie (The Departed) that was adapted from a film (Infernal Affairs) written and directed by three of your own Hong Kong brothers, Alan Mak, Felix Chong and Andrew Lau.
No, Chinese filmmakers and storytellers aren’t the problem, it’s the rules and threats you shackle them with. And your often atrocious behavior. You just can’t seem to play nice with others.
So, herewith, some unsolicited advice on how you can do better. Follow these rules and before you know it you’ll be making films that people may actually want to see.
- Cut the Hypocrisy – What’s with all the censorship when you let your people watch anything and everything they want on the internet and pirated DVDs? How come I can buy a copy of Saw 4 or The Human Centipede on any street corner in Shanghai but I can’t depict a character in my movie carrying a gun or smoking a joint? Do you really think your people are so sheltered and chaste that their minds are in danger of being polluted by a two-hour movie theater experience?
- Stop Treating Everyone Like Children. There’s nothing wrong with wanting to protect your children from inappropriate content, but do you really need to apply rules that are appropriate for 4 year-olds to prevent everyone over the age of 17 from seeing images of sex, violence, and other ‘objectionable’ activities? We all know you’re having sex; there are 1.4 billion of you for heaven’s sake! Stop pretending it doesn’t exist. An intelligent film rating system would be a big improvement.
- Feed the Writers and Artists – You have so many brilliant artists and writers in China. Please stop locking them up. Try investing in them instead. Let one hundred flowers bloom, and don’t cut them down when they do. Good movies need good stories and creative thinking. Here in Hollywood we have a thing called ‘development.’ It means investing in a writer and his or her story before you start making the movie.
- Take Risks – Stop asking us to guarantee you a 30 percent secured return on movie investments when you know we need risk capital. Don’t plead ignorance of capitalism—you guys are the best capitalists the world has ever seen. And show some imagination. Aren’t you tired already of backing Ming dynasty kung fu retreads or anti-Japanese WWII propaganda films or the 215th remake of The Monkey King?
- Learn Some Manners – Let’s face it, you know you need Hollywood. We’ve already figured out how to make movies the world wants to see. So show us a little respect. You keep coming over here saying you want to do business with us, making promises, signing contracts, then disappearing off to Vegas and Disneyland never to be heard from again. Or you seduce us into coming over to you with promises of investment when all you really want to do is milk us for information and ideas or ask us to work for you for free. We’ve got enough bullshitters over here, thank you. If you believe in guanxi then start acting like it!
- If You Have Money, Stop Talking About It and Start Investing It. If You Don’t, Then Please Go Away! – Okay, we get that you’ve figured out how to publish press releases about your supposed new billion dollar fund and your Goldman Sachs advisors. We get that it’s fun for you to see your name in bogus stories in Deadline. Enough talk. If you really want to participate in the global film market, then put your money where your mouth is.
You think I don’t know what I’m talking about? Fine. Why don’t you ask Feng Xiaogang, your most commercially successful filmmaker? I know he’ll agree.
Robert Cain is a producer and entertainment industry consultant who has been doing business in China since 1987. He can be reached at firstname.lastname@example.org and at www.pacificbridgepics.com.