Feng Xiaogang：I’m reluctant to join the box-office “arms race”

　　During the San Sebastián International Film Festival, the film I Am Not Madame Bovary won the Golden Shell for Best Feature Film. It was Mr. Bille August who presented the award to Feng Xiaogang at that moment. During the “Masters Dialogue of the 7th Beijing International Film Festival” held last night, the two old friends were reunited – they talked about the “integration of commerciality and art in films at home and abroad”.

　　Bille August, president of the Jury of Tiantan Award for the Beijing International Film Festival this year, won the Golden Palm at the Cannes Film Festival twice with his films Pelle the Conqueror and The Best Intentions respectively. Feng Xiaogang is a relatively successful commercial film director in China and his New Year blockbusters, such as The Dream Factory, Sorry Baby, Be There Or Be Square, Big Shot’s Funeral and Cell Phone, all achieved high reputations and box-office revenues.

　　Director Feng Xiaogang said he had gone against the trend by making New Year commercial films at first. Now, he has the freedom to do what he wants. “Thanks to the resources and mass recognition I’ve accumulated when I made commercial films during the past few years, I think I cannot waste these resources... I think I am so lucky that I don’t need to care about box-office revenue in my old age. I can shoot films as I want... If I had only cared about box-office revenue, I wouldn’t have chosen to shoot 1942 or I Am Not Madame Bovary.

　　"Making a film is like telling a story. At least I don’t pursue commercial purposes to meet certain trends.” Bille August said. In his view, films are commercial products but fundamentally they are used to tell stories. “Commerce and art don’t contradict each other. We need to admit that film is a very expensive industry and directors always have to deal with money. But I can’t just make commercial films. I have to put faith in the films that I make. I want the audience to perceive the way I tell stories.”

　　Today, box-office revenue is an important measurement of how successful a film is. In this regard, Feng Xiaogang said some of the Chinese directors were “kidnapped” by box-office revenue. “It’s not a bad idea to bring sensory stimulation to the audience, but we are worried about the reality that those crudely made and brainless films achieve high box-office revenues. Commercial films should also be commercial and good quality.” Feng Xiaogang recalled his experience of making New Year films a few years ago when he felt he was also “kidnapped” by box-office numbers. “I don’t have to think much now. I am just making films as I intend. I was not used to this at the beginning. My non-commercial films didn’t screen as much as those made by Wang Baoqiang. You know, Wang Baoqiang played the role of Sha’gen in one of my films! Even if things are like this, I don’t want to join the box office ‘arms race’ anymore.” Feng Xiaogang said.

　　Recently, there has been some criticism in the film industry that some films are only concerned about the revenue generated by actors instead of artistic expression. What do you think of the phenomenon that some directors choose those popular young actors who enjoy a broad fan base but are weak at acting to ensure box-office revenue? Faced with the question posed by a Beijing Youth Daily reporter, Bille August, who is very experienced in casting, said that it is very natural for production companies to include big names in their crews. “As film directors, we should be responsible for art. We need to recommend some good actors, even if recommendations are turned down.” Feng Xiaogang indicated that as long as actors are strictly disciplined, box-office revenue and acting skills are not contradictory. He also said his new film adapted from the novel Youth, written by Yan Geling, uses new actors audaciously. “These actors never did plastic surgery, and I was very happy to work with them. They rehearsed for three full months and made substantial progress.”

　　The dialogue focused on the game between commerce and art in film, but the two directors started to talk about retirement unwittingly. Feng Xiaogang sighed with emotion, “I’m 60 years. Can I shoot films for another 10 years? There’s not much time left for me.” He reiterated, “So I’m going to devote my limited time to shooting films as I want. I won’t spend time thinking about how to get the money out of the audience’s pockets.” When a Beijing Youth Daily reporter asked Bille August his plans on retirement, the 69-year-old Billy film director said work makes him happy. “Creating stories is like talking to the audience intimately every day, So now I don’t want to give up what I’m doing. I met a Portuguese director who was almost 80 years old but had no intention to retire.”

　　According to another source, the new film The Chinese Widow, jointly produced by Bille August and a domestic film company, is expected to be released later this year. The film stars Liu Yifei and Emile Hirsch. It is reported that Bille August even went to the Chinese countryside and experienced life there for the preparation of the film.

Posted: April 23, 2017