The type is unknown, the subject matter review risk is high, the platform even predicts that it is not recommended to start shooting, and the actors must be paid in advance before the start... "Animal Administration" has been established since Mao Ni Her first project was also her first time as a producer. She was a little anxious, "the heart of jumping off the building is gone", but she has always been looking forward to it.
Douban scored 7.7, and more than 72% of netizens gave a four-star or more praise. Although it has ended, the popularity is still unabated. The brain hole of the show, with irony in the funny, conveying the touch in reality, not only won the hearts of the audience, but also fully proved the bold attempt of the play in genre and subject matter. It seems that the directors were shut down when they were creating. The five months are all worthwhile.
July 7th, the main creative of "Motor Management Bureau" The team was a guest at the Golden Shark Sharing Session (Phase 5), the show’s producer, chief producer, and CEO of Gongfu Mantra Pictures, Mao Ni; the show’s producer, Chang Hongsong, the founder of Tiangong Yicai Film and Television; the show’s director , Screenwriter Jin Zheyong, shared the ups and downs of "inside and outside", especially when talking about the hardship behind the scenesWhen it’s sour, this sharing session is more like a "Tucao Conference" of the creators.
"Dynamic "Administration Bureau" leader thanked the "second generation fairy"
In 2016, Gongfu Pictures produced and produced a famousIt is a movie of "The Second Generation Fairy: A Fortune in This Life". The plot of the movie revolves around the love of monsters and the "Monster Management Bureau". The main creative team believes that in the movie, the "Administration Bureau" only exists as an institution and does not show much, but in fact it has enough room for imagination, so they decided to make another one. Drama to present.
When Jin Zheyong first received this proposition, he determined that "Animal Management Bureau" was an industry drama. He set the Animal Management Bureau as an ordinary grassroots agency in a third-tier city. Next, he and the screenwriter team began to implement the organizational structure, department allocation, work flow, salary, check-in time, slogan and gestures for this virtual institution.
"No matter what the story is, what the role is, in fact, as long as the structure is implemented, the Animal Management Bureau will really be established. The next story is to intercept some moments of the animal administration's case-handling life. "Jin Zheyong said this.
After the genre and subject matter were determined, the director took the screenwriters and moved into a rural villa in the suburbs to start closed creation. They stayed for five months and were not allowed to go home until they finished writing. The first thing is the character design. Jin Zheyong and the screenwriter team each list 3-5 animals per week, and write a short story around this animal, which is accumulated into an animal database.Screen again.
Jin Zheyong said: "The screening criteria need to be both animalistic and social, and can be a story. There must be a social phenomenon behind each unit story. , Or life issues, this is also the most important point in establishing the positioning of urban fable stories. It is equivalent to each story embodying the animality and sociality of a transformer, and feeding back the theme of the story to the main character, while taking into account the type of investigation And comedy elements."
In terms of the overall style of the series, Jin Zheyong said that he actually integrated Two kinds of tonality. On the one hand, he likes some comedy series of the last century, from the small daily environment to highlight the big human society, such as "I Love My Home", "The Story of the Editorial Department", including the "Wulin" of the previous years "Gaiden"; on the other hand, he loves Japanese-style de-strength movies and is a loyal fan of Yuasa Masaaki, Yaguchi Fumiyasu, Miki Satoshi, and Fukuda Yuichi. "In the Animal Management Bureau, some absurd de-strength elements are tried. Put it in the story, but unexpectedly found that it does not violate the harmony. The animality of the'transformers' perfectly fits these absurd elements and better reflects the theme of the story. "
"I hope "Animal Management Bureau" can also give the audience this feeling. Normally, everyone is arguing and chattering, but when encountering external risks, everyone can safely give their backs to their family members and regard this as a safe haven. A lot of space is spent in the film to describe this warm and healing family atmosphere. "Jin Zheyong said.
" The producer is"The biggest waiter of the crew"
As the chief producer of the show, Mao Ni said that the first person who thought of this project was director Jin Zheyong. "Kaneko (Jin Zheyong) is in the department of engineering Among the creators, the amount of reading is extremely rich. I am also more humorous, and my worldview, creative style and "Animal Administration" are all compatible. ”
Chang Hongsong, the founder and chairman of Tiangong Yicai Film and Television, was the first time Mao Ni moved as a producer as a "saver". "Zong Chang has done many film projects, and he is also the producer of "The Second Generation Fairy: A Fortune in This Life". He has rich experience in the crew. I am mainly responsible for the early stage. The post-production team mainly depends on Mr. Chang."
"Animal Management Bureau" was the first project that Mao Ni started her own business, and it was also the reason for the establishment of Gongfu Mantra. When she started it, she said on Weibo that there is a kind of carry around for a year. The nine-month-old child was sent out to enter the rivers and lakes with dismay and expectation. Looking back on the anxiety, panic and waiting since the preparation, Mao Ni laughed and said that the producer is actually the biggest waiter of the crew.
According to the introduction, the censorship risks naturally brought about by the subject matter and whether unknown types will be accepted by the market are all realistic and specific issues facing this team. Especially before the launch, the three major videos During the evaluation of the project on the platform, the Animal Management Bureau was even rated as C-level, which is to suggest cautious shooting.
What’s more, the first time as a producer, Mao Ni also encountered a The dilemma of "can't get money". "The Animal Management Bureau pays the actors' salary before starting up, and immediately waiting for the start-up, there is no money, and it collapses very much. I thought it was over at the time.This is it. "
So, Mao Ni had to bring the project and the script to the "Rescue Soldier" again. This time it was Chen Guofu who was found, and Gongfu Pictures eventually advanced the funds. "I was with Guofu at the time. The teacher said that I would really jump off the building if I couldn't get the money. ”
Raise the team, find funds, and determine actors, The plate is finally up.
When talking about the actors, Jin Zheyong revealed that Chen He and Wang Ziwen were the candidates that came to mind at the stage of the script, and they would also mention the names of these two actors when they watched the script. At the same time, we should make the creation as full and rich as possible, and then communicate with the actors with the vision of a good project.
When the main creative team met Chen He, he was still filming in Hainan. The director later recalled this experience and said that Chen He himself was hospitable, humorous and humorous, and took good care of everyone during the dinner. Talking about Japanese animation is also very speculative. But what worries Jin Zheyong faintly is the deeper indifference underneath the appearance of Hao Yun's interrogation.
When we met again, it was about to turn on. Jin Zheyong went to Chen He’s room to chat, unintentionally turned on the speaker, and found that the first song played by default was "Deep Breath", the theme song of "Deeper than the Sea". It was "I recommended him a long time ago To understand a song of a character, I put my heart on it at that time. He is Hao Yun, from head to toe, from hair to legs." Mauni also said that it was suitable for casting. The first criterion. "During the actor's audition process, we are looking for the most suitable person for the role. He may not be popular and not so good-looking, but his overall temperament, including when performing, will make you think that this person is correct person. ”
12 experiences in creating movie-quality web dramas
The hot broadcast of "Motion Management Bureau" sparked heated discussion , Is there any experience that can be replicated behind its popularity? What new enlightenment can it bring to practitioners? Mao Ni, Chang Hongsong, and Jin Zheyong at the Golden Shark Sharing Session, sincerely summarized and shared the creation of a movie-quality web drama 12 experiences.
①Believe and respect your own aesthetic and creative ideas. This is from Jin Zheyong’s experience, he said: “I only believe in everyone’s feelings and don’t believe in other people’s suggestions. Because feelings are the most intuitive, boring is boring, and wonderful is wonderful. But the suggestion is that others go through the process of thinking. I convey the feedback to the creator, so I don’t believe it very much."
②Respect my partners, but I can’t believe it. "When you are a new director, you will definitely be questioned on the spot, and each department has its own ideas and opinions. You can't just say you are a director, but you have to think about whether the other party's words are reasonable. Keep an open mind."
③Have the ability to deal with any emergencies. Make timely adjustments according to different situations at any time. Such as casting, veryMany actors are different from the script written in the beginning. When each role comes for an interview, he will try the play, and sometimes adjust the script according to the actor's play.
④All stories must return to life. Telling stories in life is to embrace the audience. Creators try their best to find undiscovered angles, but in the end what will teach you is life itself, which is the way to communicate with the audience in the end.
⑤You must have a firm heart. Mauni, who is a producer for the first time, has a lot of experience, "When you encounter interesting subjects and projects, you must do everything Go on, even if you encounter various difficulties such as unknown genres, few themes, difficult productions, and insufficient funds to keep up."
⑥The script must be solid. First of all, you must be good at your own things, and then you must treat yourself Only if you have confidence in things, can you convince the platform and investors to question the product.
⑦The most important thing for actors is to be suitable. Some actors are not traffic, and their appearance is not so high, but through You can believe that he is the character himself in his performance. This is the right and suitable person.
⑧The team’s cooperation is a guarantee. Find and have familiarity Tacit and like-minded partners can greatly reduce trust at workResponsibility and communication costs, do professional things with professional people.
⑨Respect the work of the crew, so small Food for the crew. Chang Hongsong, who has extensive experience in production, said that the film and television industry has an overall sense of drifting due to the nature of the work. Providing better crew meals can give everyone a better life and work condition.
⑩Producing a film requires quick and effective communication with people. Since production needs to solve problems quickly with limited resources, so that creators can have more creative space on the spot, it is inevitable to deal with people from all walks of life. Sometimes "drinking may be a quick way to get acquainted."
⑾ Exercise your ability to resist stress. The film and television industry is relatively closed and under great pressure. Producers are a high-risk group of anxiety and depression. Chang Hongsong suggested that colleagues in the circle should participate in more activities, get out of the circle, make friends with different people, and learn to live. On the contrary, they can supplement their work ability and inject more energy to face pressure.
⑿Respect your creative life. The work is like an epitaph on a tombstone, and you will always be there no matter how long it has passed. Therefore, a project that lasts for several years must be worthy of your own efforts, both in terms of time and creation.