Although Hollywood may be benefiting by adding Chinese elements to its films, it won’t be making wholesale changes to the way it tells stories on the screen just to cater to China’s massive audience, a director said Wednesday.
“There will be cooperations, there will be all kinds of stuff, but will it affect the movie so much? I don’t think so, because China doesn’t also want to only see movies about China, they want to see movies about other things in the world,” said Roland Emmerich, who was in China to promote his action film “White House Down.”
Hollywood has set its sights on the nation of 1.3 billion, which is now the world’s second-biggest movie market. But foreign films are limited in the Chinese market and must pass censors, who reject movies in part or whole if they show China in a bad light or are too explicit.
Earlier this year, some Chinese moviegoers were left confused because of awkward cuts to the James Bond feature “Skyfall” that included unflattering references to the sex trade in the Chinese territory of Macau. Then “Cloud Atlas” was shown in Chinese cinemas minus 38 minutes that included gay and straight love scenes.
China is even getting American studios to sanction alternative versions of films specially tailored for Chinese audiences, such as “Iron Man 3.” The Chinese version features local heartthrob Fan Bingbing — absent from the version shown abroad — and lengthy clips of Chinese scenery.
“The China element is sometimes important, but it has to make sense for the story, you cannot kind of just prop a Chinese element in and think, ‘Oh, this movie will work great in China’ — you have to still come up with a story that makes sense,” Emmerich said in an interview with The Associated Press.
The German director’s “2012” movie was a hit in China with a plot that was gold for patriotic Chinese audiences: As the Earth’s core overheats, world leaders build an ark in the mountains of central China to house people and animals that can repopulate the planet. Scenes from the nearly three-hour movie feature a U.S. military officer saying that only the Chinese could build an ark of such a scale so quickly.
It was seen in China as a refreshing change for audiences after decades of unflattering portrayals of the communist nation in Hollywood movies.
Emmerich said he didn’t make “2012” specifically to appeal to Chinese.
“It was not to please China,” he said. “Perhaps the very first idea I had about ‘2012’ was this image that water comes over the Himalayas. For me that was something so strong that I thought the whole movie has to be based on that, and so China had to play a part in this.”
His latest action-packed film, “White House Down,” which opens in China on Monday, stars Jamie Foxx as president of the United States and Channing Tatum as a Capitol police officer who becomes his impromptu bodyguard.
The 57-year-old filmmaker said censors didn’t have a problem with the movie, which depicts “mainly an American crisis.”
China’s authoritarian government strictly controls print media, television, radio and the Internet. Movie censors have political sensitivities, but also need to judge whether movies are suitable for the whole family, as China has no age classification system.
China has become the second-biggest movie market behind the U.S., with sales of $2.7 billion last year, according to the Motion Picture Association of America.
The government allows in only 34 foreign films per year for national distribution. At least 14 of them have to be made in 3-D or for the big-screen Imax format.
Craig Henighan Sounds Off On “Deadpool & Wolverine”
Hollywood lore has it that character actor Edmund Gwenn--while on his deathbed--quipped, “Dying is easy, comedy is hard.”
The second part of that darkly witty utterance remains all too true today as Craig Henighan--a Best Achievement in Sound Mixing Oscar nominee in 2019 for Roma--can attest in that he had to grapple with the sonic of being comic for this year’s box office hit, Deadpool & Wolverine (20th Century Studios/Marvel Studios).
The degree of inherent difficulty was ramped up even further because Deadpool & Wolverine had to seamlessly bring together high action-adventure exploits with moments and dialogue that tickled the funny bone. There’s a mesh of humorous banter--a staple of the franchise--along with major spectacle replete with explosions, fights, an impactful score and off-the-wall musical numbers.
Henighan explained that among the prime challenges for him from a sound perspective was having to make sure every joke landed within the construct of a superhero film. The tendency for a tentpole movie of this variety, he noted, is to gravitate towards big, loud audio spanning music, dialogue and sound effects. But the unique comedic element of Deadpool & Wolverine necessitated that re-recording mixer and supervising sound editor Henighan strike a delicate balance. “You need to get out of the way for the comedy,” he related. The jokes in a superhero film become “a real dance” as Henighan had to establish a rhythm that did justice to both the comedy and the action as the narrative moves back and forth between them--and sometimes the funny and the high energy, high decibel superhero dynamic unfold simultaneously in a scene or sequence. The “sonic fabric” has to... Read More