Is it reasonable for me to build a space elevator when filming The Wandering Earth?

"What? Jiang Wen wants to come to the crew to make a cameo?"

Liu Lang was a little surprised when he heard the news.

Jiang Wen is one of the few first-line directors in China who can balance the artistry and commerciality of the film.

As an actor, he has won various awards at home and abroad since the film.

As a director, the films he shot have also won awards at home and abroad, and many of them have done well at the box office.

The critical plot content of his films has always been the material that the majority of domestic audiences talk about.

In the domestic film and television industry, Jiang Wen has always been known for 'daring to shoot' and 'being able to shoot', and he is a director with a very temper and personality.

This time, I proposed to come to the crew of "The Wandering Earth 2", mainly with the attitude of learning from experience.

Cameo roles are trivial matters, and he is more of a director and producer to see how Liu Lang, an industrial science fiction film crew, operates.

The difficulty of industrial science fiction films, as a domestic first-line director, Jiang Wen is naturally clear.

Hollywood has such a mature experience in film industrialization, but there are still many big productions that overturn and lose money every year.

As a domestic film and television industry that has no experience in this area before, this is even more difficult.

However, the birth of "The Wandering Earth" completely refreshed the cognition of domestic filmmakers.

They didn't expect Liu Lang, a rookie director, to make his big-screen debut for the first time, and he chose an extremely difficult industrial science fiction film, and finally let him get it!

After the news of the global box office of "The Wandering Earth" exceeded 10 billion yuan in China, there was an uproar in the film and television circle.

The capping limit of the domestic box office is 50-6 billion, which is the consensus of veterans in the domestic film and television industry.

No matter how you use means to improve, the official unit charters the venue, extends the release time, and even takes a risk to choose to brush the box office.

No matter how you operate, the market ceiling is there, and 6 billion is the sky.

If you want to have a more considerable market performance, the overseas market is the focus of domestic films that urgently need to break through.

This is also an important reason why Hollywood movies can run rampant all over the world and occupy the vast majority of the global box office list.

Their films have a global market to pay for them.

It's not that domestic filmmakers haven't tried, but the situation is not as simple as they think.

In history, only "Crouching Tiger, Hidden Dragon" and "Hero" have achieved overseas box office achievements of more than 100 million US dollars, the former 210 million and the latter 170 million.

However, their success is somewhat of a luck component, catching up with the dividends of the global 'kung fu' wave.

Overseas audiences' curiosity about Dragon Kingdom and their pursuit of 'Kung Fu' have contributed to the success of these two films.

However, this is different from the past, the global wave of 'kung fu' has long passed, and no domestic kung fu film can reach the overseas box office of these two films.

For more than 20 years, the performance of domestic films in overseas markets has been short-lived.

Originally, domestic filmmakers, including Jiang Wen, were a little resigned, but at this time, the appearance of "The Wandering Earth" rekindled their hope.

The global market has exceeded 10 billion, and the overseas market has contributed at least half, and the global box office is expected to reach an astonishing scale of 2 billion US dollars.

This is like dropping a bomb in the domestic film and television circle, completely waking up the domestic filmmakers who are self-sprouting in the domestic market.

Since a new director can do it, there is no reason why others in the domestic film and television industry can't do it.

Other top domestic directors may still have some self-contained identities and did not act immediately.

But Jiang Wen doesn't have so many scruples, he has always done things from the heart and is not bound by rules and regulations.

I didn't feel that there was any shame in asking Liu Lang for advice from such a famous director in the industry as a famous director in the industry.

Liu Lang thought about it, just in the movie shooting, he didn't seem to have any need to hide people's eyes.

As long as the other party can pass the security review of the Security Bureau, there is no big problem in letting the other party come to visit.

And thinking of the other party's willingness to make a 'cameo', Liu Lang's heart suddenly moved.

He happened to have a role in his heart that was more in line with Jiang Wen's temperament.

But it's not a character from a movie in a previous life, but a new original character.

Of the two movies "The Wandering Earth" in the previous life, the production of the second part is obviously more mature and sophisticated.

Due to cost and experience reasons, most of the shots of the first part of the previous life focused on the small team of protagonists.

The big scenes that are more worth filming under the apocalyptic crisis have to be reluctantly given up because of various reasons such as the level of special effects and crew funds.

After Liu Lang finished filming a series of big scenes in "The Wandering Earth", including the space elevator battle, the moonfall crisis, and the explosion of the moon, the selection of materials for the second part became a big problem.

If you shoot as you did in your previous life, even with special effects and financial support, I am afraid it will be difficult to surpass the prequel to "The Wandering Earth" that you have already filmed.

If you want to avoid falling into the situation where the quality of the sequel declines, you must selectively 'add' in the second part.

The 'rebel forces' mentioned in the movie in the previous life are a good material.

Earth is about to embark on a 2,500-year wandering journey, time is tight, supplies are limited, and only 30-3.5 billion people in the world can draw lots to take refuge in dungeons.

The remaining billions of people around the globe have been selectively abandoned by coalition governments and left on the surface.

The ensuing global tsunami, earthquake, lunar meteorite fall, drastic climate change and other disasters have led to the death of a large number of refugees who have been abandoned on the surface, but a considerable number of people have survived.

The surviving surface refugees are filled with despair of being abandoned by the coalition government and hatred for the inhabitants of the underground.

So they reported that they had become rebels on the surface.

Rebel forces hide in buildings on the surface, occasionally attacking coalition government convoys.

This is in line with why there are active coalition government soldiers in the team that sends 'flints' to each other in the movies in the previous life, and why the personnel carriers they ride in are fully armed and there are various weapons and equipment.

And there is an episode where a rescue plane falls, and when the support team arrives, it is found that it has been looted, and the survivors are dead and injured.

However, there are very few descriptions of rebel forces in previous life movies.

When filming the first part in the previous life, the original crew was short of funds, and they reluctantly made the movie by picking wool everywhere, fooling the big-name actors in the crew, and even mortgaging real estate loans.

The role of the 'rebel forces' is not that the crew doesn't want to, but that they can't do anything about it.

Coupled with the role of 'rebel forces', the crew will definitely not be able to survive the release, and they will have to go bankrupt in advance.

But now these problems are not difficult for Liu Lang.

He has now begun to think about what role is suitable for Jiang Wen's cameo.

'Playing a rebel leader is not a big problem. ’