贾樟柯海外淘金术

在商业和艺术之间,贾樟柯找到了一种他“喜欢玩的”操作手法:拍摄自己喜欢的影片,卖到国外,进入全球版权交易领域,以此开辟他的电影商业化之路。
1998年,贾樟柯的第一个长片《小武》在柏林电影节首映,引来法国电影营销商的关注。从此,刚出校园,一文不名的贾樟柯找到了感觉,并成立了自己的公司——西河星汇。
有人说,电影版图中,贾樟柯以另一种模式确立起自己的地位,并引发人们对中国电影产业现状及未来的思考。而贾樟柯却说:“我骨子里不是生意人。”成立公司的初衷仅仅是为了有一个接纳投资的平台。
“假公司”真老板
《中国周刊》:很多人认为你的电影获得了商业性和艺术性的双赢。但是,国内却鲜见你的电影上演。那么,你的电影如何盈利?
贾樟柯:我们不和院线打交道,我们面对的是全球销售商。我们通过优秀的电影发行商,把自己的影片版权卖给对方,再由他们与院线打交道。我们面向海外市场的,有长期合作的三家境外公司负责。
这种模式最初是从1998年柏林电影节上逐渐建立起来的。法国营销商买了《小武》全球发行的版权,之后的《站台》、《世界》、《任逍遥》一直延用这种销售模式。
《中国周刊》:你的北京西河星汇公司是在2006年成立的,当初设立公司的直接动机是什么?
贾樟柯:作为独立电影人,自己办公司有过一个过程,最初是在香港注册的。当初成立公司的动机没有商业诉求,而是因为有资金来往,人家总不能把钱装在一个信 封里给我,这就需要搭建一个资金接纳平台,有一个规范的财务。也就是说,香港的公司只是衔接海外投资商和发行商与我们之间的财务关系,除此外,这个平台没 有其他业务开展,它实际上是一个“死公司”。
《中国周刊》:“假公司” 如何变成了真公司?
贾樟柯:实际上,2003年的时候,我的合伙人就反复向我建议建电影院、抓终端,成立面向国内的运营公司,只是我的兴趣还在电影制作上,一直没有 做。到2004年出现了转折——我的电影可以进入国内市场了。这意味着在国内将产生大量的财务关系,在国内需要有一家公司处理相关事务。与此同时,我们的 业务量也越来越多了。特别是广告片,每年可以拍15条广告。这些因素促成了2006年成立西河星汇公司。这个过程说明,我不是一个生意人。
《中国周刊》:在这之前,你为了拍片有过到处“找钱”的经历吗?
贾樟柯:大学二年级的时候,凑钱拍了50分钟的短片《小山回家》。这个钱是我写电视剧给人当枪手赚的,还有同学凑的,一共两万元人民币。这部凑钱拍的片子 后来在香港独立电影短片展上获奖,引来了《小武》的投资。记得1997年,投资方为《小武》投资了三分之二,我在山西找到一家广告公司投资了三分之一。另 外,花费都很省。比如,在老家吃住行都很便宜,还有馈赠的费用。我去柯达公司买胶片,买了40卷,营销经理自己花钱买了10卷送给我。那时候,我是用自己 的全部家当拍片。
转折点就是1998年的柏林电影节。《小武》全球版权卖了几百万,再投资到《站台》的拍摄,这才进入一个良性循环。
盘子里的钱越来越多
《中国周刊》:在国内有了自己的公司,并且在商业运营上有所成就之后,你尝试过投资影视产业吗?
贾樟柯:就在国内公司成立后,我们的经营有一个大转变,从2009年底我开始做“添翼计划”,投资年轻导演拍电影。
因为我发现自己盘子里的钱越来越多了,内心就开始有这样一个诉求。这也是现实条件决定的,因为我们的电影工业还属于国营体制,那些独立电影导演们想表达自 己,却没有生产这种电影的模式。通常独立电影导演拍第一部片子难度很大,因为他们没有物质积累。我明白这种难处。我经常说,香港黑帮电影中说“黑社会也要 企业化”,拍电影也要企业化。
我当然希望成为我投资对象的年轻导演,要有很明确的商业责任感。因为我不是在做公益赞助,而是一项投资,是在搭建一个桥梁,有商业的严肃性,并希望以此形成一个健康的形态。
《中国周刊》:投资年轻导演,从商业的角度意味着巨大的风险,你如何控制投资风险?
贾樟柯:这项投资的风险是非常高的,这些年轻导演都没有被市场验证过。作为公司,首先要知道风险在哪儿,并且有一定的抗风险能力。我觉得自己有很好的抗风 险的办法。首先,我们一直是在做联合投资,找不同的投资方来赞助同一个项目而不是独立投资。这样一方面减少公司面临的风险,另一方面这个项目可以同时拥有 多方的资源,包括资金资源、人脉资源、发行资源等。另外,借助我们自己的发行渠道,使一部片子至少在全球10个国家发行。
《中国周刊》:这个过程中,游离于导演和老板之间,你如何权衡艺术价值和商业价值的关系?
贾樟柯:有智慧的公司要有目标人群和市场,并以此获得生存之道,而不是以违背自己的价值观为代价。
商业具有它的保守性和积极性。有时候为了追求商业利益,容易让人的意识形态变得保守。比如,我在拍摄《小武》的时候身无分文,后来影片突然发行了,我一下 子有钱了。最多的时候我口袋里有400万元。然后我就开始想是不是该买房了?是不是该买车了?这时候,我的创作上有保守倾向。不过,我克服了,把400万 全部投资在下一部影片中。
商业有它的好处。多年来,我有能力继续拍我喜欢的电影,就是商业回报为我提供了不断创作的资金基础。所以,艺术价值和商业价值哪个最大化,这要看在什么时候哪个占到上风。我也会有保守的时候,问题就是有没有足够的勇气和智慧去克服。这个冲突在我身上表现并不明显。
《中国周刊》:对西河星汇未来的发展有怎样的规划?
贾樟柯:目前公司处在快速的发展期。2010年,我们会在上海和深圳建立分公司,并在深圳建立摄影棚,投资影院做院线,进入影视产业的终端。我们觉得做单 纯的艺术院线很难,片源不够,审批很难,体制局限太大了。但是我想建立一个普通的院线,针对艺术影片单设一个厅,玩自己想玩的。
娱乐市场化初级阶段
《中国周刊》:怎么看待明星经商现象?
贾樟柯:我觉得是好事。对于艺人来说,我特别能理解他们,因为演艺这个行业是比较被动的,一般是导演和制片人来选你。艺人成立演艺公司并参与经营会增加他们的主动性,看好哪个剧本,可以由自己主导拍摄制作,包括投资。
《中国周刊》:华谊兄弟上市后,许多明星股东一夜间身家暴涨数千万元,像冯小刚、李冰冰等大牌导演和演员,既是华谊旗下签约的艺人,又是公司股东,参与到上市公司的决策中,华谊兄弟的模式,会成为制片公司未来的方向吗?
贾樟柯:华谊上市确实让很多人受到了刺激,但这不会成为普遍现象。在发达国家,娱乐业做的比较成功的都是百年老店,资本很理性。比如,美国的八大公司。
制片公司的经营模式有很多,如果上市他们的侧重点也不一样。打个比方,上市就是写一个剧本,如果我的公司想上市,海外发行肯定是我剧本里的重要章节。对于 华谊而言,在上市这个剧本中,明星加盟是他们最好的剧情。另外,也不是所有的制片公司都想上市,所以也不存在明星成为制片公司股东的风潮。
《中国周刊》:目前,民营资本在影视产业中已经非常活跃,这对于推动整个行业的市场化具有什么意义?
贾樟柯:目前,演艺界依旧处于民营资本和官方资本的结合中,而且即使是民营资本也会处于官方资本的潜规则中,并没有实现真正的市场化,特别是终端出口商没 有做到市场化。比如,一部电影如果政治上正确,在现在商业保守的模式下,他也可以获得商业利益的最大化,而不管艺术价值有多大。
《中国周刊》:我们处在影视乃至整个文化产业市场化的哪个阶段?
贾樟柯:真正的市场化能容纳多元思想,并且不同的意识形态都有在商业上获得肯定的机会。只有保守的市场才会呈现思想的一元化。所以,要实现市场化还需要改革,目前我们面对的最后一个堡垒就是体制。
从这个意义上说,我们的市场化还处在初级阶段。

This entry was posted on 星期二, 02月 16th, 2010 at 12:32 下午 and is filed under 转帖. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.

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