BEIJING, Oct. 15 (Reporter Wu Tao) Recently, it was reported that some users’ mobile phone numbers were "nicknamed" overnight, and they needed to pay extra minimum charges in 39 yuan, just because the last number was "8".

　　There is such an operation? What number is a "good name" and what is the current market situation of "good name"? The reporter conducted an investigation into this.

　　Operator’s latest response to "being nicknamed"

　　Recently, some media reported that Lan Xiaoyue, a user of Guangdong Telecom, used the number for several years and was suddenly "nicknamed".

　　"The staff told me that my number ends with 8 and belongs to ‘ The nickname ’ In addition to paying the monthly primary and secondary card package fee of 199 yuan, the secondary card also needs to pay the minimum consumption in 39 yuan. " Lan Xiaoyue said.

　　As of press time, the reporter of Zhongxin.com has not received a response from China Telecom.

　　In Zhejiang, similar things were reported by the media. Wang Nan, a local mobile user, found that although his "nickname" contract expired in three years, the minimum consumption limit would not end until 2099.

　　However, China Mobile told the reporter of Zhongxin.com that after investigation, none of Zhejiang Mobile’s "nickname" users was called "Wang Nan". "The reporter in the above article can’t provide the customer’s mobile phone number, so it can’t be further verified."

　　The threshold of "nickname" is low, and what is a "nickname" business has the final say.

　　With an "8" at the end, is it a "pretty name"? This reflects a feature of the "beautiful name" market, that is, the threshold of the "beautiful name" market is very low, and it is up to the merchants to decide which numbers are "beautiful names".

　　According to the survey, in addition to the well-known numbers with "888" and "666", some businesses, such as "199****2772", are regarded as "pretty numbers", according to their explanation, because they conform to the rules of the suffix "ABBA".

　　The suffix "178" means "hair together", the suffix "168" means "hair all the way", and the suffix "1349" is a geomantic number, all of which belong to "beautiful names".

　　In short, all kinds of numbers have become interesting in the mouth of merchants, "showing identity, full face and appreciation at guaranteed price" are all sales words of merchants.

　　However, some users said in an interview with Zhongxin.com, "If it weren’t for the explanation of the merchants, I couldn’t see some numbers ‘ Liang ’ Where is it? "

　　Almost all the "pretty names" have set a low monthly minimum consumption. Image source: A screenshot of an operator in official website

　　Want a "pretty name", the price is not small, and you have to spend a lot every month.

　　It doesn’t matter if you can’t see it, it doesn’t affect the popularity of the "beautiful name" market. On the official website of the operator, there are basically no numbers with the tail number format of "AAA" (that is, the tail number is three identical numbers); Don’t even think about the suffix "1314".

　　Moreover, it is not easy to get a "beautiful name", and it is even harder to raise it. Because almost all "beautiful names" have pre-stored phone bills and minimum monthly consumption restrictions.

　　For example, the number "199****3030", even if it is not "beautiful", should be pre-stored in 400 yuan, and the minimum monthly package consumption should be 99 yuan.

　　"It’s not expensive, so the ending number is ‘ AAA’ Yes, the minimum monthly package is 199 yuan. " Some merchants told the reporter of Zhongxin. com.

　　The minimum consumption of such packages basically exceeds the per capita monthly consumption quota announced by operators. Taking China Mobile as an example, its financial report shows that the monthly household income (ARPU) in 2017 was 57.7 yuan.

　　What’s more, if you want a "beautiful number", you not only need to pre-store the phone bill and set the minimum consumption, but also need a "number purchase fee" or a "number selection fee".

　　Different from the basic operators, many communication businesses openly sell "nicknames", and they don’t clearly mark the price, so they have to talk privately one-on-one.

　　Recently, the staff of a communication store on Tmall revealed to the reporter of Zhongxin. com that the price of the card number ending with "AAA" is basically more than 1,000 yuan.

　　Take "177 * * * * 555, China Telecom number and Beijing as an example, the external selling price is 1218 yuan, of which 720 yuan is the prepaid phone bill, which means that the remaining 498 yuan is the" number purchase fee ",and the minimum monthly consumption of this number is 199 yuan.

　　It is illegal for telecom operators to sell "beautiful names"

　　The Measures for the Management of Telecommunication Network Code Number Resources issued by the Ministry of Industry and Information Technology stipulates that after obtaining the right to use the code number, the telecommunication business operator shall not charge the user the selection fee or occupation fee. If there is any violation, the Ministry of Industry and Information Technology may give a warning according to the seriousness of the case and impose a fine of more than 5,000 yuan and less than 30,000 yuan.

　　The above measures also stipulate that the Ministry of Industry and Information Technology can take back the allocated code number resources if it transfers or leases the code number resources or registers the code number as a trademark.

　　Why did this happen?

　　Some operators who did not want to be named told the reporter of Zhongxin. com that at present, it is difficult for consumers to obtain "nicknames" through normal channels and they need to go to the agency market to buy them at a high price; On the other hand, criminals will also hoard numbers and speculate at high prices, resulting in a waste of number resources.

　　"The communication industry does not specify what is ‘ The nickname ’ But some popular or memorable numbers have market value in themselves. "

　　"Operators will not charge users ‘ Selection fee ’ , will be different levels ‘ The nickname ’ Corresponding to different tariff packages for customers to choose from, it is also to make high-quality resources really put on the market to avoid being hoarded and profited by a few people. " The above person said.

　　Fu Liang, an independent analyst in the communications industry, said that operators’ numbers are all applied for by number segments, including "pretty numbers", ordinary numbers and even "difference numbers", but all of them require operators to pay.

　　"Therefore, when reselling the right to use, operators will be interested in ‘ The nickname ’ Make provisions such as prepaid phone bills and monthly minimum consumption restrictions to achieve a balanced income and expenditure. " (End)

[Text/Financial Circle Society & Daoge said that cars listen to the wind] Recently, Volvo released its sales data in March. As far as the China market is concerned, Volvo sold 11,608 vehicles in March, down 10% year-on-year. Against the background that Volvo’s global sales increased by 8% that month, it was quite striking. After all, China was the only big area where Volvo declined.

It is worth mentioning that, thanks to the small base in February last year, Volvo’s sales in February increased by 50.4% year-on-year. I thought Volvo’s sales would pick up, but I didn’t expect Volvo’s sales in March to be cold again. As the saying goes, product quality will eventually be reflected in sales volume, and Volvo’s coldness is not without reason.

The editor of "Daoge talks about cars" noticed that some owners of Volvo’s 2023, S90 and S90 new energy models recently complained about the failure of Volvo’s black screen, flower screen and touch screen. You know, these are all 2023 new cars, and it is still difficult to understand that there are car problems.

What is even more frightening is that there are still complaints from car owners about Volvo’s large-scale door paint explosion. What does this mean? Is it Volvo’s indifference, or is there a sudden increase of 2021 -2022 models?

The new car has a car fault and the paint explosion has not been solved yet?

"It’s only one month since the vehicle was purchased. When the vehicle is driving normally, it is listening to music by using the car system. After about 5 minutes, the car screen is black, the music is silent, and the touch screen is invalid." The owner of the 2023 Zhiyi Deluxe Edition complained on the car quality network that the driver needs to be distracted, which greatly affects the normal driving safety and the car experience.

From the feedback of the owner, we can see that the car system failed only one month after the car was bought. I have to say, it is quite shocking. After all, after a long time, the car is stuck and the black screen is still common, but it is rare for a new car to have such problems for a month.

But this is not an isolated case. A 2023 Zhiyi Deluxe Edition (plug-in) owner said in a complaint that since the car was upgraded to version 2.5 on December 18, the carplay function has been frequently unavailable, and the display function has been spent every day without exception. According to the owner, after the 4S shop was upgraded, the problem remained.

It is understood that both the 2023 Volvo XC60 and the 2023 Volvo S90 were listed in July and June last year respectively, that is to say, in the case of less than one year’s use, the above-mentioned car owners had car trouble during the use of the vehicle. In fact, several years ago, Volvo products had car trouble, but I didn’t expect that even new cars could not escape.

However, compared with these, the problem of paint explosion on the doors of Volvo’s models may be even more frightening. As early as last December, Daoge said the car had reported the problem of paint explosion on the doors of Volvo’s models, but judging from the complaints about Volvo models in the car quality network, the complaints about paint explosion on Volvo doors have never stopped from beginning to end.

From the feedback of complaints, the phenomena of paint blistering and bulging mostly appear on the inside of vehicle doors, and the models involved cover high-standard models such as XC40, XC60 and S90, and most of them are 2021 models and 2022 models. "Asia-Pacific Volvo XC60, the paint on the inner side of the door frame blistered and continued to expand. The manufacturer did not give the cause of the problem, did not have a thorough maintenance plan, and needed lifelong maintenance, and asked the manufacturer to give a statement and compensation for the depreciation of the vehicle. "A 2021 Volvo XC60 Zhiyuan Deluxe Edition owner said in a complaint.

In fact, there are many reasons for car paint foaming, including poor paint quality, poor construction conditions, imprecise technology and internal rust. This kind of problem rarely appears in luxury brands. After all, the average price of Volvo is very high, and even the price of S90 cars is more than 400,000 yuan. Will cars at this price not be able to paint? I have to say that Volvo’s performance has somewhat lost the face of luxury brands.

It is worth mentioning that, judging from the recent feedback complaints, more and more car owners are not only reflecting the problem, but are mixed with the willingness to let Volvo give a statement. A car owner of the 2021 Volvo XC60 Zhiyuan Deluxe Edition put forward in the complaint that he strongly urged the manufacturers to issue an announcement to explain the specific reasons for the foaming at the door of a large number of vehicles, and strongly urged the manufacturers to issue a specific maintenance plan for the foaming at the door and ensure a one-time repair …

It’s time for Volvo to reflect on warmer sales and colder sales.

It is often said that product quality will ultimately be reflected in sales volume, which may be equally applicable to Volvo. In February this year, Volvo sold a total of 13,016 vehicles in China, a year-on-year increase of 50.4%. Thanks to this, Volvo’s sales in the first quarter also increased by 2% year-on-year to 36,457 vehicles.

Volvo’s sales have picked up, haven’t they? But most of them are "illusions". As we all know, the month in which the Spring Festival in China is held every year is a downturn in the automobile market. The reason is that no one sells cars during the Spring Festival holiday, and so is Volvo. Last year’s low base allowed Volvo to get a good-looking data in February, which in turn made Volvo’s data in January look good.

However, if we only look at the sales volume in March, Volvo’s sales volume is cold. Volvo’s sales volume in China in March was 11,608, down 10% year-on-year, which is the only decline among Volvo’s global regions including Europe and the United States. Obviously, Volvo’s sales have not actually "recovered".

As for the reason, the new car mentioned above has engine failure, and the door paint explosion problem in a large area of its models may also be one of them. It is worth mentioning that in fact, there is another reason behind the problem of car door paint explosion, that is, Volvo’s indifference. Take XC60, which has a serious car door paint explosion problem, as an example. The complaint interface of Chezhi.com shows that in 2023, Volvo’s complaint response rate is 0.8%.

What concept? Probably Volvo has never paid much attention to these car owners who complained, and the response rate of those self-owned brands ranked first in some complaint websites is basically close to 100%. Why Volvo is so noble, we don’t understand it very well, but this way of handling also makes the owners of XC60 very dissatisfied, and the satisfaction of the owners is only 1.2 points. Judging from the monthly sales of Volvo in the past three years, it has never exceeded 20,000 vehicles. Now, it seems that it is not necessarily that China people don’t understand cars!

　　China car companies are accelerating their entry into the Southeast Asian market.

　　According to the Malaysian National News Agency, Geely, a China automobile manufacturer, will invest 10 billion US dollars to turn Tanjung Malin, Perak, Malaysia into the largest automobile city in the region. Malaysian Prime Minister Anwar bin Ibrahim said that Geely conveyed this plan to him in a letter, and this investment will create thousands of jobs in Malaysia.

　　Actually,It has been laid out in Malaysia for a long time. In 2017, Zhejiang Holding Group acquired a 49.9% stake in Proton Automobile, Malaysia’s "national automobile brand", which promoted Proton Automobile to become a profitable enterprise in the past three years from an enterprise with an annual loss of nearly 2 billion.

　　Behind the plan to build a "motor city" in Malaysia, it is also a new stage for China car companies to go to sea. Zhang Xiaorong, president of the Institute of Deep Science and Technology, said in an interview: "Now it is the initial stage of China’s automobile export, and in the future it will be transferred to the stage of investing in production and developing industrial chain in local countries."

　　Geely has been deeply involved in Malaysia, and once went "two-way" with Proton.

　　According to reports, Geely plans to invest 10 billion US dollars to make Tanjung Malin, Perak, Malaysia the "largest automobile city" in the region.

　　Tanjung Malin is the location of Proton Automobile Factory, and Geely and Proton Automobile achieved "two-way trip" many years ago. In 2017, Geely Automobile and Malaysia DRB-HICOM Group formally signed an agreement, and Zhejiang Geely Automobile Holding Group acquired 49.9% shares of Proton Automobile, a subsidiary of DRB-HICOM Group, and Geely Automobile also became the exclusive foreign strategic partner of Proton Automobile.

　　China-ASEAN, which the reporter recently participated in.In the automobile industry cooperation forum, Wang Huaibing, CFO of Proton Automobile, said that Geely held hands with Proton Automobile to lay out Southeast Asia and chose one.Machine. Catch up with the country "At that time, the launch of Geely Automobile 3.0 also promoted the upgrading of China automobile industry, which laid a good foundation for Proton’s subsequent success.

　　According to Wang Huaibing, Proton Automobile was founded in 1983 by Malaysian Prime Minister Mahathir at that time and has a history of 40 years. In 1985, Proton rolled off the assembly line with its first "SAGA" car. After that, Proton became the sales champion in Malaysia for 20 years. At the peak, its market share once reached 60%. It was a national car in Malaysia and a "national treasure brand". However, after many tests, Proton’s car sales once declined. By 2018, the entire market share once fell to 10%, ranking only the fourth in Malaysia.

　　In the early days of Geely Automobile’s shareholding in Proton, Proton Automobile faced the dilemma of "four highs, four lows and more than two". "Four highs" refers to high cost of spare parts, high loss, high product inventory and high personnel expenses; "Four lows" refers to low sales, low quality, low brand reputation and low staff morale; "Liangduo" refers to multi-race, culture, politics (Malays, Chinese, Indians) and multi-nature (state-owned enterprises, private enterprises, transnational joint ventures and private enterprises).

　　"Malaysia is a multi-ethnic cultural and political background. Proton is a state-owned enterprise in Malaysia, and Geely is a private enterprise. It is not easy for us to set up such a multinational joint venture. The situation of reform is quite complicated." Wang Huaibing said.

　　Wang Huaibing said that shortly after the establishment of the joint venture company, Proton Automobile set up eight cross-functional groups with about 200 participants, one of which was "How to solve the problem of the canteen". "This problem seems very small, but if the canteen is not improved well, how can we make a complicated car and improve the level of products and services? It is precisely by mobilizing local employees to find and solve problems together and promote problem-oriented reforms that we can unify our thinking and integrate Proton into Geely’s culture. " He said.

　　At present, Geely and Proton Automobile have achieved "win-win cooperation". According to reports, Proton’s automobile exports ranked first in Malaysia for two consecutive years and have been exported to 13 countries. In terms of price, the average selling price of Proton Motor increased by 34% from 2018 to 2022, and its brand awareness was improved. From a company with an annual loss of nearly 2 billion to a company that has achieved profitability in the past three years.

　　China car companies have increased their sales in Southeast Asia, and their sales have been "dominated"

　　Behind Geely Automobile’s accelerated layout of Malaysian market, China car companies are constantly increasing the Southeast Asian market.

　　On May 5, Vietnamese Vice Premier Chen Honghe met with him in Hanoi.Wang Chuanfu, Chairman of the Board of Directors, negotiated the contents related to electric vehicles. Wang Chuanfu hopes that Vietnam will provide "favorable conditions" for completing the investment process, so that electric vehicles can be quickly invested in Vietnam and sold in local and other markets in Southeast Asia.

　　In September 2022, the first overseas factory landed in Thailand, and it is expected to start operation in 2024. The planned annual output of this factory is 150,000 vehicles, which will radiate the entire ASEAN market. Besides BYD,We have established factories in Thailand and Indonesia,The Thai factory has been put into production for two years, and many China car companies have accelerated their influx into the Southeast Asian market.

　　Why do China car companies flood into Southeast Asia? Because their cars are selling like hot cakes in the Southeast Asian market. The relevant person in charge of BYD told reporters that in November 2022, BYD’s ATTO3 (Yuan PLUS) was listed in Thailand, which triggered local users to "snap up in the middle of the night".

　　Tang Zhimin, founding dean of the International College of Chia Tai School of Management in Thailand and director of China ASEAN Research Center, said that among the top five models of pure electric vehicles in Thailand in 2022, China brand occupied four seats, namely, Great Wall ORA Good Cat, MG EP and MG ZS EV of Chia Tai SAIC, and ATTO3 of BYD. In the first quarter of this year, the market share of BYD ATTO3 (pure electric) was as high as 37.5%, and the sales of Nezha V, ORA Good Cat and MG were also among the best.

　　Published by CanalysChina’s automobile export core areas are gradually shifting from "irregular areas" such as Africa, Central Asia and South Asia to "economically developed" and "automobile industry developed areas" such as Europe and Southeast Asia.

　　Canalys predicts that in the next 10 years, the overall automobile market in ASEAN will enter a period of rapid development. Although at this stage, NEV(New Energy Vehicle,The penetration rate is lower than other mainstream countries, but countries represented by Thailand and Vietnam have continuously introduced support policies for new energy industries and increased infrastructure investment. The combination of China-ASEAN Free Trade Area construction and RCEP and other favorable factors will further promote the penetration rate of China automobile products, especially new energy products, in the Southeast Asian market. It is estimated that by 2025, the penetration rate of China automobile products in Southeast Asia will increase rapidly from 2.6% in 2022 to 12.8%.

　　Entering the new stage of supply chain going to sea, facing the competition from Japanese and Korean car companies

　　Judging from the automobile export, China is already hitting the "No.1 in the world". According to the data of China Association of Automobile Manufacturers, China’s automobile exports continue to maintain rapid growth. In the first half of this year, automobile enterprises exported 2.14 million vehicles, up 75.7% year-on-year, and it is expected to become the world’s largest exporter this year.

　　However, the export data only reflects the strength of products going to sea. Compared with Japanese, Korean and European and American automobile giants setting up factories in various countries to promote "manufacturing going to sea", the progress of China automobile enterprises going to sea is still in the initial stage.

　　In the Southeast Asian market, Japanese car companies are facing strong competition from Japanese and Korean car companies. Wang Huaibing said that ASEAN is dominated by Japanese cars, accounting for about 80%. Because Japanese cars have been deeply cultivated in Southeast Asia for many years, they are supplied from upstream and downstream.A complete financial layout has a "monopoly position" on local industrial policies, including the ASEAN market.

　　At present, the automobile market in Southeast Asia is mainly occupied by Japanese cars such as Toyota and Korean car giants such as Hyundai and Kia. According to the data of Indonesia Association of Automobile Manufacturers, in 2022, the sales volume of cars in Indonesia exceeded 1.01 million, of which Japanese cars accounted for 92% of the market share, and Toyota ranked first with sales volume of 329,500. According to the data of Vietnam Automobile Manufacturers Association, in 2022, the top five brands among its member companies were Toyota, Hyundai, Kia, Mitsubishi and Mazda, all of which were Japanese and Korean car companies.

　　"At present, China has only surpassed Japan in terms of the number of automobile exports, but there is still a considerable gap between China brand and Japanese cars in terms of global sales of Japanese cars under full-scale statistics. Japanese brands still have strong local advantages in global layout of industrial chain, regional guarantee of supply chain, sales strategy and channel innovation. " Independent international strategyChen Jia said in an interview with reporters.

　　Wang Huaibing said: "The internationalization of China enterprises can be divided into three stages: going out, going in and going up. Going out is very simple. As long as you have products and technology, you can find an agent locally. But this kind of going out is also easy to’ walk back’ and has no foundation. Going in’ means not only having products and technology, but also having management and culture to go out to sea. For example, Geely’s hand in hand with Proton is a model of finding partners in the local area to fully "go in". In addition to the above-mentioned elements,’ going up’ must have brand and local manufacturing R&D capabilities, which is also an international trilogy. "

　　"China enterprises going out to sea, upgrading from the original simple trade in goods to the output of the whole value chain of industrial chain and supply chain, should be the general trend of future development." Wang Huaibing said.

　　Chen Jia believes: "Geely’s construction of a $10 billion automobile city in Malaysia is definitely a major event for China car companies to go to sea, but there is still a long way to go to truly become a benchmark for China car companies to go to sea in a new stage. In addition to huge investment, Geely also needs to develop a new industrial chain mode, a new global supply chain network, a new operating cost control system and a localized marketing network system. "

　　On May 30th, local time, British telecom operator EE and Huawei officially opened the first commercial 5G signal in the UK.

　　It is understood that this 5G commercial release covers six major cities in the UK, and about 450,000 EE users have registered applications for upgrading 5G. EE’s business hall in London had a long queue on the morning of the 30 th and could not wait to experience the 5 G network. According to the released test data, even in the busiest areas, users can experience the network speed of 100~150Mbps, which is achieved when EE only has the C-Band 40MHz spectrum.

　　After about 450,000 EE users registered to upgrade the 5G network, the British Broadcasting Corporation (BBC) conducted a live news broadcast based on the 5G network. Rory Cellan-Jones, a well-known BBC technical reporter, used a 5G terminal to broadcast the historical moment when Britain entered the 5G era. This is also the first live TV broadcast based on commercial 5G network in the UK.

　　It is understood that this commercial release of EE has eliminated concerns that Huawei’s blockade by the United States may delay the arrival of 5G in Europe. Marc Allera, CEO of EE, said: "There is a lot of news about security at present. Our 5G release is provided by multiple suppliers, and Huawei is an indispensable part."

　　It is understood that EE, together with other British operators, continues to use Huawei equipment in its wireless access network.

　　With regard to the commercial launch of 5G in the UK, Ben Wood, an analyst with CCS Insight, said: "Many critics believe that Europe is lagging behind in 5G, but it is more important to realize that the first commercial launch of 5G, including EE, will come before the launch in China and Japan and will not lag behind South Korea. From now on, 5G will advance at full speed in the UK. "

　　EE will build a network at the rate of more than hundreds of 5G sites every month, and complete the deployment of 1500 5G sites in 2019, adding 5G coverage in 10 cities. It is understood that EE’s 5G network is mainly deployed by Huawei’s Massive MIMO equipment. Huawei’s 5G Massive MIMO is currently ahead of the industry in terms of performance and engineering capabilities, and there is no alternative competitive product. At the same time, for indoor scenes such as football fields and shopping malls, EE will also use Huawei’s 5G indoor digital system (DIS).

　　In addition to EE, Vodafone, another British operator, will also launch 5G services within five weeks. According to a Vodafone spokesperson, the construction of Vodafone’s 5G network also uses Huawei’s 5G equipment.

　　The Paper reporter Ling Zhou

　　Cctv newsAccording to the website of the National Network Information Office, recently, in response to the phenomenon that the people strongly reflect that the App illegally obtains, collects beyond the scope, and excessively claims personal information, the National Internet Information Office has organized the collection and use of personal information of some common types of apps that are widely used by the public, such as short videos, browsers, and job hunting, in accordance with laws and relevant regulations. The relevant information is hereby notified as follows:

　　First, the short video App situation

　　Second, the browser App situation

　　Third, the job recruitment App situation

　　Fourth, the situation of utility App

　　V. Job Requirements

　　In view of the problems found in the inspection, the relevant App operators should complete the rectification within 15 working days from the date of publication of this circular, and send the rectification report to the e-mail address: Appzhili@cac.gov.cn. If the rectification is not completed within the time limit, our office will deal with it according to law.

Transfer from: Upstream News

On April 6th, Xiaomi Auto released Xiaomi SU7 to answer questions from netizens (episode IX), which responded to 14 questions about where the name of Xiaomi SU7 came from, why the insurance cost was close to that of more than 500,000 oil trucks, and whether one-button Boost could be used continuously.

?01?

Is there any reason why Xiaomi SU7 is named?

SU, short for Speed Ultra. High performance is the gene of Xiaomi. I believe that the excellent performance of Xiaomi SU7 will not be questioned after reading so many evaluations. As for how to pronounce it, we also discussed it seriously internally. In the end, everyone thought that it would be more cordial to call it "Su Qi", just like calling a friend’s name.

?02

The unique number nameplate on the steering wheel of Xiaomi SU7 inaugural edition, some netizens said it was a sticker, is this true?

The exclusive nameplate is carefully created by us for the founding users. Nickel-based chrome-plated metal plate is used, and the number is carved with laser laser. The texture is very good, of course, it is not a sticker. ?

In order to give users the greatest freedom to use the car, we didn’t engrave the numbered laser on the steering wheel, but used the exclusive nameplate attached with the car. You can choose whether to attach it in the APP. ?

?03

The insurance cost of Xiaomi SU7 is close to that of more than 500,000 oil trucks. Why?

The commercial insurance clauses of new energy vehicles and fuel vehicles are different. The exclusive clauses of new energy vehicles not only provide protection for the "three electricity" system, but also comprehensively cover the use scenarios of driving, parking, charging and operation of new energy vehicles. And it will be comprehensively calculated according to new/used cars, brands, models, household types, insurance types, insurance coverage and other factors, and the premium prices are not the same, so it is impossible to simply compare them by car prices. ?

?04

If Xiaomi’s official cooperative insurance is not adopted, will it be treated differently when picking up the car? ?

Xiaomi provides official cooperative insurance services, but users are free to choose insurance companies and will not be treated differently. ?

?05

Why does the founding version of Xiaomi SU7 still show the status of "to be produced" on the APP? ?

Our delivery classmates are busy coordinating the delivery of resources for everyone’s vehicles. After the vehicles arrive at the delivery center, everyone can see their vehicle status updates. ?

?06

In 2022, the self-driving track has been highly recognized by capital for market segments, and financing information has come one after another; At the same time, the high-level self-driving mass production has a long cycle, high complexity, and the development process and standards are not uniform, which makes the self-driving technology companies face many challenges in promoting mass production. While the auto-driving /ADAS function has gradually become the standard of newly listed models of major car companies, the integration of parking and parking has become a new "window" for car intelligence. Although the track is not very wide, it has also attracted many companies to "compete".

"The New Year of Integrated Navigation and Parking is Coming, Supplier Analysis (I)" points out that the integration of navigation and parking is helpful to promote the coverage of intelligent driving in the whole scene, including high speed, low speed, driving and parking. Its biggest advantage is that it can significantly reduce the cost by reducing the number of controllers, at the same time, it can maximize the use of different sensors to increase the reuse of hardware, and maintain the flexibility of sensor configuration to obtain the best perception of the surrounding situation.

Yesterday’s article "The New Year of Integrated Shipping and Parking is Coming, Supplier Analysis (I)" took stock of some integrated shipping and parking suppliers, and today continues to introduce the characteristics of integrated shipping and parking schemes of other companies.

The DCU3.0 integrated domain controller scheme of Yingchi Technology is jointly developed with Horizon and NXP. It is based on NXP vehicle network processor S32G (which can cross the intelligent driving domain and intelligent gateway domain at the same time), Horizon high-performance car-level AI chip Journey 3 (which is responsible for the integrated parking and navigation scheme), and the high-performance computing software platform EMOS of Yingchi Technology.

DCU3.0 provides the greatest possible functional safety design, and can achieve greater flexibility and scalability for different high and low configurations of vehicles. The biggest challenge for most domain controllers in the market is the chip security level. Some chip manufacturers didn’t consider the functional safety requirements at the initial design, so they should meet the L3 functional safety requirements at a higher cost at the system level when composing L3 scheme. DCU3.0 not only provides the greatest possible functional safety design, but also considers the high and low configuration requirements of different models, which is both flexible and extensible, and meets the demand trend of the market in the integration of high-speed and low-speed intelligent driving ONE-BOX.

Neusoft Ruichi’s self-driving parking and parking integrated domain controller is designed independently, with TI TDA4. Through the integration of parking and driving functions and the sharing of sensors, L2+ enhances the perception ability, which improves the safety and user experience. This product is based on SOA software architecture, supports OTA upgrade through preset basic software and special middleware for autonomous driving, and provides rich "developer-friendly" tools for developers, which saves 20%-30% compared with the traditional 1V1R+APA technical scheme. Comply with information security standards and regulations, and functional security supports ASIL-B(D) level.

In terms of software, NeuSAR, a basic software product independently developed by Neusoft Ruichi and compatible with the latest standards of AUTOSAR, and related development tools are standard, and Neusoft Ruichi is equipped with an open SOA architecture for autonomous driving. The software architecture supports the requirements of L0-L4 autopilot function, and the software and hardware are decoupled efficiently through autopilot middleware and NeuSAR basic software, thus realizing the flexible deployment mechanism of reusable, configurable and extensible upper application. The product design is also equipped with special information security components and functional security mechanisms to support self-evolution and iteration of functions.

Based on the integrated platform of software and hardware, Fretek has built a multi-sensor integrated parking and traveling scheme, which can meet the product requirements of different levels of L2-L4 in the whole vehicle factory. The scheme is oriented to mass-produced ADAS and autopilot scenarios, including 1V, 1V1R and 1V3R；. The self-developed ADC domain controller provides high efficiency, flexibility and cost performance for the high-order autopilot solution of the software carrier platform, which not only supports the integration of parking and parking, but also supports the more powerful high-performance L2.9 driving function. Its integration scheme uses embedded hardware, continuous data optimization and OTA to realize continuous growth of functions and performance, more anthropomorphic system control, reduce driving fatigue, and make driving experience more comfortable and safer.

At the same time, the ADC20 domain controller platform, which integrates driving domain controller, parking domain controller and DMS controller with high-precision map and positioning, and rearview camera, can realize the functions of expressway navigation-assisted driving and AVP parking. It will be mass-produced and delivered to passenger car customers in the second half of 2022, and its functions can be continuously upgraded through OTA.

Moshi intelligent

Magic Vision Intelligence is one of the first autopilot companies to apply deep learning technology to ADAS. In order to enhance the recognition accuracy, such as vehicles recognizing objects or pedestrians from all angles directly behind and obliquely behind, Magic Vision Intelligence has also developed a deep learning framework Motovis UniVisity.

Magic Vision Intelligence has profound technical accumulation and experience in front-loading mass production projects in both driving and parking fields. For parking, Magic Vision Intelligent has developed an accurate and real-time environment perception and car body positioning system, launched a series of parking schemes from APA to AVP, and is accelerating the mass production of upgraded APA functions such as memory parking.

In terms of driving, Magic Vision’s early mass production projects were mainly L1 early warning, AEB (Automatic Brake System) /ACC (Adaptive Cruise) and other functions, and in 2018, it achieved mass production in BYD Song. Nowadays, the driving products of Magic Vision Intelligent have gone through three iterations. The third generation products are L2.5 class driving domain controller and parking integrated domain controller, which have NOA (pilot assisted driving) capability and will be produced in SOP (small batch) in the second half of this year.

As a full-stack ADAS and autopilot solution provider with algorithms, software and hardware, Magic Vision Intelligence has been deeply cultivated in four major areas: passenger car front-loading, commercial vehicle front-loading, active safety and vehicle-road coordination. It is estimated that the shipment volume will reach 400,000 units before 2022.

The intelligent pilot-assisted driving system products of Zhijia Technology are based on the deep learning perception algorithm, and the perception is integrated into the planning and control full-stack technology chain for self-research, which supports point-to-point one-click smooth operation. MAXIPILOT?2.0 can meet the L0-L2++ level function of automatic driving defined by SAE J3016?, and supports the NOM pilot assistance system and the integrated scheme of navigation and parking.

The system accesses high-precision maps, uses mapping and positioning technology, and makes full use of all kinds of information of the surrounding environment through FPP fusion path planning technology, and makes comprehensive judgment on information such as navigation, lane line, traffic flow, railings, guardrails and curbs with priority, which effectively reduces the takeover rate and improves the fluency of the system.

In order to improve the sensing accuracy and reduce the impact of accidental failure, the system adopts the dual redundancy design of target information; At the same time, it has the advantage of autonomous long-distance forward vision, which can help the parking system to achieve positioning and improve agility (parking at a faster speed). The system supports the deployment of OTA online upgrade technology and shadow mode, and provides users with a closed loop of data-driven technology, product and service innovation.

The application scenarios of MAXIPILOT?2.0 include passenger car application scenarios based on open roads and commercial vehicle application scenarios based on open roads.

The advantage of Yinjia Technology’s scheme lies in that it can integrate superior resources, build the full-stack software and hardware integration capability, and have the ability to decouple the software and hardware algorithms, and provide an all-round one-stop intelligent driving solution for the main engine factory, and quickly support it to meet the differentiated needs of different main engine factories.

In terms of the integration of navigation and parking, Yinjia Technology has five types of layouts, covering different intelligent driving stages from low speed to high speed and from assistance to automation. APA system identifies the available parking spaces around the vehicle through the combination of vision and radar, and controls the vehicle horizontally and vertically to complete parking after the driver selects the parking space, among which supporting the parking of mechanical parking spaces is the exclusive highlight function of Yinjia Technology; The HPA memory parking system can learn by itself, record the parking spaces in specific areas, and complete the functions of automatically finding and recording parking spaces within 100m, avoiding obstacles, automatically parking, and calling with one button. AVP can realize automatic driving in the whole process from the entrance of the parking lot to the parking space, while AVP+ aims at entering a strange parking lot without learning in advance, that is, it can complete the functions of autonomous library patrol, obstacle avoidance and remote summoning in the whole parking lot; In view of traffic congestion, TJP navigation system can avoid obstacles and change lanes; NOA automatic assisted navigation driving can realize point-to-point automatic driving according to high-precision positioning map.

Millimeter Zhixing is one of the fastest self-driving companies except Tesla. Less than half a year after the high-speed NOH landing, Mimo Zhixing took the lead in realizing the large-scale landing of urban assisted driving products.

The HPilot 1.0 system launched by Mimo Zhixing has the function of assisting driving in high-speed domain, and is mounted on five models of Great Wall Motor, namely Wei Mocha, Wei Latte DHT, Wei Macchiato DHT, Tank 300 and Haval Beast. In March, 2022, the brand-new tank 500 equipped with HPilot 2.0 system was officially launched, which added the integrated function of parking and navigation on the basis of supporting the assisted driving function in high-speed domain, further expanding the assisted driving range and experience of users. In April, HPilot 3.0 was officially released at 2022 HAOMO AI DAY, supported by the self-developed self-driving computing platform Magic Box 3.0, which supports the assisted driving function in urban areas. It will not only achieve landing during the year, but also further realize the boarding of more production models in the future.

According to statistics, from January to May, 2022, the average monthly growth rate of HM HPilot was over 200%. As of June, the total mileage of users equipped with HM Zhixing driver assistance system exceeded 10 million kilometers. Mimo Zhixing said that by the end of this year, the assisted driving system will be equipped with 34 different models of Great Wall Motor, and the total number will reach 1 million in the next two years.

Recently, Newtech’s intelligent driving solution based on the Orin chip platform in NVIDIA has been delivered in stages, and the mass production plan of large computing power domain has been further implemented. At this point, its high, medium and low computing power product solutions based on the automatic driving platform technology have all started substantial delivery.

New York Technology’s integrated intelligent driving project is the first domestic landing based on the standard version of Orin chip platform (110 TOPS), covering high-speed, urban and parking full-scene mass production applications. It is estimated that by 2023, the first model of the project will be delivered on the market, and the total mass production scale will be close to one million.

Under the premise of fully considering the functional safety requirements and various customization requirements, Newell Technology’s integrated intelligent driving solution can provide all mainstream functions such as navigation-assisted driving, congestion-following, parking assistance, conventional ADAS, etc. At the same time, it also reserves the upgrade space to support more innovative functions and the upgrade of automatic driving functions.

Its Orin platform scheme integrates a large number of cutting-edge technologies, and applies the data closed-loop tool chain with completely independent intellectual property rights for the first time to empower industrial customers. On the basis of conventional full-stack applications that provide perception, planning and control, Niuqi Technology helps to build an automated closed-loop data platform, drive the system to continue to grow itself, realize OTA upgrade in the whole life cycle, and meet the diverse needs of autonomous driving.

As a leading provider of autonomous driving technology in China, AutoBrain recently signed a strategic cooperation agreement with Hikang Automobile to jointly devote itself to the R&D and commercialization of mass-produced products in the field of intelligent driving, thus escorting intelligent travel. The two parties will cooperate in the development of integrated parking system, joint bid, joint promotion and other aspects, and establish a joint development team, including the systematic integration of the intelligent driving software system developed by AutoBrain with the high-performance and low-power intelligent driving domain controller, high-definition camera, ultrasonic radar and millimeter-wave radar of Haikang automobile, so as to provide automobile enterprises with mass production solutions including L1-L2.99 integrated parking.

AutoBrain has leading technology and development experience in the field of autonomous driving, providing high-performance front-loaded ADAS and mass-produced software products of autonomous driving system for passenger cars, covering all scene functions. The algorithm based on self-developed software can realize functions such as ADAS, NOP, CityPilot, etc. By establishing a data closed-loop cloud platform, the algorithm can be rapidly iterated and OTA upgraded, and through the fusion test verification scheme, the continuous iterative mass production system software can be provided for the main engine factory. As the earliest leader in the field of autonomous driving, AutoBrain has established strategic cooperative relations with OEMs such as BAIC Group and Sinotruk Group.

As a leading autonomous driving technology company in China, since the start of mass production, Immobile Technology has obtained the pre-loading mass production project in the domestic market and started to cooperate with international OEMs such as Japan and South Korea. Its full-stack self-developed intelligent driving system provides an integrated solution of driving, parking and parking based on SOA software architecture. The scheme integrates high-level ADAS functions such as traffic jam assistance (TJA), expressway assisted driving (NOA), automatic parking (APA), remote parking (RPA), memory parking (HPA) and parking service (AVP).

In order to help customers cope with the increasingly fierce market competition, in terms of hardware design, Immobile Technology has preset a memory space with high computing power and large storage, which can meet the needs of mass production and development of high-order autopilot functions and scenes in the next few years, and realize the continuous iterative upgrade and update of high computing power algorithms and software functions in the later period; In terms of software, the SOA-based software architecture presupposes basic software, standard middleware and various development tools. Deploying layered software architecture can realize efficient decoupling of software and hardware, make upper-level applications reusable, configurable, extensible, and portable on different platforms, ensure sufficient flexibility and openness, meet the individualized and differentiated development needs of different customers, significantly reduce development costs and shorten development cycles.

By integrating powerful visual perception algorithms, highly reliable application algorithms, efficient arbitration mechanisms, high-precision crowdsourcing and high-precision maps, Immobile Technology realizes driving and parking functions in different scenes, ensuring a comfortable, smooth and safe driving experience. The scheme also supports OTA unified upgrade and special information security components and functional security mechanisms. Rich interface protocols, high bandwidth and flexible communication mechanisms can meet the huge data requirements.

At present, the intelligent ADAS market is in a period of rapid growth, and the integrated solution of bank and berth will become the mainstream solution in the next few years, and mass production and loading will be ushered in in 2022 -2023. Integrating the driving and parking functions in the same domain control scheme will help to reduce the cost of intelligent driving, reduce the power consumption and weight of equipment, reduce the complexity of the whole vehicle, and accelerate the mass production process of the integrated driving and parking scheme.

Information Times (Reporter Cai Mujia) Jiangsu Satellite TV Travel Exploration Music Singing Healing Reality Show "Sound You Come" was launched on April 5. Recently, the program held an online film viewing conference. The chief producer of the program, Duo Xiaomeng, and members of the creative team watched the feature film together with many media reporters, and shared the core idea of the program and the creative experience behind it.

As a variety show that shows the social status of contemporary people in the form of "music+travel", "You Come" invited seven musicians, including Wilber Pan, Ar Fi, Diamond, Martial Arts, Winnie, Lil Ghost and Gao Qingchen, to start a "journey to you". In the program, they will take to the streets of cities with different customs, complete six live concerts with distinctive themes and different styles, and cure every listener with music. Establishing social relations and returning to music creation by means of traveling, collecting folk songs and roadshows is a different kind of exploration made by You Come. Referring to the initial intention of creation, Duo Xiaomeng, the chief producer of the program, said that it is difficult for contemporary young people to socialize. Everyone hopes to find like-minded friends, but it is actually not that easy. "So when we are preparing for" You Come ",we hope to conduct a" social experiment "by means of" music+travel "to truly restore the social phenomena in life, so that everyone can have more social possibilities and find their friends more quickly."

"You Come" started broadcasting on April 5th. Photo courtesy of program group

　 　 　 　 Eating has a "meal partner" and fitness has a "fitness partner". Nowadays, the "partner culture" popular on social media is becoming a new social relationship model for young people. "Looking for a music partner" is the key factor in the series. Seven musicians choose their favorite partners through tacit understanding, music commonality and genre preference, and enhance their friendship with songs, and find the best appearance of their friends in running-in again and again. In Duo Xiaomeng’s view, "partner" actually has two meanings. First, it is a new social concept, and then it moves from strangeness to familiarity, and even becomes mutual friends. He believes that a pair of perfect "musical partners" should not only be "similar or complementary in musical style preferences", but also "have the same three views, have emotional intelligence and are sincere".

Diamond. Photo courtesy of program group

In the choice of guest lineup, Duo Xiaomeng has his own set of standards. He believes that "the first thing is to look at the initial relationship of the guests, including acquaintances and strangers. For example, Diamond and Winnie, Ar Fi and Lil Ghost are very good friends in daily life, and they are very topical together. For Ar Fi, except Diamond, he is not familiar with the other five people, so the audience will also see how strangers get acquainted; Secondly, the dimension of personality. Although the personalities of the seven musicians are completely different, they are complementary. For example, Wilber Pan is an E-man, who can quickly blend in with everyone, while martial arts is an extreme I-man; Finally, the music dimension, everyone is stunted, some are good at rap, some are good at lyric songs, some are good at originality, including a variety of music types and expressions. In fact, I hope that everyone can better find their favorite partner. "

"The guests went from strangers they first met to laughing and laughing together, and then went to the back to chat and talk about everything. This process of establishing intimate relationships can give people a strong sense of healing." As Duo Xiaomeng said, "You Come with Sound" is different from other traditional musical ensembles and travel ensembles, and it is more oriented to the core positioning of "socialization". Musicians plan a series of musical performances by means of "taking a partner".

A trip can see you better, and a trip to the variety circle can also reflect more interpersonal relationships and social reality. Last Saturday, Zhejiang Satellite TV broadcasted the third issue of the first unfamiliar social psychology travel observation reality show "Attention to tourists", and immediately rushed to the hot discussion list with a series of realistic topics such as warm family and bitterness in the workplace. # Who is the female artist mentioned by Yang Lu # Ranked No.1 in hot search, # Elaine Zhong talked about grandpa’s tears # Hot search No.18; A group tour between stars and amateurs makes every tourist open his heart and reveal "what you don’t know" Bosco Wong and Nana Ou-yang set foot on "Walking in Gongga" for the first time. What kind of sparks will many personalities collide?

Workplace bullying in the entertainment circle reflects the current social situation.

The stars who have been pulled out of the safety zone have shown a different side in every episode of Tourists that has never been shown in front of the screen.

Faced with social fear, Yuqi Zhang can’t accept the cold violence of "refusing to communicate". As a person who strongly needs communication and communication, she hopes to be open. Seeing this side, it is not difficult to understand Yuqi Zhang’s true response to the topic every time. In the face of cyber violence, disputes and frictions, Cheney Chen believes that all people need to learn to grow up in it and continue to feel the pulse of the sages.

Of course, everyone in The Tourist is the protagonist, and this social trip is also an observation of every ordinary person. So in this program, during an after-dinner chat with the Elaine Zhong delegation, Yang Lu revealed the bitterness of entering the workplace at the beginning of the year. After graduation, he became an artist’s assistant. He suffered from sleeping in the bathtub, sleeping in the corridor, being insulted by language, and so on, which caused a great psychological shadow to Yang Lu. So far, he was wronged and cried.

This incident happened to Yang Lu, which not only directly tore off the glamorous coat of the entertainment circle, but also touched the inside of the workplace and society. But as Yang Lu said, "We will experience sadness, pain and self-denial, but people will always grow and the past will always pass". This is not only Yang Lu’s harvest in The Tourist, but also a strong support for many ordinary people who have suffered the same.

Elaine Zhong’s Chinese-style feelings for grandparents and grandchildren touched people’s hearts.

A trip has both bitter and sour memories. Whether on the high-speed train from Cheney Chen’s "Beautiful China Tour" to Beijing from Hongkong, China or the train from Elaine Zhong’s "Wonderland of India" to Agra, the group members once again opened their hearts and told each other what they felt.

Elaine Zhong was brought up by his grandparents, and left home early to study, but his feelings for his grandparents have been buried deep in his heart. Even though she can’t go home often now, Elaine Zhong always buys a bunch of delicious food and sends it home to her grandmother. In the face of his grandfather who has lost his memory and go t sick, Elaine Zhong is still strong and smiling, although he is sad. There is always parting when we meet briefly at home, because Elaine Zhong will be moved to tears when he looks back and waves at each other. On the train, when talking about the scene of visiting grandpa who was seriously ill, Elaine Zhong finally broke into a sob.

This Chinese-style love between grandparents and grandchildren really touched many netizens, and they cried out in succession, "This paragraph is too painful. After reading it, I want to call my grandparents quickly." "It is the happiest thing to be able to go back to accompany my grandparents often."

In the third stage of the program, the teams of Yuqi Zhang, Cheney Chen and Elaine Zhong all started the journey of opening their hearts, and Bosco Wong and Nana Ou-yang finally met with the group members, including music students, advertising directors, costume collocators and models … but I didn’t expect that the first thing after gathering was to open the box? Bosco Wong is well-prepared and professional, even with cooking things; And Nana Ou-yang prepared a lot, all kinds of snacks, just like going on a picnic, even with chamber pot?

What kind of sparks will many personality experts collide with in the later journey? How many "things you don’t know" What kind of emotional resonance will it trigger? I look forward to the next trip of Zhejiang Satellite TV’s Attention Visitors at 20:30 on Saturday, August 31st.

It is another year of Hainan Island International Film Festival and another year of master class.

The first guest of the master class of the 3rd Hainan Island International Film Festival this time is the famous director Wang Xiaoshuai.

In this game called "Movies are a gaze at time."In the master class, what kind of stories and experiences will the little handsome director share for us?

What kind of "sharp" questions will young directors ask? The answers are all in the following.

■ (Director Bai Xue [Over the Spring]): Dear guests, media friends and audience friends, hello everyone!

Welcome to the master class of the 3rd Hainan Island International Film Festival.

I’m Bai Xue, and I’m glad to have the opportunity to meet you in the beautiful Sanya today.

Since the first Hainan Island International Film Festival, master filmmakers at home and abroad have been invited to share their film creation techniques and uncover the secrets behind the film every year.Exchange stories and experiences with young directors on the scene.

This year is the third year of the master class of Hainan Island International Film Festival. We welcome the film director Wang Xiaoshuai for the first activity of this master class.

Director Wang Xiaoshuai has been in the film for more than 20 years and directedThirteen feature filmsHe has been shortlisted in the main competitions of three major international film festivals in Europe for many times and won many awards.

From the first film in 1993 [Days of Winter and Spring], director Wang Xiaoshuai discovered the secret of the film.

Whether it’s [17-year-old bike] or [I’m 11], until the nearest [Forever].

He combs the time and stares at it in his works.

In the film directed by Xiao Shuai, there is his unique personal life imprint, such as carving and tracing the third-line memory.

By reviewing these memories, he re-wrote the history in which this memory lived.

Next, let’s share a glimpse of the film world directed by Wang Xiaoshuai with a short film.

Next, let’s give the warmest applause to the speaker of today’s master class-Director Wang Xiaoshuai.

Director Shuai said hello to everyone first.

Wang Xiaoshuai:Hello everyone! I didn’t expect so many people to be so grand. I’ll try my best to support me by the edge of the snow and talk to you more.

■: Director Xiao Shuai and I should call you Uncle Shi.

Because my teacher is Mr. Wang Rui, the teacher of the director department of Grade 03, and I am a classmate of your class.

I’m actually very nervous today, but I think it’s more about asking an elder. Let’s ask you questions together.

In fact, your first two films[Days of Winter and Spring]and[Extremely cold]They are all about artists. What prompted you to shoot them at that time?

Wang Xiaoshuai:This topic has been asked since the beginning of filming, and it has been talked many times.

The audience here today are all new audiences or listeners. I don’t know much about them, so I will repeat them a little.

After graduating from the Film Academy in 1989, China was still assigned at that stage.

As soon as you graduate, you will be assigned to a film factory, and then you will slowly practice and work in the film factory.

Then it is possible to direct a film many years later, which is still such a tradition.

So I was assigned after graduation.Fujian Film Studio.

I found that after I arrived in Fujian, the situation was not as good as I expected.

Because at that time, when China films reached that stage, the fifth generation was born.

The path of their growth is from small factories, and factories like Guangxi Factory and Xiying Factory stand out from the encirclement.

Directed their films that have been very classic so far.

So after I arrived in Fujian, I thought it was possible to follow the path they had taken again.

Because Fujian factory is also a small factory, in those days, people who made movies were all targeted and planned economy.

Therefore, the Fujian factory had an index for one year at that time, which meant that the film factory was allowed to make one film a year.

If you get good grades or have a lot of money or something, you may apply for the second part.

Therefore, although I was full of confidence after I went there, I felt that I had learned something from the Film Academy. I was young and had a passion for movies, so I could shoot there.

But it’s still young to think about it now, and the idea is too simple, because although there are not many people in a film studio, it only has one indicator that it cherishes every year.

Then how can it trust a young man who just graduated?

Although the fifth generation had this history at that time, it stayed for a while, followed the internship and made notes.

But later, I still couldn’t do it. I thought it might delay my youth, and then I sneaked back to Beijing alone.

After sneaking back to Beijing, I actually think of it as the first generation of drifting north. I have lived and studied in Beijing for ten years. Once I leave, I will be an outsider.

There is no place for you in such a huge Beijing.

So at that time, I thought there was no reason for me to return to Beijing. It seemed that someone was looking at you with a strange eye. You didn’t go to Fujian, so why did you come back?

In my heart, I felt that I wanted to stay in Beijing as an excuse, as if I didn’t stay here, so what should I do to prove my value, so I went back to thinking about movies.

I had two choices.

One is that I haven’t painted since I graduated from the middle school attached to the Central Academy of Fine Arts, and I can start again.draw picturesPainting was very popular at that time.

But I think what I love most is actuallyfilmSo I thought about going back to the movie.

Only if I have a movie in my hand can I prove an ID card for staying in Beijing.

It’s like Xiao Gui in [17-year-old bicycle] coming to town. I have a bicycle, and I have tools to eat before I can stay here.

How to start this first step? I have nothing, no shelter, no food, no money, just one shoulder.

What I found were our recent classmates who used to be in the Film Academy or friends who started to play in Beijing, as well as the continuous friendship between Liu Xiaodong and Yu Hong when they were in the attached middle school. My eyes can only go here as far as possible.

I have no ability to see farther through these friends.

So just take the nearest person from Liu Xiaodong and Yu Hong.

Just like when we painted, we said to be a model, you are our model, I will paint you, and I will shoot you. This was the most original idea at that time.

Just because they are painters, and then they are close to my life, the life in the middle school attached to the Academy of Fine Arts is vivid, and the first [Days of Winter and Spring] is opened.

Then I wanted to solve many regrets left by the first film, so I opened the second film, Extreme Cold.

At that time, my eyes couldn’t see through it, because the money, strength and surrounding resources were not enough for me to make a movie that seemed to be very formal.

So at that time, I said, OK, let’s do manual workshops like the new wave, and after a little work, we started the second part.

And the second part just heard a real thing that happened in 1994:

A action art killed himself, which had a great influence and spread.

Then, combined with my own mood at that time, I felt very depressed, and combined with my own mood, I made another [extremely cold].

Therefore, it is very coincidental that these two films are related to art, that is, to their own growth experience.

At the same time, it is also related to the farthest distance you can reach.

Then at that time, I thought to myself, when we filmed [the days of winter and spring], we also filmed [the extreme cold].

I often ask myself, some close friends ask me, are we calling it making a movie?

Because many students in our class love movies, they will be very excited to see the studio of this real movie.

There are elevators, lights and cameras. I think this is a movie.

And we doubted ourselves when there was nothing.

Then I also asked myself over and over again at that time, giving myself hints over and over again:

However, we may not have such a large scale, such good equipment, and no professional team to support.

But after all, I pressed the switch with the camera and turned the film, and my subject was trying to interpret my ideas and scripts, so I think this is called.shoot a film.

Just to a different extent.

Then our film is called a film of muttering, which means talking to yourself, asking yourself, and doubting yourself.

Then, at that time, you might think that you are individuals, and that you always take yourself out as if you were talking about something. This is not a movie.

In our traditional cognition, the film director and the author are behind the camera, that is, pointing the camera at the outside and shooting outside, shooting workers, peasants and soldiers, shooting society and shooting these things. This is called a film.

In particular, China’s past tradition is not allowed to take out the heart of a creator.

It means that the first time we met, I thought it was okay.

I couldn’t shoot it, so I turned the camera around to shoot myself and regarded myself as a member of this society.

I am also living, and I am also living.I have my own thoughts, and I have my own difficulties.

Under such circumstances, I began to make my own independent film.

■　After listening to it, I felt that there was something that really touched me.

I believe that every young director has a strong energy in his heart when he makes his first work, and he has to shoot that energy.

I remember reading the story of extreme cold in a magazine when I was in high school.

I actually envy that era. I was in 1984 and I was too young in the 1990 s.

But what we have actually experienced is the stage from university to early 2000 after the reform and opening up.

In fact, the whole society has tended to be stable, and I think China in the 1990s is actually a particularly fascinating period.

Wang Xiaoshuai:Right. We used to have a book calledOur eightiesWhat Acheng recalled, it evoked feelings including my own.

I think these people born in the middle or early sixties are really lucky, rare and lucky.

When our youth just began to grow, China just entered the stage of reform and opening up.

When I was young and ignorant, when my values and outlook on life began to have a little idea, I just experienced the whole decade of the 1980 s.

Nowadays, many people in that era recall the decade of the 1980s with emotion.

It is said that this may be the best golden decade in China.

In this decade, some of our elders are more mature and older than us. Some people have entered the society, are already exporting their things, and are already creating their own things.

And we are actually following behind, so we are not lucky not to be left behind by this decade.

And this decade is the past. The whole education in China came from Eastern Europe, Europe and the former Soviet Union.

In that decade, the information and ideology of Europe, Western Europe or the United States began to come in, breaking the simple dualistic ideology of Eastern Europe and the former Soviet Union at that time.

Therefore, the ten years when we were studying happened to be in contact with both sides, making ourselves look at the world like a child who just opened his eyes.

Everything broke out at that moment, so we experienced this.

After we graduated, we entered the nineties, and as you said, it tended to be flat.

However, the gap is still relatively slow, and all the enthusiasm in the 1980s, all the thoughts at that time, and all the very free and unrestrained passions at that time are still there.

Bit by bit, it has been flowing until the end of the 1990s, just in time for myself to start filming in the early 1990s.

So those things that were saved in my mind, those impulses in adolescence, those so-called self-thoughts and anger all broke out at that time.

At the same time, catching up with the society really allows all this to happen and express. I am very lucky to have experienced these two times myself.

■　: Maybe the creators who grew up in different times actually influenced you by the times.

You are also influencing some young people behind you through your works.

There is a very important period in your works.Third-line construction.

I believe that I may be a little strange to post-90 s or post-00 s or even me now.

I’m also going to look at some background information before [Green Red] today.

I’d like to hear from you what has shaped you in this growing process.

What do you want to share about this growing experience?

Wang Xiaoshuai:All people who have experienced the third line, regardless of the first generation, the second generation and the third generation, have a common emotional cohesion.

Just think we arethree linesWhen it comes to third-line people, many big structures come out.

For example, the biggest confusion of third-line people is the loss of their sense of hometown.

They left their hometown and parachuted to a place. They probably thought they could go back in a few years, but they didn’t expect to go back all their lives. The next generation was there, and so was the next generation.

In this case, the third-line person has a special emotional password.

This emotional code is linked to each other, and everyone knows about that history from food and living habits.

However, this emotional password basically exists only in the third-line people, and others don’t understand what the third-line people say to others.

Even in Guizhou, when you leave our factory and go to Guizhou, they will feel "They are those people.",after a long time even they feel very poor, only exists in this folk saying.

But when I was growing up, my parents were also third-line, and I also experienced this confusion.

I don’t know where I come from or where I belong.

In this process, I gradually became unconvinced.

That is to say, many third-line people don’t say that they have had such an experience since they began to go out slowly in the mid-1980 s, because they feel that this experience is not good for their future development.

There is also the whole information and the national level, because we all know the educated youth, the Great Northern Wilderness and the Xinjiang Corps, and we all know the big plates that have changed since the founding of the People’s Republic of China in China.

But only the third line, because it is a military enterprise, was confidential at that time.

Many of our factories have no names but code names, so a large number of tens of millions of people are not mentioned there.

So when I came out, I had a feeling in my hearta burning desire.

I want to tell others that we are from that place, that we came from there, and that so many people are still there now, and they are still experiencing a very, very special life that others don’t understand, and even after others know it, it will be incredible.

I want to express it, so this is after I was lucky enough to be a director, picked up the camera and made these movies.

In fact, deep down in my heart, I said that one day I must put something about the third line in the movie.

During the period, it has been repeated many times, and it has failed to go, and it has failed many times.

Until 2003, at that time, it was actually ten years since I first made a movie.

At that time, our top management said that China’s films were changed from a business unit to an enterprise, and then they were connected to the market and made films with things from the market.

At that time, it seemed to give me a turning point. Now you can make movies and embrace the market and this reform.

I think since I have this premise, I will do it, so I will take out the ideas and scripts that I have accumulated for many years.

At that time, [Green Red] was originally called [Good Wish], and I came based on Augustus’ feature Bergman [Best Wish] (often translated as [Good Betrayal]).

I said that this is actually what I expected so many people to go for the whole third-line branch. I really hope to give them a blessing and give them a really good wish.

I shot it at that time.

Moreover, it was very difficult at that time. I went to Guiyang several times, and I saw that the surrounding area was changing. All the buildings were rising, the roads were under construction, and all the factories were changing. I was very anxious.

At that time, China films didn’t have a good industrial system and good technical support as they do now. At that time, they didn’t.

I think if I don’t shoot it again, I won’t be able to shoot it at all, and it will be completely erased from my life, memory and the earth.

So I gritted my teeth,I find that I bite my teeth every time I make a movie, and I’m so stupid that I want to make it happen.

■: Movies have a very special function, which can record the characteristics of an era.

I think among many films, the narrative films at that time actually solidified that era.

Do you think that in your personal memory and the memory of the public, what you just said, for example, the third-line construction may be a relatively unexpanded memory.

How do you think you can find the point to communicate with the public in this process?

Wang Xiaoshuai:This is also my repeated question in making movies, and it is often mentioned.

You have to find the common ground, empathy and so on. I think it is the most basic bottom line for the success of the film, but I think sometimes you can’t find it, or it is very special.

I think of it as aSpecial filmShoot.

Movies like the third line were made at the beginning, including now. When you mention it, you will also question why you are always working on the third line. There will not be many people watching it.

I can only ignore this matter, I can only say that this matter is what I want to say, this history and this reality is what I want to express, and I have to say it.

Because I watched my parents go from a young man in his late twenties to a strange place.

I’ve been there all my life, putting my youth there, and then throwing my major aside, so I’ll live forever.

So I think people like my parents are everywhere. Our neighbors and classmates’ parents were all senior intellectuals at that time.

If they stay in places like Shanghai and Beijing, they may be able to play a better technological advantage, but after they get there, it will be very beneficial to the western region and their construction.

But it has a certain influence on their personal growth and the display of their talents, so I watched them grow old.

Now many people have died, and they are buried in the local area.

Therefore, I feel that I can’t live without such a period of history.

At that time, I also looked around. Among the tens of millions of third-line people, if I was a director, I was the only one.

If I don’t talk about it, there is no way to talk about it. Besides, I just said three. Why did I say three? Because it was not a phased thing at that time.

There are stages of educated youth. Of course, many of them have stayed in the local area, married and have children, but some of them have returned to the city after a stage.

Third-line people are not phased, they are continuous, and the first generation, the second generation and the third generation are so continuous.

Don’t say three movies, I can continue if it is possible now.

Because our generation has become fathers and their children are growing up, when I went to communicate with them, I found that filming them is also a completely new understanding of the third line.

Now you ask him where you are from, and 100% of these grandchildren who are teenagers now look at you with their eyes fixed on you.

After you asked this question in the past, he couldn’t answer it at all. His eyes were looking for his parents and his grandparents to confirm how to answer this question. I will do it again when I have the chance.

■　I find this particularly interesting.

Because I was also a very small social group when I spent the Spring Festival, that is, cross-border schoolchildren.

When I ask them where they are from, their eyes will indeed dodge. I think every individual is branded with an era.

So I think in this issue, it is both personal and contemporary.

So maybe the characters you wrote lived in the background of that era.

So he will definitely bring out the whole big thing.

Talk about your recent new works.[Forever and ever]This work is actually a very time span, a span of thirty years.

It is said to be the first part of your homeland trilogy. How do you define homeland in this movie?

Wang Xiaoshuai:After the third line was finished, the biggest problem was in front of me.

I’m going down. Yes.How to createBecause I can keep an impulse to make a movie when I was at the beginning, when I was the youngest, or I will make a movie with impulsive and exciting themes.

I can cut in from any level of this society.

But slowly with the passage of time, my age grew up little by little.

After everything and seeing everything, I think I may still need to put my eyes down.

I still want to have a chance to talk about the history beyond the third line and all that we China people and ordinary China people have experienced now.

Otherwise, I may not be so young at a certain level in a certain section, and my eyes can be set farther, unlike at first I can only see my close relatives and friends.

Now I can see farther and think farther, so I decided to do the next trilogy.

Of course, call.Home trilogyThe words are also about the concepts of China people, our hometown, our land and our identity.

These are the experiences of ordinary people in China.

Maybe young people don’t know much about it now, but from the forties, fifties and sixties, these people grew up in this way, and everyone bears the brand of the times.

■: Including me, I am equal to my parents who came to Shenzhen in the early 1990s.

So when I arrived in Shenzhen at the age of six, I was a little skeptical when I asked where I was from.

Wang Xiaoshuai:I don’t agree with them when they say home country. I don’t have so many feelings about home country. I just said that I still focus on our ordinary family.

Because I think that individuals form a family, and the family will eventually become a country, which is the most basic cell and element.

So I focused on them.

Although it seems to be described as a big history and epic by others, in fact, it still doesn’t leave me the earliest. I am staring at a few people and a group of people to express it like this.

Moreover, this expression is really going to break away from the third line. Although I still run a factory, I didn’t emphasize that it is the third line.

Because I know what I saw, in fact, many, many similar things happened in China besides the Third Line.

For example, our steel works in Baotou and Shanghai Steel Works in Wuhan, in fact, there are many people supporting the whole country, and they also left their hometown to live in a new place.

This kind of environment was magnified by me and I continued to pay attention to it.

About [Forever], the main thing is the loss of children or family planning. If we only talk about it for a while, in fact, there are such movies in China.

Those who have lost their independence and are looking for children, but I don’t think this is enough. It may not be enough for me to make such a thing again.

I need to enlarge it. I have ambition. I want to enlarge it to the historical background of China until now to see how ordinary China people have survived and how they have survived.

This ambition has promoted this[Forever and ever].

In 2015, I heard a news. I was fine in my room that day. I don’t know where a news voice came from, saying that family planning had stopped. Now I can have two children and three children, and it’s over.

It seems that such a simple news has not stirred up any waves in the society, and there is no response.

But I was stupid in my room at that time. Can this thing be changed? Can it be changed?

We have been used to it for decades, and suddenly it changed. At that time, I was reminded that this matter should be mentioned.

■: I am very much looking forward to the second part of your home works.

Many of you here today are young creators, and I believe that one of you will want to know more about your creative path.

At the very beginning of your creation, of course, sometimes you may start from your personal experience.

But maybe slowly you will change from the first person to the third person to see the world.

I really want to know the origin of your creative process, and sometimes what motivates you to move forward.

Wang Xiaoshuai:From a conceptual point of view, I always feel that we should keep a particularly sensitive, fragile and soft heart, because only in this way can you feel all the changes that have taken place in this society.

If you are tough, if you do something, and you don’t care and think about anything, you may miss something that touches you or touches you.

So I think to make such a movie, we must first have a very soft heart to touch and feel, feel those anger, thank those unfairness, and thank these ordinary people for their helpless or very helpless eyes.

These things will touch you, and then you can find out how to get close to them, how to cut in from their point of view, and think about this problem.

In addition to these basic things, you have to pay attention to reality, that is to say, you are aware of everything that happens in this reality.

Originally, we relied on newspapers and TV, and now we even rely on Tik Tok or even some short videos or some friends to spread.

These things will remind you, and they will find you a possible exact point to go in. Maybe you have a big direction, and you have to find the exact point of the story, just like I did [Forever].

I was stupid when I heard the news. It was a flash. Without this news point, you might have lost your feelings about China people’s policy from the late 1970s to the 1980s, and our lifestyle was like fish in water.

I feel that everything is normal, and when it comes to an abrupt end, you find that it is a thing, which may touch your anger, thinking, reflection and creative impulse.

■: I think that in many cases, especially after you have experienced China movies, there are actually several specific different stages.

Then your work is equivalent to actually expressing concern for individuals, especially now, after all, movies have a commercial attribute.

Do you think you will sometimes think about how to balance it, or do you think this problem need not be considered from this angle?

Wang Xiaoshuai:This kind of thing is also asked the most, and many people who are engaged in this film will also think a lot.

However, I think this aspect of the problem should actually be considered by switching the angle of the point of thinking to it.

It is not unified.

For example, from the perspective of creation, you create this type of film or a little bit of film that you think is a little thoughtful or a little personal. In fact, you do it from this perspective.

Then you don’t need to make it think about the question you just asked.

If I really think about this issue from the perspective of a film industry, then it must take into account the industrial side of the film, the market side of the film, including the actors.

After I play this role, he will also think about what role I want to change next, and everyone will solve the problem from everyone’s point of view.

And I don’t think it is necessary to put the balance on the director. For example, if a director is very successful in business, I think he should be congratulated. He has something very sensitive to do this.

Some people may not be successful at the box office, but they express themselves well, so they should continue. This is why I think we should face the problem of film diversity together.

So it is difficult for me to answer this question when asked.

That is to say, do I have a little industrial background, or do I have a little film foundation? I believe so.

But I have more interests and more energy to focus on the things I just paid attention to. I can’t waste my time and energy.

From my point of view, when making such a movie, I have been asking myself, just like when I made my first movie, whether it is worth it, whether it needs to exist, which is what I have been asking.

But after this process, I have accumulated such a confidence bit by bit, that is, it must be needed, and such a film must not disappear in China’s film version.

Besides, I think it will definitely turn over in the end, so I am enjoying the process of making such a movie, and I see that it will be taken seriously in the future.

Because a cultural level, an artistic level, or a national level, its culture is valued and the degree to which art is valued.

If it has been in a very low situation, it is actually not good for the whole nation, so if you take a long-term view of it, it will definitely turn over in the future. This is my confidence.

■　I have a feeling that when [Spring Festival] was shown at Osaka Film Festival, many people in the audience were unexpected. I didn’t expect that there were many white-haired old ladies and gentlemen.

I had a feeling at that time that the audience needed to be cultivated.

In fact, as creators, it is actually to lead the audience to a more connotative content level and have a more aesthetic audio-visual feeling through our works.

I think I was particularly happy when you said that just now. I think now, in fact, more and more young directors are still making many excellent films of different types.

I think it is a very lucky thing for the audience and a very happy thing for the creator.

Wang Xiaoshuai:When we look at it carefully, it seems that the big block is rich and good, but in fact there are many meaningful things under it that have never been broken, passed down and done.

The portrait hereDirector Liang MingIn fact, I have been doing it all the time, including your movies. These things have been passed down and have always been the most important thing.

Moreover, when it is exported, it is actually the most vital output, not organized, but naturally received by others.

One more thing, you feel that some of our films have been seen by others in some foreign film festivals or screens.

I think one thing is also true. This kind of movie may not be as popular as we thought. Why is it seen by others? Besides, young people are not necessarily very young. It’s a joke.

Their life is too lonely. On the other hand, there is such an activity when they come to the cinema. It is a great comfort for them to get together in the cinema.

He can’t have other entertainment activities, so the film is preserved and needed.

This is also the fundamental reason why I think everyone is missing the cinema and calling for actually going to the cinema to watch movies.

People in China may have too many recreational activities, and he thinks it doesn’t matter a bit, but they are lonely in Europe and America, so cinemas will be taken seriously.

Of course, I don’t want people in China to be so lonely and lonely, but on the other hand, if there is no cinema one day and these things disappear too quickly.

When you need all this, it’s a pity that it disappears.

In fact, giving it a space for each of us, each ticket and each movie is actually protecting it, and it is a process that urges us not to be too lonely in the future.

■ : that’s very good. I think in the present era, when I look back at some of your works.

When I looked at Green Red again today, I suddenly felt that that era seemed to be particularly far away from me.

Because we have changed so fast in the past twenty years.

What do you think is the most influential factor for you in these twenty years?

Or do you think that in fact, no matter what changes in technology in this era, it doesn’t have much impact on you?

Wang Xiaoshuai:I am trying to slow myself down by this.

I know everyone in society is chasing after me now.timestillChasechangeHowever, I am a person who is particularly afraid that the old things will be gone after the change is over, and I am quite conservative.

It’s a pity. Can these things stay? Don’t change too fast.

Now, when China people were able to go abroad in the 1980s, we looked up and saw that others were fresh. After several decades, if you go out again, you will laugh at others’ backwardness.

But don’t forget that people were already very advanced at that time. You entered the Grand View Garden with Granny Liu. Now we are laughing at others because of the rapid change. In fact, I think we should be on the contrary, and we should be wary of this rapid development.

In fact, I don’t know whether it is really beneficial to each of us, because I belong to the middle generation now.

These fast things like mobile phones come in every day, and I’m always afraid that the people before boarding the plane will tell me to scan the health code, and I’ll be finished. I said if I can’t sweep this out, I’ll be finished, and then I’ll go into the hotel to sweep this and that.

A lot of assistants helped me with it, which has collapsed for me.

Then others can imagine, because we saw an old lady in her nineties on the Internet who had to pay medical insurance by credit card instead of cash.

We must think about the whole country. We are proudly developing, but it is really cruel to cut off the tradition.

I really, really don’t like to cut off all the transitions cruelly and make all the space disappear.

I have an antipathy. Sometimes I go out to buy things, and I am very shy for a while.

I dare not look people in the eye. I asked if I could give cash. I think it’s a shame that I take out cash to buy cigarettes or alcohol now.

People are brushing the QR code and it will pass, but I just bite my teeth and think, even if I am laughed at by others, I want cash.

That is, I have become that kind of person, and I always want to slow everything down. Now I am thinking about the slow life, and I am slowly putting this psychology behind me.

After I got there, I laughed at myself and boldly said that I would give you cash. The old man still has cash for you. I am also overcoming my psychology in this process.

In fact, it is possible that all this will be brought into your own works in future film creation, which is also a kind of thinking and a kind of thinking about the modernization process.

Moderator: As a director, people often ask what is the most important thing as a director.

I personally think that how to look at the world may be the director’s longest personal practice.

Do you think the theme is important in so many creative processes?

This is actually a relatively strong confusion of mine recently. You just mentioned that when creating the original origin of a thing, many of them are actually very emotional.

Even force yourself to capture it with very emotional things, but you may immediately enter a technical link.

How to put emotional things on someone with movie skills to tell this feeling.

At this time, I am personally confused, and sometimes I am not sure what the theme is.

But when this thing doesn’t exist, when it can’t be said.

It seems that it is difficult to communicate this thing with collaborators, such as writers and others.

So what do you think of the theme as a director?

Wang Xiaoshuai:When we were training since childhood, the theme was repeatedly emphasized in writing and composition.

And I was really confused by this in the whole process.

I will never get high marks if my composition is written by the teacher or not.

And the theme is very clear and vivid, and the teacher will get high marks, so I am also very confused.

But my feeling is that this theme is a Chinese theme.

I think this theme can be translated into your attitude. You are facing a thing, a person and a story, or what kind of attitude and angle do you enter this thing you want to express?

For example, the same thing, which now needs to tackle poverty, may be entered from the perspective of propaganda, so what is its theme to look at this problem.

Similarly, such a rural area needs to get rid of poverty. If you enter from the perspective of an ordinary person, or the director enters from another oblique angle, your angle and attitude are more important than this theme.

Because you have an angle and this attitude, what you want to show will naturally appear.

Therefore, the theme is a relatively vague concept. In fact, I have never set a theme first in the process of creation, never.

The [winter and spring days] is a despair, confusion and loss, which seems very gloomy, that’s all.

There is no theme, but after this angle comes in, everyone will interpret it. In fact, there are no movies in the back, including "Forever".

I just write with my head closed, so does May. After we finish writing, we will see if everything is necessary and correct.

We put it together, because our angle is there, and it naturally presents itself. I won’t go ahead with the theme.

■　I am so happy that I can finally put down the stone in my heart.

I think when the film is made, there are many things that the audience themselves have their own experiences to say.

If the theme is unique, there is no need to present it in movies.

Thank you very much for sharing.

Today, there are still four young directors under the stage. Let’s invite them to come on stage and talk with you about the creative confusion.

They are the director of [that roaring youth], director Han Tian;

Director of [Hannan Summer] directed by Han Shuai;

The director of [Landing Life] respectfully directs;

Director Liang Ming of [Under the Sun], let’s give a round of applause to the directors.

Liang Ming:You talked very well just now. I have accumulated some questions I want to ask the director below.

Director Bai Xue has asked everything, especially the theme, and I am particularly confused.

I want to listen to director Xiao Shuai to share your memories of the first time you went to the film festival.

What did you feel when you first went to the film festival?

Wang Xiaoshuai:There are too many stories.

Now our team is growing stronger and stronger. At that time, no one really came. The first premiere of [Days of Winter and Spring] was in Vancouver.

I was very excited when they asked me to go, but I couldn’t get my passport because I had to go back to Fujian to get it.

Getting a passport in Fujian is the most difficult place in China. I couldn’t do it, so I missed it.

They feel very sorry.

At the Los Angeles Film Festival, they thought they had found a fresh air, so they came to Beijing to meet us, but I couldn’t tell them.

He said that it seems that there are still a few months to go to the Los Angeles Film Festival. We will find a way for you, send you an invitation letter for relatives, finally get a passport, and then go.

I had a bad image when I went abroad for the first time. I got angry at that time, so I took the wrong medicine in a hurry. I took a sulfanilamide medicine, and my body was intolerant of sulfanilamide.

I don’t know if it’s dangerous. If I put it down, my whole mouth will swell into a monster, like a pig, and my blisters will crumble, so I’ll get there.

I was in a terrible mood at that time. I went to meet the audience for the first time, and my hair was long and there was no money.

Because we went to the film festival at that time, there was an advantage. People would give us money. People from China would give you a meal ticket of several euros, and the bus would give you some money.

Each of us will get a little money, and this money will live there. In this case, I went to the Los Angeles Film Festival. Now that I think about it, I want to find a guy who is particularly ugly.

Liang Ming: Thank you, director!

Jingran: You just mentioned that many works of each creator are actually related to personal experience, and movies are also for empathy.

Your film festival has gone so far, and you have gone to film festivals in different countries. Does regionality have an impact on empathy?

Wang Xiaoshuai:Just like you, when you go to the film festival, you will always meet your movies that you particularly like.

You will always meet that person who meets your eyes, ignores you and walks away, which means he may be just so-so.

I often meet you. It’s better to like your movies.

I think there will be a little bit of cultural difference between all regions.

For example, when I went to the Japanese film festival, I found that they were actually more enthusiastic than those in Europe and America. This is very strange. Everyone looks the same and has the feeling of an Asian cultural circle.

Then when you get to northern Europe, you may be almost there. People don’t have the habit of talking to you with great enthusiasm.

When you come to Spain or Italy, you will feel that many people like your movies. They seem to be very enthusiastic, and you feel very strange.

They find out whether they like it or not. I analyze that they are sometimes too lonely, and they are very excited when they go to the cinema to see foreign movies.

■　I remember when my film was shown in Toronto, people were laughing all the time.

It seems that those places are not laughing places, but they are all laughing, and the laughter is different.

Wang Xiaoshuai:Cultural differences.

■　The audience’s mentality seems to be particularly relaxed, and when our country directs, it will feel that I am looking at something.

I can’t show too much emotion when I come to see you. I think they are particularly relaxed when they watch movies.

Wang Xiaoshuai:When you just came out, it was the best time. They were all good and liked everything.

Now if I want to put it out, I’m nervous.

Because there is less possibility of being forgiven, his critical eyes are more critical.

I joked that when I won the prize, the original films would win the film festival prize, and the young people who felt very good would give an award.

If you shoot a few more films, people will start to look at you. You have already shot five or six films, so it will be difficult.

So young changes also matter.

So I’m under the most pressure now. My knowledge of movies is the same.

When I went to the film festival, it suddenly dawned on me. When I was in Cannes, it suddenly dawned on me that movies were so lofty and sacred.

Then I regretted it. I finished when they let you go in the red carpet. In the process, this one was not filmed well, that one was not completed, and that one was almost strong. I just regretted it.

Such a big screen, all dressed in evening dresses, these people are old gentlemen or professionals sitting there. You are one of the 20 films in the world. Let me see what you made.

At that time, I knew that movies should never be joking, and we were often scolded.

If you experience these things with real awe and seriousness, you can stand up, or you will lose people.

Han Shuai: As it happens, the hero of my debut novel is the little kid who plays Du Jiang in Forever, and first hero in this play.

When he first met me, he said I thought I would be elected, because the second director I collaborated with should also be Xiao Shuai.

He is a very clever child.

Actually, I want to ask, you have made many movies related to teenagers and directed many young actors.

I wonder if you have a unique way in directing young actors.

Especially when they can’t perform according to our established wishes, what will you do at this time?

Wang Xiaoshuai:Now that I recall all the processes, I will never seriously tell them about the drama.

As long as you squat down and talk to him, he listens carefully. When he ponders, how can he know what that means? It’s impossible.

So I have to play with them, because the performances that children can output are not given by adult professional actors, which is too natural.

As long as you let them play and relax, they can always achieve what you catch. Don’t be serious.

Often, when the assistant director at the scene is in a hurry to talk to them seriously, I quickly say never say anything, so we will accompany them and give them time.

You talk too much, I don’t even know what you’re talking about. He’s suddenly acting like that, which is scary, so just give him time, young child.

Han Tian: This is a question that I have been thinking about recently. Before I came to the forum, I saw [See Nara] directed by Pengfei. I liked it very much and it touched me a lot.

There may be a problem for our young directors, that is to say, when you go to a wider world from your particularly limited personal experience, when you want to make that effort, it seems that sometimes you feel a little uncertain or have no grasp.

Because before the films directed by Xiao Shuai, such as the earliest [winter and spring days] and [extreme cold] are the stories of people around you.

When I arrived at [the girl with the shoulder pole], I suddenly discovered a bigger world, and then I went back to my previous experience, the third-line story.

It’s such a broad expression of China’s contemporary history again. I don’t know if you ever felt that kind of confusion or how to overcome it when you went from your own experience to the bigger world at those stages.

Wang Xiaoshuai:I have asked myself about this matter, and my own answer to myself is that everything goes with the flow.

Your age, your experience to what extent, you were interested in it at that time, there is no problem.

You suddenly see that another director or another place in the world has come up with a very powerful thing. It’s no use worrying again, just be yourself.

Because I think time is the most important thing, and time is too powerful.

When you are filming, if you are in your twenties and thirties, it is unrealistic for you to think beyond a person of fifty.

So I think I should put myself in every process of my life, even if it is small.

Because there are many large-scale films that have achieved good results, but there are many trivial small films that are also very powerful. They are also very impactful and moving forward.

soDo what in what time period?.

For example, when you are 40 years old, it is true that when you look back at yourself or face a 30-year-old person, there are many things that cannot be communicated in words.

Only when you are forty years old will you suddenly care about that thing.

So we make our movie, and this movie is very happy, and we will minimize our pressure.

Of course, we have the responsibility, but you can be grateful for the pressure in that area.

There is no pressure on your next film, so that you can put yourself into real and pure creation and move up bit by bit until you are 50 years old.

For example, when I was forty years old, I didn’t dare to do [Forever]. At that time, I didn’t have that opportunity, and the society didn’t change to that time.

But just then, it was possible to deconstruct the film according to your 50-year-old view of the world, otherwise you couldn’t do that.

So time is a really, really good thing.

Han Tian: Thank you!

■　I remember asking the teacher a particularly stupid question when I graduated from college.

Teacher, how can I have life experience, because I felt at that time why all the stories I thought were so stupid.

But I was particularly anxious to have life experience. I didn’t know how ridiculous that sentence was until I finished writing this story and filmed it, including after I got married and gave birth to a child myself.

Then I think that every creator will have a group of like-minded creators.

In this process, in fact, everyone’s life experience is growing up with this work.

So I especially want to know about your time with the main creative, especially the director and some important partners.

What kind of way did you work with them and when you might choose some collaborators at first?

What kind of criteria do you use? I think this may also be of great help to young directors.

Is how to choose people, how to choose partners.

Wang Xiaoshuai:Many of my film collaborators, for example, most of our photographers are calledDi WuHe didn’t graduate from the Film Academy. He just made a few films for further study, which was also caused by the special environment and conditions I mentioned just now.

I wanted to make a movie at that time, and I said no, I was in a hotel, and I changed hotels every day at that time.

I’ll sneak in when a bed is empty in the film crew, and I’ll sneak out when people leave in the morning.

There is a bunk in the group bed, which costs ten yuan. I’ll buy a bunk to sleep in.

I fought guerrilla warfare like this every day in Beijing, and then I thought I couldn’t go on like this, and everyone would laugh at me.

Then I said that when I was filming, I called my old classmates and friends, and people thought I was crazy. What did you shoot?

I don’t know, it doesn’t matter if I don’t know, so we’ll shoot.

Then say how much money there is, and I say no, not a penny, then you are joking.

I said how much does it cost to make a movie now? Some people say that at least 800,000 yuan, that 800,000 yuan was the standard film cost of the film factory at that time. I said it was impossible.

Another one, it’s still the same. Whoever promised me absurdly is cooperating with me.

I can’t, because I don’t have the conditions,Director Liu Jie.That’s the man at that time.

I can’t find one, and I can’t find one. He came that year, and one person became two, and he began to move forward.

We didn’t have the conditions to choose people at that time.Actors like Liu Xiaodong and Yu Hong.Shoot what? I want to help you.

Because if you care about making movies, you can throw a few blocks away from us, and we will become people of different classes, and we will not be friends.

So encourage me to shoot quickly, otherwise these friends will not be able to be.

Introduce that this is the director, this is the painter, and this is from the Fujian factory. After all, it is a particularly primitive impulse to do this.

If the shooting at that time [the day of winter and spring] was incredible, I will tell you two nights.

It’s incredible that there are too many things. We don’t have much time to talk about this occasion.

Liang Ming: Director Xiao Shuai’s [Forever] photography director was from South Korea. He filmed [Crying], and later it was also done by an editor in Thailand. What opportunity made you think of cooperating with them?

Wang Xiaoshuai:This question is very good, if it is very straightforward, it is also because of change.

I want to change it. The original one is too familiar. I want to change it a little. When I changed it, I found that I really couldn’t find it because everyone was busy.

Everyone who knows the name is very busy.

There was a photographer whose name I won’t mention. It was very good, so I went to him and made a decision. As a result, when we were about to set up a group, we suddenly called and said we couldn’t go. There was another film.

At this time, as soon as we discuss with the producer and stamp our feet, we will let our eyes go out and look abroad.

So we have looked for a lot abroad, and in fact we have already taken this step.

This is also the case with editors. I am too busy to give you a complete cut of your film, but I need a time.

I don’t want to cut it in a few days before we discuss it. I need a long process.

So we also found a lot of people, and then we found this editor, who was also very interested.

They have a great advantage, such as KIM coming here early after taking this job, he wants to see the scenery with you, he wants to discuss it with you, and he wants to figure out how to shoot it with you.

Generally, a photographer may have to come one week in advance, and he will come two months in advance, so he will spend all his time here, and so will the editor. He has decided to put aside all his work and do all this.

This is an experience that we have lost for a long time. Everyone is very busy, and there are many cases where one person leads an assistant. They also completely return to the most memorable creative way of the film, so it is also very interesting.

moreverMayShe is our screenwriter.

I don’t know what your future will be like. If it’s the same as before, I know that after this thing comes, I will do it in an all-round way, and there won’t be several books and tasks to write there. This is a very lucky point for us.

It shows that as long as we do this, it will actually ignite the inner fire of these people, and so will the actors.

After Yongmei came, she volunteered to experience life and learn to weave fishing nets at the seaside. She said that I didn’t catch all the plays here.

After Jingchun came here, everything was blocked, and I wouldn’t leave the film crew just because I wanted to have an activity. Our film crew didn’t leave, and we stayed there with or without a play.

Even other actors, obviously there is no play for a week, they will not leave, they will be on the scene and will not leave.

In this case, it is actually very rare. In such an impetuous environment, there are still such a group of people who can stay together and return to the most primitive way of making movies. This is a very lucky point.

Liang Ming: Is it expensive to communicate with Korean photographers?

Wang Xiaoshuai:The cost of communication is also a little bit. KIM is very funny. When asked if he can speak English, he said yes.

As a result, after we made a video, we found that I couldn’t understand a word of English he said. He knew a lot of words, but his Korean pronunciation was completely incomprehensible.

I found that he didn’t know much about what I said, so we were looking for a translator, and the translator we were looking for was very strict.

First of all, he should like this translation, then he should like to listen to what this translation says, and it is difficult to find such a person at last.

Then I chatted every day, but in fact, at the end of the day, in the previous preparatory process, it had nothing to do with the language.

It’s already a physical action, a feeling.

Then, after he caught this, I was very surprised at the scene. I clearly said that I would shoot like this, and his team put the machine there according to his method, and the small rocker arm got up.

I said what I wanted it for, and he ignored me, so he did. At the beginning, I said yes, let him play first, because he has been here for several months.

He suddenly came up with such enthusiasm that if you don’t follow his lead, there will be a gap in his heart, so he did it until he gave up.

Because he had to put that thing back and forth in a small space every time, I waited for him to do so and finally surrendered.

That is to say, light, very little light, don’t hit the light, he patted his chest.

As a result, he was lighting up all the time after filming, so I turned it off for him. I couldn’t talk and then turned it off.

All you have to do is turn it off. It’s fun.

In fact, sometimes in the whole communication process, a director doesn’t tell a lot, but this venue is here.

Everyone knows what happened to this matter.

At their age, such as Jing Chun and Yongmei, his common sense is there for our story, so he can do it.

Like the last grave-sweeping scene, I don’t know how to do it. It’s not that I don’t know how to do it. I can’t tell them how to do it.

I said that the machine was here, and he didn’t even know that we had built a grave in front of us. Then he put up a sign and said, Look for it, nothing, just sweep the grave without saying a word.

Everyone has experienced it, everyone knows what you are going to say, and I have no special requirements. In the end, they cried so hard that they didn’t stop.

Finally, he rushed over and said that the actor stopped asking directly in front of the machine and stopped.

If you have a scene, don’t destroy it, and don’t over-press the director’s intention, theme or anything.

Instead, you quit and let this gas field make this air automatically generate more vivid.

Han Tian: Do you have a lot of improvisation elements in the movie or are they all designed?

Wang Xiaoshuai:I feel more and more like doing scripts.sturdy.

When I was young, I didn’t have a script and had half of it. Later, I felt that the script was not important, because it was really a workshop at that time.

You can improvise, everyone has short time and short films, but I find it more and more.

At this time in Cannes, when the big screen in Venice comes out, you can’t improvise.

There are few Wong Kar-wai in the world. I said I can’t do it. I have to do the script well. This is my experience.

Because this is a foundation for confidence, with the script, you can dispatch at random when you arrive at the scene, and you can judge according to that space.

Because I once said,How a director feels at first.It’s very important, it’s very important for life, for yourself, for your heart and for your feelings about the world.

After that, it is.selectYou have to choose what to do, what direction you have to choose, and when all this happens, you have to judge yourself.

For example, your judgment is very important when the actors are finished or the script is written to this extent, or when you are at the scene and many people ask you how you are.

That’s when I found that the director had a strong sense,Director’s judgmentIt’s very accurate, but some people can’t, some people are in a fog, and the actors don’t know what’s going on after acting a hundred times. None of this works.

I think judgment is very important, and then it is necessary toHave a taste..

If the most advanced thing in your movie is that you can shoot out the air and the taste, it will be great if you can shoot out the curry flavor in Indian movies or the taste of the sea breeze blowing on the surface in Japan.

Like Hou Xiaoxian’s early taste, it goes down to the top.attitudeWhat I just said is not the theme but your attitude.

What’s your attitude towards your movies, your characters, the fate of these people, your country, your society, your nation and your values?

Attitude is the last thing. If you have everything, you will be nothing if your attitude collapses.

Jingran: Sometimes actors are people after all. In fact, the best charm of the scene is the chemical reaction.

But that kind of chemical reaction can only be created in position. What do you suggest, director and actor?

Wang Xiaoshuai:I’m also an actor. I seldom talk to him about reason and drama from beginning to end. I won’t do that.

Because I think he will die there, and there will be no spark of chemical reaction in the future.

The director is a very powerful position in that position. You don’t say anything, and you are watched by the actors.

So I think it’s strange for some directors to lose their temper at the scene, and it’s unnecessary, because you have been so important.

If you lose your temper again, the whole group will collapse and the actors will collapse.

In fact, you can’t get better. Sometimes if he is wrong, he is already very sensitive when he is wrong.

I often don’t look at him, I ignore him, I don’t say anything, they say I don’t know, and I subconsciously say you have a habit.

If it’s not done properly, if this short clip is wrong, you will come over and you will cross when you get to the actor.

When someone is waiting for you to speak, you cross over. Once around, the actor knows what you want to say, but if you don’t say it, it will form his own pressure.

Plus, you should cherish every word of yourself, because you are too important, and everything you say is one.