Maybe you will answer that it is the stock market, some people will answer that it is the house price, and some people will answer that it is the oil price, the gold price, etc. But if Feng Xiaoning, a famous film director, gives this answer, it is definitely not these. He would say it's the actor's pay, Feng Xiaoning said. Now, 6% or even 7% of the production cost of a TV series has to be taken away by one or two A-list stars. China's film and television has been in a morbid state. Countless people want to prescribe a prescription, but they can't find the source of the disease. They watch the degradation of domestic TV dramas and movies day after day, but they are helpless. I'm afraid director Feng Xiaoning's comments are not his own. There is a sense of helplessness in the whole ranks of directors about the high pay of actors. In fact, it also reveals a very clear message-directors in China film and television circles do not have the final say, and investors have enough ability to control all aspects of film and television product production. Compared with the mature film and television industry in the west, the relationship between directors and investors is clearly divided. Directors are responsible for the final artistic quality of film and television works, and have sufficient power in the selection of actors and the control of artistic style. China once made a joke in dealing with the relationship between the director and the investor. In 211, a film depicting the Spring and Autumn Period and the Warring States Period was released. The choice of No.1 female was designated as his girlfriend by the investor, and it was clear that the film was made to make his girlfriend happy. The actor who was very popular in the spy TV series was also invited to play as first hero, which eventually failed at the box office and the director's work became a laughing stock. Jet Li, who is known as "making a world for China people" in Hollywood, founded the One Foundation to do charity because of a personal experience of the Indonesian tsunami, but he was not soft when he got paid. Jet Li, who is a foreigner and has gone through Hollywood gilding, gets a high salary, which provides a reference standard for the salaries of local actors in China. When Chinese people see international movie stars holding sky-high salaries, they don't feel how unacceptable the salaries of domestic actors are. Feng Xiaoning, like a child in the story of The Emperor's New Clothes, saw through the social reasons for the formation of high pay. "Fame is for money, and money is exchanged for bigger fame, in order to get more money, but it is not the stars themselves that cause these things, but we have too much and too strong emphasis on economic marketization." For the sake of money, the cultural trend of unscrupulous means and the hidden rule of "laughing at the poor and not laughing at prostitutes" have laid the groundwork for the continuous rise of high pay. In most cases, although China actors have been trained in professional colleges, they rarely have the elements of humanistic spirit. Learning to perform and enter the materialistic world is a compulsory course for art college students. After graduation, once they enter Vanity Fair, high pay is the most tangible goal for the actors to establish their value system. When advocating stars, the media ignores the social responsibility and humanistic spirit that actors should have as a profession, exaggerates the luxurious life enjoyment and decadent lifestyle of stars, and leads to the misunderstanding and even distorted personality of the film and television performing arts industry in the new generation of society. China's performing arts industry lacks independent trade unions similar to the western performing arts industry, and all kinds of actors' organizations have official colors to varying degrees. Actors, directors, screenwriters and other employees in film and television sub-sectors cannot safeguard their own interests from trade unions, but only rely on various capital holders to survive. Behind the high pay is usually a means for investment companies to stir up their actors. In the absence of supervision mechanism, it is not difficult to understand the formation of Matthew effect of high pay in film and television circles. There is no dialect in the recent gossip. What culture can we talk about? War Horse: Spielberg's Warm Animalization Who is ashamed of Cui Yongyuan's transformation into Cui Sima Qian? The art of limiting the price of movie tickets: how to draw the bottom line of 3% discount