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《都市放牛》编剧是四川的几位颇有生活底子,颇具创作实力的青年作家。他们一反“侃”风,把笔触深深地掘进生活厚实的土壤里,从如沸如腾的现实生活中去发掘主题,去收集情节,去理解人物,有了这个基础,再去组织材料和表现主题,成为不可多得的好剧本。可以说《都市放牛》从根本上杜绝了京都影视圈尚在流行的“侃”风,给京都影视圈捎去一股清新鲜活的气息。 《都市放牛》的切入点选择在改革大潮冲击下的城乡结合部,观念和行为的交汇处。选择这样一个生活横断面作为切入口,是颇有新意也颇具匠心的。在这块新鲜的土地上,各种机遇、各种矛盾兀现在城乡年轻一代面前,山里人要到都里去寻求发展,城里人拼命“突
“City cow” screenwriter is quite a few living in Sichuan, quite creative young writer. They oppose the “Kan” style, the brush strokes deep into the thick soil of life, from boiling like the real life to explore the theme to collect plots to understand the characters, with this foundation, and then to organize materials And performance theme, become a rare good script. It can be said that “city cow” fundamentally put an end to the popular “kan” style of the Kyoto film and television industry, and sent a fresh and lively atmosphere to the Kyoto film and television industry. The starting point of “urban cattle” is the intersection of urban and rural areas under the impact of the tide of reform and the confluence of ideas and behaviors. Choosing such a cross-section of life as a cut-in point is quite innovative and inventive. In this fresh land, all kinds of opportunities and contradictions are now facing the younger generation in both urban and rural areas. The mountain people want to go all out to seek development.