It's very important. With more contacts, the news will be wide, and opportunities in the entertainment circle are the most important. If you don't get news, even if you have strength, it's no use.

It is really important for the film industry to expand all the "contacts". However, if it is not the "second generation" or has a very strong "backer", the network can only be a stepping stone, and then it is necessary to speak on strength.

It's all in China, and contacts are important in every way. Say a word from the heart, those seniors who didn't give you "opportunities" easily are your real nobles.

In a film company, project editors are the most unreliable and easy to eat both. They often like to bully new people, especially screenwriters. In front of a new screenwriter and director, they often brag about themselves, knowing this and that. In fact, they are likely to know those big names, and the big names basically don't know them.

here we can take Ang Lee as an example.

After graduating from the Film Academy of new york University, Ang Lee spent several years in Hollywood without any improvement. As he himself said, these days were extremely depressing. He is never short of contacts, because his graduation work "Boundary Line" won the favor of gold medal brokers of Hollywood's largest brokerage company from the beginning. They copied many copies of Ang Lee's files and sent them to major production companies: Universal, Twentieth Century Fox, Milla Max, etc. This is because the United States is a country with a complete market economy system, and the society's thirst for talents has reached its extreme. In the United States, cinemas are completely privately owned, belonging to major production and distribution companies, such as Sony Columbia, time warner Inc. and so on. In this context, the challenges faced by any film are relatively fair, and there will not be a "State Administration of Radio, Film and Television" to say: You all want to show XX movies, which is the XX task … and so on. Therefore, in the United States, any movie will face serious market choices. No cinema will lose money to show a movie, and it will not give up other profitable movies for you to show at the same time.

Therefore, the struggle of Ang Lee is much easier than that of Chinese filmmakers from the beginning, because the fair competition brought by this system will make waves wash sand. However, under the complete market economy system, the formal film industry system will also help outstanding newcomers successfully overcome the so-called "network constraints" because they need the best works to make profits.