我小时候，电影远远不如今天这样普及。那时电影院很少，影片也远不及现在多。露天电影是让所有人都期待与享受的娱乐方式。尽管观影条件较原始，但电影仍有着巨大的吸引力。每次放电影的消息都会传得飞快。天还未黑，大家就早早地吃了晚饭，搬起自家的小板凳去占领中心位置。
在西方国家，人人都熟悉“冰淇淋车”，卖冰淇淋的人开着装点得美妙绝伦的小货车穿梭于城市街区，播放着轻松的夏日音乐。那音乐就像在穿针引线，把富人和穷人聚在一起，享受那几分钟的魔法。当孩子们第一次听到从很远的地方传来的微弱的（铛声时，就像听到一个号角，他们向父母跑去，要钱买甜筒解馋。当货车转弯停车时，群已经聚集，通过滑动屏幕支付硬币，手里就多了一支甜甜的冰淇淋。在炎炎夏日，往往只需要几分钟就能吃光一支冰淇淋。整个情节简短而令人难忘。
中国过去的坝坝电影院与西方城市郊区的冰淇淋车相去甚远，但是对孩子们的影响是完全一样的一因为无论他们生活在世界的哪个角落，这一切对孩子们来说都具有相同的魔力。小时候我也常常搬着小凳子，背着小我五岁的妹妹，欢天喜地地坐在露天坝看电影。一台电影放映机，一个大喇叭，一块白屏幕，把幕布绑在树木或电线杆上。人群像像素一样充满了开放性空间，满怀期待，等待电影开演。
投影机的光扑面而来，在傍晚的空气中，一束锐利的光在我们头顶传过。光束洒落在屏幕上，投影出演员和遥远的风景图像。对我来说，英雄传说、浪漫爱情故事和丰富多彩的新闻故事仿佛融入了那束光芒。这块神奇的幕布，仿佛有魔法般为我带来无尽的欢乐。
屏幕上的阴影随着光线在人们的脸上跳动。我们也是一个个屏幕，每个人都在思考如何编写自己的人生故事。
我们将成为什么，我们将走向何方？
电影的诞生伴随着魔力。
1838年，路易•达盖尔(Louie Daguerre)在巴黎的一条林荫大道上拍摄了人类历史上第一张照片。这张照片需要十分钟的时间：即使街道人来人往，照片上也只有一个人出现一个人站着不动，擦鞋。因为其他行人都在走动，所以他们未能在照片上留下踪影。1888年，法国发明家;易斯•普林斯(Louis Le Prince )拍摄了一部简短的黑白电影，内容是他妻子的家人在花园里跳舞。这些动态的照片以每秒十二帧的速度出现。这是世界上第一部电影。
不久后，在巴黎林荫大道上的小型剧院里，一列迎面驶来的火车的影片使人们惊恐地四处奔逃。
动态影像的魔力超乎想象，我被带到了童年时代的英雄世界， 这是想象力的特殊场所，贫穷或财富不再是幸福的决定因素。在银幕上，英雄做了英雄应该做的事情。即使遭受了许多挫折，最终，正义还是会占上风。
光影在孩子纯真的眼波中流转、流转、流转……把《英雄儿女》《永不消逝的电波》《闪闪的红星》中正义、无私和大无畏的英雄种子埋到孩子的心中，也让《远山的呼唤》中的高仓健为少女的情窦初开勾勒出自己的理想型影子，幻想将来的他也要是这样一个历尽沧桑、思想深刻、让人仰慕的成熟男人。
记忆中最深刻的一幕，是王成在电影中高喊着“向我开炮”壮烈牺牲的画面。面对令人恐惧的炮火与死亡，他那坚挺桀鹫的身姿平静得像矗立在山崖的松柏，在那滚烫灼热得能将人刺痛的眼神里， 有着他对人民与国家强烈的爱，他放下一切，从容地在炮火中粉身碎骨。那沉重的一幕，长久地冲击着我幼小的心灵，多次情不自禁地痛哭失声。在我的人生道路上，这个画面经常出现在我的脑海中，在那高贵坚定的信念下诞生的坦荡无畏伴我闯过无数风雨。
这就是电影的魅力吧，人类的一切，历史、文化、想象、情感、经验都可以呈现在这神奇的光影世界中。故事、感知、感觉、美丽或氛围的体验，让人沉醉其中，令人心悸，回味良久。这就是电影的作用吧，大到影响和改变世界，小到塑造一个人的心灵与人格，培养高尚的情志。
曾经，我真的很爱电影。电影中有我向往的一切，英雄主义、正直善良、质朴纯真、无私奉献，还有美的感受与体验。那些画面、故事与人物，投射了我们内心深处的浪漫情怀与梦中心境，令人动容，甚至撕心裂肺。随着国家的改革开放越来越深入，老百姓的日子越过越好，电影给我的感觉也好像变味了，远离了我们那个年代的纯真质朴，充斥着肆无忌惮的物欲、色情、暴力、恐怖。令人眼花缭乱的画面特效，掩盖不了其中虚空迷茫的本质。这让我渐渐对电影敬而远之，再豪华的影院都不及我童年的土坝露天电影院。
仅靠特技并不能讲好故事，好故事也无关乎特技。
电影是精神与文化的缩影。这个阶段的电影，只是在物质生活变好的同时，精神生活落后，人们的灵魂与心灵迷失的反映而已。这几年，这种现象似乎有所好转。《芳华》《无问西东》《我不是药神》《战狼》这些片子让我找回了儿时的感觉。在这些电影里，闪烁着爱国主义情怀和纯真善良的星光，这些是我们无论如何都不该失去的可贵品质，否则就会失去生而为人的意义。除此之外，我也发现中国电影人终于将目光投向传统文化，这个取之不尽、用之不竭的素材与灵感源泉，并开始在这个领域经营布局，这让我看到中国电影的希望。民族的就是世界的，中国电影这种艺术手段理应成为传播我们优秀而灿烂文化的翅膀。
现在我们公司的事业版图里也有了电影板块。怎么让电影去传承我们老祖宗的文化、去承载我们的中国梦；怎么去描绘社会主义“人类命运共同体”构想；怎么去关注老百姓的喜怒哀、乐、悲欢离合；怎么去影响下一代，让孩子们热爱传统文化，以身为中国人为傲，并有世界大同的格局，是将传播文化视为心中太阳的我一直在思索的问题，也希望能与更多志同道合的伙伴们结伴而行。随着中国越来越强大，全世界电影从业者都在觊觎着中国市场，这不仅会改写世界电影格局，也会提高中国文化在全球的影响力。在这24格胶片中蕴藏着无法想象的生产力与话语权。我们将会在这24格胶片上演绎出怎样的光影传奇呢？新的挑战开始了！
伟大故事的魔力无法估量。这魔力有着改变一个人一生的力量。就我而言，从孩提时的最初经历起，电影始终激励着我。我从电影中收获到的东西比冰淇淋车带来的短暂的乐趣要持久得多。从电影中，我获得了灵感和希望，了解了梦想的重要性，看到了正义和美德对努力奋斗中的人们的影响。我从未忘记过童年时所看电影的影像，以及邂逅电影那最初的地方。
When I was a child in China, going to the movies was far less common than it is today. There were few films available for people to watch, and cinemas were often makeshift structures erected outdoors. Nothing like the lavish productions and movie hall palaces of today. Despite the primitive viewing conditions, movies still proved to be a huge attraction. Word spread fast whenever a show was about to begin. Entire families had early dinners; they gathered chairs and hurried in small groups to the venue, hoping to get a good vantage point. Even before the film began, the small rituals of family life were set aside for the excitement of this special occasion.
With my younger sister in one arm and two stools in the other, I arrived at an open field. There was a white screen tied at all four corners to trees or telegraph poles. Nearby, a projector and a loudspeaker had been set up. Chairs were placed on the ground as the crowd filled the open spaces like pixels, forming their own images of delight and anticipation as they waited for the show to begin. The projector sprang into life and a sent a sharp light over our heads in the evening air. The beam spilled across the screen and formed into shapes of actors and distant landscapes. For me, the legends of heroes, the romance of love stories, and colorful news stories were as if woven into that beam. The endless delight of a magic quilt unfolding before my eyes. The shadows on the screen danced with the light across the faces of the crowd. We too were a screen, and on our minds, the future was forming its shapes as each of us thought about how the stories of our own lives would be written. What would we become, and where would we go?
The magic of moving pictures was more powerful than whatever circumstances I might find myself in, and I was transported to a world
of childhood heroes, a special place of the imagination where poverty or wealth were no longer a determining factor in happiness. On the silver screen, heroes did what heroes were supposed to do. And in the end, even after many setbacks, justice prevailed. In Heroic Sons and Daughters, The Eternal Wave and The Sparkling Red Star, I watched courageous people selflessly pursue justice. The actor Ken Takakura, in The Call of the Remote Mountains, became an ideal prince charming for many girls in their first stirrings of romantic love: he was introspective, he had experienced the ups and downs of life, and his natural charisma commanded love and respect. What deeply impressed me as a child was a scene in which a soldier, Wang Cheng, stands calm as a tree and shouts, “Fire at me!” before going bravely to his death in a hail of gunfire. He sacrifices his life for a cause——and with passion burning in his eyes. That passage has given me the courage to overcome many difficulties in my life since then.
Tistory, culture, emotion, and experience——all live within the wonderful 丄 丄world of images. The charm and power of film awakens the perception, it enlivens our sense of beauty and establishes an enduring atmosphere that intoxicates viewers long after the show has ended. Movies can change the world for the better. They can shape the personalities and hearts of countless millions. And yes, they can cultivate in the hearts of the young a sense of personal dignity.
