夏衍说:中国电影“先天不足,后天失调”。在不足中,主要的一点就是缺乏专业的电影文学作家。三十年代,我们这些人没受过这方面的专业训练,都是“半路出家”。解放后的电影学院,又偏偏没有设置编剧系,没有认真培养电影剧作者。我深感对此负有责任。打倒“四人帮”后,出现了许多有为的青年电影剧作者,但据我看,他们也未能很好地掌握电影这一新兴的综合艺术特有的规律。不少电影文学剧本基本上还是一种用分场的形式写下来的故事。很少考虑到电影文学剧本和小说、戏剧不同的特点。如:剧中人物语言过长,很少描写人物时代背景和地方色彩,也很少考虑到什么地方该有音乐、音响等。我们必须下大的力气培养一批懂得电影这门综合艺术的特殊规律的电影文学作家。只在 Xia Yan said: Chinese film “inherent deficiencies, acquired disorders.” In shortcomings, the main point is the lack of a professional film writer. In the 1930s, those of us who were not professionally trained in this field were all “half-way home.” After the liberation of the film academy, but why did not set the screenwriter, did not seriously cultivate the film playwright. I am deeply responsible for this. After the downfall of the “Gang of Four,” many promising young film writers emerged, but as far as I know, they also failed to grasp well the unique laws of the emerging integrated arts of film. A lot of movie script is basically a story written in the form of sub-field. Few consider the movie literary script and novel, drama different characteristics. Such as: the character language is too long, rarely describe the era background and local colors, and rarely take into account where there should be music, sound and so on. We must devote great efforts to cultivating a group of film writers who understand the special laws of film and the integrated art. Only at