Chapter 255: Rebirth Begins in Chinese Entertainment 2002

【Rebirth Begins in Chinese Entertainment 2002】【】

After staying with the crew for a while, Cheng Chen had become a minor celebrity.

Of course, he was already a celebrity—just that before, his fame was large but no one had ever interacted with him.

They thought he was a big star, given that he had collaborated with Xing Ye and had produced well-known films and TV dramas himself.

After that came the 360-degree surround of fans.

They had assumed he would be aloof, or like some rumors said, a star who acted entitled.

But after meeting him, they found he was actually humble, greeting everyone he met.

Some crew members gathered courage to approach him for photos and autographs, and he accommodated them as much as possible.

Look, this is what a star should be like, this is what a big name should be like.

They had traveled with Zhang Yimou across the country and met many stars, but someone as approachable as this was rare.

On the third day of arriving at the set, Cheng Chen finally met Fa Ge.

This was Cheng Chen's first time seeing Fa Ge; his impression of him came mostly from "Waves Rushing, Waves Flowing," where Fa Ge appeared wearing a black coat and a white scarf.

Or perhaps with a slicked-back hairstyle, bathed in slow motion and dramatic background music, making a dazzling entrance.

Fa Ge had left many iconic images on screen, becoming a generation's memory.

Now over fifty, Fa Ge still radiated boundless energy.

His acting range was broad, especially skilled at portraying characters with low cultural backgrounds, lacking family warmth, struggling under hardship yet valuing brotherhood and loyalty.

This was inseparable from his early life experiences.

Thus, his performances were authentic and vivid, fully embodying his unique cinematic charm.

With Fa Ge's arrival, on the third day the crew reached Shancheng, Lao Mou Zi finally held the first script reading.

Hmm, Gong Huang still hadn't come—she'd be delayed for a while.

……

"Let's have a small meeting."

Everyone in the hall sat together; Lao Mou Zi sat at the head and said:

"Everyone is here now. I assume you've all read the script thoroughly before coming."

"My requirement is that you fully understand your roles—live as your character for the rest of your time on this set."

"Immerse yourself in the character, carefully feel their transformations."

Lao Mou Zi looked around at everyone present and continued:

"Some of you have worked with me several times; others are collaborating for the first time.

But no matter what, I expect you to stay alert—don't give me any reason to catch you slacking."

"Actors can discuss with each other; if you're confused, come to me—don't keep it bottled up inside."

"Otherwise, you'll slow down the entire crew's progress…"

Lao Mou Zi spoke for about half an hour, and his message was very clear.

Don't be eccentric, don't hold the team back, come to me if there's an issue, otherwise study the script.

Cheng Chen and Zhou Dong exchanged glances, both seeing seriousness in each other's eyes.

Yes, this was Lao Mou Zi's film!

After Lao Mou Zi finished speaking, Producer Jiang Zhiqiang added a few words.

Unlike Lao Mou Zi's sternness, he smiled warmly and told everyone to come to him if they had any life difficulties.

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【Rebirth Begins in Chinese Entertainment 2002】【】

But although this man was low-key, he had done many things.

For instance, Time Magazine put him on its cover and named him an "Asian Hero."

He could be said to have single-handedly created the era of big-budget Chinese films.

He was also intimately familiar with the eight major Hollywood studios,

and was the top overseas distributor for Chinese films.

Script reading was introduced from the West, where actors read aloud their assigned roles in sequence to cover the entire script.

Its main purpose is to fully understand the script, clarify the story's structure, and help actors grasp each character's traits.

During this process, actors must try to step into their roles and begin "performing."

Then comes the discussion phase, during which the director will "lure out the snakes" to encourage everyone to speak freely.

They talk about their feelings toward the script and characters, even their future creative plans and intentions.

Not only actors participate in the reading—behind-the-scenes staff like lighting, sound, and props attend too.

During the reading, they adjust or fill gaps in earlier designs based on the actors' performances.

Throughout the entire reading, Cheng Chen and Zhou Dong remained very low-key.

After all, everyone present were veterans of the acting world, and besides, they weren't pure actors.

After all, both still carried the title of Heavenly King of Music.

Cheng Chen was slightly better—he had collaborated with Zhou Xingchi and acted in non-film projects, which had received decent responses.

Zhou Dong had it harder—his past works weren't considered prestigious in these people's eyes.

Fortunately, thanks to Cheng Chen's prior polishing, he now sat here with some confidence.

"Alright, let's begin the reading…"

The reading lasted three days; during those days, Cheng Chen fully experienced the professionalism of a major production.

Of course, professionalism meant burning money.

This film had a total investment of 360 million, truly luxurious.

And it is undoubtedly the most visually stunning historical film, with some scenes even making viewers mistake them for CGI effects!

Just the extras alone numbered 20,000 actors, and the emperor's python robe was no ordinary one.

The python robe was handcrafted over a month by more than 80 workers.

It was embroidered with gold thread and studded with 18K gold plates, weighing about 40 kilograms and worth over one million.

The golden armor was even more extraordinary—fully gold-plated in 360 degrees; it took seven people three hours to dress Fa Ge in it.

The crew specially commissioned a safe to store the python robe and armor.

Just for this reason, describing the film's spending as "money flowing like water" is no exaggeration.

But who else but the National Teacher could make such a film? This movie was made by the National Teacher to win awards…

After the table read, the actors flew to Jingcheng for the official shooting launch ceremony.

Many media outlets showed up, including several state media—there was no helping it; the National Teacher commanded respect.

After the launch ceremony came the interview phase.

With Fa Ge and Gong Huang both appearing, they drew massive media attention, greatly reducing the pressure on Cheng Chen and others.

But as one of the lead actors, Cheng Chen was also questioned by reporters, facing their barrage alongside Zhou Dong:

"Both of you are making your first appearance in Director Zhang's film—do you feel any pressure?"

"Recently, photos surfaced of you two drunk—were you already in contact with the crew at that time?"

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【Rebirth Starting from Huayu 2002】【】

"I'd like to ask: both of you are hugely famous in the music industry and have acted in films before—will you shift more toward the big screen in the future?"

The reporters kept pressing, but Cheng Chen and Zhou Dong only answered a few selected questions.

Clearly, the reporters were unsatisfied with their answers—luckily, Lao Mou Zi stepped in to defuse the tension.

"Dear reporters, today's launch ceremony is over. Let the actors enter the set to begin filming."

With the National Teacher speaking, the reporters naturally did not press further.

Zhang Yimou led them back to the crew like a father guiding two children…

Breaking News: The much-anticipated Zhang Yimou film Curse of the Golden Flower has officially launched in Jingcheng.

Lead actress Gong Huang returned to Jingcheng from Japan on the 20th—this is her first collaboration with Zhang Yimou in ten years.

Producer Zhang Weipin revealed the film's title: Curse of the Golden Flower.

Although derived from the poem "Not Passing the Imperial Exam" by Huang Chao, leader of the late Tang peasant uprising:

"When autumn comes on the eighth day of the ninth month, my flowers bloom and all others die.

The heavenly scent of incense pierces Chang'an; the whole city wears golden armor."

The Guard Is Here

But the script is adapted from Cao Yu's classic play The Thunderstorm, merely transposed to the Tang Dynasty.

Zhang Weipin said that Zhang Yimou chose The Thunderstorm's story and the Tang setting

because, in his view, they represent the most classic cultural expressions of modern and ancient China respectively.

This would easily attract attention from both domestic and international audiences.

It is reported that, besides Gong Huang and Zhou Runfa, the leads also include Cheng Chen and Zhou Dong.

Zhang Weipin revealed that Zhang Yimou considered Fan Yi's role in The Thunderstorm pivotal; judging from the acting quality of domestic actresses, "Only Gong Huang can play her."

The film's investment of 360 million RMB exceeds Chen Kaige's Wushang's previously claimed 340 million.

It becomes the most expensive film in Chinese cinematic history. Filming will take place in Jingcheng, Sichuan, and Zhe Sheng, with a planned release by year-end.

Zhang Weipin also stated that the film targets the international market, aiming to surpass the box office record set by Hero in North America.

"Chinese cinema must compete with Hollywood by making mainstream commercial films…"

A state media report instantly drew immense attention.

The online buzz was especially fierce, successfully suppressing the previous热搜 about Hua Jie leaving Huayi.

"Holy shit, Cheng Chen and Zhou Dong are collaborating—and playing brothers? Amazing!"

"Lao Mou Zi is trying to sweep up the entire music industry—he's pulled two rising music stars into his film. No wonder he's Director Zhang."

"I'm a bit worried—can they even carry the film?"

"Don't be so anxious, top-billed leads are Fa Ge and Gong Huang. Cheng Chen and Jie Lun are also leads,

but their box office draw is certainly weaker than theirs—and isn't Director Zhang's directing skill trustworthy?"

Online discussions were heated, with great anticipation for Zhang Yimou's billion-yuan film.

Since Hero, it seems Director Zhang has unlocked his meridians and is now diving deeper into big-budget productions.

Back when Lao Mou Zi first gained international acclaim with Red Sorghum, he planned to develop his next project.

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【Rebirth Starting from Huayu 2002】【】

He wanted to adapt Wang Shuo's two novels, but one, The Troubleshooters, was preempted by director Mi Jiashan.

The other, I Am Your Father, was shelved for various reasons.

Just then, his old classmate Gu Changwei came to him with a commercial action-thriller project that specifically wanted Zhang Yimou as director.

It had already secured several hundred thousand in funding—everything was ready except the director.

Back then, several hundred thousand was still very valuable—equivalent to tens of millions in the 2000s.

Lao Mou Zi, having made a name for himself internationally, wanted to shift his style and win another major award; with no other projects in hand, he accepted the film.

But he never expected that the film, titled Code Name Cougar, would be met with a storm of criticism and become the "pain" he still refuses to mention.

In fact, halfway through filming, Lao Mou Zi wanted to walk away.

But now I've spent nearly a hundred thousand, so how easy is it to walk away?

So he gritted his teeth and kept shooting—turns out, works forced out under pressure are hard to gain recognition.

After finishing this film, Zhang Yimou returned to his forte, diving back into rural themes.

Thus, through "Red Sorghum," "Raise the Red Lantern," "The Story of Qiu Ju," and "Huo Zhe," he steadily climbed to the peak of his directorial career.

Perhaps he grew tired of these themes; Lao Mou Zi's mind stirred again, giving rise to the groundbreaking "Ying Xiong."

This work is regarded as a milestone marking the dawn of China's blockbuster film era, significantly advancing the development of China's film industry.

In every aspect—box office, investment, actors, and more…

Immediately after, Director Zhang raced down this path, producing "Shi Mian Mai Fu," "Riding Alone for Thousands of Miles," and now this film, "Curse of the Golden Flower," all big-budget, big-box-office productions.

…

The first scene shot on set was the confrontation between Gong Huang and Fa Ge.

Fa Ge, needless to say, has impeccable acting.

His roles can generally be divided into three categories.

One type is the common man, represented by Xiao Ma Gor in "A Better Tomorrow," Boat Head Chi in "A Story of Autumn," the prodigal in "The Story of Ah Lang," and Zhong Tianzheng in "Prison on Fire."

Born into poverty, he excels at portraying struggling youth from the lower classes.

Another type is the Eastern-style reserved man, represented by Li Mubai in "Crouching Tiger, Hidden Dragon" and Confucius in "Confucius."

The final type is the domineering king, like Gao Jin in "God of Gamblers," the King in "Curse of the Golden Flower," and his role after entering Hollywood in "Anna and the King."

These three types share little in common, yet Fa Ge, with his disciplined performance, gives each character a face uniquely their own.

After all, he is a representative figure of the highly industrialized era of Hong Kong cinema.

Among actors before and after him, few have reached his peak.

It can be said that timing, geography, human harmony, combined with his own talent, opportunity, and effort.

Especially when portraying domineering figures, like the King in this film—every gesture radiates authority.

Of course, this is inseparable from his presence: his 1.82-meter height and expansive physicality.

His weathered detachment, the tone and expression in every movement, together determine the chemical reaction these roles produce when infused into his body.

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【Rebirth Starting from Chinese Entertainment 2002】【】

Meanwhile, Brother Hua is now fifty, his life experience having forged his own aura.

And then there's Gong Huang—everyone knows she debuted as Jiu'er in "Red Sorghum," which also launched her fifteen-year collaboration with the Fifth Generation directors.

Some say Zhang Yimou made Gong Huang—yes, and no.

In fact, Gong Huang wasn't the first choice for Jiu'er; Shi Ke was.

They were classmates; initially, Zhang Yimou favored Shi Ke because her physique matched the prototype.

Back then, filming didn't emphasize acting much—actors needed to fit the character's image.

Remember, "Red Sorghum" was based on a novel.

Later, Shi Ke had other commitments and declined the role, making Gong Huang's casting possible.

One could say Gong Huang's casting in "Red Sorghum" was perfect timing…

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