Chapter 256

For the past few days, Cheng Chen had no scenes, but he remained at the set every day.

When the actors performed, he squatted beside them, observing closely.

Just like when he once squatted beside them watching Hou Yong and others act in "The Great Dye House."

He was like a sponge, frantically absorbing knowledge, determined to understand the lead roles.

Aside from Zhou Dong, everyone else in the entertainment industry had impressive track records.

Some had rich acting careers but remained unknown, like Ni Dahong.

Others were master actors who could effortlessly shift between roles, embodying any character they played—such as Gong Huang and Fa Ge.

What truly surprised Cheng Chen—or rather, confirmed his expectations—was Gong Huang's acting.

For well-known reasons, Gong Huang had collaborated with Lao Mou Zi on many films, most of which depicted the hardships of rural life.

In these roles, Gong Huang mostly portrayed suffering rural women, often with long braids and dark skin.

From head to toe, they radiated a raw, untamed beauty.

Now, after a decade apart from Lao Mou Zi, she was cast as this noble empress.

Cheng Chen expected her to need an adjustment period, but she didn't—she matched Fa Ge line for line, blow for blow.

Moreover, her presence didn't fade beside Fa Ge's; they were different, and constrained by their roles, Gong Huang's empress was indeed cruel.

Yet before love, she was a devoted soul, and her transitions between these states were masterfully handled…

Seeing Cheng Chen squatting at the set every day, Zhou Dong imitated him faithfully, sitting beside him, notebook in hand, scribbling constantly.

"Oh? Two music Heavenly Kings, what are you two writing so seriously?"

Just as the two were intently taking notes, a voice suddenly came from behind.

Cheng Chen turned around—it was Chen Jin, who played Jiang Shi in the film.

"Teacher Chen, hello. We're just observing Fa Ge and Teacher Gong's performances, hehe."

Cheng Chen lifted his notebook,

smiling.

"Oh, stealing techniques? No wonder Zhang Director picked you two—this drive to learn is truly admirable."

Chen Jin joked.

"We're juniors in the entertainment industry; learning more can only help."

Cheng Chen said.

Zhou Dong smiled beside him—he wasn't familiar with the Mainland entertainment scene, let alone these actors.

Although they'd gained some understanding during the script reading, actors like Chen Jin and Ni Dahong—who quietly focused on filming—he still couldn't immediately place their names.

Cheng Chen smiled and said:

"When Teacher Chen finally has your scenes, we'll still be watching from the side—this won't be stealing techniques anymore. I'm giving you a heads-up now."

For Chen Jin, people might not recognize her name, but they'd instantly know her face.

In 1990, she debuted in her first TV series, "The Mountains Don't Turn, the Water Doesn't Turn," playing the lead role, Bian Er.

The series won second prize in the 11th China TV "Feitian Award."

That same year, she appeared in Li Yunlong's TV drama "Rising and Falling Tides," which won the "Five Ones Project Award" and first prize in the 14th China TV "Feitian Award."

The Feitian Award is a government-issued prize, judged by experts.

It is the oldest and most historically significant television award in China.

It reviews and evaluates the artistic and ideological achievements of television dramas from the previous year, representing the highest state recognition.

Every TV drama that wins the Feitian Award has received national approval.

Even more telling: when the state selected directors and actors for major events or epic dramas, they only considered those who had won the Feitian Award—clearly demonstrating how prestigious it once was.

In contrast is the Golden Eagle Award, chosen by viewers—yes, the one continuously hosted by Xiangnan Satellite TV.

Later, as the Feitian Award declined, the Golden Eagle Award's status soared, largely due to the Feitian Award's judging panel.

After all, later experts consistently picked out the TV dramas the public disliked the most, year after year.

Of course, this trend became especially pronounced after entering the 21st century.

Later, Chen Jin starred alongside Li Xuejian and Li Yunlong in the film "Breaking Through the Clouds," winning the 6th Huabiao Award for Outstanding Female Actress, the 20th Golden Rooster Award for Best Supporting Actress, and the 5th Chun Cheng Film Festival Award for Best Supporting Actress.

She was a long-established "veteran actress," with immense practical experience.

"Hahaha, as long as you two don't disrupt filming, learn however you want!"

Chen Jin laughed at Cheng Chen's words.

"With your word, I'm at ease."

Cheng Chen immediately replied.

After chatting with the two, Chen Jin went to the makeup room—she had scenes in the afternoon.

"She's already filming—when will it be our turn?"

Zhou Dong asked, looking gloomy.

For a week now, they'd been learning at the set every day.

Cheng Chen, taking notes, said:

"Just wait. The schedule says so—it'll be about a week."

"Right now, sharpening the blade even if it's not bright yet—it's still better than nothing. What's wrong? You've got something on your mind?"

Hearing Cheng Chen, Zhou Dong looked utterly astonished.

"You—you don't know? No invitation? That's not right!"

Hearing Zhou Dong's words, Cheng Chen suddenly remembered—he said:

"You mean the Golden Melody Awards? They invited me, but I'm not planning to go."

Cheng Chen didn't look up as he spoke.

"Why?" Zhou Dong asked, puzzled.

"It's boring."

Hearing Cheng Chen's words, Zhou Dong froze for a long moment, then a bitter smile appeared on his face.

Indeed, for Cheng Chen, this year's Golden Melody Awards truly were boring.

Last year, Cheng Chen was nominated for five major awards and swept four of them, including Song King.

He was hailed as the first person in Golden Melody Awards history; not only did he overshadow veteran singers, but even Zhou Dong, who had been dominating the scene recently, was firmly pushed down by him.

The saying "When 'Wan Jiang' plays, he walks on stage to collect his award" wasn't an exaggeration.

This year, Cheng Chen hadn't released a new album yet—he'd been busy promoting 'Crazy Stone' and 'Xian Jian I' since the start of the year.

There was also the preparation and filming of 'Langya Bang' and his Asian concert tour.

Cheng Chen genuinely had no energy left.

Of course, this year's Golden Melody Awards honor albums released last year.

Last year, Cheng Chen released an album titled 'Starfire,' which still remains in the top ten of music charts.

If he went to the Golden Melody Awards this year, he would unquestionably be the strongest candidate for Song King.

For some reason, hearing that Cheng Chen wouldn't attend the Golden Melody Awards, Zhou Dong felt an inexplicable sense of relief.

After all, there was an unwritten rule at the Golden Melody Awards: if a singer didn't show up in person, they wouldn't receive any award.

That meant he lost a powerful rival.

After all, his own album released last year, 'Seven Mile Fragrance,' was of extremely high quality and had a real chance at winning major awards.

At the same time, Zhou Dong also felt it was a pity to have such a formidable opponent.

If he could defeat him head-on, it would be a cause for celebration.

"Alright, I might take a few days off in a couple of days to go back for the Golden Melody Awards—really not coming?"

Cheng Chen waved his hand and said:

"No, you guys have fun."

Hearing Cheng Chen's words, Zhou Dong gritted his teeth in frustration.

What's that supposed to mean? Without you, we can't have fun!

But then he thought again, carefully—this year's Golden Melody Awards without Cheng Chen did seem a bit dull.

…

As the Golden Melody Awards approached, online news about it flooded everywhere.

Thanks to Cheng Chen's explosive performance at last year's Golden Melody Awards, ordinary people on the Mainland had gained some understanding of the award.

Oh, so the largest and most influential music award in China is called the Golden Melody Awards.

So if Cheng Chen's album won, that must be incredible—a Mainland singer winning an award in Tai Sheng, how awesome.

Oh, so singers nominated for the Golden Melody Awards are the best in China, representing the highest level of Chinese music.

So if Cheng Chen won Song King, that must be incredible—the most awesome singer in China!

Thus, the public, carrying last year's halo of Cheng Chen, looked forward to this year's Golden Melody Awards.

Meanwhile, for the first time this year, the Golden Melody Awards trended on the homepage.

"Do you think that guy will show up at this year's Golden Melody Awards and slaughter everyone again?"

"I won't watch this year's Golden Melody Awards without Cheng Chen—I love his 'Father's Prose Poem' so much."

"I think 'The Wind Has Blown' is super good, right?"

"Hey, since the start of this year, there's been not a single sign of the boss's new album—I feel like I have no good songs to listen to anymore."

"I've been replaying his old songs—I can't hold out much longer if he doesn't release a new album!"

"Clearly you're not diehard fans—didn't you hear all the songs he sang at his Asian concert tour?"

"Even though they're not in Chinese, they still feel incredible—the composition is unbeatable!"

Although fans were urging Cheng Chen to release a new album, he truly had no time at all.

He was burdened with one variety show and two films, and he was also drafting a new TV series script—this second half of the year would be packed.

He also kept in mind his annual summer album release—he definitely would release one.

Just thinking about all these things made his head ache.

…

After spending about ten days on set, Cheng Chen received a phone call, and that evening he went to Zhang Yimou's room.

"Director Zhang, are you in?"

Cheng Chen knocked on the door.

"Come in!"

Cheng Chen pushed open the door and saw Zhang Yimou bent over his desk working; Cheng Chen glanced casually and saw what looked like blueprints for the Olympic opening ceremony.

Cheng Chen knew that Zhang Yimou filmed during the day and studied the Olympic opening ceremony at night.

Zhang Yimou's brows were tightly furrowed, his hand constantly sketching and revising, as if dissatisfied with certain parts; the wrinkles on his face resembled deep ravines.

"Oh, it's you. What's up?"

Zhang Yimou looked up, saw it was Cheng Chen, rubbed his temples, and asked wearily.

Cheng Chen said:

"Director Zhang, Director Feng notified me to attend the launch ceremony for 'Night Banquet.'

I figured I don't have any scenes these next couple of days, so I thought I'd go tomorrow."

Zhang Yimou paused briefly, then said:

"No problem on my end. I mentioned this issue before filming, just head over."

"Okay."

Cheng Chen had been about to leave, but Zhang Yimou suddenly spoke, as if muttering to himself, yet also as if asking:

"How should the countdown be performed so that it feels both grand and integrated with traditional culture…"

Cheng Chen paused.

"Director Zhang, are you asking me?"

"Oh, no, I was just thinking… Oh right, if it were you, what would you do?"

Zhang Yimou asked with considerable interest.

From the composing and lyrics of "Beijing Welcomes You," Zhang Yimou could tell Cheng Chen was a person with plenty of ideas.

He had been tormented by this countdown for nearly half a month, yet still hadn't come up with a satisfactory plan.

He couldn't help but ask on the spot, though of course he didn't hold out much hope.

After all, Cheng Chen was just a young man in his twenties, and a musician at that—two completely unrelated fields. Even if he asked, Cheng Chen probably wouldn't know.

"Don't put too much pressure on yourself. It's fine if you can't answer—after all, this really is a tough one…"

"How about Ge Fou?"

Before Zhang Yimou could finish speaking, Cheng Chen said directly.

"Hmm?"

"According to the explanation in Shuowen Jiezi:

Fou, a clay vessel, used to hold wine and liquor; the Qin people struck it to mark the rhythm of song.

In our China's ancient classics, striking the fou is mentioned many times.

The fou was originally used to hold food and drink. This kind of wine vessel became a musical instrument because at grand feasts,

people, when in high spirits, would strike their wine-filled vessels while singing loudly.

So the fou evolved into a type of percussion instrument, and when struck, it carries great momentum.

At the same time, it is also a display of our Chinese civilization—after all, foreign countries don't have this thing."

Hearing Cheng Chen's words, Zhang Yimou's brow began to furrow again.

Cheng Chen didn't interrupt his thoughts. In fact, in the later Olympic countdown, Lao Mou Zi's "Ge Fou Er Ge" was indeed deeply impressive.

Regarding the fou, the most famous anecdote is the "King of Qin struck the fou for the King of Zhao" passage recorded in Records of the Grand Historian · Biographies of Lian Po and Lin Xiangru.

Zhang Yimou's use of "Striking the Fou to Welcome Guests" as the prelude to the Jingcheng Olympics opening ceremony was also drawn from the ancients.

At the opening ceremony, modern high-tech means of sound, light, and electricity were used to reinterpret the ancient band performance.

The effect was indeed astonishing. After the Olympics, 1,500 Olympic fous were auctioned off.

The remaining Olympic fous were distributed by the Organizing Committee to government departments and institutions that participated in organizing and constructing the Olympics.

Among all the Olympic fous, those molded from resin molds accounted for only about 10%.

The fous arranged on the outer side of the fou formation at the Olympic site were mainly chosen for the effect of media cameras.

The fous in the middle of the formation were all faced with large core boards, and this type was the most numerous.

The reason there were two materials was that production time was too tight, so a compromise had to be adopted.

Before the Olympics ended, no further excavation of the fou's value was considered. Before the post-Olympics auction,

the Organizing Committee and the Beijing Stock Exchange recognized the value difference between these two types of fous.

Therefore, each auction lot was adjusted to include some "carved fous," which were very few in number and thus even more precious.

So, as the ancient instrument that sounded the prelude of the Jingcheng Olympics,

the Olympic fou represented both the special significance bestowed by the Olympics and the vast, profound depth of Chinese culture.

Its auction directly sparked a new wave of public collecting fervor…

82 Chinese Novel Network

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