Chapter 166: Submitting to Hong Kong Print Media (Guaranteed Two Chapters)

Since it was their first time at Cannes and the Shanghai Animation Film Studio's first participation in an international film festival, mistakes were inevitable.

Wei Ming understood, but he also hoped to avoid them; if they could make a splash with Chinese animation this time and pave a path for exporting high-quality domestic animation overseas, it would benefit the upcoming "The Legend of the Heavenly Book."

So while everyone was chatting enthusiastically, Wei Ming suggested: "We should hire a European film industry consultant in advance to prevent any international embarrassments from getting back home."

At this point, they might not fear other things, but losing face internationally was a serious matter—everyone was extremely cautious about foreign affairs.

Only Wei Ming took it lightly, and the overseas students followed his advice.

Wang Shuchen nodded seriously while eating: "You're right, Writer Wei—I'll consult with the Film Bureau leadership when I get back."

Wei Ming said no more; after all, he didn't know exactly what mistakes had occurred in his past life, so he could only hope the leadership would handle it.

After returning to the guesthouse, Wei Ming called Peking University to ask if Biaozi and Xiao Mei had arrived.

"They've arrived, and all the goods are sold out," Biaozi answered, his voice brimming with joy—he must have made good money. "Brother Ming, when we got back, we found a letter from Gong Ying."

He now knew who Gong Ying was, and his tone carried a teasing edge.

Wei Ming: "Keep it safely, and if there's another letter from Zhu Lin, set it aside separately."

Mei Wenhua immediately added: "Yes, there's one—from Yunnan!"

Wei Ming laughed; it seemed the two sisters were truly in sync.

Later, the gatekeeper told Wei Ming who had called: Liang Xiao from Beiyingchang, Wu Tianming from Xiyingchang, and several editors.

Liang Xiao was inquiring about the script for "Heroes Rise from Youth"—Wei Ming had finished writing it, but he wanted to wait a bit longer to see how his grandfather responded.

As for Wu Tianming, he likely wanted to discuss adapting Wei Ming's other novels—this was something worth talking about.

In Hong Kong, Lao Gui had just helped Zhou Huimin and her daughter move house, only to find that after the move, they were even closer—he lived in the same public housing estate, just not in the same building.

Back home, Lao Gui finally had time to open the package sent by his grandson.

He was just about to write to the boy, telling him he'd visited his classmate's father in prison.

Inside the package was a book and a stack of letter paper.

The book was titled "Ferocious Animals—Selected Short and Medium-Length Stories by Wei Ming."

Opening the table of contents, he saw "The Tale of Two Donkeys," "Er Niu," "Ducks Know the Spring River's Warmth," "The Herdsman," "The Shepherd Boy's Spring"—each title contained an animal, hence the name "Ferocious Animals."

Hey, there seemed to be something stuck in the book.

Lao Gui opened it and found a black-and-white photograph—he instantly recognized the two young men in it.

Gou Dan and Gou Sheng!

They must have been under twenty when the photo was taken, less than ten years since he'd left; he could still make out their childhood features.

Looking at them, Lao Gui thought of their mother and felt his eyes grow moist: "Xiu'er, Ziyuan, I'm sorry you've suffered."

Lao Gui wiped his face, then picked up the stack of letters. The first page bore the bold characters: "Heroes Rise from Youth."

"This must be the martial arts novel Xiao Ming mentioned."

Wei Ming had also included a note.

"Besides providing you with reading pleasure, you may submit it to Hong Kong media under the pen name 'Wei Kuangren.' The royalties earned can improve your living conditions—we're far away in the north and cannot serve you personally; this is merely a small token of filial devotion from our family."

Wei Ming's mindset in writing this was like a son working in the city sending red envelopes during holidays—hoping his parents, after being delighted, would say, "Your thoughtfulness is enough; we don't need this money," and then return it.

But Lao Gui didn't think that way; he felt heaven had been kind to him, so he would accept the money.

He didn't want a single cent from his elder brother, but he must accept his grandson's money—never dampen the child's filial heart!

He just didn't know how much royalty this thick stack might bring—he'd read it first.

The more he read, the more he found it fascinating; though the story's shell was traditional, its content and characters were fresh—it would likely find a market. He'd already decided which newspaper to submit it to.

Among Hong Kong's left-leaning newspapers, "Ta Kung Pao" and "Wen Hui Bao" dominated the scene, and "Ta Kung Pao" had a supplement called "Xin Wan Bao."

In its early days, Liang Yusheng and Jin Yong were both editors at "Ta Kung Pao," and their works "Dragon-Tiger Battle in Beijing" and "The Book and the Sword" were first published in "Xin Wan Bao," making it wildly popular.

Although Jin Yong had since founded "Ming Pao" and retired, Liang Yusheng's "The Last Beacon on the Frontier" was still published in "Xin Wan Bao" two years ago, so "Xin Wan Bao" had a strong tradition of martial arts fiction and high circulation.

Lao Gui dug out last year's "Xin Wan Bao," pointed to the address, and said: "You're it!"

In the building next door, Zhou Huimin was singing the Mandarin version of "Homesick Love" to her mother.

"Your voice, your song / Forever etched in my heart…"—Zhou Huimin had learned it from the sheet music Wei Ming sent, with help from her music teacher.

Though not identical to Li Gu's original, it was still beautiful—her tone was lovely, carrying the flavor of old Shanghai, perhaps because her mother often listened to old Shanghai songs.

Her mother, a native of Shanghai, clapped enthusiastically; her daughter loved singing and drawing, and she supported cultivating such interests—it kept her from watching too much TV.

Besides, in the future, Amin would become a white-collar worker and needed hobbies and talents—she couldn't be like her mother, who only knew how to work.

After finishing her sewing, Zhou's mother said: "I've arranged with the piano teacher—starting this Sunday, you'll go for half a lesson every week."

"Thank you, Mama! Mama is the best!"

Hugging her mother, Zhou Huimin wondered: After all these days, had A Ming received her letter?

The next day, Wei Ming called Wu Tianming at Xiyingchang first.

"Writer Wei, I heard you're not in Beijing—you've gone to Guangzhou?"

"Yes, but I'm currently in Shanghai and will return in a few days," Wei Ming asked. "Director Wu, are you calling about adaptation?"

!

"Yes," Wu Tianming said. "I think 'Er Niu' has great adaptation potential. What's your view?"

Wei Ming: "I've seen your work—I'd trust 'Er Niu' to you completely."

Wu Tianming sighed in relief and added: "But I hope you'll adapt the script yourself."

In truth, even if he hadn't mentioned it, Wei Ming would have insisted—he wasn't about to let someone else take the script fee; he was saving to buy a house.

"No problem. Director Wu, feel free to share your specific requirements for the script."

They talked for a few more minutes. When Wei Ming finished the call and stepped out of the guesthouse, he noticed snowflakes beginning to fall.

Mid-March, and Shanghai was snowing—though lightly, just a few flakes before it stopped.

Wei Ming suddenly thought of Gong Ying's name—could she be born in March?

Too bad he couldn't contact her directly—he'd have to write and ask later.

Then Wei Ming went to Shanghai Animation Film Studio to meet Director Xie Jin, learn about the progress of "The Herdsman," and tour the sets built in the studio.

But he didn't commit to Xie Jin's plan to adapt "The Shepherd Boy's Spring."

His presence drew attention from many actors at the studio—some initially thought he was an actor, until Director Song Chong announced: "He's a writer—Wei Ming! We met at the Writers' Congress."

And there was even a photo as proof!

Several actresses, including Zhang Yu, brightened up—famous writer Wei Ming was so tall and handsome!

Wei Ming hadn't come specifically to see Xie Jin, nor was he here for the actresses—he wanted to view the pre-liberation documentaries preserved by Shanghai Animation Film Studio.

Beyond written records, video materials were crucial—and far more vivid.

Although China's first film was shot in Beijing, the first golden age of Chinese-language cinema was in Shanghai, including Shaw Brothers, who began in Shanghai.

Much of the footage shot by Shanghai filmmakers before liberation was preserved by Shanghai Animation Film Studio after its founding, including many documentaries.

Without Xie Jin's prestige at the studio, even a somewhat famous writer like Wei Ming might not have gained access.

Learning Wei Ming was researching for a new work, Xie Jin wholeheartedly supported him—they first watched a batch of documentaries from the Huaihai Campaign, including footage shot by both the PLA and the KMT, the latter captured after victory.

Through these documentaries, figures like Marshal Liu, General Su, Du Yuming, Huang Wei, and Qiu Qingquan became vivid and real to Wei Ming.

He began considering which major figure to include in his story and how to portray them.

During a film change, Director Xie said: "Actually, Beiyingchang and Changyingchang also have plenty of documentaries from that era—for example, the Liaoshen Campaign, which Changyingchang fully participated in filming."

Wei Ming nodded: "I'll go there."

Especially Changyingchang—it was founded in 1945, the cradle of New China's cinema, meaning it held the most complete wartime footage of the Liberation War.

But I have no connections at Changyingchang—only Xuejie has collaborated with them.

After spending a day viewing documentaries at Shanghai Animation Film Studio, Wei Ming took many notes and left thoroughly satisfied.

As he was about to leave, a call came to Director Xie Jin's office.

Xie told Wei Ming to wait; after she finished speaking, she said to Wei Ming: "It's Xiao Gong—want to say a few words?"

(End of Chapter)