Chapter 66: Artistic Life

Originally in history, CCTV's channel's program "Artistic Life" was born at the end of 2000.

But in this timeline, because of Jiang Heng, it appeared half a year earlier.

When the program team first suggested inviting Jiang Heng as a guest, the station still had some objections, feeling Jiang Heng was young and had only made three films, and his style differed too much from the previously invited "veteran artists", so the matter was put on hold.

When "Lion Camel Mountain" was released, it consecutively broke the mainland's opening-day box office record, mainland's single-day box office record, the records for fastest to reach 100 million, 200 million, 300 million, and surpassed "Titanic" to claim the mainland box office champion, sparking a viewing frenzy, after which they could no longer stay seated.

The program team also cared about ratings; in today's Chinese-language entertainment circle, there is no figure hotter or more capable of sparking discussion than Jiang Heng.

Inviting him to join the show will definitely not hurt the ratings.

After the station agreed, the program team promptly sent the invitation, and Jiang Heng naturally would not refuse.

Although "Lion Camel Mountain" had been on screen for a while, its reputation and heat remained high, the box office decline slowed, and after the one-month release period ended, it was certainly going to have its key extension.

In terms of promotion, naturally the more the better.

That day, Jiang Heng came to the recording hall of CCTV's program "Artistic Life"; the layout was roughly what everyone later saw, with the audience filling the seats below, two sofas on stage, and host Zhu Jun and the guest each taking one.

After Jiang Heng took the stage, as usual there was some small talk, then he discussed why he spent huge sums to make a film, how he wrote the movie "The Matrix", and his grudges with Huana Company.

Host Zhu Jun could ask such sharp questions naturally because she had communicated with Jiang Heng beforehand, determining which aspects could be asked and which she did not want to hear.

After all, it's a CCTV program, which pays great attention to show effect and impact.

By contrast, Jiang Heng would definitely not attend those interviews that ask random questions indiscriminately.

"Back then, young and full of vigor, my family left me a lot of money; seeing how poor the Xianggang film market was, and with no one offering me a lead role, I might as well just make a film myself!"

"Wow, that statement makes people so envious!" Zhu Jun exclaimed.

Jiang Heng waved his hand, saying, "Really don't follow my example; the risk is too great. Before the film was released, I often suffered insomnia, constantly worrying about what to do if I lost my investment, perhaps really only able to spend my life acting to pay off debts!"

"Did you owe a lot?"

"A lot, but fortunately hard work paid off!"

"Truly not easy, why not direct and star yourself? Your appearance is no inferior to Wu Yanzu's."

Jiang Heng laughed, "You also think that, huh?"

Zhu Jun naturally looked at the audience and said, "Everyone thinks that, right?"

The audience laughed and replied, "Yes!"

Jiang Heng said, "I originally wanted to direct and star myself, but later I felt that if I did so I might not be able to objectively evaluate my performance, affecting the final film's effect; plus I happened to meet Yan Zu, such a suitable actor, so I thought to let him give it a try!"

Zhu Jun said, "I have to say, your eye for talent is indeed excellent!"

Jiang Heng laughed, "Do you also think that?"

Zhu Jun nodded, and Jiang Heng said, "I also think you are a very good host!"

Zhu Jun laughed loudly, said thanks, and then asked about the script.

Jiang Heng originally wanted to start from the lyric "Fifty-six ethnic groups, fifty-six flowers", but suddenly felt that saying those on CCTV's stage seemed not appropriate.

So he began with the wave-particle duality of light, after all it's textbook material, saying he drew inspiration from it and also talked about it in the past.

He also spoke of how, after his father's death, he sent his father's ashes to be buried in their northeastern hometown. Then he wandered aimlessly around the country, and when he reached Chengdu he registered the script he had written.

Considering the program's length, the two did not discuss "One Hundred Million Years Prehistoric".

Moreover, inside CCTV, many people thought it was just a decently box-office popcorn movie, devoid of any artistic merit.

Discussing something lacking artistry on the "Artistic Life" program is somewhat lacking in taste.

"Lion Camel Mountain" is different; besides its unprecedentedly good visual effects, the film's plot flows smoothly, and its artistic element is also extremely high!

Even saying it's so high that it cannot be overinterpreted, for example claiming the Golden-winged Great Peng is the maternal uncle of the Tathagata Buddha, and the Green Lion and White Elephant are the bodhisattvas' "drivers"—the satirical meaning is too strong.

Moreover, the matter of Lion Camel City's ten thousand resentful spirits; the 1986 version didn't dare to film it at all, instead turning the three monstrous demons of Lion Camel Mountain into three simpletons.

And in Jiang Heng's original conception, he wanted to film those terrifying scenes, taking the route of mythological horror.

At worst, if it were cut in various ways or failed to pass domestic review, selling it overseas would at least recoup some costs.

Han Sanping, after seeing this version of the script, dared not participate in any way.

Afterwards, Jiang Heng continued revising the script, writing it as Tang Seng and his disciples passing through the bustling Lion Camel Country; Sun Wukong felt something was off, and with his fiery eyes he saw that the surface was a prosperous paradise, but in reality it was a human hell.

The setting sun, demonic mist swirling, on the plains between the mountains, countless bones lay exposed in the wilderness… even the Great Sage was frightened to the point of weak knees.

But when he withdrew his fiery eyes, what he saw again was the bustling prosperity of Lion Camel Country.

But on the eve of filming, Jiang Heng again felt that the visuals in this setting were still too bloody and terrifying, and even if filmed they would surely be cut.

Out of compromise for box-office performance, they therefore changed the final plot into the version everyone saw after the film's release, adding over a thousand "ghost generals" not present in the original, and the ten thousand resentful spirits transformed into three-headed, six-armed evil spirits.

Speaking of this script revision process, Zhu Jun's expression showed slight embarrassment, because Jiang Heng's creative process clearly went against his original intention.

Others originally wanted to film a mythological horror, but because the domestic film market lacks a rating system, they changed it to the version now shown in theaters.

"But having said that, cinema is the people's art, serving the masses. I believe that when you see so many students, white-collar workers, elders, parents, and children gathering in theaters, enjoying the finest, most advanced special effects that bring us unparalleled audiovisual pleasure, your heart must also be very proud!" Zhu Jun began to make her concluding remarks.

Jiang Heng laughed and said, "That's natural; being able to bring joy to so many people is the greatest affirmation for me!"

After the interview ended, many staff members on site took photos with Jiang Heng and asked for autographs; Zhu Jun was no exception.

Jiang Heng exclaimed in surprise, "You, this?"

Zhu Jun said, "It's for a friend's child; after watching 'Lion Camel Mountain' they became obsessed, clamoring for a second and third viewing! But after I saw it, I found the film is truly good. If the domestic film market could produce a few more like this, it would truly be a revival!"

Jiang Heng laughed while signing, not expecting Zhu Jun to then hand over a notebook, saying, "A colleague's child!"

(End of chapter)