[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"origin-the-academic-director-reborn-in-the-film-industr":3,"chapter-the-academic-director-reborn-in-the-film-industr-the-academic-director-reborn-in-the-film-industr-chapter-105":6},{"origin":4,"title":5},"chinese","The Academic Director: Reborn in the Film Industry",{"chapter":7,"nextChapterSlug":19,"prevChapterSlug":20,"totalChapters":21,"novelImage":22},{"id":8,"novel_id":9,"title":10,"slug":11,"index":12,"content":13,"wordcount":14,"created_at":15,"updated_at":15,"volume":16,"translator":17,"content_hash":18},2297105,4493,"Chapter 105: Niche Films","the-academic-director-reborn-in-the-film-industr-chapter-105",105,"\u003Cp>For Cao Yang, the graduation thesis was easy to write, but what was that rumor spreading everywhere outside?\u003C\u002Fp>\n\u003Cp>Cao Yang is skilled at coaching actors!\u003C\u002Fp>\n\u003Cp>Then what is there to hesitate about? He must choose this.\u003C\u002Fp>\n\u003Cp>\"A Brief Discussion on How Actors Can Quickly Enter a Role\"?\u003C\u002Fp>\n\u003Cp>It sounds a bit preachy, and because of the difference in status, it would be easy for others to imitate; he shouldn't lead people astray.\u003C\u002Fp>\n\u003Cp>\"A Brief Discussion on a Few Things About Actors Entering a Role\"?\u003C\u002Fp>\n\u003Cp>This is good; it lacks a preachy tone and is merely a \"brief discussion,\" belonging to the realm of superficial exploration—if you can't learn it, you can't blame him, and it won't lead people astray.\u003C\u002Fp>\n\u003Cp>In reality, writing it out is nothing more than those same old tricks: gathering all the lead actors, lecturing them daily on the scenes, the theme of the film, the content the film intends to express, and how they should interpret their roles.\u003C\u002Fp>\n\u003Cp>Every day, he also has to ask the actors for their thoughts on whether they understand, and he must set aside time to answer their questions. Finally, depending on the individual, he uses different methods to guide them into their roles when filming begins.\u003C\u002Fp>\n\u003Cp>Taking these points as the main theme, he can then expand the word count around them.\u003C\u002Fp>\n\u003Cp>In the thesis, he can also bring up how he guided Li Xiaoran, Yu Feihong, and Gao Yuanyuan into their roles during the filming of three different movies.\u003C\u002Fp>\n\u003Cp>With these Best Actress winners from the three major European film festivals as examples, the gold content of this thesis is instantly elevated to a height it wouldn't otherwise possess.\u003C\u002Fp>\n\u003Cp>Even if future directors refer to the methods in the thesis, there will only be benefits; as long as they can achieve these things, the actors will at least have a sense of direction and won't be giving formulaic performances.\u003C\u002Fp>\n\u003Cp>It just depends on whether the director and the actors have the patience.\u003C\u002Fp>\n\u003Cp>Old Situ read Cao Yang's thesis and praised it highly.\u003C\u002Fp>\n\u003Cp>\"You wrote this thesis well; it is substantive, and the three examples you cited are all factually grounded. Since they all won Best Actress, it is very persuasive.\"\u003C\u002Fp>\n\u003Cp>Then Old Situ sighed: \"Directors in the past could still film seriously. For instance, in order to film 'Dream of the Red Chamber' well, in '84, they specifically held two sessions of a training class for the actors in the Old Summer Palace, letting them study the original work, analyze the characters, and simultaneously learn music, chess, calligraphy, and painting to cultivate their sensibilities.\"\u003C\u002Fp>\n\u003Cp>Shaking his head, Old Situ continued: \"Current directors are all too eager for quick success and instant benefits; where is that spirit of being willing to put in the hard work?\"\u003C\u002Fp>\n\u003Cp>\"Teacher, you don't know, current directors are actually not that bad; at least many are willing to lecture the actors on the scenes, and the actors are also willing to learn.\"\u003C\u002Fp>\n\u003Cp>In a few more years, as capital continues to invade, not only the directors but even the actors won't be willing to study the script. 'Time is money' is absolutely correct for them.\u003C\u002Fp>\n\u003Cp>Double-booking roles, reciting numbers instead of lines, green-screen face-swapping...\u003C\u002Fp>\n\u003Cp>Who has the patience to study what the script is actually about?\u003C\u002Fp>\n\u003Cp>\"Actually, I also learned these methods from the older generation, combined with my own understanding and summaries. The actors are obedient and can calm down to learn. The only problem is that after the actors enter the role, they don't know how to adjust, and it takes a while for them to come out of it.\"\u003C\u002Fp>\n\u003Cp>Old Situ waved his hand, \"The method is correct. What does it have to do with you if the actors can't come out of the role? It's that they don't know how to self-regulate. Isn't it normal for actors to enter a role?\"\u003C\u002Fp>\n\u003Cp>\"Teacher, you don't know, their entering the role really does have something to do with me.\"\u003C\u002Fp>\n\u003Cp>But these things are not part of the current topic of discussion.\u003C\u002Fp>\n\u003Cp>Since Old Situ feels there is no problem with the thesis, then that's that; he'll just wait for the final defense.\u003C\u002Fp>\n\u003Cp>The directing department has a graduation short film requirement. Cao Yang directly used \"Secret Sunshine,\" a film that won Best Director and Best Actress; using it as a graduation work feels a bit like bullying.\u003C\u002Fp>\n\u003Cp>For the next period of time, Cao Yang began preparing the script for his first film in Hollywood.\u003C\u002Fp>\n\u003Cp>While in Cannes, Cao Yang actually already had an idea. There is an American film that, from beginning to end, refuses to reconcile with itself and is depressed to the bone; it once won the Oscar for Best Actor.\u003C\u002Fp>\n\u003Cp>At first, what Cao Yang wanted to film was this one. The film's title sounds very romantic: \"Manchester by the Sea.\"\u003C\u002Fp>\n\u003Cp>Manchester by the Sea is the name of a small American city; that is its name, not the Manchester by the sea in England.\u003C\u002Fp>\n\u003Cp>But after careful consideration during this time, he is a newcomer to Hollywood, unfamiliar with the place and the people. His only connections are Sony Pictures Classics and Bellman. To be honest, even if the actors perform exceptionally well—better than the original—can he succeed in campaigning at the Oscars based solely on Bellman and Sony Pictures Classics?\u003C\u002Fp>\n\u003Cp>As long as the film's quality reaches a certain standard, the competition is no longer about the film itself, but about connections and campaigning.\u003C\u002Fp>\n\u003Cp>Cao Yang estimates that perhaps getting an Oscar nomination isn't difficult, but winning is too uncertain.\u003C\u002Fp>\n\u003Cp>To increase the probability of winning, he still needs to find ways in other areas.\u003C\u002Fp>\n\u003Cp>For example, political correctness, or biographical films that are easy to win awards with.\u003C\u002Fp>\n\u003Cp>Currently, the American version of political correctness is still in its primary stage and hasn't evolved to the crazy level it reaches later. Women, homosexuality, and satirizing politicians all count as political correctness.\u003C\u002Fp>\n\u003Cp>As for biographical films, as long as it is a well-known figure, especially a controversial one, the probability of winning an award upon release is particularly high.\u003C\u002Fp>\n\u003Cp>Is there a figure who is both politically correct and has a real-life prototype for a biographical film?\u003C\u002Fp>\n\u003Cp>There really is such a film, and Cao Yang thought of one.\u003C\u002Fp>\n\u003Cp>It's just that if this film is made, it will be a bit unfair to Li An.\u003C\u002Fp>\n\u003Cp>If this film enters the Oscars and wins awards, then as a similar type of film, \"Brokeback Mountain,\" which is released two years later, will find it very difficult to achieve anything at the Oscars.\u003C\u002Fp>\n\u003Cp>!\u003C\u002Fp>\n\u003Cp>After all, with the timing so close, the Oscars probably won't award a major prize to the same type of niche film again.\u003C\u002Fp>\n\u003Cp>Hmm, perhaps the Oscars might break convention, who knows.\u003C\u002Fp>\n\u003Cp>Since he decided to film a biographical movie, Cao Yang doesn't understand American law and doesn't know if he needs authorization from the subject or their descendants, so he called Bellman; he should understand these things.\u003C\u002Fp>\n\u003Cp>\"Bellman, I already have an idea for a film. I want to make a biographical film.\"\u003C\u002Fp>\n\u003Cp>Cao Yang said, getting straight to the point.\u003C\u002Fp>\n\u003Cp>\"A biographical film? That's not easy to film; it's easy to get into trouble.\"\u003C\u002Fp>\n\u003Cp>Bellman had some concerns. Biographical films are easy to win awards with if done well, but if done poorly, first, it will cause controversy, and second, one will be sued by the person themselves or their descendants. Such lawsuits are endless.\u003C\u002Fp>\n\u003Cp>\"I understand. What I want to know now is, what are the regulations in the United States regarding biographical films? Is authorization from the subject or their descendants required?\"\u003C\u002Fp>\n\u003Cp>Cao Yang asked. This was the purpose of his call today. Only by understanding these things and the trouble he might face can he decide whether to launch this project.\u003C\u002Fp>\n\u003Cp>Regarding this question, Bellman clearly knew. He explained: \"In the United States, there is no explicit legal requirement to obtain authorization from the subject when filming a biographical movie. This is based on the principles of freedom of speech and reflecting historical reality.\u003C\u002Fp>\n\u003Cp>The First Amendment to the U.S. Constitution protects freedom of speech and the press. Artistic creation in film is viewed as a form of expression of free speech. As long as one can remain faithful to the facts, a biographical film will be protected by the First Amendment.\"\u003C\u002Fp>\n\u003Cp>With Bellman's explanation, Cao Yang understood. That is to say, filming a biographical movie in the U.S. does not require authorization from the subject or their descendants.\u003C\u002Fp>\n\u003Cp>Making you into a movie is also my freedom of speech, which is protected by the First Amendment to the U.S. Constitution.\u003C\u002Fp>\n\u003Cp>Making you into a movie—what does it have to do with you?\u003C\u002Fp>\n\u003Cp>Thanks to \"katagiria,\" \"Wumaweiyang,\" \"Wojiushiwodejianchi,\" and \"Xiaozhutongtongdedidi\" for the tips; thank you very much!\u003C\u002Fp>\n\u003Cp>Thanks to the brothers for the monthly tickets and recommendation support, thank you.\u003C\u002Fp>\n\u003Cp>I'll update two chapters today; I wasn't satisfied with the other chapter after looking at it, so I'm rewriting it.\u003C\u002Fp>\n\u003Cp>(End of chapter)\u003C\u002Fp>",1513,"2026-06-20T05:36:32.009Z",1,"Gemini 3.1 Flash Lite","ab8440e573af65feb1552c5caf8888d70e879c247416f427d2e5f3c434e4efce","the-academic-director-reborn-in-the-film-industr-chapter-106","the-academic-director-reborn-in-the-film-industr-chapter-104",411,"https:\u002F\u002Fnovelzhen.com\u002Fimages\u002Fcovers\u002Fthe-academic-director-reborn-in-the-film-industr-cover.jpg"]