Chapter 331: Authority

Cao Yang first called Old Situ back. To his surprise, Old Situ didn't specifically mention the Berlin Film Festival, nor did he mention the importance of the Jin Xiong to Cao Yang.

Old Situ just chatted about family matters, and when he finally hung up, he said: "Cao Yang, don't care what the outside world says, and don't have pressure. You are already very successful, just follow your heart."

Cao Yang smiled; this was the Old Situ he knew.

In Old Tian's words, it was that the old guy was stubborn. Compromise? What was that? In the old guy's dictionary, these two words didn't exist at all.

At that time, when Old Tian said these words, his face didn't turn red and his heart didn't beat, as if he wasn't that kind of person himself.

But to tell the truth, although Old Situ's achievements in the field of art films weren't great, the few disciples he taught, other things aside, their personalities were more or less like him.

Just like Old Tian, with Old Tian's family background and Old Situ's connections, could the higher-ups really ban him for ten years? If Old Tian was willing, as long as he admitted a mistake internally, or even if he didn't admit a mistake, as long as he compromised a little, it was estimated that the ban would have been lifted long ago.

But obviously Old Tian didn't do that.

He himself had the nerve to say Old Situ was "stubborn," but wasn't he the same kind of person himself?

And Chen Kaige, his personality also had some characteristics of being "stubborn."

After hanging up Old Situ's call, Cao Yang's mood relaxed a lot.

To tell the truth, before calling Old Situ, he was also worried about gains and losses in his heart.

Grand Slam, to say something a bit exaggerated, this is something that can "spread through the ages" in the film industry. Who wouldn't care if it were them?

People in the film circle, as long as there is an opportunity, who would give it up?

Just like Old Mouzi, in 1999, he broke with the Cannes Film Festival because of "Not One Less" and wrote a letter of breakup.

This was a sensational event in the world at that time, reported by Western media, causing the Cannes Film Festival to be very passive.

Plus the Italians who were very good at stabbing people in the back—the Venice Film Festival directly gave "Not One Less" the highest Golden Lion Award!

This made the Cannes Film Festival look gray-faced for a while.

Old Mouzi's doing this at that time was a very tough approach. Standing from our position, what he did was very manly.

But did Old Mouzi regret it?

Withdrawing the film from the Cannes Film Festival, it is estimated he didn't regret it.

But that letter of breakup, perhaps he regretted that it shouldn't have been directly exposed. It was this letter that made it difficult for him to ease relations with the Cannes Film Festival.

If he really didn't regret it and didn't want to ease relations, he wouldn't have brought "House of Flying Daggers" to appear at the Cannes Film Festival—he had implicitly expressed at that time that he would never go to Cannes again.

Old Mouzi broke his word.

Gilles Jacob was the true power-holder of the Cannes Film Festival. He served as the artistic director of the Cannes Film Festival for more than 20 years from 1978 to 2000.

In 2000, Gilles Jacob handed over the artistic director position to Thierry Frémaux, and he himself served as the chairman of the film festival until he officially stepped down in 2014.

That is to say, Old Mouzi's withdrawal of the film and the letter of breakup in 1999, the person in power at the Cannes Film Festival at that time was Gilles Jacob.

Old Mouzi tried once in 2004 with "House of Flying Daggers." Gilles Jacob was the chairman of the Cannes Film Festival at that time. "House of Flying Daggers" couldn't enter the main competition unit, and even if it was a non-competition unit, it couldn't be shortlisted.

That is to say, "House of Flying Daggers" gained nothing at the Cannes Film Festival.

This let Old Mouzi understand Cannes' attitude.

In 2014, Gilles Jacob, who had been in power at the Cannes Film Festival for more than 30 years, officially stepped down and no longer held any position in Cannes.

It was also in this year that Old Mouzi brought his "Coming Home" to the Cannes Film Festival again. The timing was very coincidental, right?

However, this time "Coming Home" was again excluded from the main competition unit and couldn't be selected for the main competition unit. Even if it was a non-competition special screening unit, it gained nothing.

This incident made Old Mouzi particularly depressed and also recognized the fact—even if the Cannes Film Festival changed to a new leadership team, it would no longer accept him.

Old Mouzi's dream of a Grand Slam also woke up.

Cao Yang definitely wanted a Grand Slam, but he also knew that the last remaining Berlin Jin Xiong was the hardest "hard bone" to chew.

So he had been waiting for an opportunity.

Cao Yang's advantage over others was that he had a "golden finger" and was particularly young, so he could afford to wait.

But this is a very passive approach.

Recently, he had also been thinking about whether to film a movie first and go to Berlin to probe.

The proactive goodwill of Berlin Film Festival chairman Dieter Kosslick was actually something Cao Yang hadn't expected.

Whether it was the Cannes Film Festival or the Berlin Film Festival, they were different from the Venice Film Festival.

The chairmen and artistic directors of the Berlin and Cannes film festivals often had terms of ten or twenty years, while the chairmen and artistic directors of the Venice International Film Festival had shorter terms, usually 4 years per term, and were replaced frequently.

Berlin Film Festival chairman Dieter Kosslick only took office in 2001. Looking at the history of the Berlin Film Festival, from the establishment of the Berlin Film Festival in 1951 to the present, there were only 5 film festival chairmen and artistic directors, each with an ultra-long term.

It is imaginable that Dieter Kosslick would also have an ultra-long term.

By the way, before 2020, the Berlin Film Festival's film festival chairmen held the position of artistic director concurrently and were people who truly held power.

It wasn't until Dieter Kosslick stepped down in 2020 that their film festival chairman and artistic director were separated, with two people serving in these two positions.

Just like Dieter Kosslick, he was not only the Berlin Film Festival chairman but also the artistic director, the business director, and when the film festival arrived, he was also the chairman of the selection committee...

Cao Yang called Old Tian, Hou Yuan, and Han Zong back separately.

Old Tian's words were the most concise. He urged Cao Yang that even if he didn't go to be the jury president, he should politely refuse and try not to offend Dieter Kosslick.

He understood Cao Yang and knew that Cao Yang was not very willing to do these cumbersome things, so he called Cao Yang to urge this matter.

Han Zong called Cao Yang mainly to tell Cao Yang some information about Dieter Kosslick.

He told Cao Yang that Dieter Kosslick used to be a very famous film critic in Germany, and his attitude toward films was very strict, and he was considered a film "critic."

After Dieter Kosslick took office, he insisted on paying attention to political themes and supporting new directors, and even didn't hesitate to "refuse to give female creators extra nomination opportunities" in order to maintain the "level of art itself."

That is to say, Dieter Kosslick valued new directors—he took office in 2001, and Cao Yang debuted and participated in the Berlin Film Festival in 2001, winning the Berlin Jury Grand Prix in the first year.

There was the effort of Xie Fei as a member of the jury at that time, and there was also the factor of Dieter Kosslick valuing newcomers.

In addition, for Dieter Kosslick, political themes might be easier to win awards, but they wouldn't be like the Cannes or Venice film festivals, which would give "special" care to female directors.

The political correctness of the Cannes Film Festival and the Venice Film Festival included giving "special" care to female directors every year. Not only should there be female directors in the main competition unit as much as possible, but under the same conditions, female directors were easier to win awards.

When Han Zong hung up the phone, he also urged Cao Yang like Old Tian, trying not to offend Dieter Kosslick, fearing that Cao Yang was young and vigorous.

Among the four people who called Cao Yang, if you had to say who most hoped Cao Yang could win the Grand Slam, undoubtedly, it was Hou Yuan, Hou Keming.

During his tenure as the head of the Beijing Film Academy, if the school could produce a director who won the Grand Slam, political achievements were one thing, but most importantly, he would definitely be specially written into the school history.

As long as Hou Keming thought about it, the school history would write: Under the leadership and support of Hou Yuan Keming, our school's famous director Cao Yang won the Venice Film Festival Golden Lion Award, the Cannes Film Festival Palme d'Or, and the Berlin Film Festival Jin Xiong Award.

Became the fourth director in the world to win the three major European awards, the first director in Asia to win the Grand Slam, the first Chinese person to win the Grand Slam, and the first in the Beijing Film Academy...

Hou Keming was excited!

However, although Old Hou was excited, he didn't lose his head.

His purpose in calling Cao Yang was only one, and that was what the school could do for you!

Old Hou told Cao Yang not to have pressure. If you don't want to be the jury president of the Berlin Film Festival, the school will mobilize all relationships and won't let you have a rift with the Berlin Film Festival and Dieter Kosslick.

If you go to the Berlin Film Festival to be the jury president, then the school will be the bridge between you and Dieter Kosslick, and won't let you have conflicts with Dieter Kosslick because of film matters.

In addition, Hou Keming also told Cao Yang that although Dieter Kosslick didn't support Chinese-language films as "blatantly" as Venice Film Festival chairman Marco Müller, the relationship between Germans and China had always been good.

After Dieter Kosslick took charge of the Berlin Film Festival, he was also very friendly to Chinese-language films. Almost every year, Chinese-language films were shortlisted for the main competition unit, and Chinese-language films were specially invited to participate in the exhibition every year.

After hanging up Old Hou's call, Cao Yang at least had some understanding of Dieter Kosslick.

Taken together, although the Germans were very eager to expand the influence of the Berlin Film Festival and were also very eager to get closer to Cao Yang, judging from the fact that he didn't reveal "benefits" to Xie Fei, the Germans were not the kind of people who talked nonsense.

Of course, this was just a judgment made by Cao Yang based on his understanding of Dieter Kosslick and the current situation. As for whether it was like this, he would only know after contacting Dieter Kosslick.

Actually, Cao Yang hoped that Dieter Kosslick was a "rigorous" person. Generally, people who have persistence and their own principles dare to withstand pressure to do some things.

On this point, one has to mention the Italians.

The Venice Film Festival dared to shout to beat Hollywood while inviting Hollywood film stars, promising Hollywood film stars, and finally "eating" the promises and playing with Hollywood.

This resulted in Marco Müller, after taking office, even if he made concessions, gave Hollywood promises, and gave Hollywood stars promises, not many stars believed in Venice.

What Cao Yang feared most was that Dieter Kosslick was a "keyboard warrior."

This point could only be known after talking personally. If Dieter Kosslick was also a "keyboard warrior" king, Cao Yang would definitely not go to Berlin.

Cao Yang originally wanted to call Xie Fei tomorrow, but thought about it, there was actually nothing to consider.

The main thing was to talk to Dieter Kosslick. Now it was ten o'clock at night in Los Angeles, which was exactly noon in Jingcheng, so calling was just right.

Therefore, Cao Yang called Xie Fei and asked him to tell Dieter Kosslick that he wanted to talk to him.

What Cao Yang didn't expect was that around 10:30, Dieter Kosslick actually called.

At this time, it should be seven or eight in the morning in Germany, right? Was he so anxious?

Cao Yang knew Dieter Kosslick.

In 2001, Cao Yang participated in the Berlin Film Festival and won the Jury Grand Prix, which was the second-largest award. He definitely had to get to know the chairman of the Berlin Film Festival.

But it was just getting to know him, and there hadn't been much contact since then.

"Cao, we haven't seen each other for more than five years, right? I didn't expect that the new director who came out of the Berlin Film Festival that year is now a world-famous big director."

"Your 'District 9' and 'Inception' are both very wonderful, and the combination of art and commercialization is simply perfect. I have thought more than once, if you had brought these two films to Berlin at that time, what award I should have given you would be more appropriate."

Cao Yang was slightly stunned, really not expecting Dieter Kosslick to be so "able" to speak.

Was this a draft prepared long ago?

Dieter Kosslick's words contained two meanings on the surface.

First, he reminded Cao Yang that you became famous at the Berlin Film Festival and were a director cultivated by the Berlin Film Festival. We should have had a better relationship, and you should be a direct descendant of Berlin.

Was there any other meaning implied here? Direct descendants, after all, could more easily win the Jin Xiong Award.

In addition, he also clearly told Cao Yang that if the Venice Film Festival could label your "Fox Spirit" as an experimental film, then the Berlin Film Festival could also give awards to your "District 9" and "Inception."

There were words within words, but they were a bit implicit.

"Thank you for your recognition, Mr. Dieter. If I had known, I should have brought 'District 9' or 'Inception' to the Berlin Film Festival first. It's a pity to miss important awards."

Cao Yang said.

Isn't it probing? I can do it too.

"Just call me Dieter. We will definitely become good friends. You are right, Cao, you should have come to Berlin long ago. You are a director who became famous in Berlin, and Berlin is your eternal supporter. This point will not change."

Dieter Kosslick paused, then smiled and said:

"Just like 'District 9', this is an excellent film that reflects racial discrimination and racial segregation. Even if it was produced with a commercial rhythm, it doesn't hinder it from being a classic film."

"Such a film, if it came to the Berlin Film Festival, at least I personally think that such a film is worthy of a Silver Bear for Best Director."

"Best Director?"

Cao Yang repeated softly.

"That's right, as far as I know, up to now, there is no director in the world who has won the Best Director award at Cannes, Venice, and Berlin at the same time. This is actually an amazing achievement."

Dieter Kosslick emphasized.

Cao Yang thought about it. As far as he knew, it seemed there was a director in later generations who won the Grand Slam of Best Director at the three major European film festivals.

It seemed to be Paul Thomas Anderson.

However, he currently seemed to have only one Best Director award from the Cannes Film Festival, and the other two hadn't been won yet.

Cao Yang was silent for a moment, then decided not to beat around the bush, but asked directly: "Dieter, if the film I participate in the Berlin Film Festival is not an experimental film, but an art-house film?"

Dieter Kosslick was silent for a long time.

Just when Cao Yang thought the two might have talked to a collapse, Dieter Kosslick said:

"Cao, do you know, this question is actually easy to answer, but I thought about it carefully, I don't want to perfunctory you, nor do I want to deceive you. Do you know what consequences I will have if I fulfill you?"

Before Cao Yang could speak, he continued: "The biggest possibility is that I will be driven out of my current position and then be criticized by the European media."

"Do you know Cao, Robert Altman was the last director to achieve a Grand Slam, but that was more than ten years ago. I don't know what kind of art film can make you achieve your wish."

"But I can guarantee one point: as long as this film is significantly higher than other competing films in terms of artistry, I am very sure that I will definitely give the highest award to you."

"Cao, this is definitely not perfunctory to you, so you should understand that this contains a little bit of luck."

Luck factor?

That is to say, that year there happened to be no particularly outstanding films, and my film was significantly better, so there would be an opportunity?

It looks a bit difficult, but it's not simple at all.

Cao Yang knew that Dieter Kosslick's words were very clear. If he dared to give himself the Jin Xiong at other times, it would ruin his future and he would be driven out of the position of film festival chairman.

It could only be at special times, when his film was better than other films, that he dared to withstand the pressure and give himself the Jin Xiong.

That's why he said it needed a little bit of luck.

Fine, this doesn't count as perfunctory to himself.

"Dieter, I want to know, if I become the jury president, how much authority do I have."

Cao Yang asked.

No matter what, accepting the jury president this year, first get on good terms with Berlin, and next year film a movie to Berlin to try, to see if Dieter Kosslick will do what he said.

This can also be considered a kind of probing.

Dieter Kosslick was overjoyed. Cao Yang coming to be the jury president was definitely a big good thing for Berlin. At least when he invited Hollywood stars, or even superstars, many people wouldn't refuse.

In Hollywood today, which star doesn't want to work with Cao Yang?

Being able to show his face in front of Cao Yang and get on good terms with Cao Yang was a very important thing.

Of course, Dieter Kosslick knew Cao Yang's influence and definitely wouldn't fool Cao Yang. What he just said was all he could do.

"Haha, Cao, except for the ownership of the Jin Xiong that we need to negotiate, for others, you can decide for yourself. That is to say, except for the Jin Xiong, I will not have any restrictions on your authority."

(End of chapter) ===== CHAPTER 332 =====