Chapter 349: A Different Kind of Movie

The boundary between art-house films and commercial films is inherently difficult to define strictly, especially when a film possesses both artistic quality and high box office returns.

The film *Joker*, in its essence, can be classified as a standard art-house film.

The film focuses on the mental breakdown of a social outcast, exploring serious issues such as class oppression and mental health, and possesses a strong sense of auteur expression and critical depth.

Furthermore, the film's overall tone is gloomy, fitting the realist aesthetics common to art-house cinema.

However, when a film's box office is too high, people involuntarily avoid this topic, subconsciously categorizing the film as a commercial one.

They will even find a suitable justification—that this is an auteur-driven commercial film, rather than an art-house film in the traditional sense.

Take, for example, the few films Cao Yang has directed recently.

Whether it is *District 9* or *Inception*, because the box office was so high, even if they possessed art-house attributes, they were categorized in Hollywood as commercial films with strong auteur expression and artistic value.

In Hollywood, there is another director who has also been placed in this category: Nolan.

However, it is different domestically and in Europe.

Starting with *Nine-Tailed Fox*, because it was hailed at the Venice Film Festival as an experimental New Wave film, and Cao Yang was even awarded Best Director.

Regarding this awkward label, perhaps out of the "authority" of the Venice Film Festival, both Europe and the domestic market accepted it.

Therefore, the subsequent *District 9* and *Inception*, no matter how high their box office, were all classified as experimental films.

Domestically, there is also "Little Cannon" who "followed the trend" of Cao Yang in shooting experimental films.

Starting from *A World Without Thieves*, he publicly supported in the media the experimental films "pioneered" by Cao Yang, and then, changing his tone, claimed that his own *A World Without Thieves* was also an experimental film.

The *The Banquet* he filmed next was touted as an Eastern *Hamlet* combined with Confucian culture; from this slogan, one can also see that it was again heavily promoted as an experimental film.

This includes *Assembly*, which he is currently filming; the external promotion claims it is neither a commercial film nor a traditional mainstream film.

Instead, it is an experimental film with strong ideological functions, aimed at conveying specific social information through cinema—in short, an experimental film.

Of course, Little Cannon calling his own films experimental is mainly to shake off the inherent impression left on people—"You all misunderstood me; I am not just a commercial film director, I can also play with art."

Cao Yang had analyzed the film *Joker*.

To be honest, if this film hadn't been a massive box office hit, no one would have called it a commercial film.

As for the reasons why this film was a massive box office hit, Cao Yang believes there are a few points.

First is definitely the IP effect; people's first reaction to this film is that he is the Joker from *Batman*.

The second point, and the most important one, is the deep mapping of social reality, which sharply presents the struggle of the underclass amidst social injustice through the protagonist's plight.

Especially the issues of class conflict and psychological repression; this depiction of real-world problems triggered widespread resonance, particularly the emotional projection of audiences during an economic downturn, which gave the film super word-of-mouth.

Then there is the blessing of awards and performances.

Before its release, this film won the Golden Lion at Venice.

This made people even more curious: how could a comic book adaptation win an artistic Golden Lion? There would be many viewers walking into the cinema out of curiosity.

And the film's word-of-mouth and the protagonist's superb acting ultimately helped push the film to a massive box office hit.

Actually, there is one more point that must be mentioned; although this point is somewhat criticized, it played quite a role.

That is, before the release of *The Dark Knight*, the accidental death of Heath Ledger, who played the "Joker," was secretly marketed as having become so immersed in playing the Joker that he developed severe depression, eventually leading to his death from an overdose of medication to control the depression...

Heath Ledger became a tragic figure.

His death not only allowed *The Dark Knight* to successfully break out of its niche and hit a massive box office, but it also gave people no small amount of curiosity about the "Joker."

As a result, ten years later, when *Joker* was filmed, people saw it and thought, "Oh my, the Joker really is a tragic figure," and the sense of resonance was even stronger.

Today is February 26, 2007, and Cao Yang estimates that even if Warner agrees to greenlight *Joker*, by the time he finishes the post-production of *Pirates of the Caribbean*, it will take at least until June to start preparations.

However, the filming of *Joker* is not urgent, as long as it can be released after September next year.

Why September?

One is that it is the most correct choice to release *Joker* only after *The Dark Knight* has been released.

The second point is particularly important: on September 15 of next year, Lehman Brothers, the fourth-largest investment bank in the United States, will announce bankruptcy, marking the full-scale outbreak of the subprime mortgage crisis.

This is a global financial crisis.

The most important point for *Joker* to be a massive box office hit is its deep mapping of social reality, sharply presenting the struggle of the underclass amidst social injustice through the protagonist's plight.

Especially the issues of class conflict and psychological repression; this depiction of real-world problems triggered widespread resonance, particularly the emotional projection of audiences during an economic downturn...

Under the financial crisis, people all over the world will have a wider resonance and emotional projection toward *Joker*; this is the most suitable stage for *Joker*!

There is no period more suitable for the release of *Joker* than the financial crisis, not even the period ten years later when *Joker* became a massive box office hit.

Don't say that the financial crisis will have an impact on film box office; the truth is that the 2008 financial crisis actually caused global film box office to grow quite a bit.

For example, Hollywood created an all-time record in overseas box office in 2008.

According to data from Xinhua Net and the Motion Picture Association of America, Hollywood's overseas box office revenue in 2008 reached 9.9 billion USD, an increase of 4% over 2007.

This growth indicates that although the economic crisis impacted the overall economy, the popularity and market demand for Hollywood films on a global scale were not significantly affected.

And here domestically, it was even more impressive; the total box office not only was unaffected, but it also grew by more than 30% year-on-year, and the annual total box office also set a historical record.

Why did this situation occur?

It is actually very simple.

During an economic downturn, movies become a relatively cheap form of entertainment, belonging to low-elasticity consumer goods; when people reduce medium-to-high consumption such as dining and tourism, they tend to choose low-cost entertainment activities like movies.

In addition, the anxiety and confusion brought about by the economic recession prompt people to escape reality and vent their emotions through movies.

Therefore, after the financial crisis breaks out next year, from every perspective, it is suitable for the release of *Joker*.

Listening to Jeff Robinov rambling on about this and that, it all boiled down to wanting Cao Yang to take over *Batman*.

"Jeff, have you ever thought about filming a unique movie that branches out from *Batman*?"

Cao Yang asked after Jeff Robinov finished his long speech.

Jeff Robinov was slightly stunned, not quite understanding Cao Yang's meaning.

Isn't the appeal of *Batman* all in Batman himself? This is the most popular and influential superhero in the United States; can such a comic book adaptation still extend into any particularly interesting stories?

Jeff Robinov had no clue for a moment, so he simply asked directly: "I don't quite understand what you mean. Can you be more specific?"

"Jeff, have you ever thought about making Batman's greatest nemesis into a movie and bringing it to the big screen?"

Cao Yang asked with a smile.

"You mean... the Joker?"

Jeff Robinov shook his head without hesitation and said:

"That's impossible! Cao, the Joker is a villain, you know? A villain? How can a villain become the protagonist? How can a movie where a villain is the protagonist be accepted by the market? How can it sell at the box office?"

Jeff Robinov's series of questions—it is estimated that this last sentence is what Jeff Robinov really wanted to say.

If it weren't for the box office or awards, who would be bored enough to hire a director as expensive as Cao Yang?

"*The Silence of the Lambs*, *The Godfather*, *Catch Me If You Can*, and *Reservoir Dogs* and *Léon: The Professional*, which sold quite well on disc later."

Cao Yang counted them off with a smile.

"That's different..." Jeff Robinov said, then fell silent.

What is different about it?

The protagonists of these few films are all non-typical Hollywood protagonists; as it seems at this stage, they are all considered successful films, and like *The Godfather* and *The Silence of the Lambs*, they won awards until their hands were soft...

Winning awards?

Jeff Robinov's heart stirred, and then he suddenly realized, feeling that he understood Cao Yang's meaning—this was aimed at winning big awards.

Can a comic book adaptation like *Joker* win awards?

To be honest, it's very difficult.

Comic book adaptations are different from films adapted from novels or based on true stories.

The latter two are types that are very easy to win awards with, while for comic book adaptations, people naturally have a kind of "discrimination," believing that comic book adaptations cannot be taken seriously in terms of art and can only be filmed as popcorn movies.

If it were another director, even a very famous one, Jeff Robinov would definitely spit in his face—what the hell are you thinking? If a comic book adaptation could win a major award, I'd dare to strip naked and run a lap around Beverly Hills!

However, the person proposing to film it is Cao Yang, so that is different.

This is the weight of one's words; even if it is a ridiculous idea, the listener will carefully consider and seriously ponder it.

Jeff Robinov is, after all, someone who could become the president of Warner Bros. Pictures, and he is still very knowledgeable about film.

If *Joker* wants to win an award, it is nothing more than filming the helplessness of a small person in a big environment—the exploration of marginalized characters and the criticism of society.

Many people know how a film should be shot if it wants to win an award.

However, knowing how to shoot it and the effect presented after shooting it are two different things!

This can very clearly highlight the director's skill.

Jeff Robinov certainly believes that Cao Yang is the top in this regard.

(End of chapter)