[{"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-352":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},2297352,4493,"Chapter 352: Changing the Approach","the-academic-director-reborn-in-the-film-industr-chapter-352",352,"\u003Cp>Christopher Nolan was born in London, England, and at less than 37 years old, he is considered a young and promising director of the vigorous younger generation.\u003C\u002Fp>\n\u003Cp>His reputation and influence in Hollywood are currently decent, and he is categorized among those commercial directors with a strong auteur style.\u003C\u002Fp>\n\u003Cp>Perhaps influenced by later generations, Cao Yang naturally assumed that Nolan was a Hollywood director with a highly distinct personality who would certainly not film according to someone else's script and intentions.\u003C\u002Fp>\n\u003Cp>To a certain extent, this thought of his could be considered accurate.\u003C\u002Fp>\n\u003Cp>Looking at the films Nolan has made since his debut, the three short films and one feature film before he came to Hollywood to develop were all directed and written by him, and he even handled the editing and cinematography himself.\u003C\u002Fp>\n\u003Cp>After coming to Hollywood, *Memento*, *Batman Begins*, and *The Prestige* were likewise both directed and written by him.\u003C\u002Fp>\n\u003Cp>However, Cao Yang overlooked one point.\u003C\u002Fp>\n\u003Cp>The current Nolan is not yet the great director who achieved a global box office of one billion with *The Dark Knight* and thereby elevated his status.\u003C\u002Fp>\n\u003Cp>He is not yet the great director who was \"deified\" thanks to *Inception* and *Interstellar*.\u003C\u002Fp>\n\u003Cp>To date, he has only made four films in Hollywood; although his breakout work *Memento* had excellent word-of-mouth, it only grossed 40 million at the box office.\u003C\u002Fp>\n\u003Cp>His second film, *Insomnia*, had a budget of 46 million USD, and its global box office was only 110 million.\u003C\u002Fp>\n\u003Cp>His third film, *Batman Begins*, had an investment budget of 170 million USD and a global box office of 370 million; while the word-of-mouth was decent, the box office didn't really make much money.\u003C\u002Fp>\n\u003Cp>This is also the reason why Warner Bros. had reservations—*Batman* is the most popular superhero in the U.S. with a broad fan base, and this box office figure simply did not meet their expectations.\u003C\u002Fp>\n\u003Cp>Especially with his latest film, *The Prestige*; although the word-of-mouth was as good as ever, the investment budget of over 40 million only managed to reach a global box office of 100 million.\u003C\u002Fp>\n\u003Cp>This is the classic case of critical acclaim without commercial success.\u003C\u002Fp>\n\u003Cp>The top brass at Warner Bros. also find Nolan quite a headache.\u003C\u002Fp>\n\u003Cp>Starting from Nolan's second film, *Insomnia*, the subsequent films were all invested in and produced by Warner Bros.\u003C\u002Fp>\n\u003Cp>If you aren't making money at the box office, it would be fine if you could at least reap some awards.\u003C\u002Fp>\n\u003Cp>But, sorry, whether it's the three major European festivals or the Oscars, there isn't a single award.\u003C\u002Fp>\n\u003Cp>To put it bluntly, Nolan's storytelling ability is very strong and his creativity is full, which makes his films very well-received by audiences, but his films are essentially commercial, making it a bit difficult to win awards.\u003C\u002Fp>\n\u003Cp>Currently, there is a term that describes how Warner Bros. views Nolan quite accurately: \"chicken ribs\"—tasteless to eat, but a pity to discard.\u003C\u002Fp>\n\u003Cp>Nolan is also very clear about his own situation.\u003C\u002Fp>\n\u003Cp>He is currently in a very awkward position.\u003C\u002Fp>\n\u003Cp>One step forward, and he might be a great director of mainstream commercial films.\u003C\u002Fp>\n\u003Cp>If he can't make that leap, he is highly likely to become just one of the many commercial directors in Hollywood, and the possibility of a comeback will increase exponentially.\u003C\u002Fp>\n\u003Cp>This is not alarmist talk.\u003C\u002Fp>\n\u003Cp>He has been working with Warner for several years now; if Warner stops working with him and stops investing in him, given his fairly good reputation, there are many film companies outside that would give him a chance.\u003C\u002Fp>\n\u003Cp>However, he can be certain that absolutely no film company would give him an investment budget exceeding 100 million USD.\u003C\u002Fp>\n\u003Cp>Why?\u003C\u002Fp>\n\u003Cp>Because his most recent film only had a box office of 100 million.\u003C\u002Fp>\n\u003Cp>Because his films don't make money.\u003C\u002Fp>\n\u003Cp>Because he has no awards in his hands.\u003C\u002Fp>\n\u003Cp>Nolan can even imagine the fate he might face next: a 40 or 50 million investment, a 100 million box office; a 50 or 60 million investment, a 100 million box office... repeating in such a cycle.\u003C\u002Fp>\n\u003Cp>Basically, he shouldn't lack investment, but it will also be very hard to get large investments.\u003C\u002Fp>\n\u003Cp>Therefore, it is best to continue working with Warner Bros.\u003C\u002Fp>\n\u003Cp>Only Warner is willing to give him a chance and willing to invest on a large scale.\u003C\u002Fp>\n\u003Cp>Nolan is a bit resistant to filming entirely according to someone else's script, but it also depends on who the other person is.\u003C\u002Fp>\n\u003Cp>If it were Cao Yang, deep down, he wouldn't be too resistant, and he would even have some expectations.\u003C\u002Fp>\n\u003Cp>To speak bluntly, his current status is simply incomparable to Cao Yang's, and he considers working with Cao Yang to be a relatively good opportunity for him.\u003C\u002Fp>\n\u003Cp>When Cao Yang received a call from Jeff Robinov, the president of Warner Bros. Pictures, saying that Nolan was willing to cooperate and serve as the director for the second *Batman* film, Cao Yang was surprised for a moment.\u003C\u002Fp>\n\u003Cp>He asked, \"Jeff, does Director Christopher know that this film must be shot according to the script I wrote? That is to say, as the director, he doesn't have much power, and he won't even be able to participate in the editing.\"\u003C\u002Fp>\n\u003Cp>Cao Yang's words instead left Jeff Robinov a bit confused.\u003C\u002Fp>\n\u003Cp>\"Of course he knows these things; isn't it normal not to give him final cut?\"\u003C\u002Fp>\n\u003Cp>Jeff Robinov was even surprised; since when did Nolan have final cut on a film? Even if he is the director and screenwriter, that doesn't count; at most, he only has advisory power.\u003C\u002Fp>\n\u003Cp>Cao Yang was silent for a moment, then gave a self-deprecating smile, \"Okay, Jeff, I understand. I will notify Bellman now and have him make a trip to Warner.\"\u003C\u002Fp>\n\u003Cp>After hanging up the phone, Fatty Bing next to him asked with a smile, \"Did Warner find a director for that *Batman* film you didn't want to direct?\"\u003C\u002Fp>\n\u003Cp>She knew about this matter and was very clear that Cao Yang was not very willing to direct *Batman*.\u003C\u002Fp>\n\u003Cp>A while ago, Bellman often came here to report on the negotiations to Cao Yang, and Cao Yang didn't intend to hide it from Fatty Bing, so she knew quite a lot about the new film.\u003C\u002Fp>\n\u003Cp>For this reason, Fatty Bing really had many thoughts.\u003C\u002Fp>\n\u003Cp>For a film with an investment of nearly 200 million USD and a broad fan base, which director wouldn't be fighting and scrambling to direct it?\u003C\u002Fp>\n\u003Cp>This kind of film is, to a certain extent, very \"stable,\" with a much higher possibility of success than an average film, and it's a super-investment production; as long as it succeeds, it's very easy to elevate one's \"status.\"\u003C\u002Fp>\n\u003Cp>Warner was very hopeful that Cao Yang would direct it; Bellman revealed that as long as Cao Yang was willing to direct, the conditions Warner offered could be extra lenient.\u003C\u002Fp>\n\u003Cp>However, Cao Yang was not tempted.\u003C\u002Fp>\n\u003Cp>\"Yeah, it's still the director of the previous *Batman*, named Christopher Nolan.\"\u003C\u002Fp>\n\u003Cp>Cao Yang said with a smile.\u003C\u002Fp>\n\u003Cp>Fatty Bing didn't have any special feeling about this name. She thought for a moment and asked, \"Is this director very famous? I have heard his name, but it doesn't seem like anything special in my impression?\"\u003C\u002Fp>\n\u003Cp>The box office hasn't exploded, and there are no notable awards; indeed, there is nothing special, he is just a young director in Hollywood who is considered to have a lot of promise.\u003C\u002Fp>\n\u003Cp>Cao Yang also thought about it, alright, there really is nothing special right now.\u003C\u002Fp>\n\u003Cp>\"He is the director of the previous *Batman*. Letting him continue to direct can maintain the unity and integrity of the film's style.\"\u003C\u002Fp>\n\u003Cp>Cao Yang originally wanted to joke and say that when the second *Batman* comes out, you'll know he is still a bit special.\u003C\u002Fp>\n\u003Cp>But then he thought that if it really sells as well as it did in his previous life, Nolan would certainly get more attention, but most of the credit would likely be attributed to himself.\u003C\u002Fp>\n\u003Cp>After all, his own fame and influence are greater, and Warner would certainly focus on promoting him when marketing the film.\u003C\u002Fp>\n\u003Cp>Fatty Bing then thought of another question.\u003C\u002Fp>\n\u003Cp>\"Are you not planning to make it a co-production by working with Warner?\"\u003C\u002Fp>\n\u003Cp>Make it a co-production?\u003C\u002Fp>\n\u003Cp>Better forget it; when Warner gets ruthless, they even screw over their own parent company, let alone other companies.\u003C\u002Fp>\n\u003Cp>Alright, Warner Bros. isn't stupid, so they shouldn't be too treacherous toward China Film, but knowing they can't screw them over, how could they possibly be willing to make it a co-production?\u003C\u002Fp>\n\u003Cp>At the very least, *Batman* will definitely not be a co-production.\u003C\u002Fp>\n\u003Cp>*Joker* might be possible; after all, Warner's positioning for this film is an art-house film aiming for awards, not one with the box office as its goal.\u003C\u002Fp>\n\u003Cp>In recent years, as the Chinese box office market has been growing significantly every year, Hollywood film companies, including Warner, are certainly willing to maintain a good relationship with China Film.\u003C\u002Fp>\n\u003Cp>China Film holds the power of life and death over imported films, so they still have a lot of prestige.\u003C\u002Fp>\n\u003Cp>Of course, the prerequisite is that the Chinese film market is attractive enough, and China can satisfy this condition.\u003C\u002Fp>\n\u003Cp>Cao Yang called Bellman to say that the director for *Batman* had been found, that Nolan was willing to take over, and asked him to continue pushing this matter with Warner Bros. Additionally, he asked him to bring up the matter of making *Joker* a co-production, explaining the benefits to Warner; if nothing else, there is at least one point: co-productions are not subject to the restrictions on imported films and do not occupy the quota for imported films.\u003C\u002Fp>\n\u003Cp>That is to say, as long as it is made into a co-production, *Joker* will definitely be able to be screened in China, and with Cao Yang's influence, the box office cannot be low.\u003C\u002Fp>\n\u003Cp>No matter how you look at it, it's a win-win situation; you only need to give up a little bit of the investment share.\u003C\u002Fp>\n\u003Cp>Fatty Bing stayed in the U.S. for another week before returning.\u003C\u002Fp>\n\u003Cp>With the global success of *Inception*, her status rose rapidly, directly reaching a level similar to International Zhang.\u003C\u002Fp>\n\u003Cp>Recently, with *Inception* winning five golden statues, although Fatty Bing had nothing to do with that and didn't receive a nomination for Best Actress or Best Supporting Actress, she still gained quite a few benefits.\u003C\u002Fp>\n\u003Cp>In her latest quotes for commercial endorsements, she directly surpassed International Zhang.\u003C\u002Fp>\n\u003Cp>As for whether she can maintain it, that depends on what follows.\u003C\u002Fp>\n\u003Cp>It is currently difficult to precisely categorize the active female stars in the country; as everyone knows, there are five people in the Four Qingyi, four people in the Three Huadan, plus a Fatty Bing who is even harder to categorize.\u003C\u002Fp>\n\u003Cp>If you call Fatty Bing a Qingyi, firstly, there are too many Qingyi, and secondly, she has no major awards—International Zhang has been crazily racking up awards these past few years, at least managing to get the Hong Kong Film Award for Best Actress, and the mainland's Golden Rooster and Hundred Flowers Best Actress awards.\u003C\u002Fp>\n\u003Cp>Categorizing Fatty Bing into the Huadan ranks doesn't work either; her international fame is far greater than the other Huadan, and her salary and endorsement fees are not in the same league.\u003C\u002Fp>\n\u003Cp>Therefore, some busybodies proposed the \"Four Qingyi, Two Internationals, and Four Huadan.\"\u003C\u002Fp>\n\u003Cp>Among them, the \"Two Internationals\" refers to International Zhang and Fatty Bing, which is an attempt to kick International Zhang out of the ranks of the Four Qingyi.\u003C\u002Fp>\n\u003Cp>International Zhang, of course, won't have it—damn it, I spent the last two years desperately taking on art-house films, and the sacrifices I made are not for outsiders to know; I finally managed to get the Hong Kong Film Award and the Golden Rooster for Best Actress just to keep my \"Qingyi\" status.\u003C\u002Fp>\n\u003Cp>You motherfucker say you're kicking me out, so you just kick me out?\u003C\u002Fp>\n\u003Cp>How is that possible!\u003C\u002Fp>\n\u003Cp>What the hell is Fatty Bing? Does she have any major awards?\u003C\u002Fp>\n\u003Cp>No, right?\u003C\u002Fp>\n\u003Cp>Without major awards, why should she be ranked alongside us Four Qingyi?\u003C\u002Fp>\n\u003Cp>Hmph, what I look down on most is this kind of vulgar woman who has no awards but randomly inflates her status.\u003C\u002Fp>\n\u003Cp>Cao Yang is actually very busy during this period.\u003C\u002Fp>\n\u003Cp>He not only has to do the post-production for *Pirates of the Caribbean: At World's End*, occasionally checking on the progress of the special effects, but also has to follow up on the post-production of *The Fault in Our Stars*.\u003C\u002Fp>\n\u003Cp>*The Fault in Our Stars* began preparations in October last year, started filming in December, and finished filming in February.\u003C\u002Fp>\n\u003Cp>Cao Yang had been filming *Pirates of the Caribbean: At World's End* until February, went to Berlin in early February, then returned to the country for a few days, and upon returning, attended the Oscars; he was truly stretched thin.\u003C\u002Fp>\n\u003Cp>It wasn't until March that he followed up on *The Fault in Our Stars*, explaining to the editor what he wanted and having the editor cut a rough draft first.\u003C\u002Fp>\n\u003Cp>This film has no big scenes and no special effects; it's all about playing on the emotions.\u003C\u002Fp>\n\u003Cp>Therefore, the soundtrack is also key.\u003C\u002Fp>\n\u003Cp>A good soundtrack combined with the plot can definitely make people empathize; placed in this film, it's meant to poke at your tear ducts, it's meant to make you cry.\u003C\u002Fp>\n\u003Cp>However, a film like *The Fault in Our Stars* counts as a variant of a romance drama, and if the sentimentality is overdone, it won't work—romance films have always been targets of \"discrimination\" at film festivals and are very unpopular with judges.\u003C\u002Fp>\n\u003Cp>Of course, if you play with twisted romance, that is another matter; that is \"true\" art that digs into human nature, and it is very easy to win awards.\u003C\u002Fp>\n\u003Cp>Therefore, one can often see some rather twisted romance films at the three major European film festivals.\u003C\u002Fp>\n\u003Cp>For example, a husband sending his wife to rendezvous with a lover; this is a French film.\u003C\u002Fp>\n\u003Cp>For example, a woman who is like a fountain, erupting at the slightest provocation, then flowing into the stream at her feet, fattening many fish in the water; this is a Japanese film.\u003C\u002Fp>\n\u003Cp>For example, certain relationships occurring between close relatives, after which they either chase regrets that are hard to settle or choose reconciliation, and some even continue the relationship... these are many films that have entered the main competition sections of the three major European film festivals.\u003C\u002Fp>\n\u003Cp>There are quite a few similar ones.\u003C\u002Fp>\n\u003Cp>In short, pure romance is not well-regarded at film festivals; only love that plays with patterns has a chance to win awards.\u003C\u002Fp>\n\u003Cp>*The Fault in Our Stars* is the last film led by Columbia executive director Tang Mu-Luo Si before he went to Sony Pictures to serve as global vice president, so it is definitely aimed at winning awards.\u003C\u002Fp>\n\u003Cp>But the love of cancer patients does not fall into the category of \"twisted\"; on the contrary, it is purer, counting as one of the films not favored by judges. It is easy to get a nomination, but to win an award, one must operate it well.\u003C\u002Fp>\n\u003Cp>To this end, Cao Yang and Tang Mu-Luo Si each put forward many ideas.\u003C\u002Fp>\n\u003Cp>Tang Mu-Luo Si had told Cao Yang that he and Academy President Sid-Jia Ni Si were very good friends, a point Cao Yang had already witnessed at this year's Oscars.\u003C\u002Fp>\n\u003Cp>To be honest, Cao Yang did not expect *Inception* to win five little golden men; Academy President Sid-Jia Ni Si indeed played a huge role in this.\u003C\u002Fp>\n\u003Cp>However, this last film Tang Mu-Luo Si led at Columbia is definitely not just looking for Oscar nominations and some minor awards.\u003C\u002Fp>\n\u003Cp>Thus, Cao Yang asked Tang Mu-Luo Si to what extent Sid-Jia Ni Si could help.\u003C\u002Fp>\n\u003Cp>Tang Mu-Luo Si thought for a moment and said, \"Sid's successful election as Academy President was the result of Columbia's full support, and I also led this matter.\"\u003C\u002Fp>\n\u003Cp>Perhaps feeling that saying this did not fully show his relationship with Sid-Jia Ni Si, Tang Mu-Luo Si was silent for a moment, then said with implication:\u003C\u002Fp>\n\u003Cp>\"Sid once served as vice chairman of Columbia Pictures, responsible for a period of marketing and distribution for Columbia Pictures.\u003C\u002Fp>\n\u003Cp>Just one year and three months after he took office, the board of directors removed him as vice chairman and gave him the position of deputy director of the production department. At that time, you happened to be producing *District 9*, so I let him go be the executive producer.\u003C\u002Fp>\n\u003Cp>After you finished filming this movie, he left Columbia Pictures... you know what happened after that; he unexpectedly succeeded in running for President of the Academy of Motion Picture Arts and Sciences and became the Oscar President.\"\u003C\u002Fp>\n\u003Cp>Tang Mu-Luo Si did not say much, but there were many hidden things within it.\u003C\u002Fp>\n\u003Cp>Cao Yang also did not expect that Sid-Jia Ni Si had served as vice chairman of Columbia Pictures and was responsible for the company's marketing and distribution; this was a very great power.\u003C\u002Fp>\n\u003Cp>He was removed from office after working in this position for only one year and three months, which shows that a major event occurred during this period, to the point that he was \"demoted\" to deputy director of the production department.\u003C\u002Fp>\n\u003Cp>Regardless of what happened during this time, Cao Yang can be sure that Tang Mu-Luo Si and Sid-Jia Ni Si should have a very good relationship, either as \"accomplices\" or as true friends.\u003C\u002Fp>\n\u003Cp>At the very least, one can see that when Sid-Jia Ni Si was \"in trouble,\" Tang Mu-Luo Si gave him a hand.\u003C\u002Fp>\n\u003Cp>He was even afraid that he would be \"embarrassed\" in the production department, so he let him go to Cao Yang's crew for *District 9* to serve as executive producer, hiding for a period of time.\u003C\u002Fp>\n\u003Cp>When Sid-Jia Ni Si ran for Academy President, Tang Mu-Luo Si should have also put in a great deal of effort.\u003C\u002Fp>\n\u003Cp>In short, the relationship between the two should be even better than it looks.\u003C\u002Fp>\n\u003Cp>A community of interests?\u003C\u002Fp>\n\u003Cp>Cao Yang does not know what specifically happened, and Tang Mu-Luo Si did not continue to explain, but what is certain is that as long as there is a plausible reason, *The Fault in Our Stars* should be able to win a major award.\u003C\u002Fp>\n\u003Cp>A plausible reason?\u003C\u002Fp>\n\u003Cp>Cao Yang thought of a certain domestic film that, through a \"Heartbreak Story\" campaign, invited heartbroken young people to tell their own stories and uploaded them as short films to video websites.\u003C\u002Fp>\n\u003Cp>These contents resonated widely on social media, forming a good word-of-mouth effect...\u003C\u002Fp>\n\u003Cp>Although their marketing was for the box office and had nothing to do with awards, if one were to change it slightly, could it create a sensational effect and thus win awards?\u003C\u002Fp>\n\u003Cp>\"Tang Mu, I remember April 29th is World Wish Day, aimed at helping seriously ill children realize their wishes and delivering hope and strength.\"\u003C\u002Fp>\n\u003Cp>Cao Yang glanced at Tang Mu-Luo Si and said, \"We can contact the Wish Foundation, the initiator of World Wish Day, and join forces with them to hold a massive Wish Day event.\u003C\u002Fp>\n\u003Cp>Find more children and teenagers suffering from serious illnesses, realize their wishes for them, and film it into videos to put on the website, calling on people to donate and help them.\u003C\u002Fp>\n\u003Cp>Then we promise in front of the media that, besides using a portion of the box office to realize their wishes, we will let them receive better medical assistance...\"\u003C\u002Fp>\n\u003Cp>Tang Mu-Luo Si's eyes lit up; he felt that Cao Yang's idea was truly excellent and fit the theme of the film quite well.\u003C\u002Fp>\n\u003Cp>As long as the momentum is up and the influence is up, this film will have been \"gilded,\" and winning an award will be the will of the people.\u003C\u002Fp>\n\u003Cp>By then, this film will not be a romance film, but an inspirational film that gives seriously ill patients hope and strength and encourages them to live on!\u003C\u002Fp>\n\u003Cp>Romance films are not popular, but inspirational films are what judges like.\u003C\u002Fp>\n\u003Cp>(End of this chapter)\u003C\u002Fp>",3363,"2026-06-20T05:36:33.260Z",1,"Gemini 3.1 Flash Lite","65653bff2bb100fa85605d172b7473f023f929f72900900b7564d23b67f0b999","the-academic-director-reborn-in-the-film-industr-chapter-353","the-academic-director-reborn-in-the-film-industr-chapter-351",411,"https:\u002F\u002Fnovelzhen.com\u002Fimages\u002Fcovers\u002Fthe-academic-director-reborn-in-the-film-industr-cover.jpg"]