Chapter 382

Except for Best Picture, which was beyond everyone's expectations and could be considered an upset, the other awards at this Golden Rooster Awards were reasonable.

Cao Yang's "Black Swan" had six nominations: Best Picture, Best Director, Best Actress, Best Supporting Actor, Best Cinematography, and Best Screenplay.

It won four big awards: Best Director, Best Actress, Best Supporting Actor, and Best Cinematography, making it the biggest winner.

Jia Zhangke's "Still Life" had four nominations, but only won one award, Best Screenplay; many people were optimistic about Best Picture, but it missed out.

This made Jia Zhangke a bit dejected.

Wang Quanan's "Tuya's Marriage" could also be considered one of the winners; after all, it defeated two Golden Lion movies, "Black Swan" and "Still Life," and won Best Picture.

The seven technical awards—Best Art Direction, Best Costume Design, Best Visual Effects, Best Makeup, Best Sound Recording, and Best Music—were not considered upsets.

These seven awards were taken away by four big productions: "Curse of the Golden Flower," "The Banquet," "A Battle of Wits," and "The Promise," which also met expectations; after all, whether in terms of costumes, makeup, props, or visuals, these few were done very well.

This Golden Rooster Awards was generally very successful.

This could be seen from the feedback the next day.

The ratings of the live broadcast by the movie channel created the highest in the history of broadcasting the Golden Rooster Awards.

The audience's feedback was also very good; many people left messages online saying that this Golden Rooster Awards was finally "understandable," and the winning movies were no longer those movies that were confusing and had never been heard of.

In fact, the main reason for the high ratings of this Golden Rooster Awards was that many big directors and big stars participated, which was something everyone knew from the beginning.

But the subsequent audience feedback was what Cao Yang, Old Hou, and Old Han valued the most.

Fortunately, the reform of this Golden Rooster Awards didn't disappoint people; it was considered a good start and also laid a good foundation for the future.

After the Golden Rooster Awards, Cao Yang took Cheng Long and a few others to Canada; "Manchester by the Sea" was expected to be filmed there for 10 days, most of which were Cheng Long's scenes.

Old Tian actually wanted Cao Yang to stay for two more days before going to Canada; "Pieta" was to be released nationwide on November 1st, and he wanted Cao Yang to stay and attend the premiere before leaving.

Cao Yang refused mercilessly.

Just kidding, "Love in the Seaside City," which is "Manchester by the Sea," still had to participate in the Berlin Film Festival in February next year.

It was already the end of October, time was tight and the task was heavy, so they definitely had to work overtime to finish filming, make post-production, submit for review, etc. What if they couldn't catch up with the Berlin Film Festival?

Of course, this was just Cao Yang's surface excuse.

The real reason was that Li Xiaoran, Gao Yuanyuan, Dong Xuan, Pang Bing, and Yu Feihong all sent messages to Cao Yang, saying they would stay in Gusu for a day tomorrow.

Heh heh, Cao Yang even laughed.

I still don't know what you mean? Isn't it just wanting me to accompany you... all tomorrow? I have the art of cloning, right?

Forget it, forget it.

I don't have the art of cloning, how could I possibly treat you all equally?

Slip away, slip away.

The movie is rushing the schedule, Canada has already booked the studio, the staff there is already in place, and they have to participate in the Berlin Film Festival in February next year... etc., etc., anyway, they are all reasonable excuses.

Then, to show "sincerity," he specially called everyone to ask if they wanted to go to Canada with him.

Li Xiaoran, Gao Yuanyuan, Dong Xuan, and Pang Bing all had work to do, so they definitely couldn't go to Canada with him; as for Yu Feihong, she could go if she wanted to. As the female lead of the movie, surely no one would think too much if she followed.

Fortunately, everyone's work was arranged long ago; if they could spare a day or two, it might be no problem, but going to Canada definitely wouldn't be a matter of a day or two, so no one followed.

Even Yu Feihong, as there were no scenes for her in the Canadian filming, after considering it, didn't follow—because of the added immersion experience, she felt lost every day and liked to stay at home alone and pity herself.

Cao Yang actually sincerely wanted Yu Feihong to follow; Yu Feihong's state was not right, and he was very afraid that she would have problems.

Before going to Canada, Cao Yang specially set aside an evening to accompany Yu Feihong.

He was really a bit regretful now, feeling that the immersion experience shouldn't be used like this; if he really wanted the actor to be "super god," he could add it gradually when the actor had scenes.

For example, when filming Yu Feihong's scenes, he could add the "just right" immersion experience the night before, but when filming the scenes where she needed to "explode," he would add more immersion experience.

The benefit of doing this is that even if more immersion experience is added, after the emotional vent in the "explosive" scenes, the negative impact outside the play caused by the immersion experience will likely be reduced to a minimum.

Sigh, the development of the immersion experience is still not in place.

Next time, try to change the previous rough way—although directors often treat actors as "tools," they can't treat them too much like they aren't people.

Hmm, next time try to treat them as people.

Due to the tax credit policy in Quebec, Canada, many Hollywood film companies especially like to shoot here.

Because of this, quite a few studios have been built here.

What Cao Yang chose was Columbia's studio here.

Actually, it would be fine if he didn't rent the studios built by those big production companies here; he could rent some private houses and transform them for filming.

However, this method looks cheaper than renting a studio, but when it's really done, not only will it not be cheaper, it will add countless troubles.

For example, it takes time to choose a suitable house, but the owner of the house might not be willing to rent it to you for filming.

In addition, you have to find workers, actors, and rent filming equipment locally; if filming requires closing the road, you also have to report and apply to the city hall—the approval takes a certain amount of time, and even if approved, you can only film in the specified time period...

It's all trouble.

And renting a studio is much simpler; you can transform it into the appearance you want to film, or you can entrust them to deliver the finished product.

Or, if the requirements are not too high and there is no special meaning, you can choose existing streets or houses, and you only need to move suitable furniture into the room.

Moreover, extras or special actors, filming equipment, etc., are all available here.

Because this is a studio, closing the street for filming only needs to be coordinated, and it has nothing to do with the city hall; there is no need to apply and report to them.

There is another important point: if you rent a studio for filming, there are not so many troubles, so you can save a lot of time.

What's more, with Cao Yang's relationship with Columbia, filming in their studio not only has discounts, but other aspects can also be guaranteed, and communication and coordination are extremely fast.

Most importantly, Columbia can apply for tax credits on his behalf, which not only saves a lot of trouble but also maximizes the use of the tax credit policy.