[{"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-385":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},2297385,4493,"Chapter 385: Striving","the-academic-director-reborn-in-the-film-industr-chapter-385",385,"\u003Cp>For the post-production editing of \"Manchester by the Sea,\" Cao Yang still sought out Yang Qian from the Qingying Studio.\u003C\u002Fp>\n\u003Cp>As for Yang Qian, to say he was a particularly creative editor would be pure nonsense; he was simply a \"skilled worker\" who had toiled in the editor's chair for many years.\u003C\u002Fp>\n\u003Cp>The reason Cao Yang kept using him was mainly because he was obedient and proficient; whatever Cao Yang wanted him to cut, he would cut, and even if he didn't understand, he would do it according to the requirements.\u003C\u002Fp>\n\u003Cp>This reduced quite a few disputes, and Cao Yang didn't have to convince him why it needed to be cut that way.\u003C\u002Fp>\n\u003Cp>\"This film uses two narrative threads, revolving around the protagonist and his brother's family, respectively.\"\u003C\u002Fp>\n\u003Cp>Cao Yang said to Yang Qian: \"I intend to have these two threads intertwine; I won't use a simple linear chronological order for the narrative, but rather a large number of flashback shots.\u003C\u002Fp>\n\u003Cp>I want to use multiple sudden flashbacks to interrupt the ongoing narrative, and through the interweaving of reality and the past, gradually reveal the life journey of the protagonist and his brother's family.\"\u003C\u002Fp>\n\u003Cp>\"Flashbacks? Reverse chronology?\"\u003C\u002Fp>\n\u003Cp>Yang Qian rubbed his chin; the first things that came to mind were dissolve effects, shadow color shifts, or using related objects to lead into memories, which were the conventional methods used by films that generally adopted reverse chronology and flashbacks.\u003C\u002Fp>\n\u003Cp>However, thinking that this was Director Cao's film, Yang Qian reckoned that Director Cao probably wouldn't be that \"mainstream,\" right?\u003C\u002Fp>\n\u003Cp>\"How do you want to do it?\"\u003C\u002Fp>\n\u003Cp>Yang Qian didn't offer suggestions, nor did he say any useless words; he asked directly.\u003C\u002Fp>\n\u003Cp>He actually had a clear understanding of himself; otherwise, Cao Yang wouldn't use him, let alone promote him to be the editor for \"The Fault in Our Stars.\"\u003C\u002Fp>\n\u003Cp>\"I don't have outstanding abilities, nor am I one of those so-called geniuses, but I only hold onto one thing: whatever Director Cao tells me to do, I do.\"\u003C\u002Fp>\n\u003Cp>This was what he often said to himself, and it was also to remind himself at all times that he must never get carried away.\u003C\u002Fp>\n\u003Cp>\"In the first half of the film, use flashback narrative to create suspense and attract the audience, making the audience develop a dual curiosity from the very beginning: what did the protagonist experience that made him so depressed, irritable, and forlorn?\u003C\u002Fp>\n\u003Cp>And why did his brother die suddenly, and who would take care of the son he left behind? Use segments of flashbacks to gradually unravel the doubts, adding a bit of tension to the otherwise plain story plot.\u003C\u002Fp>\n\u003Cp>This avoids the tediousness of a flat, straightforward family drama, making the audience develop a strong enthusiasm for watching.\"\u003C\u002Fp>\n\u003Cp>Yang Qian nodded to show he understood, praising: \"Doing this can indeed add suspense to a plain story and make people want to keep watching.\"\u003C\u002Fp>\n\u003Cp>Cao Yang continued: \"The flashback shots in the film don't need to be achieved through traditional methods; just use clean and crisp cuts. Let the past and present connect seamlessly, shocking the audience with the most direct contrast, making the film full of tension.\u003C\u002Fp>\n\u003Cp>In the narrative where memories and reality run side by side, the protagonist's past happiness and his current pain form a sharp contrast, which not only explains the reasons for the protagonist's series of cold behaviors but also highlights his sorrow and despair after the fire accident.\"\u003C\u002Fp>\n\u003Cp>Yang Qian slapped his thigh.\u003C\u002Fp>\n\u003Cp>\"The film's narrative, with its frequent interweaving of past and present, perfectly echoes the protagonist's emotional fluctuations.\u003C\u002Fp>\n\u003Cp>The trauma is revealed over and over again; the flashback is no longer just a narrative device to interrupt linear time, but has risen to a way of expressing the character's tragic emotions. It's brilliant!\"\u003C\u002Fp>\n\u003Cp>After finishing, he specifically gave a thumbs up.\u003C\u002Fp>\n\u003Cp>Cao Yang smiled; although Yang Qian was suspected of buttering him up, the fact that he could say this latter part proved he understood what he meant.\u003C\u002Fp>\n\u003Cp>As long as he could understand the meaning, that was fine, so as to avoid him pretending to understand and then making a mess of the editing later.\u003C\u002Fp>\n\u003Cp>The film's post-production work had only been underway for two days when Cao Yang finally waited for the call he wanted.\u003C\u002Fp>\n\u003Cp>\"Dieter, you must be quite busy lately, with so many art films around the world waiting for you to screen; what made you think of calling me?\"\u003C\u002Fp>\n\u003Cp>After answering the phone, Cao Yang joked with a smile.\u003C\u002Fp>\n\u003Cp>Dieter Kosslick, Chairman of the Berlin Film Festival, Artistic Director, Chairman of the Selection Committee, and also serving as the Business Director of the Berlin Film Festival.\u003C\u002Fp>\n\u003Cp>Such a long list of titles all indicated that he was the most powerful figure in the Berlin Film Festival.\u003C\u002Fp>\n\u003Cp>The biggest difference between the Berlin Film Festival, the Cannes Film Festival, and the Venice Film Festival is that their chairmen and artistic directors are almost \"lifetime appointments\"—they usually serve for about twenty years.\u003C\u002Fp>\n\u003Cp>The chairman of the Venice Film Festival, on the other hand, has a four-year term, and individuals cannot serve more than two consecutive terms.\u003C\u002Fp>\n\u003Cp>The 2008 Berlin Film Festival was still held in February, and now it was November; Dieter Kosslick must be busy selecting films for competition, which was why Cao Yang said that.\u003C\u002Fp>\n\u003Cp>\"Cao, I heard you shot a new film? And it's an art film?\"\u003C\u002Fp>\n\u003Cp>Dieter Kosslick didn't waste words and asked straight to the point.\u003C\u002Fp>\n\u003Cp>\"Yes, after finishing 'Pirates of the Caribbean,' I originally wanted to rest in the country for half a year or a year, but who knew I suddenly had a good idea, so I shot it.\"\u003C\u002Fp>\n\u003Cp>Cao Yang said.\u003C\u002Fp>\n\u003Cp>\"Cao, I heard from my colleagues selecting films in China that you are currently doing post-production for your new film. Have you thought about bringing this film to Berlin?\"\u003C\u002Fp>\n\u003Cp>Dieter Kosslick asked.\u003C\u002Fp>\n\u003Cp>He had actually heard about Cao Yang shooting a new film a long time ago and had been hesitating whether to personally invite him to attend the film festival in Berlin.\u003C\u002Fp>\n\u003Cp>However, taking the initiative to open one's mouth is actually not that easy.\u003C\u002Fp>\n\u003Cp>With Cao Yang's status and influence, he certainly hoped very much that Cao Yang could come to the Berlin Film Festival.\u003C\u002Fp>\n\u003Cp>But if he took the initiative to ask, he would owe a favor again; adding the previous time he invited Cao Yang to be the jury president in Berlin, that would be two favors owed.\u003C\u002Fp>\n\u003Cp>If it were an ordinary director, what favors or no favors? I can take the initiative to invite you; isn't that your honor?\u003C\u002Fp>\n\u003Cp>Actually, Dieter Kosslick's idea was not bad; if an ordinary director really received his personal invitation to attend the Berlin Film Festival, they would indeed feel honored.\u003C\u002Fp>\n\u003Cp>But Cao Yang was different; no matter which of the three major European film festivals he went to, he would receive the greatest goodwill and welcome.\u003C\u002Fp>\n\u003Cp>Great directors are a scarce resource all over the world.\u003C\u002Fp>\n\u003Cp>Especially now that the influence of the three major European festivals is declining day by day, having a great director come is something they can only wish for.\u003C\u002Fp>\n\u003Cp>So if Dieter opened his mouth to invite Cao Yang, it would count as him owing Cao Yang a favor, which was also the reason he had been hesitating whether to open his mouth to invite him.\u003C\u002Fp>\n\u003Cp>However, as Dieter received more and more news: international action superstar Cheng Long was the lead actor, Venice Best Actress Yu Feihong seemed to be the female lead, and Cheng Long seemed to have gotten into character, which was being hyped up by the Xiangjiang media...\u003C\u002Fp>\n\u003Cp>Cao Yang + Cheng Long + Yu Feihong, this influence was too great.\u003C\u002Fp>\n\u003Cp>Dieter Kosslick couldn't sit still anymore.\u003C\u002Fp>\n\u003Cp>He began to inquire when Cao Yang's new film would be finished and if it was possible to make it in time for the Berlin Film Festival.\u003C\u002Fp>\n\u003Cp>When Dieter learned through the selector who came to China that the film had wrapped up and a wrap party had been held, he really couldn't sit still.\u003C\u002Fp>\n\u003Cp>It was only November now, and there were still three months until the opening of the Berlin Film Festival; surely post-production couldn't be finished in three months?\u003C\u002Fp>\n\u003Cp>So, he called Cao Yang.\u003C\u002Fp>\n\u003Cp>Cao Yang didn't answer immediately, but said somewhat irrelevantly: \"Dieter, you know, I have already won two Venice Golden Lions...\"\u003C\u002Fp>\n\u003Cp>Dieter Kosslick frowned; Cao Yang's words made him have to think a bit more.\u003C\u002Fp>",1421,"2026-06-20T05:36:33.260Z",1,"Gemini 3.1 Flash Lite","c11e39cfe09e73dafdae83ad7e31a6cecb80f0ed0c9a00f76a9fcabd9d7667ac","the-academic-director-reborn-in-the-film-industr-chapter-386","the-academic-director-reborn-in-the-film-industr-chapter-384",411,"https:\u002F\u002Fnovelzhen.com\u002Fimages\u002Fcovers\u002Fthe-academic-director-reborn-in-the-film-industr-cover.jpg"]