Chapter 403

In this era, why do the Oscars make people in the country feel that the style is high? Even most ordinary audiences might not know much about the European Big Three film festivals, but they must know the Oscars.

One is that Hollywood films have been conquering cities and land globally, almost occupying the film markets of all mainstream countries, and also beating the local films until they can't find north.

If the country hadn't taken a series of measures in time, such as limiting the number of imports, letting Hollywood blockbusters pile up to fight themselves, and creating a domestic film protection month, it would definitely be like Europe, Japan, South Korea, Hong Kong, and Taiwan, being fully occupied, and only able to develop genre films.

Two is that those media and directors in the country shout "Rush for the Oscars, rush for the Oscars" every year, but almost every time they end in failure, invisibly raising the style of the Oscars.

Looking at the "Rush for the Oscars" road in the twenty years since China's reform and opening up, every year the mainland, Taiwan, and Hong Kong will each select a film to "Rush for the Oscars."

Up to now, only Old Mouzi's *Ju Dou*, *Raise the Red Lantern*, *Hero*, and Chen Kaige's *Farewell My Concubine* have received Oscar nominations for Best Foreign Language Film in the mainland.

Ang Lee from Taiwan also has three films that received Oscar nominations for Best Foreign Language Film, namely *The Wedding Banquet*, *Eat Drink Man Woman*, and *Crouching Tiger, Hidden Dragon*, and *Crouching Tiger, Hidden Dragon* eventually won the Oscar for Best Foreign Language Film.

This is the only time Chinese film "Rush for the Oscars" has succeeded.

As for Hong Kong film, they select one every year, but sorry, no film has ever received a nomination.

That is to say, in these twenty years, the mainland has four films that received nominations, Taiwan has three films that received nominations, and Hong Kong film has 0 eggs.

Therefore, at least on the surface, the Oscars are much more difficult than the European Big Three film festivals.

This Oscar, the two sides of the strait and three places also each selected a film to "Rush for the Oscars."

Taiwan sent *Island Etude*, and Hong Kong sent *Exiled* directed by Du Qifeng.

On the mainland side, the final candidates were *The Knot* and *Sanctuary*; finally, the Film Bureau chose *Sanctuary*, which won the Venice Film Festival Golden Lion, between the two films.

Films directed by Cao Yang never sign up to fight for any Oscar Best Foreign Language Film candidate quota.

The Film Bureau asked him if he wanted to participate in the first two years, but later, as Cao Yang won the Oscar for Best Picture and Best Director, they didn't ask anymore.

Old Tian is different from Cao Yang.

Like Old Mouzi and Old Chen, he attaches great importance to the Oscar for Best Foreign Language Film.

Actually, the Oscar's generation of the nomination list for Best Foreign Language Film is relatively "civilian," plain white is that the randomness is very large, the professionalism is not large, the fairness... hmm, if you only look at the process, it is fair on the surface.

After the declaration of the Oscar for Best Foreign Language Film by various countries or regions ends, the Academy will recruit volunteers who understand foreign languages in Los Angeles, between about 320 and 400.

Then these people will be divided into several groups, and at the same time, the declared films will be distributed to these groups.

After watching the films, the volunteers will score these films, with a maximum of 10 points and a minimum of 7 points, and then summarize the scores; the top six films enter the short list.

The short list is divided into two parts; one part is the six films with the highest scores from the volunteers, and the other part is said to be for checking for omissions and filling in gaps, and three films are selected by the members of the internal foreign language film executive committee of the Academy.

This is the 6+3 short list.

This is not yet the final 5-film nomination list.

Finally, the Academy will organize a nomination working group again, the members of which are all well-known filmmakers, and then these people will select the final 5 films to become the Oscar nomination list for Best Foreign Language Film.

The Oscar nomination list for Best Foreign Language Film has gone through these three procedures and looks very fair, but those who understand understand, the operation space in it is still very large.

Selected by volunteers.

These 3 films can be films with very high quality, or films that completely value the director's fame, or films that have been operated... in short, the operability is very high.

Cao Yang did not operate the Oscar nomination list for Best Foreign Language Film for Old Tian.

Actually, it is not very necessary.

Whether it is volunteers or people from the internal foreign language film executive committee of the Academy, they may not necessarily know who Old Tian is, but the Venice Golden Lion award introduced in the data, plus the producer and screenwriter's name written as "Cao Yang."

These two points alone are enough to ensure that *Sanctuary* enters the Oscar nomination list for Best Foreign Language Film.

The result was as Cao Yang expected.

Taiwan's *Island Etude* and Hong Kong's *Exiled* both failed to enter the nomination list, while Old Tian's *Sanctuary* successfully entered the final 5 Oscar nomination list for Best Foreign Language Film.

Up to this point, among the directors who "Rush for the Oscars" and entered the nomination list besides Old Mouzi and Old Chen in the mainland, there is one more Old Tian.

Since *Sanctuary* won the Oscar nomination for Best Foreign Language Film, Old Tian definitely has to come to Los Angeles to participate in the Oscars.

Cao Yang drove to the airport to pick up Old Tian; Old Tian also brought Fu Dalong, Hui Yinghong, and Ning Hao.

Moreover, Cheng Jianye also came with Old Tian.

Ning Hao is the deputy director of *Sanctuary*; he came with another purpose: Cao Yang wants to let Ning Hao prepare for the relevant shooting matters of *Joker* after the Oscars end.

As for Cheng Jianye, he is the executive producer Cao Yang sent to *The Fault in Our Stars*; this time in the award nomination of *The Fault in Our Stars*, there is a nomination for Best Picture; Cao Yang wants him to come and show his face.

Although as an executive producer, even if *The Fault in Our Stars* wins Best Picture, he cannot go on stage to receive the award when the producer is on the scene.

But accepting interviews afterward, with the subtitle "Oscar Best Picture Executive Producer," is still quite stylish.

It is worth mentioning that *Juno*, where Cheng Jianye was sent by Cao Yang to be the executive producer, also won the Oscar for Best Picture.

If *The Fault in Our Stars* can win this time, he will be the executive producer of two Oscar Best Picture films.

This is already a very remarkable achievement.

Cao Yang took them to have a meal and sent them to the booked hotel; after sitting on the plane for so long, everyone must be very tired.

The next day, the people from *The New Pirates of the Caribbean* crew also came to Los Angeles.

Depp, as the person in the crew who won the Best Actor nomination, naturally treated everyone to a big meal.

This time, Depp and his agency didn't operate for Best Actor.

Because this is a very obvious thing; even if Depp acts very well and the character is very distinctive, it is simply impossible for a commercial film at the 1 billion USD box office level to win an individual award.

But as a two-time Oscar Best Actor winner, being nominated for Oscar Best Actor again, treating guests is a must.

After the meal, those who have houses in Los Angeles go home, and those who don't have houses go to the booked hotel.

Only Eva Green, she neither has a house in Los Angeles nor booked a hotel, but got into Cao Yang's car.

Many people in the crew saw it.

But no one was curious, and no one even took an extra look, as if this was a very natural thing.

By the way, Eva Green is not without a place to go in Los Angeles; her boyfriend, although he didn't buy a house in Los Angeles, rented an apartment, and it is not far from the Arcadia Villa where Cao Yang lives.

"I'll send you back?"

Cao Yang asked with a smile after Eva Green fastened her seat belt.

Eva Green was silent for a moment, immediately unfastened the seat belt she had just fastened, bent over, and was about to drill to Cao Yang's driver's side.

At the same time, she didn't forget to say: "The parking lot is also good; I haven't tried it yet."

Cao Yang was stunned for a moment; this is different from what he thought.

This was just a casual question; what did Eva Green understand it as?

By the time he reacted, Eva Green's upper body had already drilled over, and her hands were not idle, preparing to release the restraints for Cao Yang.

Damn!

"Wait."

Cao Yang hurriedly asked: "What are you doing?"

Eva Green was puzzled instead, asking with confusion: "You don't want me to go to your place, right? And you didn't object to me getting in your car, so isn't it here?"

What is what.

Damn, your brain circuit.

I just said I'd send you back, and you understood it as not letting you go to my place?