[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"origin-the-playboy-of-huayu-how-did-a-celestial-immorta":3,"chapter-the-playboy-of-huayu-how-did-a-celestial-immorta-the-playboy-of-huayu-how-did-a-celestial-immorta-chapter-109":6},{"origin":4,"title":5},"chinese","The Playboy of Huayu: How Did a Celestial Immortal Transform Me?",{"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},2297735,4495,"Chapter 109: Watching a Film with Liu Yifei","the-playboy-of-huayu-how-did-a-celestial-immorta-chapter-109",109,"\u003Cp>\"I'm going to watch a film with Mr. Feng; you should come along and listen to how Mr. Feng explains how people perform.\"\u003C\u002Fp>\n\u003Cp>\"Mm, I understand.\"\u003C\u002Fp>\n\u003Cp>Liu Yifei put away her playful expression and replied with a serious look.\u003C\u002Fp>\n\u003Cp>She had been holding her breath, determined to hone her acting skills and blind Lu Kuan with her brilliance.\u003C\u002Fp>\n\u003Cp>She couldn't make heads or tails of it even if she chewed through a thousand films on her own, but with experts like Lu Kuan and Feng Yuanzheng to clear up her doubts, Liu Yifei could pick up some tricks of the trade, no matter how mediocre her talent was.\u003C\u002Fp>\n\u003Cp>This was like ordinary fans watching football during the World Cup or European Championship just for the fun of it, only able to join in the cheering when a goal was scored.\u003C\u002Fp>\n\u003Cp>But fans who play the game themselves or understand it better often pay more attention to formations on the field, the players' technical movements, the coach's tactical adjustments, and other such factors.\u003C\u002Fp>\n\u003Cp>And for practitioners like Lu Kuan and Feng Yuanzheng, a film festival is nothing short of paradise.\u003C\u002Fp>\n\u003Cp>They can engage in high-intensity film analysis in a short period, savor and absorb the nutrients from other filmmakers and actors, and experience a collision and fusion of artistic souls.\u003C\u002Fp>\n\u003Cp>Feng Yuanzheng was already flipping through the film festival guide.\u003C\u002Fp>\n\u003Cp>\"Xiao Lu, besides the opening film *Frida*, today there's Takeshi Kitano's *Dolls*, South Korean director Lee Chang-dong's *Oasis*, and the American director's *Ken Park*; the others look quite average.\"\u003C\u002Fp>\n\u003Cp>Lu Kuan laughed: \"It seems Asian films are getting good treatment this time, with so many scheduled on the first day.\"\u003C\u002Fp>\n\u003Cp>The Venice Film Festival has always had a pro-Asian tradition.\u003C\u002Fp>\n\u003Cp>From Japan's Akira Kurosawa, Hiroshi Inagaki, and Takeshi Kitano, to China's Zhang Yimou, Tsai Ming-liang, and Hou Hsiao-hsien.\u003C\u002Fp>\n\u003Cp>And on to Iran's Jafar Panahi, many works by Asian directors have won awards at the Venice Film Festival.\u003C\u002Fp>\n\u003Cp>\"Let's go see *Dolls*; Takeshi Kitano has filmed enough violence and youth movies, let's see how his love story turns out.\"\u003C\u002Fp>\n\u003Cp>The group walked side by side, passing outside the screening hall for Lee Chang-dong's *Oasis*, where a group of Italian fans were holding banners and shouting insults.\u003C\u002Fp>\n\u003Cp>Presumably, they were venting their frustration over being cheated by the Koreans in the World Cup that had just ended.\u003C\u002Fp>\n\u003Cp>Turning the corner to Hall 4, the area in front of the *Dolls* entrance was already packed.\u003C\u002Fp>\n\u003Cp>After much difficulty buying tickets and entering, the three of them could only stand in the aisle watching Takeshi Kitano accept an exclusive interview on stage, with bursts of laughter coming from the audience from time to time.\u003C\u002Fp>\n\u003Cp>Takeshi Kitano is a strange man; if one were to compare him to someone domestic, it might take a combination of several people to accurately describe him.\u003C\u002Fp>\n\u003Cp>He is, of course, most famous as a director.\u003C\u002Fp>\n\u003Cp>In August 1994, he had a motorcycle accident while driving drunk, resulting in brain hemorrhaging and a sunken cheek.\u003C\u002Fp>\n\u003Cp>After numerous surgeries and various treatments, he miraculously survived.\u003C\u002Fp>\n\u003Cp>It is said that his first words after waking up were, \"I finally understand how an oden feels.\"\u003C\u002Fp>\n\u003Cp>Then he filmed *Hana-bi* and won the Golden Lion at the 54th Venice Film Festival.\u003C\u002Fp>\n\u003Cp>Before Akira Kurosawa passed away, he once wrote him a letter asking him to inherit his mantle; if one had to find a director of equivalent status domestically, it would be a match for Zhang Yimou.\u003C\u002Fp>\n\u003Cp>His second identity, and the one he debuted with, is that of a comedian, a crosstalk performer, and he can also perform manzai.\u003C\u002Fp>\n\u003Cp>Television in Japan is the world of comedians, and their income is much higher than that of actors.\u003C\u002Fp>\n\u003Cp>Takeshi Kitano successfully became one of the three great mountains of the Japanese comedy world; the other two are Sanma Akashiya and Tamori.\u003C\u002Fp>\n\u003Cp>From this perspective, perhaps he could be compared to Uncle Benshan?\u003C\u002Fp>\n\u003Cp>As for his other miscellaneous identities like stripper, baseball player, dancer, and AV actor, there are just too many...\u003C\u002Fp>\n\u003Cp>The three of them watched with great interest as he bantered with reporters in fluent Japanese.\u003C\u002Fp>\n\u003Cp>Reporter: \"Mr. Takeshi Kitano, I heard your wife has been managing you very strictly since your affair; how is the situation now?\"\u003C\u002Fp>\n\u003Cp>The audience laughed; those who came to support him were all his fans and had long heard rumors of this anecdote.\u003C\u002Fp>\n\u003Cp>In April of this year, Japanese tabloids exposed that Takeshi Kitano was in love and living with an actress.\u003C\u002Fp>\n\u003Cp>The actress's name is Yuko Aida; she previously appeared in *Hana-bi* and is also on the cast list for this *Dolls*, though she didn't accompany him this time.\u003C\u002Fp>\n\u003Cp>\"Why are you looking at me?\"\u003C\u002Fp>\n\u003Cp>Boss Lu was enjoying the gossip when he felt a scorching gaze attacking him; it was Liu Yifei with a look of disdain.\u003C\u002Fp>\n\u003Cp>The young girl haughtily wrinkled her pretty brows: \"Nothing, I just feel that none of you directors are any good.\"\u003C\u002Fp>\n\u003Cp>Lu Kuan pretended not to understand what she meant; she knew too much about his affairs!\u003C\u002Fp>\n\u003Cp>Aside from wronging himself, there was no better way than to develop her into \"one of his own\" in a few years.\u003C\u002Fp>\n\u003Cp>Takeshi Kitano laughed upon hearing this; he is a man who lives in his own spiritual world, and to him, these things cannot be called scandals or dirt.\u003C\u002Fp>\n\u003Cp>He is a ruin himself, so why would he care about a collapse?\u003C\u002Fp>\n\u003Cp>\"That's a good question. My wife doesn't give me pocket money anymore, and she refuses to divorce me; what a hateful woman!\"\u003C\u002Fp>\n\u003Cp>\"I'm very poor; this trip was sponsored by Yuko!\"\u003C\u002Fp>\n\u003Cp>The audience in the cinema roared with laughter and then gave him a round of applause.\u003C\u002Fp>\n\u003Cp>Cultural tones vary greatly across regions; perhaps a prodigal son like Takeshi Kitano is more beloved by fans in romantic Western European countries.\u003C\u002Fp>\n\u003Cp>Without further ado, the film began.\u003C\u002Fp>\n\u003Cp>Liu Yifei was a layman watching for the spectacle, Feng Yuanzheng was savoring the acting of the Japanese actors, and Lu Kuan was developing a keen interest in the directorial techniques.\u003C\u002Fp>\n\u003Cp>The content of the film is relatively simple, using the four seasons of spring, summer, autumn, and winter to string together three love stories, constantly touching upon the love philosophy that \"loyal feelings are indestructible.\"\u003C\u002Fp>\n\u003Cp>However, the lens language and the three-act narrative structure contained within are quite thought-provoking.\u003C\u002Fp>\n\u003Cp>Soon the film ended, and Takeshi Kitano, as an old friend of Venice, received a 3-minute standing ovation from the audience.\u003C\u002Fp>\n\u003Cp>Next was the interactive Q&A session, with reporters and audience members raising their hands.\u003C\u002Fp>\n\u003Cp>The questions were nothing more than highlights of the film score and costume design, gossip about Takeshi Kitano himself, etc., which were so uninspired they made him sleepy, wanting to end the premiere as soon as possible.\u003C\u002Fp>\n\u003Cp>\"Mm, thank you to this fan; the score is the work of Mr. Joe Hisaishi, and the costumes are by Emi Wada.\"\u003C\u002Fp>\n\u003Cp>He looked around the venue listlessly and saw Lu Kuan standing in the aisle with his hand raised high, his black eyes and black hair standing out among the Europeans and Americans.\u003C\u002Fp>\n\u003Cp>\"That friend with the Asian face, thank you.\"\u003C\u002Fp>\n\u003Cp>Boss Lu took the microphone: \"Hello, Mr. Takeshi Kitano, I would like to ask a few questions about the film's cinematography.\"\u003C\u002Fp>\n\u003Cp>Takeshi Kitano signaled for him to continue.\u003C\u002Fp>\n\u003Cp>\"I noticed that you really like using long shots and filming techniques with a strong sense of depth; the composition also has clear primary and secondary subjects with strong contrasts, and you also used a lot of zoom techniques in the second act.\"\u003C\u002Fp>\n\u003Cp>\"May I ask if this is related to the setting of the four seasons in the film, as well as the structure of the montage within the shots?\"\u003C\u002Fp>\n\u003Cp>The Japanese director's eyes lit up; his supposedly subtle design had been called out in one sentence, and he was quite delighted.\u003C\u002Fp>\n\u003Cp>Otherwise, it would be as boring as a top chef making a dish that no one can taste!\u003C\u002Fp>\n\u003Cp>\"May I ask if you are Chinese? Please come to the stage to communicate.\"\u003C\u002Fp>\n\u003Cp>Takeshi Kitano was excited by the encounter; he could tell from Lu Kuan's English accent that he wasn't Japanese or Korean, so he was likely Chinese.\u003C\u002Fp>\n\u003Cp>Takeshi Kitano has had many exchanges with Chinese filmmakers.\u003C\u002Fp>\n\u003Cp>The most frequent of these, of course, is Director Jia.\u003C\u002Fp>\n\u003Cp>In 1998, when Director Jia was filming *Xiao Wu*, he only had 200,000 in his hands; after he made a splash with the film at the Berlin Film Festival, it caught the attention of Takeshi Kitano's studio producers.\u003C\u002Fp>\n\u003Cp>His second work, *Platform*, successfully received a 5 million investment from Takeshi Kitano, who even promised not to interfere, letting him do as he pleased and film to his heart's content.\u003C\u002Fp>\n\u003Cp>Later, *Platform* also successfully received a nomination for the Golden Lion at Venice, and Takeshi Kitano helped him connect with overseas distribution resources, showing great support.\u003C\u002Fp>\n\u003Cp>Since then, Takeshi Kitano's studio has had a hand in Director Jia's *A Touch of Sin*, *Mountains May Depart*, and *Ash Is Purest White*.\u003C\u002Fp>\n\u003Cp>This Japanese director, in whom Akira Kurosawa had placed high hopes, was now also very interested in Boss Lu.\u003C\u002Fp>\n\u003Cp>He invited Lu Kuan to the stage and, after a brief introduction, couldn't wait to ask questions.\u003C\u002Fp>\n\u003Cp>\"Lu Kuan, you are the first person to recognize this lens language after the completion of my director's cut; may I ask if you are also a director?\"\u003C\u002Fp>\n\u003Cp>Just as he was nodding off, someone handed him a pillow; Boss Lu calmly introduced himself: \"Yes, I am a director from China, and my film is called *Whiplash*, which will be screened on the morning of the 4th.\"\u003C\u002Fp>\n\u003Cp>That's right, he spoke up just to ride the coattails of the hype.\u003C\u002Fp>\n\u003Cp>Life is not easy, and young directors like him have even fewer connections and qualifications for self-marketing; if he wants to gain something at this Venice festival, he has to find another way.\u003C\u002Fp>\n\u003Cp>For example, asking Tian Zhuangzhuang to contact the jury president Gong Li, or showing up uninvited to ride the coattails of Akira Kurosawa...\u003C\u002Fp>\n\u003Cp>Zhang Jizhong: I'm familiar with this!\u003C\u002Fp>\n\u003Cp>The reporters and audience listened to the conversation between the two very cooperatively, and no one had left early yet; this is the respect for a famous director.\u003C\u002Fp>\n\u003Cp>\"Amazing, you remind me of another talented film director from your country!\"\u003C\u002Fp>\n\u003Cp>Lu Kuan naturally knew who he was talking about, but the topic couldn't be diverted at this moment; he hadn't finished showing off yet.\u003C\u002Fp>\n\u003Cp>\"Mr. Takeshi Kitano, the film is excellent, but I have some small suggestions; I wonder if I should say them?\"\u003C\u002Fp>\n\u003Cp>As everyone knows, when someone says \"I wonder if I should say,\" the following words are probably not very pleasant.\u003C\u002Fp>\n\u003Cp>Lu Kuan's purpose was, of course, very clear; he came to ride the hype and grab attention.\u003C\u002Fp>\n\u003Cp>It's just that he was communicating from a professional perspective, with substance, and wouldn't play to the gallery, otherwise, it would be a loss of face for Chinese filmmakers.\u003C\u002Fp>\n\u003Cp>\"The film has many long shots and panoramic shots, but there are also a small number of telephoto shots, and the signs of handheld filming are very heavy, such as the scene where the first pair of lovers are playing in the snow.\"\u003C\u002Fp>\n\u003Cp>Takeshi Kitano was somewhat shocked; being able to see the film's lens language at most counts as an insider.\u003C\u002Fp>\n\u003Cp>But being able to see the filming tools and even the lens trajectory of certain small details was truly astonishing.\u003C\u002Fp>\n\u003Cp>It's not difficult to roughly comment on where a dish tastes good after eating it.\u003C\u002Fp>\n\u003Cp>But being able to analyze which seasonings were added, or even whether the vinegar was poured directly onto the food or drizzled along the edge before taking it out of the pot, is a bit sensational.\u003C\u002Fp>\n\u003Cp>He couldn't help but raise the microphone: \"I am looking forward to your suggestions.\"\u003C\u002Fp>\n\u003Cp>\"It's like this.\"\u003C\u002Fp>\n\u003Cp>\"Handheld filming certainly has the advantage of highlighting details and magnifying characters' emotions, but the disadvantage of instability is also very obvious.\"\u003C\u002Fp>\n\u003Cp>\"For example, in that flashback scene of the male and female leads playing in the snow, I think you could use conventional photography, a large jib from top to bottom, combined with a dolly track.\"\u003C\u002Fp>\n\u003Cp>\"This way, the overall depth and dynamic experience of the picture would be stronger, and you could also use the push and pull of the lens to do some fades and transitions.\"\u003C\u002Fp>\n\u003Cp>Once these words were spoken, the whole hall was silent, with only the clicking sounds of reporters taking pictures.\u003C\u002Fp>\n\u003Cp>The ordinary audience was quiet, of course, because they didn't understand.\u003C\u002Fp>\n\u003Cp>Occasionally, some industry insiders understood the filming techniques, but having only watched the film once, how could they recall so many details?\u003C\u002Fp>\n\u003Cp>Only Takeshi Kitano, lost in deep thought, had the ability to communicate with Lu Kuan.\u003C\u002Fp>\n\u003Cp>He was brainstorming frantically at this moment, rehearsing and deconstructing several details according to what Lu Kuan had described.\u003C\u002Fp>\n\u003Cp>In other words, these two were playing blind chess!\u003C\u002Fp>\n\u003Cp>Takeshi Kitano frowned one moment and his eyes lit up the next; he was actually feeling that the effect would be better this way!\u003C\u002Fp>\n\u003Cp>This unrestrained film madman eagerly grasped Lu Kuan’s hand: \"Your ideas are fantastic; I can’t wait to try them out!\"\u003C\u002Fp>\n\u003Cp>Takeshi Kitano’s desire to talk remained unabated, and he caught Proprietor Lu to continue asking questions.\u003C\u002Fp>\n\u003Cp>\"Lu Kuan, may I ask where all these inspirations for your cinematography and camera work come from?\"\u003C\u002Fp>\n\u003Cp>\"You know, I often perform manzai, or even dance and participate in boxing matches, when I lack inspiration.\"\u003C\u002Fp>\n\u003Cp>The audience jeered in a friendly way; the fans knew the manzai he performed were all dirty jokes, and the dances were all stripteases.\u003C\u002Fp>\n\u003Cp>As for this boxing match, it was unclear if it was legitimate; it might just be a wrestling match against a bikini-clad female contestant.\u003C\u002Fp>\n\u003Cp>Lu Kuan laughed: \"Actually, I am just repeating the wisdom of others. Last month, I met Quentin at the Beijing Film Studio and visited the set of his new film, *Kill Bill*.\"\u003C\u002Fp>\n\u003Cp>\"You two are both directors known for the aesthetics of violence; I think when you lack inspiration, you might as well borrow from each other!\"\u003C\u002Fp>\n\u003Cp>\"Of course, it would be best if you invited me when you communicate; after all, being able to copy the creativity of two masters at once is also excellent.\"\u003C\u002Fp>\n\u003Cp>A master of dirty jokes, a veteran foot fetishist, plus a gunner like Lu Kuan—one would think they could spark some colorful fireworks.\u003C\u002Fp>\n\u003Cp>Takeshi Kitano clapped his hands and laughed, then guided the audience on-site to applaud Lu Kuan’s humorous self-deprecation.\u003C\u002Fp>\n\u003Cp>All literature under heaven is a copy; film belongs to literary and artistic work, so it is common for everyone to borrow from each other.\u003C\u002Fp>\n\u003Cp>Not to mention the distant future, next year in Venice, Takeshi Kitano will bring his new film *Zatoichi* to the exhibition; this film happens to borrow the style of *Kill Bill*, blending modern dance with the aesthetics of violence.\u003C\u002Fp>\n\u003Cp>When accepting interviews from reporters, he also did not shy away from saying that this was inspiration drawn from Quentin and Yuen Woo-ping.\u003C\u002Fp>\n\u003Cp>He defined this style as entertainment violence film.\u003C\u002Fp>\n\u003Cp>One can only say that Proprietor Lu is a shrewd person; every move he made today to rub off on Takeshi Kitano scratched the right itch, making this unrestrained Japanese director treat him as a soulmate.\u003C\u002Fp>\n\u003Cp>\"I am very much looking forward to seeing your film; I will show up uninvited when the time comes, haha!\"\u003C\u002Fp>\n\u003Cp>This was exactly the sentence Lu Kuan wanted; this was his ultimate goal.\u003C\u002Fp>\n\u003Cp>The two shook hands heavily, with a sense of mutual appreciation; the audience on-site might not understand other things, but couldn't they understand this kind of happy ending?\u003C\u002Fp>\n\u003Cp>Applause surged again, given both to Lu Kuan, who boldly proposed artistic ideas, and as a tribute to the broad-minded Golden Lion Award-winning director.\u003C\u002Fp>\n\u003Cp>Proprietor Lu’s marketing strategy really depends on the person; Takeshi Kitano is a madman, a wonderful person, and a pure artist.\u003C\u002Fp>\n\u003Cp>What if it were Chen Kaige instead?\u003C\u002Fp>\n\u003Cp>I suspect that before Proprietor Lu could even say \"I don't know if I should say this,\" a phrase like \"a person cannot be this shameless\" would have already come crashing down on his face.\u003C\u002Fp>\n\u003Cp>Feng Yuan and Liu Yifei both followed the crowd in applause, feeling a sense of honor; being able to sit and discuss with such a famous director truly brought face to Chinese directors on the international film festival stage.\u003C\u002Fp>\n\u003Cp>After the screening ended, Lu Kuan accepted some more interviews from reporters, doing his best to gain some buzz and win favor from passersby in the audience.\u003C\u002Fp>\n\u003Cp>The group walked up the stairs and turned to the exhibition hall for *Ken Park*.\u003C\u002Fp>\n\u003Cp>\"Ah! This!\"\u003C\u002Fp>\n\u003Cp>Liu Yifei had sharp eyes and stared, dumbfounded, at the poster in front of the screening hall; it was a pair of naked man and woman, copulating with great artistic flair.\u003C\u002Fp>\n\u003Cp>Proprietor Lu clenched his fist and coughed twice near his mouth: \"That, Little Liu, you should go back first; this *Ken Park* seems a bit unsuitable for children.\"\u003C\u002Fp>\n\u003Cp>\"Just let me and Master Feng go and criticize the decadence of capitalism!\"\u003C\u002Fp>\n\u003Cp>(End of this chapter)\u003C\u002Fp>",2887,"2026-06-20T06:05:17.358Z",1,"Gemini 3.1 Flash Lite","8b8324e9cc1d37cbeb4312a3c78a3790b9e26afe4fbe4c3c364e77e54f031b64","the-playboy-of-huayu-how-did-a-celestial-immorta-chapter-110","the-playboy-of-huayu-how-did-a-celestial-immorta-chapter-108",343,"https:\u002F\u002Fnovelzhen.com\u002Fimages\u002Fcovers\u002Fthe-playboy-of-huayu-how-did-a-celestial-immorta-cover.jpg"]