Chapter 227

The positioning and selection tone of the three major European film festivals are different, but there is not much difference in quality.

But in terms of commercial value and transaction scale, Cannes is undoubtedly the winner.

The significance of the Cannes Film Festival, in addition to the art field, exists as a global commercial platform.

Every year during the film festival, countless practitioners and brand merchants gather, creating a large-scale agglomeration effect, creating excellent opportunities for various promotions and transactions.

This year in Cannes, the Hong Kong Trade Development Council spent a lot of money to hold the "Hong Kong Night" event at the Carlton Hotel pier.

As a compatriot and a young director who is also a little famous internationally, Boss Lu attended with Liu Yifei, the heroine and female companion of the film exhibited this time.

It is still a cold meal party form, but it has a unique oriental style under the careful preparation of the Hong Kong Trade Development Council staff.

When Boss Lu arrived, Tsui Hark and Nansun Shi, accompanied by a group of officials, were welcoming guests at the door.

"Director Lu, welcome!"

Lu Kuan smiled modestly: "Director Tsui Hark knows me? My honor."

"Famous for a long time, fate is not met!"

Tsui Hark had never met Lu Kuan, but he had watched all his movies, including the recent "The Foreign Land."

Because he is a jury member of this Cannes.

Nansun Shi on the side also kindly held Liu Yifei's hand: "Hello Miss Liu, it's really too beautiful."

"Using Cao Xueqin's words in 'Dream of the Red Chamber,' it is really worthy of the virtue of heaven and earth!"

Liu Yifei's pretty face was slightly red. Many people praised her for being good-looking, but she was suddenly embarrassed to quote classics as soon as she came up.

"Thank you, Ms. Shi, for the praise."

Lu Kuan had a good impression of Tsui Hark. He is a director who came out of the left-wing film companies such as Great Wall in the early days of Hong Kong, and his views and attitudes towards the mainland are relatively close.

Nansun Shi is also a big lady born in Shanghai after the founding of the People's Republic of China, and immigrated to Hong Kong with her family who did business.

There is a saying in the Hong Kong film circle that without Nansun Shi, there would be no Tsui Hark. They are the fairy couple in the Hong Kong film circle.

Tsui Hark introduced several people who came over to say hello to Lu Kuan: "Director of Business Development of the Trade Development Council, Miss Chen Jiayi."

"Chairman of the Hong Kong Film Producers Association, Mr. Hong Zuxing."

Hong Zuxing served as the chairman of the jury of the 11th to 15th Hong Kong Film Awards, and has been undertaking the work of helmsman.

"Director Lu, thank you for your support, and this beautiful Miss Liu, I look forward to seeing your performance in the Cannes premiere."

Everyone is a scene person, and after a happy greeting, they enter the venue to socialize.

Liu Yifei looked around the venue and saw Leung Ka-fai at a glance. The two met at the first Golden Horse Awards scene and played father and daughter in "The Foreign Land."

"Hello Uncle Leung!"

In the "The Foreign Land" crew, Liu Yifei called him Ka-fai brother, and the latter said that your age can be your father, so let's call him Uncle Leung!

Lu Kuan led Liu Yifei to say hello, and saw Leung Ka-fai, Tony Leung, and Andy Lau chatting.

Today is considered to have poked the Hong Kong film emperor's nest!

"Yifei! I said only you would call me that."

Leung Ka-fai turned around in surprise, and then warmly hugged Lu Kuan: "Director, why didn't you find me when you came yesterday!"

He flew from Hong Kong and did not follow the crew.

Andy Lau patted Leung Ka-fai on the shoulder: "Wow, Ka-fai, didn't you introduce a friend like Director Lu first, just busy flattering yourself?"

This was said very politely, and with his status, he was at most equal to Lu Kuan.

However, Liu Dehua and Mei Yanfang had an excellent relationship, and he had heard her speak highly of this person many times, so he naturally did not skimp on his praise.

"Director Lu, first time meeting, do you want to introduce yourself formally?"

Flower sedan chair people lift people, Boss Lu naturally also returned the courtesy: "Brother Wah, don't joke, who doesn't know you! It's just that this first meeting came too late!"

Andy Lau laughed: "I heard people say that you call Director Stephen Chow Star Boy, also call me Wah Boy, on the contrary, it's more intimate?"

"That won't work! Sister Mei is my big sister, you are peers, and you are more than 20 years older than me, it's too rude!"

Leung Ka-fai joked: "Wah Boy, Director Lu thinks you are too old!"

The few laughed loudly.

Although it was the first time they met, the three of them had a close relationship with Anita Mui, and they were all humble characters, so they talked very well with each other.

Only Liang Chaowei, who had arrived with Wang Jiawei's "2046," maintained proper social etiquette: "Director Lu, nice to meet you!"

Lu Kuan also shook hands with him with a smile.

Carina Lau once joked at the Golden Horse Awards ceremony: Our Hong Kong film emperor, either surnamed Leung, or called Ka-fai.

This refers to Leung Ka-fai, Tony Leung, and Cheung Ka-fai, who has not yet won the film emperor at this time.

It's just that Boss Lu looked at Tony Leung's expressionless expression, not knowing whether it was because of his indifferent personality, or...

Lu Kuan introduced Liu Yifei to the other two, which was considered to have made her familiar in this circle of Hong Kong, and maybe there will be opportunities for cooperation in the future.

Leung Ka-fai enthusiastically took Lu Kuan and the two to meet new friends, and Andy Lau gently touched a glass with Tony Leung.

"Wow, why are you so cold today, people are Hollywood big directors soon."

Andy Lau has a high EQ. This kind of joking words are clever. It not only fulfills the reminder obligation between friends, but also is not too straightforward.

He clearly felt Tony Leung's trace of indifference just now.

"What cold? Who made our Wai Jai unhappy?"

The two turned their heads, and John Woo walked over with a wine glass.

John Woo is one of the few Hong Kong directors who has cooperated with top Hollywood currents such as MGM and Tang Mu Cruise. Liu and Leung both greeted him kindly.

"No, just greeted Director Lu from the mainland."

Andy Lau took the initiative to explain, but Tony Leung did not hide it anymore.

"Not unhappy, just that this Director Lu I just met is not the same as the rumors."

John Woo naturally heard of Lu Kuan's name, and even knew the gold content of this "The Foreign Land" better than ordinary Chinese actors and directors.

Lionsgate, Miramax, Tang Mu Cruise, the objects he chose to cooperate with are all top-tier in the industry.

And the deeds of being able to retreat completely after breaking up with Buena Vista before also made him curious and jealous. I don't know what the inside story is.

Judging from the Buena Vista helmsman Rondo who was officially announced to be dismissed by Disney later, Eisner obviously suffered a loss.

This made him even more unable to see the confusion inside.

John Woo has always been unfriendly to mainland filmmakers. Hearing this, he instigated: "Wai Jai, young people are easy to be angry, don't be angry with others, we Hong Kong people have their own style."

Andy Lau shook his head secretly, unwilling to talk to them more about this topic, and found an excuse to leave.

Tony Leung actually didn't have much resentment towards Lu Kuan.

It's just that this young director learned from Dong Jie was too arrogant and domineering.

He once came forward to persuade Dong Jie not to switch from Zedong to Emperor Motion Pictures, but Dong Jie, who had seen the terrifying star-making ability of the latter in the Hong Kong circle, would not listen.

By the time she unexpectedly fell into this dream-like big net woven by Boss Lu, and wanted to escape, she had already bumped into a bloody head and couldn't find a way.

Fortunately, this time, thanks to her connections in the mainland, Zhao Benshan, she finally managed to solve this matter.

The banquet officially began, and Chen Jiayi of the Trade Development Council delivered a speech:

Welcome to the arrival of friends. As of May this year, the number of Hong Kong film projects has increased by 60% compared to last year. We all believe that 2004 will be a year of bottoming out and comprehensive recovery for Hong Kong films...

Boss Lu had no leisure to listen to her white talk on the stage. After all, the hanger had already seen the final bleak ending of the Hong Kong film circle.

He chatted with Zhang Yimou beside him.

"I heard Zhang Ziyi say that 'House of Flying Daggers' has organized a promotion meeting, right? How is the situation?"

Mentioning this topic, Old Mouzi's terracotta warrior-like face bloomed with a smile: "Yes, Weiping said the situation is not bad. Currently, the North American distribution rights have been sold to Sony for 115 million."

"And Japan and Korea are talking, all handed over to Weiping, hehe."

"House of Flying Daggers" and "Hero," including the later "The Forbidden Kingdom" which suffered from bad reviews.

Films of this theme have always been popular overseas, but in the mainland, which is more familiar with national culture, the audience word-of-mouth will not be too good.

Lu Kuan nodded, and was also happy for him, finally not being pitted to death by Zhang Ziyi.

If you wear back to the 21st century, which directors in China are worth making friends with sincerity.

And can get some inspiration from the latter's movies and make up for their own shortcomings, that is, Old Mouzi and a few others.

The two belong to the Beidian system, and have close relationships with Tian Zhuangzhuang and Zhang Huijun. Old Mouzi also has no background of being red and professional. Relatively speaking, he can treat people with a more humble and low posture.

Last year, because of the "Cell Phone" reporting incident, Huayi instigated the Beiping circle big mouth to belittle Lu Kuan openly or secretly. Old Mouzi was also the first to call to encourage support.

Until many young directors became famous in the future, in terms of artistic awards and commercial box office, only he can take it out to support the facade.

In terms of right and wrong, he has no overstepping.

The banquet used the form of Western parties. Hong Kong, mainland filmmakers, and film companies in Asia and Europe all came to support, and many good films were purchased on the spot.

The most interested in North American film merchants are Derek Yee's "One Night in Mongkok" and the Pang brothers' "The Eye."

In fact, Hong Kong films not only caused cultural radiation to the entire Asian region during the golden period, but also successfully exported many genre films to the other side of the ocean.

This form of cultural output is in many cases the purchase of adaptation rights.

For example, Martin Scorsese, who has a good relationship with Little Li, bought the adaptation rights of "Infernal Affairs" this year, and later won an Oscar for it.

For another example, this "The Eye," which was also bought by Tang Mu Cruise in the future, and he chose a director to direct as a producer.

In mid-2004, the overall "recovery" of Hong Kong films gave Hong Kong filmmakers great confidence.

Tsui Hark and Lu Kuan, Zhang Yimou and other mainland directors talked together.

"Director Lu, I have read your interpretation of commercial films or genre films, as well as art films at the symposium in the mainland. It is too well said."

Zhang Yimou laughed: "Director Xiao Lu tongue-battled the Confucian scholars, in short, we as audiences listened very addicted."

Old Mouzi is a Fifth Generation director who shows his determination to integrate into the market with actions. Perhaps in the future evaluation, there will be words about some of his works, such as "Full River Red."

But under such era background, he can actively embrace the market and change flags to carry out commercial film exploration, which is under great public opinion pressure from the academic and commentary circles.

Therefore, he cannot agree with some views of the Sixth Generation.

His own films, although they have also shown plots of backward aspects, compared with some films of Guan Lou Jia Wang, the bottom line is much higher.

That year, he took "Not One Less" to Cannes. There was a shot of teacher Wei Minzhi leading students to raise the national flag in the film.

The film festival official claimed that this was self-beautification, a propaganda for the government, and suggested that he change the film.

Zhang Yimou wrote a stern break-up letter directly to the Cannes official, expressing dissatisfaction with the discrimination and arrogance of white judges.

Lu Kuan modestly said: "It's just a coincidence. We are all practitioners. The bigger the cake, the more we eat."

"This cake needs to be made together by everyone from the audience to the director, investor, actor, etc. The ideas of some art film directors are too narrow and need to be reminded slightly."

Tsui Hark nodded: "Which director doesn't want to explore art? Which director doesn't want to open a sect and be selected for 'Sight and Sound'?"

"But the most important thing is to be worthy of investors and audiences. You can't make the audience too lazy to enter the cinema, that would be terrible."

Zhang Yimou laughed: "Now Hong Kong films from directors to actors are actively moving north, embracing the mainland market. If they are integrated and coordinated well, it is a good thing for the industry."

Hong Kong film is the world of genre films, and has given birth to many golden themes and genres, police and bandit films, horror films, zombie films, etc.

Lu Kuan pointed to Liu Yifei, who was sitting on the side, quiet as a chrysanthemum, listening to the arguments of several directors.

"Not to mention anything else, just say mainland actors like Xiao Liu."

"All along, mainland actors are lower than Hong Kong and Taiwan actors in terms of salary and treatment, but Chinese actors who go to Hollywood must definitely be lower than North American local actors."

"In addition to the strength, there is also a gap in the development stage of genre films."

"Jackie Chan's salary in 'Around the World in 80 Days' should have entered the 20 million USD club. He is a superstar cultivated by genre films."

"And Li Lianjie, and the few mainlanders who can have some box office appeal, Ge You is a comedy film, Zhang Ziyi is an action film."

"Whether it is comedy, action, police and bandit, or romance, this professional, genre-based film market should be the norm, the big head, and art films can only exist as a small part of the artist's film exploration."

John Woo suddenly walked over with a wine glass, his slightly fat body swaying.

"I accidentally heard Director Lu's big theory just now, it's really wonderful."

Tsui Hark laughed: "Several, don't I need to introduce again?"

Zhang Yimou and Lu Kuan shook hands with him politely.

John Woo took a very sufficient posture: "Mainland films are still relatively backward now, lacking the overall film industrial system and refined division of labor. This point is many years behind Hong Kong films."

"I agree with what Director Yimou just said, Hong Kong films moving north is conducive to the progress of the overall Chinese-language film."

This sounds like there is no problem at first glance. At this time, the backwardness of the mainland film market is a fact.

But Old Mouzi expresses the mutual benefit of both sides, not that the directors and actors in the Hong Kong film circle come to the mainland to take whatever they want under the banner of technical poverty alleviation, high above.

Others may not be clear yet, but Boss Lu knows the disgusting arguments of this Wu Pigeon.

Lu Kuan followed his words: "Hong Kong films have developed for decades, the industrial system is mature, and they have advantages in film financing, brand promotion, and financial systems, which are indeed worth learning from mainland filmmakers."

John Woo thought to himself that you are still sensible, but didn't expect him to have the following.

"But."

"There are also many shortcomings in Hong Kong films."

John Woo laughed: "Still want to ask for advice?"

"Too many, for example, in terms of history, Hong Kong films have shortcomings in clothing styling, language style design, and prop placement habits when filming historical films, but this is the advantage of the mainland."

Not to mention anything else, just mention the disgusting style of playing with history in the "Red Cliff" that this Wu Pigeon himself touted in the future.

For example, the scene where soldiers use halberds to hook ankles in the movie is inconsistent with history. Halberds were used to hook heads in ancient times, not to hook feet.

In addition, soldiers use long halberds and long spears in battle in the movie, which is unreasonable in history.

Because the use of long weapons is suitable for the periphery of the formation, once the two armies approach, short weapons have the most power.

Not to mention his disgusting style of playing with history in "Red Cliff," what Mengmeng you stand up.

John Woo has always been unfriendly to mainland filmmakers, and coupled with the "same hatred" with Tony Leung just now, he was very unhappy when facing Lu Kuan's questioning at this time.

"I don't agree with these views of Director Lu. Hong Kong films are much more developed than the mainland in every aspect. I think mainland filmmakers should be more humble, right?"

This was not very polite, and the surrounding male and female stars such as Andy Lau, Tony Leung, and Maggie Cheung all looked over.

Looking at the slightly embarrassed faces of Tsui Hark and others, John Woo might feel that his words were slightly sharp, and found a way to make up for it.

"Of course, the two places still have to be united. Just like in Hollywood, even filmmakers of different nationalities are very united. Everyone strives for excellence to do projects, and the atmosphere is very good!"

Lu Kuan is often speechless for Hong Kong directors who are stupid and selfish like John Woo. There is really no integrity at all.

Anyone can talk about unity, you Wu Pigeon is the first one who is not worthy of talking about it.

He is a famous Hong Kong director known for suppressing mainland actors.

John Woo, Peter Chan and others, after the deterioration of the Hong Kong film industry, moved north and their routine operation was to use mainland funds and market resources, using mainland first-line stars as supporting roles, and raising the status for Hong Kong and Taiwan stars.

And they will work hard on signing contracts, so that mainland investors can't speak.

Specifically, how did they do it? Take "Red Cliff" as an example.

"Red Cliff" project, China Film is the main investor, but basically mainland first-line stars are supporting roles, such as fooling Zhao Yanzi to be a supporting role, raising the status for Lin Chi-ling, who only had some influence in Taiwan at that time.

This is Lin Chi-ling's first film work. After filming, her status soared, and she went directly from a model who spread scandals in Taiwan to a "superstar" who could shoot commercials with Kate Winslet in Rome.

Reasonably speaking, mainland funds account for the big head, and will not allow such a cast to be produced, but John Woo and Chu Yen-ping, who served as the chairman of the Golden Horse Awards, used some small means.

After John Woo established the script, he would first sign a contract with a Taiwan company, stipulating that half of the roles in "Red Cliff" must come from Taiwan, and then take the negotiated contract to find investment in the mainland.

Mainland films were weak at that time. If they wanted a big director who had mixed in Hollywood like John Woo to take charge of production, and wanted to sweep the box office with Hong Kong and Taiwan big names, they could only pinch their noses and recognize it.

In addition to "Red Cliff," such examples are numerous:

John Woo's "Reign of Assassins," starring Korean and Taiwan actors, mainland Wang Xueqi as a supporting role;

In "Flying Tigers," the ten-year Golden Horse film emperor Liu Ye was a supporting role for Taiwan's Ethan Juan and Mark Chao, who had just debuted for a year or two.

Peter Chan produced the film "The Guillotines," let Wen Zhang play the male supporting role, let Huang Xiaoming play the villain boss, and the male lead was given to Ethan Juan, who had just debuted.

It was also planned to use two popular mainland male stars to directly raise him to the first-line status.

Fortunately, this film flopped miserably, and the influence was negligible. The wishful thinking of Hong Kong and Taiwan capital failed.

John Woo, Peter Chan and others not only did this themselves, but also used their influence to instill such concepts into other directors in the Hong Kong Directors Association.

He called on everyone to be united and firmly grasp the initiative in the process of moving north.

It's just a pity that the mainland film industry and powerful actors are also competitive. "The Warlords" was miserably defeated by "Assembly," and Pants used Zhang Hanyu, who was previously only a "nameless dubbing actor," to defeat the three superstars Li Lianjie, Andy Lau, and Takeshi Kaneshiro.

Followed by Zhou Xun, Li Bingbing and Huang Xiaoming's "The Message," and Zhou Xun, Yanzi, and Chen Kun's "Painted Skin." In the case of being completely unoptimistic by the market, the all-mainland cast resisted the Hong Kong and Taiwan co-productions of the same period, but won a great victory at the box office and word-of-mouth

The box office explosion of "Painted Skin" infuriated Wu Yusen, causing him to lose his composure and curse the film's Hong Kong director, Chen Jiashang.

He accused him of undermining the "unified stance of Hong Kong and Taiwan directors heading north," actually allowing mainland actors to have a chance to shine; if they were to occupy the mainstream of co-productions in the future, it would all be Chen Jiashang's fault!

Most crucially, Wu and Zhu, those two idiots, made no attempt to hide it, speaking openly about such operational tactics in interviews with Hong Kong and Taiwan media.

It wasn't until their interview videos reached the mainland that public opinion surged, and only after Tianya awarded the Golden Crow Award to Chen Kexin did the hatred of mainland audiences slightly subside.

The scene at the Hong Kong Night was slightly awkward; Wu Yusen and Lu Kuan were at loggerheads, and although there was no major friction, the Hong Kong stars watching from the sidelines could smell the gunpowder.

It was just that Boss Lu couldn't use a blade from the future to slay a dog of this era, but he still couldn't show mercy when it came to striking down the faces of these petty people.

You think our mainland film circle has no one, right?

The small dispute here attracted the attention of many attendees, including Hong Kong print media and reporters from the mainland film channels "China Film Journey" and "Film News."

People often say Boss Lu is the most popular figure in the entertainment industry; there is never a shortage of news surrounding him.

Paparazzi can write articles about his romantic affairs, and serious reporters can publish pieces on his stance regarding commercial films; with the washing machine, everyone has a bright future!

At this moment, Chen Jiayi from the Trade Development Council and Hong Zuxing from the Hong Kong Film Awards walked over, glass in hand, and heard Lu Kuan's resonant questioning.

"Unity must certainly be discussed, but on the basis of equality and mutual benefit; I don't think the results will be very pleasant if one seeks cooperation while harboring prejudices like Wu Dao."

"There are many problems with mainland films, such as the lack of genre films; this is unavoidable."

"But Hong Kong and Taiwan filmmakers cannot always hold a superior attitude when coming to the mainland to seek cooperation, feeling that mainland audiences are all country bumpkins who have never seen the world and can be easily fooled, or that mainland directors are all amateurs who can be bullied at will."

Wu Yusen felt Lu Kuan was losing his composure and laughed unscrupulously: "Director Lu, are you thinking of your first film and how you developed views on Hong Kong filmmakers because of a small misunderstanding with Xie Tingfeng and the others?"

"I think that's completely unnecessary. Look at Huazai, Weizai, and Manyu—which one of them isn't a professional and excellent Hong Kong actor?"

Wu Yusen was cunning; he characterized the initial act of Xie Tingfeng and others brazenly tearing up contracts as a "small misunderstanding," and then brought up the film emperors and empresses present to pressure Lu Kuan—his intentions were malicious.

Liu Yifei, listening from the side, felt stifled and couldn't help but stand up to defend him.

"Back then, for 'Drummer,' it was Xie Tingfeng and Chen Guanxi who first breached the contract and withdrew from filming, and they even colluded with Zhang Jianting to plagiarize Lu Kuan's creative ideas and start their own project."

"This was clearly a premeditated act of robbery; how can you call it a small misunderstanding?"

Wu Yusen had a close relationship with Zhang Jianting and had intended to use this matter to confuse right and wrong, pushing Lu Kuan into opposition with the entire Hong Kong film circle present today.

Being interrupted and refuted by a young girl with a naive appearance, his expression was not very pleasant.

"Whose companion are you? Discussing problems while others are talking, and you interrupt at will—are mainland actresses this impolite? Do you understand any rules at all?"

Lu Kuan walked to Liu Yifei's side and brazenly reached out to wrap his arm around her waist to show intimacy.

"This is my companion. Wu Dao is also a big director who has dabbled in Hollywood, and just a moment ago, you were touting Hollywood's openness and unity."

"How come, after just a short while, you've started advocating for the strict hierarchy of the Japanese and Korean film circles? Is it that whenever you hear a viewpoint unfavorable to you, you want to seal everyone else's mouth?"

Little Liu was suddenly in intimate contact with Lu Kuan and felt the palm of his hand resting on her waist burning hot; she couldn't help but tense the muscles in her lower back, looking as if she were impenetrable.

But Boss Lu also brought her a considerable sense of security, allowing her to be full of courage to argue on reasonable grounds with a big director of such fame as Wu Yusen.

Wu Yusen's honest-looking face revealed a fierce glint; just as he was about to angrily rebuke Lu Kuan, he was surprised to hear him start "lecturing" his own companion.

"However, Little Liu, this Wu Dao is almost 60 this year and is a famous director who has filmed masterpieces like 'Windtalkers' in Hollywood; we should still show him some respect."

Liu Yifei didn't understand how Lu Kuan had suddenly turned into a humble gentleman and looked up at his expression, somewhat puzzled.

Boss Lu winked at her, and Little Liu understood in a second.

"Oh! Lu Kuan, this Wu Dao is that Chinese director who almost bankrupted MGM with one 'Windtalkers'! This is my first time seeing him in the flesh!"

At the time, Buena Vista had conspired to tear up the pre-sale agreement and, in interviews, compared Lu Kuan to Wu Yusen, who had filmed the flop "Windtalkers," hoping to deal him a blow.

This matter had been the talk of the town at the time, and she was, of course, aware of it.

As for their tacit understanding, it stemmed from Liu Yifei watching Boss Lu set traps and engage in verbal battles time and time again.

Otherwise, why would Lu Kuan lament that his talent tree was pointed in the wrong direction...

Wu Yusen pointed his finger at the "dog and bitch" in front of him, feeling bitter and stifled, almost on the verge of a high blood pressure attack.

These mainlanders are truly not presentable!

"Everyone present today is a Hong Kong film celebrity. Lu Kuan, if you and your companion don't understand what respect is, I don't think you are very welcome here."

Upon hearing this, Liu Yifei gasped, bowed slightly, and said to Wu Yusen: "Grandpa Wu Yusen, I'm sorry, I didn't mean it, and I had no intention of offending you."

"It's just... it's just that Tang Mu Cruise is also a producer of 'The Other World,' and I happened to hear about this once without paying attention; I'm so sorry!"

The young girl stuck out her tongue with an apologetic face and then timidly hid behind Lu Kuan's shoulder.

Her big eyes flickered as she stole glances at Wu Yusen; that aggrieved look was something no one could bear to criticize further.

Xu Ke's wife, Shi Nansheng, held a high status in the Hong Kong industry; she knew Lu Kuan was on good terms with Emperor Group and didn't want things to get this awkward on the spot, so she took the opportunity to mediate.

"Both big directors, calm down. Friendly discussions between artists should be a bit more gentle and elegant."

She walked up and hugged Liu Yifei: "Yifei, don't be afraid, this Grandpa Wu Yusen is a very good person!"

Wu Yusen was extremely stifled, feeling a lump of turbid air stuck in his throat that he couldn't get out.

He couldn't say anything harsh anymore, otherwise, he would be reduced to an old man bullying his juniors!

Boss Lu watched Liu Yifei's "green tea" act in a daze, with ten thousand "WTFs" floating in his heart!

When did she learn this trick?

The key is that when a little girl who is as pure as boiled water acts "green tea" on purpose, the impression she gives is much more "green tea" than a veteran one!

I originally just wanted to teach you a few things, but now I find you have more and more tricks up your sleeve!

Wu Yusen calmed his heart and explained his recent loss of composure with a cold tone: "Director Lu, I didn't mean to make things difficult for this young lady on purpose; it's just that I find it hard to let go of your misunderstanding of Hong Kong filmmakers."

Boss Lu looked at the shameless Wu Yusen speechlessly; he really is a cockroach that can't be killed.

It seems that if he doesn't pin the big hat of deliberate framing and targeting Hong Kong films on himself today and make him a public enemy, he won't give up.

"I have no prejudice against anyone. The Hong Kong singer and actress Ms. Mei Yanfang is my big sister; I invited Mr. Liang Jiahui to play the positive role of the Scientologist in 'The Other World,' and the martial arts choreography team is led by Director Yuan Heping."

"Last December, when I was filming in Shanghai, Director Zhou Xingchi visited; we had a friendly conversation and still often call each other."

"This includes Mr. Li from Emperor Group and Boss Xiang from China Star, who are all very good friends."

He paused, scanned the room, and continued to express his point of view.

"The reason the argument with Wu Dao was a bit intense just now is that I couldn't bear to see our compatriots fighting among themselves, undermining the increasingly close cooperation between the two places."

"After all, it's not like there haven't been precedents of killing the goose that lays the golden eggs."

Cold light flickered in Wu Yusen's eyes as he baited him to continue the group mockery: "Director Lu, we cannot engage in that kind of subjective judgment; you have to provide evidence for what you say."

Boss Lu laughed: "Evidence?"

"Alright, let's take the simplest example."

"In the last century, Taiwan only allowed Hong Kong and Taiwan films to be screened and had strict restrictions on Hollywood, stipulating that each Hollywood film could only have eight prints."

"In '93, a Hong Kong film company sold 'Justice, My Foot!' to Taiwan distributors for 30 million, but the box office flopped. The Taiwan distributors were miserable, and the eight major distributors united to negotiate a price reduction with the Hong Kong Film Association."

"But the Hong Kong negotiators were very arrogant, saying that our Hong Kong films are the best in Asia, the Hollywood of the East, and that your failure was due to distribution and advertising; if you want a price reduction, don't even think about getting Hong Kong films in the future."

"What was the result? Your arrogance angered the Taiwan distributors, and they turned to demand that the authorities relax censorship and quotas on Hollywood films. Since then, Hong Kong films have lost their largest and most important market at the time!"

This history was quite a while ago, and the older actors and directors present had heard a little about it.

It's just that now, being pointed out without any cover by a young mainland director in his twenties, it seemed to ruthlessly expose their past false prosperity and today's repeated failures.

It was truly too sigh-inducing.

Ju Wenpei from the film channel and the reporter from "Film News" looked at each other; it was their first time hearing such a story, and they both gripped their recording pens tightly, not wanting to miss a single detail.

Although this promotion meeting tonight went a bit off-track, it was so worth coming!

The reporters seemed to see a magnificent article about to be completed under their brilliant pens.

Lu Kuan bowed slightly to the top-tier Hong Kong film circle celebrities watching.

"Saying these things is not to expose shortcomings or confront, but because now, the two shores and three regions, and even all of Asia, are suffering from the ravages of Hollywood."

"This year, the state's policy efforts in the cultural and film industries are significant; it is time for us to unite as one and work together to provide audiences with good films and grow the market."

"I strongly suggest that famous directors like Wu Dao can lead by example, abandon their high-and-mighty posture and style, truly lower themselves to work in the mainland, and respect the audience, the market, the investors, and the actors."

"Do not be the nomads of the film industry, coming and going in a hurry, harvesting a wave of dividends, and leaving behind a wasteland."

"Otherwise, the market and the audience will teach you a good lesson, and Hong Kong films will lose their last core position!"

Wu Yusen wanted to pin the shit-pot of despising Hong Kong films on Lu Kuan, but Boss Lu turned around and pinned the "elegant title" of film nomads on him.

If such a title and scapegoat were to be solidified, it would be very unfavorable for Wu Yusen himself to find investors in the mainland who are foolish and have money.

He had to speak righteously to defend himself: "Lu Kuan! You've only been directing for a few years, and you're lecturing us seniors who have been in the industry for decades—aren't you taking yourself too seriously!"

"You are speaking so definitively and spouting such nonsense; can you represent the mainland audience, or the mainland film circle?"

"He can represent them."

Everyone looked over in surprise, meeting the rare serious expression of Old Mouzi.

He had been listening to Lu Kuan and Wu Yusen's heated debate, wanting to persuade him to let it go, but was repeatedly irritated by this arrogant pigeon.

Now that he had finally found an opportunity to back Lu Kuan, he stood out leisurely.

"Director Lu Kuan is the boss of the largest private film company in the mainland and is an excellent director recognized by the audience, actors, and the Film Bureau."

"Although he doesn't have the seniority or the long career of you Hong Kong directors, he has proven himself in both international awards and box office figures."

Old Mouzi had great prestige among Hong Kong actors; he had filmed two blockbusters under Jiang Zhiqiang's investment and had worked with Liu Dehua, Zhang Manyu, and Liang Chaowei, who were present today.

His endorsement of Lu Kuan was far more powerful than the hype of the media and the audience!

Boss Lu felt extremely comforted; words sound different when spoken by different people.

Hearing praise for himself from a film artist like Old Mouzi, who has both prestige and a good reputation, is just so satisfying!

Zhang Yimou first took a biased stance, then came to mediate.

"I just heard the discussion between the two of you; overall, it's all for the good of Chinese-language films. Let's seek common ground while reserving differences and not affect today's promotion meeting."

Boss Lu had no objections; he had scolded the person, acted cool, and had Old Mouzi to cover his retreat.

Perfect.

"Alright then, I heard Director Lu's 'The Other World' is to be the premiere film tomorrow; I will go to watch the masterpiece, and I wish you a big box office success!"

Success my ass; the pigeon doesn't think highly of this film's profit prospects.

Especially since it is going head-to-head with Old Dragon, who has already entered the 20-million-dollar club in Hollywood, and is also facing Disney's sniping.

He doesn't believe this Hollywood novice can compare to himself, an old director who has filmed blockbusters like "Mission: Impossible 2."

It's just repeating his own mistakes with "Windtalkers," yet he's still here talking big.

Wu Yusen's face was livid, but he couldn't fire any more shots at this big mainland director, so he turned and walked away in displeasure.

It was clearly his home turf, yet he ended up fleeing in defeat—where can one go to reason?

Everyone present was a shrewd person; except for some industry insiders who had deep thoughts about the industry frowning in contemplation, everyone acted as if nothing had happened.

Drink the wine, dance the dance!

It's just that there were even more people surrounding Boss Lu.

The boss of the largest private film company in the mainland?

A prominent figure who also has a name in the Film Bureau?

There were also reporters from all walks of life rushing over, wanting to dig deeper into the topic just now, but they were all politely declined by Boss Lu.

He had another important thing to do today.

He wanted to invite Zhang Manyu to be the female lead of his new film before she was crowned at Cannes.

Because of the narrative structure spanning decades, the female lead of "The Curious Case of Benjamin Button" has to act from a few years old to 80 years old.

The age ranges that are too young or too old naturally require special actors; the main female lead's scenes in the film are concentrated around 25 to 45 years old.

This creates a problem:

Whether to use a 25-year-old actress to play 45, or a 45-year-old actress to play 25.

In other words, assuming the casting is between a young actress like Liu Yifei and Zhang Manyu.

Zhang Manyu can easily act out her state in her 20s, but Liu Yifei cannot act out her state in her 40s.

Life experience is right there.

The love story of the male and female leads in the film spans decades, each having encountered different lovers and having their own understandings and feelings about life.

Among these, the plot after the female lead is 40 is more gripping because that is the part of the story that has been settled by time and can add color to the film's humanistic core.

In view of this, Lu Kuan still decided to find the 39-year-old Zhang Manyu to star.

(End of chapter)