director of the millennium

Since you have promised something, you must do it.

Wu Yuan is still very responsible in this regard, although he has almost forgotten about the tribute film.

But there is still time!
Faced with Mr. Han's eager eyes, Wu Yuan had to stop his plan to rest.

What else can I do?
Just work like a horse or an ox!
He originally planned to take a complete break for the rest of this year, and then start filming "Ready Player One" after the Chinese New Year, which is after February. This way, it should be completed before next summer.

But now we can't be so leisurely.

He must immediately start the preparations for Ready Player One, strive to start filming right after the New Year, then wrap it up in May or June, and then start filming the tribute film during the summer vacation, so that it can be completed in time for next year's National Day.

The pressure is quite high, but it’s not too difficult.

The prerequisite is that he has to start preparing this tribute film right now.

At least, we have to decide what kind of tribute film to make.

To be honest, this kind of composition topic is really troublesome.

If he remembered correctly, there was no such tribute film in the original time and space.

The National Day box office in 2015 was dominated by "Lost in Hong Kong" and "Nine-story Demon Tower".

In between these two films, several cannon fodder films such as "Saving Mr. Wu" and "The Third Way of Love" were inserted.

I guess there will be no "The Third Way of Love" in this life, or the heroine will be replaced, but "Lost in Hong Kong" and "Nine-story Demon Tower" should still be very powerful.

But there will definitely not be a tribute film.

This really left Wu Yuan a little confused.

It was also because this thing did not exist in the original time and space, so Wu Yuan never remembered that he had verbally promised Mr. Han about this.

There's no point saying all this now.

The most important thing now is to decide what kind of movie to make and then start writing the script.

After returning home, Wu Yuan locked himself in the study, opened his laptop, and began to think.

"My Motherland and I"?
No, this movie is about celebrating the 70th anniversary of the founding of the motherland, not the 70th anniversary of the victory of the war. There is a conflict between the purpose and the plot content.

"Changjin Lake"?
Even worse, this is about the Korean War, which happened after the end of World War II, and it doesn't fit in with the main theme.

Zhang Yimou's "Sniper" and "On the Cliff" are pretty good, and they are related to the Anti-Japanese War, but the "main theme" of these two films is not enough. They are more of a suspense, spy, and war movie. They are very exciting, but they don't have much to do with "tribute".

Scratching his head, Wu Yuan looked at the blank document page in front of him, feeling a little worried.

Suddenly, he thought of a movie.

"My Fathers and I"!
“It’s not possible to film a whole series, but it seems possible to expand the “Riding the Wind” unit and make it into a feature-length movie!”

"My Fathers and I" has a total of four stories, four styles, writing about the country through the family, and the family and the country are the same. The movie unfolds the struggle of the fathers in four different time coordinates in the past hundred years. It is itself a tribute film to the 70th anniversary of the motherland.

Moreover, "My Fathers and I" draws on the creative experience of the first two films and is the most mature work in the "My Fathers and I" series.

The first unit story, "Riding the Wind", tells the story of the Jizhong Cavalry Regiment during the "May 1942st" anti-"mopping up" campaign in . The cavalry regiment had successfully escaped the enemy's encirclement during the anti-mopping up campaign. In order to contain the enemy and rescue the besieged cadres and the masses, they took a short breath and were ordered to return to the hinterland of the base area to continue the struggle.

For more than 60 days, the Ji Zhong Cavalry Regiment fought desperately in the "iron wall encirclement" of tens of thousands of enemies, used traditional cavalry shock tactics to tear a bloody gap in the Japanese blockade line, and heroically completed the mission.

However, the team suffered heavy casualties in this battle. Ma Chengfeng, son of the regiment commander Ma Renxing, and Yang Jingguo, director of the political department, died heroically. Political commissar Wang Nairong was seriously wounded and committed suicide. In the end, only less than 1200 people were left in the cavalry regiment of 400 people.

The center of the story is the group leader Ma Renxing and his son Ma Chengfeng, so this unit is called "Chengfeng".

In the story, Ma Renxing faced a dilemma: on one hand, there was his son, whom he loved and was proud of, and on the other hand, there was the safety of 52 villagers, including Da Chunzi, the pregnant widow of a martyr.

As the commander of the Eighth Route Army Cavalry Regiment, Ma Renxing sacrificed his own love for the greater good, and ultimately gave up his own child in order to save the martyr's widow.

The film parallels the scene of Chengfeng's sacrifice with that of Dachunzi giving birth on the boat. Through contrasting montage, it highlights the metaphorical meaning of "death-rebirth" to confirm the significance of Chengfeng's sacrifice.

At the end of the story, three years later, after the victory of the Anti-Japanese War, Ma Renxing met the orphan of the martyr and asked him what the child's name was. Da Chunzi said it was "Chengfeng"...

There is no doubt that this story is closely tied to the anti-FXS theme, which is very suitable as a tribute to this festival.

Wu Yuan only needs to add some foreshadowing in the front, make the conflict scenes in the middle more intense, add some main theme colors, let the characters play more of the brilliance of "red faith", and at the end, highlight the hope of the people and the strength of the country after the victory of the war.

Even a little bit of modern drama can be added at the end, where Chengfeng, an orphan in his seventies, tells his grandchildren the story that happened before he was born, letting them know that peace and happiness are hard-won.

With this sublimation, a tribute film has been created, and it is definitely up to standard.

It’s no wonder that Yu Baimei, the screenwriter of the original story of "Riding the Wind", is also quite good at writing serious feature films.

The story of "Riding the Wind" itself is great. Later, when "My Fathers and I" was released, it was also very tear-jerking and received very good reviews from movie fans.

I don’t know why this guy became so outrageous when he met Deng Chao.

Whether it is "The Breakup Master" or "Bad Angels", they are both hard to describe.

Oh, and Bad Angels isn't much better.

This is really not metaphysics.

The unit "The Road Back Home" in "My Hometown and Me" written by Yu Baimei himself is also pretty good.

As long as he leaves behind spoof comedies, Yu Baimei's screenwriting skills immediately return to normal.

Including "Ping Pong", although the box office performance of "Ping Pong" was not good, the failure of this film was caused by many factors, and few people criticized the script for being poorly written.

All I can say is that the combination of Yu Baimei and Deng Chao will always have a different kind of magic.

Putting aside the messy thoughts in his mind, Wu Yuan solemnly typed a few big words on the computer.

"Ride the Wind"!
"Wishful"!
The former is the title of his tribute film.

The latter is the name of the theme song.

This movie must be paired with "As You Wish"! (End of this chapter)