China Entertainment started in 2004

Chapter 386 Berlin International Film Festival

Han Sanping was silent for a while, then said, "The higher-ups also want you to stay in the country."

After a pause, he added, "Of course, I won't stay in China to make art films. We don't lack art film directors in China."

"I hope you will stay in China to make commercial films and promote the development of our mainland commercial film market."

"In recent years, in order to promote the development of the film market, many foreign language films have been introduced."

"Under this policy, the number of screens in the mainland has increased year by year, and the box office of Chinese-language films has exceeded 3 million yuan."

“Although there are indeed good results, the negative consequences are also beginning to appear.”

"That is, our Chinese-language films are being beaten to the ground by foreign-language films. If this continues, the market we have developed with great difficulty may become a pasture for foreign-language films."

"Although foreign-language films do not account for a high percentage of the box office revenue when they enter mainland cinemas, in the long run it is no longer a question of box office revenue, but rather a matter of cultivating the foreign-language film market with the soil of Chinese-language films."

"Not to mention the future, even now, many people only care about foreign films and look down on Chinese films."

"If this continues, the impact on local Chinese-language films will grow bigger and bigger."

"So, we inland need more fresh blood."

"These new blood are not the commercial films shot by Zhang Yimou."

“Just after the reform a few years ago, it was still okay to make those types of movies.”

“It’s not possible to make this type of movie now.”

"For example, when Curse of the Golden Flower was released, although it achieved very good box office results, it had very bad word of mouth and received a lot of criticism."

"On the one hand, there are all kinds of foreign-language films that are feasting the eyes of our mainland audiences, but on the other hand, the audience's tolerance for Chinese-language films that are rehashed is limited."

“So it was okay to make this kind of movie a few years ago, but it’s not okay given the current reputation.”

"In contrast, the commercial films you made have always been well received by the audience because they did not rehash old ideas."

"Nowadays, many audiences prefer to watch commercial films directed by you rather than those directed by Zhang Yimou and others."

After Han Sanping finished speaking, he turned his head to look at Wang Shu.

The meaning is obvious.

He is not talking nonsense, but the reality shows that "the higher-ups" really want Wang Shu to stay in China to make commercial films that can make Chinese-language films more diversified.

To counter Hollywood movies.

It is not to say that letting Wang Shu make commercial films will defeat Hollywood films entering the mainland market, but the calculation is that with Wang Shu making commercial films in the mainland, the loss to Hollywood films will not be too bad.

Wang Shu is only one person, and no one thinks he can compete with Hollywood movies on his own.

I just thought that with Wang Shu around, even if the loss isn't too bad, he could still promote the diversified development of Chinese-language films.

With Wang Shu taking the lead, other directors were gradually encouraged to give up rehashing old works and make "novel" movies.

By slowly cultivating the soil, it may be able to compete with Hollywood movies in the future.

In this era, Chinese-language films are really being beaten in the local market by Hollywood films that have traveled across the ocean and are not adapted to the local climate and language.

In 2010, when Feng Xiaogang attended the industry forum on "China Film and Hollywood Cooperation Area", he claimed that his mind was blank as he had just finished watching a football game.

After a short break, he began to speak out: "Those directors who go to Europe should not think they are great."

"I don't know English, but I asked Americans. When they say your film is interesting, it's just a polite remark. What they actually mean is, 'This guy is sick. I don't know what he's thinking. What is he filming?'"

First, he implicitly mocked the many art film directors who went to Europe, acting as if these people were useless in promoting the development of domestic commercial films.

Then he added: "Chinese movies are a lot like Chinese football. The gap between football and the rest of the world is huge. The same is true for movies."

In Feng Xiaogang's view, Chinese films are basically "not short of money".

He said directly: "Ten years ago, if an investor, no matter what business he was in, asked me to invest in my movie, I would be very happy. But now, I would ask myself: Why should I give this money-making business to you?"

He was just trying to show off and secretly boast that he had no shortage of investors.

If you want to invest in his movie, you have to ask him, not him asking others.

Then he added: "The technology of Chinese films is just like the technology of Chinese football. There is a huge gap between the technology of Chinese films and the world."

"From 'Assembly' to 'Aftershock', I didn't dare to hand over the most core technical issues to Chinese companies. The special effects for 'Aftershock' were finally done by a Korean special effects team."

After saying this, he continued, "In China, we should first shoot stories for domestic audiences. If you think that French audiences can understand it, you will not be able to speak fluently, which will be very harmful to the creation. Humor will end up being nothing but a glass of water."

Feng Kuazi said bluntly: "When American screenwriters wrote the scripts, they never thought about whether Chinese audiences could understand them."

"For example, Woody Allen never thought that audiences in Beijing would understand him. He only thought that audiences in New York would understand him."

This statement is meant to mock those European art film directors who are keen on making films and have not even learned how to walk, but have already started thinking about flying.

It is undeniable that Feng Xiaogang was inflated by the success of Aftershock. He said a lot of things, and he was either pretending to be cool or on the way to pretending to be cool.

However, what he said was all true.

First, the movies made by a lot of directors in the mainland who are keen on the three major European directors are shit, all of them are rotten fish and shrimp.

Second, a large number of movie scripts written by mainland screenwriters are "out of touch with reality". They can't even make sure that local audiences can understand them, but they expect European and American audiences to understand them.

High-minded but low-handed.

Third, domestic film technology is far behind that of Europe and the United States.

All these combined mean that the gap between Chinese-language films and Hollywood films is too huge, just like Chinese football compared to the rest of the world.

These remarks are why Han Sanping and even "the higher-ups" advised Wang Shu to stay in China to develop.

First, they are all rotten fish and shrimp, and there is really no one available.

Secondly, Wang Shu’s commercial films are “down-to-earth”, at least they tell stories rather than being incomprehensible.

Third, Wang Shu’s commercial films are more novel than other Chinese-language films, and will help promote the diversified development of Chinese-language commercial films.

In fact, in addition to saying these things at this forum, Feng Xiaogang also told mainland directors not to dream of going to Hollywood.

Feng Xiaogang cited his personal experience as an example, saying, "Many years ago, Director He Ping introduced me to Columbia's company to work with us on The Big Shot and Cell Phone... I thought that working with Hollywood, I fantasized that my films could be exported to the U.S. But in fact, they just wanted to use your influence in China, not to push your works to the U.S. Working with Hollywood means integrating their technology into your own films, but don't fantasize about going to Hollywood from now on."

When Feng Xiaogang finished speaking, American distributor Harvey Weinstein immediately used "Crouching Tiger, Hidden Dragon" and "Hero" to refute him.

When the famous distributor left early to catch a plane, Feng Xiaogang directly brought up Harvey: "I need to tell you about Harvey. He often deals with Chinese filmmakers, and his usual trick is to buy the North American distribution rights of our films. He offered 800 million at the beginning, and others saw this and did not compete with him. He gave a deposit of 20 US dollars. When the filming was finally completed, he said that he did not want this movie anymore and wanted to return it. It was too late for you to sell it to others. He came to you at this time and offered 100 million US dollars."

His tone became more and more excited as he spoke: "Do you know how many people in China regarded him as a savior at that time? Now when they talk about him, they say 'Oh, a liar'."

Feng Xiaogang originally wanted to show off by saying this, but he didn't expect to be slapped in the face. He could only wait until Harvey Wayans left before he could start to make amends.

It is undeniable that Harvey Wayans is indeed a "liar".

However, he can only fool directors like Feng Xiaogang who have not yet gone international but are eager to go international.

As this person said, movies like Crouching Tiger, Hidden Dragon and Hero are not included.

Feng Xiaogang kept saying that he shouldn't dream of going to Hollywood, but he still made the movie "The Banquet". In fact, he wanted to go international but couldn't, and then there happened to be a box office success of "Aftershock", so he felt that he was awesome and showed off in various ways.

If he were to act cool and then make a commercial film, many people might still look up to him.

Who would have thought that after making such a big statement, he would start making all kinds of art films in an attempt to go international.

Do one thing before others and another behind others.

After listening to Han Sanping's words, Wang Shu sighed slightly and said, "I still say the same thing. If there is a chance, I will try my hand in Hollywood."

"If there is no chance, forget it."

"Do you really want to go to Hollywood?" Han Sanping turned his head to look at Wang Shu.

Wang Shu smiled when he heard this and said, "It's not a question of whether you want to go or not."

Han Sanping also understood, so he sighed, "Are you sure?"

"What are you sure about?" Wang Shu asked doubtfully.

"Are you sure you can make it to Hollywood this time?" Han Sanping asked.

Wang Shu shook his head and said, "It depends on the box office of The Tuner."

"Investors in Hollywood are more realistic. If The Piano Tuner does well at the box office, someone will definitely approach me for cooperation."

"If it fails, it will be hard to say."

"Okay." Han Sanping sighed and said nothing more.

The two then chatted about some things about "Trip to Taipei" and Han Sanping left.

On February 2008, 2, the eighth day of the first lunar month, Wang Shu appeared in Berlin.

Also coming with him were Liu Dehua, Li Binbin, Yang Zi, Zhang Yishan and others.

第58届柏林国际电影节于2008年2月7日开幕，至2月18日结束。

"Left and Right" directed by Wang Xiaoshuai was selected for the main competition unit and eventually won the Silver Bear Award for Best Screenplay.

However, these have nothing to do with Wang Shu.

He appeared in Berlin this time to promote "Travel to Taipei".

In fact, the organizers of the Berlin Film Festival had previously invited Wang Shu to walk the opening red carpet, but Wang Shu did not go citing work as an excuse.

If Li Binbin and others had such an opportunity, they would rush there.

Wang Shu thought that since he was not participating in the competition, he would not walk the red carpet.

"Wow, it's so lively!" This was Yang Zi's first time to attend the Berlin Film Festival, and she kept exclaiming along the way.

It was also Zhang Yishan’s first time here, but compared to Yang Zi, he was pretending to be calm.

Li Binbin also sighed: "It is thanks to Director Wang that we can all come to the Berlin Film Festival this time."

Although there are no restrictions at the Berlin Film Festival, anyone can come.

But for actors, there is a fundamental difference between being invited and not being invited.

The former is to go there with dignity.

The latter is shameless.

Liu Dehua continued: "It is indeed thanks to Director Wang that I got this."

Wang Shu held his forehead when he heard that. He came here just to promote the movie, not to walk the red carpet.

If it's walking the red carpet, being invited here is indeed a blessing.

The current situation is a bit too much.

Wang Shu said, "We just got here last night, so you can walk around as you please. You all need to be present at the cocktail party tonight."

The process of publicity is to hold a cocktail party tonight to screen the trailer, and to screen the trailer in the exhibition hall tomorrow. After doing all this, we will return to the country to continue filming.

"Understood." Yang Zi and others responded.

In the evening, the "Taipei Trip" banquet was held as scheduled.

There were a lot of people at the scene and it was very lively.

"Sister Shu Qi." Wang Shu saw that Shu Qi, one of the jury members of this year's Berlin Film Festival, had also arrived, so he went up to her and greeted her.

Shu Qi's presence was naturally not for Wang Shu's sake.

Many people at the scene did not come for Wang Shu's sake.

He was not responsible for this matter, but it was the work of several investment companies.

"Director Wang." Seeing Wang Shu being so polite, Shu Qi also responded politely.

Although it was the first time the two met, they chatted happily.

"When did Director Wang come?" Shu Qi asked, trying to find a topic to talk about.

"Last night." Wang Shu responded with a smile.

Shu Qi smiled and said, "I heard that the organizer invited Director Wang to participate, right?"

There was no need to hide such things, Wang Shu smiled and replied: "I did invite you before, but I didn't have time to shoot, so I didn't participate."

Shu Qi nodded, his eyes turned slightly, and he said with a smile: "When will Director Wang be free?"

"Uh," Wang Shu pretended to think for a moment and replied, "That's not necessarily true."

“But if I have the chance, I will definitely come to Berlin again.”

This time I come to Berlin not just to promote the movie like I do now, but to participate in the competition with the film.

Shu Qi understood what Wang Shu meant and continued with a smile, "So what do you think of me, Director Wang?"

"Huh?" Wang Shu pretended to be confused.

Shu Qi said again: "I mean, is there a chance for us to cooperate in the future?"

Although Shu Qi's question was a little abrupt, Wang Shu would not refuse directly, and immediately responded tactfully: "If there is a chance, we can definitely cooperate."

Shu Qi had just asked casually, and when he saw that Wang Shu didn't give a clear answer directly, he smiled and didn't ask any more questions.

Seeing this, Wang Shu added: "When I work with actors in a film, I pay more attention to whether the actor's image and temperament match the character in the script."

“Only in this way can we present better works.”

"So, if there really is an opportunity, I will definitely invite Sister Shu Qi to cooperate."

(End of this chapter)