New Age Artists

Chapter 604 The New God is Crowned!

Downstairs of the China Film Office Building, rime was shaking off the wind and snow.

The chill ran down his neck, and Zhang Yimou shrank his head. His deputy director, who had the same last name as him, Lao Zhang, said, "Don't take it personally. Xiao Shen is not even half our age."

He comforted Zhang Yimou not to be petty, but he wished that the two sides would fight.

Only in this way can the Film Bureau, as a referee, have a sense of existence.

In the past, we always provided support. Every year, we were exhausted by trying to maintain the market share of domestic films, arguing with and pressuring theater chains, and giving psychological massage to useless film and television companies.

Endure the noise of the academics who want money on the one hand and want to relax censorship on the other.

It’s not over yet, Hong Kong and Taiwan have their own little thoughts, as well as corresponding cooperation tasks.

With the rise of Santong Entertainment, the Film Bureau has entered an ecological niche that it never had before and has never fought such a lucrative battle.

I actually took a look at the bottom line of Hollywood imported films. This year it was proved that there is an upper limit to Hollywood movies.

Zhang Yimou said: "I think it is necessary to respond, not because of what he said, but because I think it is necessary. It is indeed wrong to hype up sex scenes."

Lao Zhang did not comment: "It's up to you. Don't worry. We have made arrangements today. There will be no problem."

Zhang Yimou breathed a sigh of relief.

This shows that the authorities want to find a balance between marketization and ideology, and they condone Shen Santong's criticism of him, but also accept his explanation.

In the conference center on the third floor, the air conditioner was humming and the heating was on high.

Zhang Yimou walked in.

moment.

The scene fell silent.

Zhang Yimou himself has a very high status, and coupled with Shen Santong's live broadcast of the attack a week ago, his first semi-public appearance naturally attracted the attention of all the directors and experts present at the meeting, and he became the center of attention.

There are many people who enjoy the show and gloat over others' misfortune.

Zhang Yimou hasn't been so embarrassed in many years.

Zhang Yimou's "blockbuster model" has always been regarded as a benchmark for the industrialization of China's film industry. Its international influence also helps cultural exports, which is consistent with the film's strategic goals.

After serving as the chief director of the opening and closing ceremonies of the 08 Olympic Games, he became an officially recognized "national business card" director.

In addition, the work has long been in line with mainstream values ​​in terms of subject matter selection and artistic expression. Although "The Flowers of War" involves sensitive history, it has received support from the Film Bureau and represented China in the nomination for the Academy Award for Best Foreign Language Film, showing that it is highly trusted.

"The Flowers of War" did not reach the 2 billion yuan that the big mouth Zhang Weiping said was comparable to "Wolf Tooth", nor did it break 1 billion yuan, but it did make more than 700 million yuan.

It will continue to promote the commercialization of domestic films, which is in line with the policy direction of the Film Bureau to encourage high-grossing main-theme films, while also improving the film ecological structure.

Can't Santong Entertainment dominate the market alone?

As expected, there was an accident.

Seeing that everything was almost done, Lao Zhang took a sip of tea and said, "Everyone is here, let's get started."

Zhang Yimou indicated that he had something to say; "I would like to first respond to the controversy caused by The Flowers of War."

Lao Zhang said, "No hurry, let's not be too serious, just treat it as a New Year's tea party."

Zhang Yimou insisted: "I think it is necessary."

"Okay." Seeing that he said this, Deputy Director Zhang did not stop him.

On the one hand, we need to leverage Zhang Yimou’s international reputation to enhance the soft power of the film.

On the other hand, "The Flowers of War" involved censorship controversy, not just the problem mentioned by Shen Santong, but also the Christian elements, and the final version was also deleted and revised.

The attitude is "limited support".

The film was tacitly accepted as competing for an Oscar, but it was not promoted, nor was its overseas promotion fully supported.

I don't oppose Zhang Yimou's artistic expression in films, but I am taking a wait-and-see and reserved attitude.

The current situation is clear as day.

Shen Santong blasted "The Flowers of War", targeting Zhang Yimou and Zhang Weiping. It seemed to be their own problems, but in fact it was a struggle between the leading directors of the old and new generations.

The Film Bureau is now playing the role of a referee, trying to keep the two sides from getting too angry and going down the drain.

On this occasion today, follow-up news is bound to be flying all over the place.

Old Zhang must be very attentive - whatever he says is what Zhang Yimou wants to say, and it has nothing to do with the Film Bureau, and certain media should stop making trouble.

Zhang Yimou got straight to the point and said, "Today I am responding to Shen Santong's criticism of me."

There was a commotion.

I never thought Zhang Yimou would be so direct.

Zhang Yimou opened his notebook and said, "The essence of Shen Santong's criticism is the misalignment between artistic expression and the context of the times."

“My work has always been aimed at exploring the core of Chinese culture and the complexity of human nature.”

“The original intention of creating films such as Red Sorghum and Hero was to tell Chinese stories in an international audio-visual language, rather than deliberately catering to Western perspectives. There are multiple interpretations of artistic expression, but the foundation of my creation is always based on local cultural soil.”

"I still remember the shock of watching Red Sorghum for the first time when Western audiences saw the wildness and bloodiness of the Chinese land. It was not dead and stereotyped, but alive."

"As the film market developed, I shot Hero, which grossed $1.7 million worldwide, a record for overseas releases of Chinese-language films to date, allowing the world to see the commercial potential of Chinese films."

"Hero is also the first domestic film to have a box office of over 2002 million yuan, and the highest-grossing Chinese-language film in the world in . Some media commented that this film pushed Chinese films into the 'blockbuster era'."

"I dare not take credit for it. I can only say that these attempts have paved a little way for the industrialization of Chinese films and made a small exploration for today's market prosperity."

"90% of the technical team of The Flowers of War is Chinese, which shows the level of local industrialization. These attempts have also accumulated certain experience for the internationalization of Chinese films."

“The creations of different eras are inevitably limited by the social context and international environment of the time.”

"Today's audiences and the industry have higher requirements for cultural subjectivity, which is a reflection of the progress of Chinese films."

"Chinese films need diverse voices and exploration of different paths. Whether based on the local market or on the international stage, the goal is to enhance the global discourse power of Chinese culture."

"I respect Director Shen's views and hope that my peers can work together to promote healthy competition in the industry."

Everyone in the venue couldn't help but exclaim in admiration.

Lao Mouzi is very good.

He did not fall into Shen Santong's rhythm, but emphasized the original intention of creation and artistic pursuit.

Downplay the accusation of "pandering to the West", highlight personal artistic mission, and avoid getting caught up in ideological debates.

At the same time, we must acknowledge the limitations of the times and demonstrate an open attitude.

Responding to criticism with a humble attitude neither completely denies the past nor shows the willingness to keep pace with the times.

Use past historical achievements to divert attention, emphasize its contribution to the development of the industry, and weaken the label of "cultural dependence".

Don't forget to show the big picture and transform the controversy into an industry consensus of "seeking common ground while reserving differences" to avoid further division of public opinion.

Seeing that many people were whispering, Zhang Yimou suddenly raised his voice: "I am not saying this to show off my experience, but art evaluation should not be separated from the historical context!"

Then he quickly lowered his voice and said, "In the 1980s, we had to rely on donations from overseas film festivals for the money to make movies. If we don't go abroad, who will be able to see Chinese films?"

Just when everyone thought that Zhang Yimou had finished laying the groundwork and was about to do it, he suddenly changed the subject.

Zhang Yimou simply said: "I humbly accept Shen Santong's criticism. In future creations, I will pay more attention to the balance of narrative perspectives, retaining artistic exploration while strengthening the expression of local values."

“Of course, you can criticize, but you can’t deny the collective efforts of a generation of filmmakers, and you can’t deny the collective efforts of the older generation of filmmakers!”

Zhang Yimou never mentioned any details of the movie because he knew that was the weak point.

Zhang Weiping insisted on using "Ni Ni and Yu Mo's erotic drama" as a publicity gimmick, and even bought the hot search term #十三钗限量突破#, completely vulgarizing the serious subject matter.

We must avoid the important and focus on the trivial.

That's enough.

The authorities are very tolerant in this regard. As long as his stance is not problematic, details are minor matters.

Emphasizing historical achievements is only one aspect; the focus is on "the collective efforts of filmmakers."

How talented is Shen Santong?

They are in their twenties, no matter what problems they have, as the younger generation they are still moving forward on the shoulders of their elders. Are we so eager to ruthlessly trample them to the ground?
Lao Zhang suddenly interrupted and said, "Director Zhang's contribution is obvious to all in the industry."

Zhang Yimou immediately responded, "Yes, I could have retired after the opening ceremony of the Olympics, but why did I continue to shoot The Flowers of War? Because I wanted to prove that Chinese directors can handle both patriotism and complex human nature."

He scanned the audience, his eyes stopped on Lao Zhang's face, and said: "Just like when "To Live" was banned, I never stopped using movies to record this land."

Old Zhang nodded slightly, indicating his agreement.

Lao Mouzi has a good track record. He did not run away when he was wronged, and he did not give up.

After the meeting.

Zhang Yimou got into the nanny car and said to Fu Lulu who came with him with a wry smile: "Shen Santong is right, I did cross the line."

Fu Lulu would naturally not say anything bad about Lao Mouzi: "I think he will be the one who will put the blame on others."

Zhang Yimou looked out the window and shook his head: "I'll send a text message to Shen Santong later. The matter is almost over."

He remembered what Shen Santong said on the set of "Zhu Xian".

Feng Xiaogang was also filming a historical war film with a very literary theme. Hua Yi had to accompany him.

In comparison, he was like a little bug in the web woven by Zhang Weiping, unable to break free.

At this moment, Zhang Yimou had never been so eager to cut off contact with Zhang Weiping.

No one knew better than him that the one who really made him embarrassed was not Shen Santong, but Zhang Weiping.

There is no sex scene and no hype, and no matter what, it is still within the scope of artistic expression.

Zhang Yimou is not afraid of any doubts.

But I just crossed this line.

Compared with Huayi, which has a complex business, he only has Xinwang that he can rely on, and Zhang Weiping has it under firm control.

noon.

Shen Santong's personal cell phone vibrated.

The caller ID shows “Lao Han”.

Shen Santong teased, "Hey, you, the big leader, are not here to be a lobbyist, right?"

Han Sanping: ".You just like to interrupt me, are you really getting cocky?"

"No, no. I'm just guessing."

Han Sanping said seriously, "Santong, Director Zhang was the chief director of the Olympics after all. It would be good for you to take a step back. Why are you so anxious when you are young?"

"I have no problem with Director Zhang. I repeatedly stressed this point during the live broadcast." Shen Santong did not want to be known as someone who was trying to usurp power, so he said, "I almost failed a course in school because of my efforts to protect him."

"It's good that you know." Seeing that he knew the seriousness of the matter, Han Sanping hung up the phone. After hanging up the phone, Shen Santong rested his chin on Tong Liya's hair and touched her bulging belly.

Tong Liya asked: "Who is it?"

"Han San."

"Who, which Han San, Han Han?" Tong Liya thought about the expression on his face when he just called. At least their status was equal, or respectful. She hesitated and asked, "Isn't it Director Han?"

Shen Santong nodded calmly.

"Okay." Tong Liya was used to his occasional bragging.

How frivolous you are after hanging up the phone, and how reserved you are when you are on the phone.

Just after a warm moment, Shen Santong's cell phone rang again. It was a personal cell phone. Shen Santong was embarrassed: "I said I would accompany you."

"Go and get busy." Tong Liya was helpless, but she was used to it.

After talking for about ten minutes, Tong Liya asked, "Who is it this time?"

Shen Santong pretended to be calm and said, "From Zhang Yimou's side."

Tong Liya was surprised: "Ah, he called you."

"No, it's his daughter." Shen Santong said, "But she wrote me a letter, and it's still on the way."

Tong Liya was puzzled: "What do you mean?"

Shen Santong briefly talked about today's symposium: "To put it bluntly, we bowed our heads and let him go for his past contributions."

Tong Liya was so surprised that she couldn't close her mouth.

Shen Santong’s attack on Zhang Yimou was powerful enough, but Zhang Yimou actually bowed his head.

"What's with that expression on your face?" Shen Santong laughed.

Tong Liya was annoyed: "This is Zhang Yimou, Zhang Yimou!"

"What happened to Zhang Yimou?" Shen Santong asked deliberately.

Tong Liya couldn't believe it: "That's Zhang Yimou!"

If it weren't for the rise of Shen Santong, at least half of the film history after the reform and opening up would be about Zhang Yimou.

The general public may not have a deep understanding of it, but only those who are in the circle can understand the shock of it - the new god is crowned by slaughtering the old gods.

Seeing her excited, Shen Santong stopped teasing her: "Okay, okay, I know who Zhang Yimou is."

In fact, Shen Santong himself was also surprised and did not think too much about the criticism of "The Flowers of War".

From private to semi-public, and then to public, it's not that he is holding on to it, but that the problem is huge.

But now it seems that there have been many unexpected gains.

A very rich harvest.

First of all, it demonstrated the power of Santong Entertainment.

Strength needs to be used once, even if only once, it must be used.

Santong Entertainment has quietly become the industry's "stabilizer" through its box office performance and content innovation, while Huayi and the academic school have gradually been marginalized.

The industry ecology is reconstructed, commercial companies are turning to localized genre films, and young directors are embracing market logic.

The "kneeling narrative" of art films has lost its living space.

With the awakening of cultural autonomy, the public and practitioners began to reflect on "Western standards", and Chinese films shifted from "catering" to "self-awareness".

Shen Santong witnessed the change and was also the driving force behind it. The change also gave him endless power.

In the face of this powerful force, Zhang Yimou had to be very careful in his defense.

The criticism of "The Flowers of War" just showed this.

How can you know the kindness of a bodhisattva without using thundering means?

Zhang Yimou also wants to say thank you!
Unknowingly, Shen Santong became the rule maker.

To get to this point, Shen Santong did not rely on his monopoly position, public power, or any shady means.

All you have to rely on is content, clean content.

Use the screen as a sword to cut through the acne and lies of the times!

Now comes the harvest!
Shen Santong understood the meaning of the four words "great sound, little voice". Without any fanfare, public opinion quietly shifted.

From now on, there may be no need to roar. Just a gentle push and those crappy movies will fall like dominoes.

Shen Santong had an indescribable sense of accomplishment.

Along the way, we encountered countless attacks.

At least in the field of film, this position has been conquered. It is far from being called the cultural backbone, but it is definitely worthy of being called the reshaping of the cultural backbone of film.

What he tore off was not only Zhang Yimou's fig leaf, but also the shackles that imprisoned his own creation, and even the rusty shackles of Chinese films.

Faced with this force, no matter what Zhang Yimou thought in his heart, he had to give in, which became a footnote in Shen Santong's path forward.

To put it in a more mysterious way, Shen Santong killed the old god and completed his own promotion.

Although Zhang Yimou's influence is not as large as that of Shen Santong and Santong Entertainment, his position remains unshakable.

This status cannot be measured by money. It is the result of contribution to past history. It cannot be changed unless Shen Santong can go back to the past.

And when Zhang Yimou bows his head, all of this will become part of the narrative advocated by Shen Santong. Other directors who want to shoot similar themes must think about the consequences.

lunch.

Shen Santong opened a bottle of rice wine and took a sip.

Times have changed, he has heard the collapse of the old order, and "The Flowers of War" is just the beginning.

Gold and silver cups are not as good as the audience's reputation.

A trophy won on your knees is not as real as the box office revenue earned while standing.

Tong Liya saw that he was visibly happy, and asked curiously, "Director Zhang bowed his head, has this matter been exposed?"

"It is."

Shen Santong nodded slightly, and Zhang Yimou was finally able to let it go.

It's not that he wants to make improvements, but in this real world, it's impossible to kill everyone.

If this were a supernatural world, he would be a demigod, or a god who could make whatever he wanted come true. He would just have to make a wish to do something, without having to go through so much trouble. But he is not that.

I hadn't thought about what to do before. Criticizing "The Flowers of War" was not an act with any special purpose.

Just because it has problems, we must stand up and fight it.

Shen Santong had no intention of pursuing the matter relentlessly, as it would be meaningless.

He was not trying to defeat anyone, and Zhang Yimou was not going to be defeated.

Zhang Yimou has made great contributions in both the art film era and the commercial film era.

Needless to say, the Olympics also has problems with historical perspective, but if Zhang Yimou can't do it, can anyone else?
Moreover, Zhang Yimou is not only better than his domestic counterparts, but also better than his foreign counterparts.

The value of the opening ceremony of the Beijing Olympics has been demonstrated in every opening ceremony of the Olympic Games since then.

Zhang Yimou's defense was not a lie, and "Red Sorghum" did indeed show the national character.

Because his contemporaries suck.

"Hunting Ground Zasa", directed by Tian Zhuangzhuang in 84, is a representative work of Tian Zhuangzhuang's style.

The film was not allowed to be released because the censors “could not understand it”.

Joris Ivens, a Dutch director who was a consultant to the Ministry of Culture, saw "The Hunting Ground Zasa" by chance. After watching it, he called his leader that night and asked why it was not approved, saying that this was a very good movie. Only later did it pass the censorship.

When Tian Zhuangzhuang filmed the movie "The Horse Thief" the following year, Ivens said after watching it for the first time that he really couldn't understand it this time.

Tianzhuangzhuang had to screen the film again, and only after watching it the second time did Ivens express his approval of the film.

Tian Zhuangzhuang’s movies are really incomprehensible. This is not an adjective, I just don’t understand them.

The core of the movie is even more amazing.

78 years later, “scar literature” is in its prime, and the film industry is not far behind.

Tian Zhuangzhuang disagreed with this. He later recalled that "scar literature" was very popular in the mainland at that time, but he didn't like it very much.

In a sense, this is praising the status quo, and it does not analyze the deviations in the country's management of people at its core, so he wants to explore themes that are different from scars.

To put it bluntly, cursing your mother (denying the past) is not enough, you also have to curse yourself (denying the present).

People say that Zhang Yimou's films have weak plots, but it depends on who he is compared with. Looking at the five generations of directors of the same generation, he is very strong.

At that time, "Red Sorghum" really had a vibrant vitality.

Moreover, Zhang Yimou has many historical books on his body, and the national teacher is one of them, teasing him for catering to the main theme.

Zhang Yimou has always been the representative of mainstream values.

Then the term "Olympic national master" became a compliment, and this is a term that will be recorded in the history books for a long time.

There is another history book, which is "Peasants".

Looking back from the perspective of later generations, this was Zhang Yimou's way of marketing himself as down-to-earth.

This statement completely fails to understand previous eras.

The label "farmer" is also used to satirize Zhang Yimou.

Some people used this to mock Zhang Yimou's rusticity. People in the circle who are of the same generation as Zhang Yimou also like to use this word to imply that Zhang Yimou has no connections or family background in the film industry.

In later generations, public opinion reversed, not just Zhang Yimou's opinion, but a major public opinion reversal.

The “peasant” label became a thing of the past, and a thing of the history books for another time.

This circle really cannot be looked at in detail. Even Shen Santong himself cannot bear to examine it in detail.

Bang!
In the New Picture Pictures office, Zhang Weiping threw the teacup against the wall.

On the computer screen is the headline of the Film News Weibo, "Dialogue with Zhang Yimou: A Cinematic Breakthrough of an Era."

Shen Santong forwarded the message, which was a tacit signal.

The authorities need Zhang Yimou's "international signboard" and will not allow him to be torn apart by public opinion. Shen Santong also does not want to be branded as a person who trampled on his predecessors.

A quiet settlement would have been best, but Zhang Weiping was filled with anger.

"Who told him to respond without permission?!"

If things are done without his help, it won’t be a good thing for him!
(End of this chapter)