1978 Synthetic Writers

Chapter 479 Worthless "Ordinary World"

"Okay, I can promise you."

Bertolucci finished speaking and added:
"But the premise is that we can accept your script. We don't have much time. How long will it take you to write it?"

"One month? Two months?"

Jiang Xian thought for a while and said, "Two months, two months should be enough."

"Two months?"

Bertolucci was surprised. Looking at Jiang Xian who looked confident, he asked, "Is two months really enough?"

"Don't worry, it only took me one month to write The World's No. 1 Restaurant. A play script is much harder to write than a movie script."

Bertolucci certainly didn't know that there was such an inside story behind the birth of "The Best Restaurant in the World". When he heard Jiang Xian say that it only took a month, he couldn't help but be surprised: "How long? A month?"

There is a reason why Bertolucci was surprised. In terms of the difficulty of creation, movie scripts are indeed difficult to compare with dramas.

A drama script can be regarded as literature, while a film script is relatively speaking just a "construction drawing" of a film, which is actually very different from literature.

Moreover, the writing of movie scripts emphasizes "visual sense" and "action" and requires restraint, and it is best to have as few lines as possible.

The space of a drama script is relatively more closed. When writing it, one must not only pay attention to the "scene arrangement", but also the establishment of relationships between characters requires dramatic tension. Moreover, writing lines is a very difficult point, because all the settings, plot explanations, characters, etc. in a drama are completed through lines.

So drama is more challenging for screenwriters.

Such a mature drama performance as "The Best Restaurant in the World", with a script that Bertolucci considered to be extremely mature and sophisticated, was completed in just one month.

Then Jiang Xian undoubtedly has strong strength and talent in drama creation.

Bertolucci certainly would not doubt Jiang Xian's words.

He had no doubt that Jiang Xian was a genius in drama creation.

Because Jiang Xian’s current achievements and the works he has created are enough to prove that he is an absolute genius without having to brag about himself.

With such a guarantee of strength, Bertolucci put aside most of his doubts. "I hope to see your script soon. In order to facilitate communication during the script writing period, I think you can stay in the hotel where I am."

"fair enough."

The two chatted until eight o'clock in the evening, and Jiang Xian asked Xu Chenhui to drive him back to his home in Tuanjie Lake. He spent the entire afternoon talking with Bertolucci about "The Last Emperor".

Because he had watched "The Last Emperor" and had an information advantage, some of Jiang Xian's opinions made Bertolucci excited, as if he had found a soulmate.

It also made Bertolucci more determined to entrust the script to Jiang Xian.

This Chinese guy is very professional!

"Have you eaten?" As soon as they got home, Zhu Lin helped Jiang Xian take off his coat in a gentle voice.

"I'm not full, is there any leftovers at home?"

"Also, take a break. I'll go heat it up for you."

Looking at Zhu Lin's graceful back, the stunningly beautiful woman on the screen, who was now willing to cook soup for him with her bare hands, Jiang Xian felt a warm feeling in his heart.

Actually, he wasn't that hungry.

However, as a married man, Jiang Xian knew very well that even if he was not very hungry, he had to say that he wanted to eat something.

During the meal, Jiang Xian told Zhu Lin about his conversation with Bertolucci about The Last Emperor today.

Zhu Lin was not familiar with Bertolucci's name, but after listening to Jiang Xian's introduction, she knew that he was not a simple director, and the production scale of this movie far exceeded those produced by domestic film studios.

"What do you think of the character of Wanrong?" Jiang Xian asked.

"Queen?"

Zhu Lin quickly guessed what was going on, "You want me to act?"

"It's good to keep money in the family. Besides, you've already played the emperor, so what's wrong with playing the queen?"

"Is this good?"

Zhu Lin was a little confused. "You write the script for me, and I act in the movie. Isn't this a bit too much?"

"What's this?"

Jiang Xian consoled him, "I'm just recommending you. Whether you can do it or not depends on you. If you don't have the skills, you won't be able to take on this porcelain job."

"Besides, are you really willing to miss this role?"

"."

Jiang Xian's words made Zhu Lin fall silent.

Just now, when she heard Jiang Xian talking about this drama, she was a little attracted to the character of Wanrong.

The last queen of China.

He smoked opium, had an affair, became mentally ill, and was thrown into a stinking ditch after his death.

A tragic life from nobility to collapse.

A life full of regrets.

Such a role is very attractive to any actor.

"Okay, I'll listen to you."

After taking on Bertolucci's task, Jiang Xian had to put the novel he was currently writing on hold and devote his energy to writing the script for "The Last Emperor".

He moved to the Jianguo Hotel where Bertolucci lived, and lived opposite Bertolucci. The two talked about the script for most of the day. After understanding Bertolucci's ideas and confirming The Last Emperor, which he had watched countless times, Jiang Xian felt very confident.

However, Jiang Xian still needs to work harder on some details.

He first asked Bertolucci to find a man named Chen Maosui.

Chen Maosui is a Chinese. Ten years ago, he founded the American Asia Television Communications Company in San Francisco, USA. This was also the first Chinese TV station established by a Chinese overseas.

More importantly, Chen Maosui’s father was named Chen Baochen.

At the end of the Qing Dynasty, there were sixteen major families in Fujian. The most prominent family was the Lin Zexu family, and the second was the family of Lin Zexu's nephew Shen Baozhen.

The third is the Chen Baochen family.

In terms of cultural atmosphere and family heritage, the Chen Baochen family is no weaker than the Lin family and the Shen family.

Because Chen Baochen was the teacher of Emperor Xuantong, and therefore Puyi's teacher, and also served as Puyi's Minister of Military Affairs, he was Puyi's most trusted elder.

However, after Puyi decided to establish a puppet regime, he chose to leave Puyi.

Jiang Xian asked Bertolucci to find Chen Maosui, hoping to find out some details of the incident through Chen Maosui.

In addition to Chen Maosui, Jiang Xian also asked Bertolucci to find Puyi's younger brother, Aisin-Gioro Pujie.

Pu Jie was easier to find because he was already an official with a job title, and his calligraphy works were also quite famous.

The third person we are looking for is Li Wenda.

As we all know, Puyi published a best-selling work called "My First Half of Life", which records the entire process of Puyi from ascending the throne to exile to accepting "transformation".

This book was originally a collection of "reflection notes" written by Puyi during his reformation, and was a confession of guilt and acceptance of punishment.

Later, this book of "notes" was to be published, but because the content contained too many taboos and needed to be revised, Li Wenda, the editor-in-chief of the Masses Publishing House, was sent to help Puyi "revise" it.

Li Wenda felt that there were many problems with the original work and it was difficult to solve them by simple deletions and additions. With the consent of the publishing house leaders and Puyi, he started from scratch and wrote a book of more than 500,000 words based on this book through investigation, research, data collection, and verification of historical facts. This is the well-known "My First Half of Life".

Therefore, to understand this period of history, Li Wenda, the author of Puyi's autobiography "My First Half of Life", is definitely an expert to be found. Bertolucci is very fast.

Also because of his special status, various departments gave him the green light.

Provide people when you need them, and provide channels when you need them.

Within a week, he found these three people for Jiang Xian.

With the help of the three people, Jiang Xian, based on the remaining impression of "The Last Emperor" in his mind, compiled an outline of the script and sent it to Bertolucci the day before the "Ordinary World" seminar.

Bertolucci was surprised after watching it.

The film is mainly divided into three segments by Jiang Xian.

The first clip is when Puyi was the emperor, and he developed absolute power and imperial consciousness from his innocence.

In the second paragraph, Puyi became a playboy. He lost his imperial power but still had money.

The third paragraph is about Puyi's reform after being arrested.

Just from the three-part structure arranged by Jiang Xian, Bertolucci could see that Jiang Xian had profound film skills and script arrangement ability.

Good structure, hard workmanship and few flaws.

This script outline can almost be used as a template for new screenwriters to learn from!

Bertolucci had to admit it.

Jiang Xian is indeed a talented screenwriter.

Before, Bertolucci felt a little uncomfortable because Jiang Xian challenged his authority as a director.

But after reading the script, Bertolucci felt that it was worth making some sacrifices for an excellent script.

The script is the foundation of a play. The quality of a script can affect the success or failure of a movie. This is something that cannot be taken lightly.

"Very good, just write according to this outline and finish it as soon as possible," Bertolucci urged.

The earlier he finalizes the script, the earlier he can start filming.

Jiang Xian agreed verbally, but did not stay at the Jianguo Hotel the next day. Instead, he went to Renwenshe at No. 166 Chaonei Street to attend the seminar on "Ordinary World" held by Huacheng for Lu Yao.

Today's seminar is held in a conference room of Renwenshe.

Jiang Xian glanced at the list of experts at the symposium.

"Huacheng" really put a lot of effort into Lu Yao this time.

The lineup of critics attending the symposium can be summed up in one word: “luxurious”.

This symposium on "The Ordinary World" was mainly composed of representatives from the China Writers Association, the Institute of Literature of the Chinese Academy of Social Sciences, many universities in Beijing, and some critics from Shaanxi who came to Beijing specially.

As for the critics, they include Bao Chang, Xie Yongwang, Zhu Zhai, Chen Danchen, Miao Junjie, He Xilai, Gu Xiang, Liu Xicheng, Feng Lisan, He Zhenbang, Zhang Ren, Lei Da, Cai Kui, Zeng Zhennan, Li Bingyin, Xiaorong, Bai Ye, Zhu Hui, Wang Furen, Wang Yu, Li Xing, Chen Xuechao, Liu Jianjun, Meng Wanfu, Li Jianmin, Bai Miao, Li Guoping
The list of experts attending the seminar may not be known to outsiders.

But if you carefully check the academic level of these experts, you will know the weight of these experts.

It can be said that this is the top team of critics of this era.

This list includes almost all of the most authoritative and outstanding literary critics in China today.

It can be said that "Huacheng" attaches enough importance to "Ordinary World".

It can also be said that Lu Yao and the organizer "Huacheng" have great confidence in the work "Ordinary World".

After all, literati or artists all have a yearning to hold exhibitions or seminars in the capital.

After all, Beijing is the cultural center of China, where experts, critics and artists gather. To be recognized here means to have received the highest evaluation in the country.

Of course, we must be absolutely sure of the work before we decide to hold a seminar in Beijing. Otherwise, it will be a failure and the result will be counterproductive.

"Jiang Xian, you are here."

As soon as Jiang Xian arrived, Su Chen from "Huacheng" came over.

Many people looked over there as he did.

If the experts present here are as bright as stars, then Jiang Xian is truly a bright moon.

Who doesn’t know Jiang Xian?
Today’s big star in the literary world!
"There are quite a few people here today."

"Sit down, sit down."

Su Chen took Jiang Xian to sit in a seat very close to the front, which also showed that the organizers valued Jiang Xian's status.

Sitting next to Jiang Xian was Bai Miao, the editor-in-chief of Yanhe. Jiang Xian was about to talk to him when he heard someone whispering behind him.

"How could such a work be written?"

"Yes, it is not up to standard, it is not up to standard."

The seminar was quick and started as soon as everyone arrived.

The seminar was hosted by Xie Wangxin, deputy editor-in-chief of Huacheng, and Wang Yu, editor-in-chief of Novel Review.

As the author, Lu Yao first talked about his original intention of writing this novel, and then sat in the corner of the conference room like a primary school student, respectfully accepting the rigorous scrutiny of the examiners from the Chinese literary criticism circle.

"Who will speak first?"

Xie Wangxin looked around. The critics shirked their responsibilities. Finally, a serious critic wearing black-framed glasses stood up, cleared his throat, and spoke first:

"Then let me talk first."

"Comrade Lu Yao's "Ordinary World" is really a shame."

“It’s really hard to meet the standards of an excellent novel.”

These words immediately made Lu Yao and the organizers all take a deep breath.

However, the worse is yet to come.

"The story's pace is so slow that it's unbearable, like an old ox cart crawling along a rugged mountain road, unable to move a few steps in half a day."

"The book has so many words, but the plot progresses so slowly. If I were a reader, I would easily lose my patience in this lengthy narrative."

After the critic expressed his views, the air was suddenly filled with a depressing atmosphere, as if every breath of air was stagnant in the heavy atmosphere.

Xie Wangxin forced a smile, "Thank you Comrade He Xilai for your criticism. Let's speak freely. Does anyone else have any opinions you would like to express?"

Xie Wangxin originally hoped that someone would bring a different point of view to refute He Xi.

Unexpectedly, another gray-haired critic stood up and criticized:
"I agree with Lao He. From the perspective of narrative structure, the whole work seems to have no novelty. It is a completely stereotyped continuation of traditional writing. Compared with other works of the same period, this "Ordinary World" seems too ordinary and obviously lacks ideological depth!"

Immediately afterwards, one critic after another stood up.

Some even expressed indignation:
"I can't believe that this book, 'Ordinary World', was written by the author of 'Life'."

Seminars are often held before a work is published to build momentum for the work. Although it is not as harmonious as in later times where everyone is happy, people usually say nice things. This is also an old practice in the literary world.

But no one expected that such a situation would occur at today's "Ordinary World" seminar.

Not only did the experts not give it a high evaluation, they even believed that "Ordinary World" had low artistic value.

Every word was like autumn wind sweeping away fallen leaves, devaluing "Ordinary World" to nothing.

(End of this chapter)