This actor just wants to verify.

Chapter 288 Showing the Storyboard to Xu Ke (Subscribe for more updates 1617)

Quentin looked confused, but he was a movie fanatic, and when he found out that these were the questions Hao Yun asked him, he did not get disgusted or try to escape. Instead, he watched them one by one with great interest.

"Now you understand why he can write such a script while being an actor, right?"

Jiang Wen sat on the chair and leaned back subconsciously.

This is an evasive move.

He was almost suffering from psychological trauma from being tortured by Hao Yun. Whenever he was having sex with his wife, he would suddenly stop because he had an inspiration and could answer a question that Hao Yun had not answered before.

I have to take notes quickly.

"Sweat is the lubricant of success!" Quentin gave Hao Yun a thumbs up.

Unfortunately, Hao Yun's English is not very good and he has not read enough, so he has no idea who said this famous quote. Instead, he suspected that Quentin was driving.

Quentin picked up a card and began to tell Hao Yun about his understanding of the movie.

"Should a screenwriter's inspiration come from life or movies? For me, half of my inspiration comes from life and the other half comes from the movies I watch. Movies give me the passion to create, letting me know the current movie trends and the changes that have taken place in the film industry. And life always gives me constant inspiration and enlightenment, and I constantly get creative materials from life..."

He is a very talkative person, almost a chatterbox.

A problem that could be explained in five or six sentences, he insisted on talking about it in fifty or sixty sentences. Sometimes, when he got excited, the topic would go off track.

However, you can learn a lot from chatting with him.

In addition, Hao Yun could pull out his attributes at any time and listen to what he said with Quentin's attributes throughout the whole process. There was no problem of not understanding him. Instead, they could have a very pleasant chat.

Who would have thought that he was chatting and laughing with the chairman of the Cannes Film Festival jury here.

However, there was one topic that neither Jiang Wen, Quentin, nor Hao Yun mentioned even a word about.

That's the thing about awards.

I have known how to protect myself since I was a child. I know that the best way to avoid being rejected is to reject others first.

By the same token, as long as you don't ask, no one will be embarrassed.

The Cannes Awards are not the steamed buns from your neighbor's house. If you ask for them, Quentin won't give you a piece out of courtesy.

After having a meal with Quentin, Hao Yun followed Jiang Wen's instructions and went to visit Xu Ke again.

At such a critical time of the film festival, Xu Ke was very busy as a judge, and he also had to avoid suspicion and try to reduce "informal" contact with the participating films. However, Hao Yun called his assistant and expressed his desire to ask for advice, and Xu Ke actually met with Hao Yun in the hotel room.

The hotel where he stayed had a large terrace, and he received Hao Yun on the terrace.

Cannes in May is not too cold, but the wind is a bit strong, so it is a bit chilly at night.

"Dante mentioned you, and I watched the movie you guys made. It's been a long time since I've seen a young man who fights as well as you."

At the beginning, Xu Ke explained the reason why he wanted to meet Hao Yun.

If Jiang Wen introduced Hao Yunlai to Xu Ke, Xu Ke would definitely give Jiang Wen this face.

But Hao Yun visited in a personal capacity, and he was willing to meet Hao Yun purely because of Hao Yun as a person.

"Haha, for Director Lin and me, "The Matrix" was made just to make money. That movie is really boring." Hao Yun said boldly.

"Oh, what kind of movie do you want to act in?" Xu Ke was really curious.

"Like in The Legend of Zu Mountain..."

Hao Yun named one without hesitation. It was not Xu Ke's "New Dragon Inn", nor "Crouching Tiger, Hidden Dragon", or "Green Snake" or "A Chinese Ghost Story". In Hao Yun's opinion, Wang Jiawei's best movie is "Ashes of Time" and Xu Ke's best movie is "The Legend of Zu".

He is not as crazy as Jiang Wen.

Otherwise he would say that the best movie has not yet appeared and he would make it later.

"The Legend of Zu Mountain..." Xu Ke shook his head and smiled bitterly, sighing, "If you really say that, there is no possibility for us to cooperate. The Hong Kong market can no longer bear such a movie. You don't even know what this movie means."

Hao Yun did not expect that this seemingly successful Hong Kong director would be so depressed.

But I can also understand his pain.

In the mid-to-late 90s, Hong Kong films entered a period of low development.

In 1997, Xu Ke, feeling deeply sluggish in the Hong Kong film market, chose to go international and collaborated with Hollywood film producers on "Double Fire".

After the film "Double Fire" was released in North America, the response was lukewarm.

Undeterred, Xu Ke filmed "KO Thunder Strike" in 1998.

However, after the release of "KO Thunder" in the North American film market, the effect was still not ideal. After repeated setbacks, Xu Ke also realized that the creative thinking of Eastern directors was not very suitable for the Western market. So in 2000, Xu Ke returned to Hong Kong and returned to the creation of Hong Kong films.

It was also in this year that Xu Ke filmed the classic "Upstream and Downstream".

However, the Hong Kong film market in 2000 was still in a slump.

After the release of "With the Flow and Against the Flow", it only earned more than 440 million at the box office.

If it were just like this, he would definitely not have been able to make "The Legend of Zu".

That year, Du Qifeng, who joined the Huaxiaxing company, suddenly had a bold idea. He wanted to gather all the famous Hong Kong film directors at that time to set up a film company and work together.

With so many industry elites coming together, they will definitely be able to save Hong Kong films from danger and save the market from collapse.

Du Qifeng and Xiang Huaqiang, one dares to think, the other dares to shoot.

With the financial support of "Hua Xia Xing", Du Qifeng founded a film company called "One Hundred Years Film" in 2000.

After the company was established, Du Qifeng found Xu Ke, Chen Jiashang, Lin Lingdong, Liu Zhenwei, Zhao Chongji, Lin Chaoxian, Herman Yau, Liu Guochang, Liang Bojian and others, and after some lobbying, he brought these people into "One Hundred Years of Film".

After the staff were in place, a large sum of money was given to the boss to allow these famous directors to show their skills.

In 2000, Du Qifeng filmed "Alone and Wife" for "One Hundred Years of Movies", Chen Jiashang filmed "Love Battle of Okinawa" for "One Hundred Years of Movies", and Lin Chaoxian filmed "Rivers and Rivers in Danger" for "One Hundred Years of Movies".

Xu Ke also received funding in the same year and prepared to shoot a blockbuster film for the "One Hundred Years of Film" - "The Legend of Zu".

This "The Legend of Zu" was a hugely expensive film, with more than 1600 special effects shots used in the entire film. The production of the special effects alone cost more than 4000 million.

The gorgeous cast and numerous special effects made the production cost of "The Legend of Zu" nearly 100 million yuan.

However, the film's performance after its release was not satisfactory. In the Hong Kong film market, "The Legend of Zu" only earned more than 1100 million yuan at the box office. In the mainland film market, the film's box office revenue was only 2000 million yuan.

It can be said that even if other directors made some profit, such as "Slimming Men and Women", they could not make up for the loss of "The Legend of Zu".

then……

Then the 100-year film industry was pretty much doomed.

Hong Kong films are completely dead.

Xu Ke was willing to meet Hao Yun, not only because Lin Chaoxian had mentioned Hao Yun to him, but also because he wanted to get in touch with mainland directors.

Learn more by chatting with mainland directors.

He met with Zhang Yimou during the day today.

In the evening, when he heard that Hao Yun was coming to visit him, he took the opportunity to meet him.

As for avoiding suspicion, he doesn't care about it at all.

"You can consider developing inland areas," Hao Yun suggested.

"If the problem of pirated versions is not solved, it will be difficult for the mainland market to have much explosive power." Xu Ke knew very well that the mainland was Hong Kong's only way out.

"The problem will always be solved, it won't always be like this." Hao Yun is very confident about the future.

In recent years, policies to stimulate the market have been continuously introduced, and with the development of the economy, more people will definitely be willing to go to the cinema.

This is different from the widespread misery in the Hong Kong film market.

Mainland directors are full of confidence and have begun planning to shoot blockbusters one by one. In addition to the already released "Hero", Zhang Yimou also has the upcoming "House of Flying Daggers", and his third blockbuster has also entered the preparation stage.

In March, Chen Kaige started filming "The Promise", with an investment of 30 million US dollars.

Compared with these two master directors, Ma Dagang is undoubtedly inferior. He himself is not a "master" and is not from an academic background, but he is not convinced. He also wants to compete for an Oscar, so he plans to make a Chinese movie based on the famous foreign novel "Hamlet".

It can both please domestic audiences and maintain box office sales, and please the Oscars and win awards.

When Hao Yun was having dinner with Ma Dagang in Hong Kong before, he talked about this topic and asked Hao Yun if he was willing to act in it.

Hao Yun did not give an accurate answer.

In comparison, Stephen Chow has no ambition to win an Oscar. He only wants to make money.

"Director Xu, this is my storyboard, please take a look..."

Hao Yun and Xu Ke first talked about movies for a while, and then began to ask him questions about storyboard drawing.

(End of this chapter)