This actor just wants to verify.

Chapter 693 Should Not Be Forgotten and Misinterpreted (asking for monthly ticket)

Landing in Cannes, there was a slight chill in the air and a sea of ​​flowers.

This is not the first time Hao Yun has come to the Cannes Film Festival.

Although he only arrived on the 23rd, Guangxian Media had already arranged everything and even arranged for someone to pick him up at the airport.

Hao Yun, Huang Bo, Yan Ni, and Wang Changtian from Guangxian Media. The other actors had too few roles, so they were not invited.

Wang Changtian invested a lot of money in this movie, and now he feels that it is all worth it.

Regardless of whether the box office can recover the cost or whether the film festival can win an award, he feels that it is worth it as long as it is shortlisted for the main competition unit.

Guangxian Media has identified its main competitors as industry veterans and newcomers such as Hua Yi and Bona, and is developing very rapidly and in multiple areas.

But they lack any works that can be shown off.

The film "Bullfighting", which I invested in, was shortlisted for the main competition unit of the Cannes International Film Festival, and I can even boast that it was nominated for the Palme d'Or. This is the most glorious moment.

Along the way, Wang Changtian was chatting with Hao Yun.

They hope that Hao Yun can create another award-winning blockbuster for Guangxian Media. If it can win the Palme d'Or, the Golden Bear, the Golden Lion, etc., they are willing to pay Hao Yun an additional personal reward of 10 million.

As for "Bullfighting", regardless of whether it wins the award this time, Hao Yun will be given a red envelope of 2 million yuan. If it wins the award, the amount will be increased depending on the situation.

It’s so fucking rich.

Hao Yun kept being humble, saying, "You can despise my profession, but you cannot insult my personality."

But the other party was too enthusiastic.

He thought about it and realized that two million was enough to buy a luxury car.

What man doesn't like cars?

I said I wanted to buy one during the Spring Festival, but later I didn’t see a suitable one and I didn’t have much spare money, so now I’m finally going to upgrade.

After checking into the hotel, Hao Yun began to attract women everywhere.

His name is quite well-known, and he brought some works with him. Many people were happy to communicate with him and ask what new films he had made and what strange ideas he had.

That’s right, anyone who has communicated with Hao Yun will be interested in his way of thinking.

Moreover, he can speak English, French and German ok, so there is no language barrier in communication.

I even attended a filmmakers' salon in the evening.

The initiator was Marco Bellocchio.

He is an Italian director, screenwriter and producer. The film he shot, "China Is Our Neighbor", won the Jury Prize at the 32nd Venice International Film Festival.

Hao Yun was quite active in speaking at the film salon.

Talk to these foreigners about movies, Chinese movies, and China.

In fact, many foreign filmmakers get to know China through Chinese films and Chinese filmmakers.

If they meet someone who hates their country, they will definitely see the ugly side, and this side will be infinitely magnified, thus affecting the cultural attitudes of these people.

This attitude will not be easily changed and will gradually form prejudice.

Therefore, cultural lackeys are the most hateful.

Marco Bellocchio knew quite a bit about China, but his knowledge was outdated.

Hao Yun behaved very objectively - fanatics will be scrutinized, and objectivity makes it easier to convince others - allowing many people at the salon to better understand China.

Many people even plan to go watch the Olympics next year.

Hao Yun took the responsibility and said that he could be responsible for the reception, and that food, drinks and entertainment would not be a problem, and that he could even organize a salon for filmmakers.

Jiang Wen, Gu Changwei and others can participate.

Be generous when you should be generous. This is how your industry status is built up slowly.

The return rate was also very good. The next day, many filmmakers came to the red carpet of "Bullfighting".

Basically everyone who has communicated with Hao Yun will come to show their support.

Even Japanese female director Naomi Kawase came.

Her entry is called "The Forest of Logs", and she is a director who loves to shoot forests and nature.

She is very interested in Hao Yun's "Little Forest".

Hao Yun invited her to attend the premiere of "Bullfighting" and made it clear that it was an anti-Japanese film.

There is no question of whether it is good or bad to invite Japanese people to watch anti-Japanese war films, because movies are made for people to watch. If they are not shown to outsiders, then it is purely for one's own entertainment.

Hao Yun, Huang Bo, Yan Ni and Wang Changtian walked the red carpet together.

Huang Bo was obviously a little nervous.

He even showed Hao Yun his acceptance speech, which he wrote for the Cannes Best Actor Award.

Hao Yun felt that he was really overthinking it.

Before the film begins, the main creators will be interviewed.

Hao Yun served as a temporary translator. If Huang Bo, Yan Ni and others had any questions, Hao Yun would help translate and explain them with his own understanding.

His demeanor and knowledge are admirable.

In fact, this is also a kind of elegance.

Being elegant does not simply mean being a gentle and amiable scholar.

Because of the subject matter, the media will certainly not miss the opportunity to ask screenwriter and director Hao Yun some questions about Zheng Zhi. This is actually very sensitive and could easily lead to big trouble if not handled properly.

Fortunately, Hao Yun has filmed "The Sound of Wind" and "Bullfighting" and has consulted a lot of information for "The Regiment Commander" and "Jinling". He can be called an expert in this area.

The answer was powerful and flawless.

When the movie was officially released, people realized that the ugly man standing next to Hao Yun, who was dressed in decent clothes, actually had pretty good acting skills.

Huang Bo's performance is indeed very contagious.

Unfortunately, there is no dubbing at the film festival, so foreigners can only understand the lines through subtitles when watching movies.

However, the level of those who come to participate in the film festival is not ordinary high.

The plot and characters are all very good, and the film language is also universal, so there is almost no problem of not understanding it.

Niu Er stood up from the ruins and looked at the deserted village around him. He fell into panic.

He didn't know where all the people who were usually active in the village had gone.

He looked everywhere, searched every room, but couldn't find anyone.

Finally, he stumbled into a large pit and saw a pile of charred corpses.

There was a lot of sighing at the scene.

This kind of thing is not an exaggeration. It happened in World War I and World War II, and it still happens now.

It's just the law of the jungle, and no one can do anything to him because he has a big fist.

I just don’t know, as China becomes increasingly powerful, what will happen to Japan’s national destiny when they face each other again in the future.

When the Eastern Dragon wakes up from his slumber, he will definitely not be a vegetarian.

In fact, Hao Yun’s purpose of coming to Cannes has been achieved. He wanted to show his film to filmmakers from all over the world.

What is cultural output? Isn’t it about letting more people know?

That was just too difficult to operate.

The truly effective output is to let those who should know know.

As for the filmmakers who are watching movies today, as long as they are successfully exported, their works and the new generation influenced by them will gradually be exported.

The ending scene of the movie seems dull, but many viewers were shocked.

Some people who are usually immune to all poisons even began to wipe away tears.

For the sake of a contractual promise, he experienced life and death.

The tomb of Niu Er, the tomb of Er Niu, the top of the mountain with biting cold wind, the silent old cow, the savage Huang Bo, and a bunch of green seedlings.

I thought it was a war film with grand scenes, but I didn't expect it to be so long and peaceful.

It is a comedy, but the kind of comedy where the smile gradually freezes on the face as you laugh.

There was certainly no shortage of applause.

Hao Yun, a Chinese director who has won the Cannes Best Screenplay Award, has once again proved his ability. "Why did you think of making such a movie?"

"Thank you all for watching the film. The main reason for making this film is to let more people know that such a rough life and such a tragic situation were experienced by thousands of people with the same blood as us in the land where we grow up now. They should not be forgotten or misinterpreted."

Hao Yun's tone was very heavy when he was interviewed.

“From the perspective of film style, is there any connection between this and Jiang Wen’s The Devils?”

"Everyone knows that Jiang Wen is my master. My favorite movie of his is not "Sunny Days" but "Devils on the Doorstep". This movie is my tribute to my master and my homework. The style of the movie is indeed similar to Jiang Wen's. The black and white tones add a sense of heaviness to the movie."

Hao Yun did not shy away from this kind of argument; he was even happy to express it, which formed a sharp contrast with Lu Yan.

After Lu Yan "tragic loss" of Jinling, he seemed to have decided to make a war film.

I don't know if he has accepted any mission.

Huang Bo was also asked a lot of questions.

Before the movie started, almost no one asked him questions, but after the movie was over, he answered multiple questions in a row.

Hao Yun was there to help him translate.

The next day, various media reported on "Bullfighting".

Director Hao Yun's new film "Bullfighting" visited Cannes.

It seems like a happy ending, but in fact it is filled with a deep sense of sadness.

How to reflect on a war!
"Bullfighting" is a perfect combination of form and content.

Darkness, irony, and humor seem to be synonymous with this film, because of a cow's life and death.

See the young Chinese director’s road to maturity through “Bullfighting”.

"To Live", "Devils on Doorstep" and "Bullfighting", three films directed by Chinese directors express different things.

There were so many news reports that it was almost impossible to read them all. Compared to when Hao Yun first came, the treatment was much better.

Almost all media outlets that pay attention to Cannes reported on it.

Hao Yun was very pleased that these film critics understood the movie, and was also happy that everyone got what he wanted to convey.

From the perspective of its theme, the film can be said to have expressed it just right.

From an artistic perspective, it is generally believed that "Bullfighting" is a mature film.

that's enough.

Of course, Hao Yun still wants to continue to expand the influence of "Bullfighting".

On the one hand, we are contacting the film festival to add more screenings.

If you can have as many shows as possible, then do so. There’s no need to worry about no one coming to watch.

On the other hand, he took Huang Bo and Yan Ni to participate in the premieres of other movies and various film events as part of the "Bullfighting" crew.

The three even accepted an interview with foreign media.

We talked more specifically about some movie issues.

Of course, there are also voices of doubt, for example, the Cannes film selection included the Zheng Zhi factor.

Hao Yun's film is not particularly amazing, and it stands out mainly because of Zheng Zhi.

Anyone who holds such views is naturally either stupid or evil.

How could there be any fools in such an occasion? That would be bad.

Bad people are everywhere.

They don't necessarily think that Hao Yun's attitude towards Japan is problematic, but they are simply full of hostility towards China, a rising power.

Or maybe it's jealousy and guilty conscience.

Hao Yun often engages in verbal battles with the crowd at the Cannes Film Festival, and he always handles things appropriately, whether it's Zheng Zhi or the movies.

In the words of local media, he already has the aura of a master.

Hao Yun watched movies for a few days.

My favorite is probably the Coen brothers' No Country for Old Men.

This is absolutely a genuine Coen brothers movie. The Coen brothers' expertise in plot layout, atmosphere creation, black humor, and high-IQ suspense are all fully reflected in this new work.

Within the absurd story framework, it is actually a sad story close to human nature itself.

Hao Yun also formally came into contact with the Coen brothers.

While we were having a great conversation, we also got to know a lot of properties.

This Chinese director is quite eye-catching because he is so young.

Hao Yun hasn't even turned 25 yet.

When Ethan Coen and Joel Coen were Hao Yun's age, they were probably still writing scripts for independent filmmakers.

In 1984, the two spent $80 and two months to shoot their debut film, Blood Simple. At that time, one of them was 2 years old and the other was 27 years old.

That year, Hao Yun was two years old.

Of course, Hao Yun also met several actors from "No Country for Old Men".

There are also many acting attributes that can be pulled out.

Javier Bardem, the villain in "No Country for Old Men", is particularly impressive. His wife Penelope Cruz was the Best Actress at last year's Cannes Film Festival.

It would be a great story if Javier Bardem could win the Best Actor award.

However, Javier Bardenyo was destined to be disappointed.

On May 5, the Cannes Film Festival closed and the awards ceremony took place in the evening.

The Coen brothers' "No Country for Old Men" and Béla Tarr's "A Man from London" were both well-received by industry insiders but failed to achieve any success.

Award-winning film Wang Jiawei's "Blueberry Nights" and Kim Ki-duk's new work "Breathing" also failed to win any awards.

And Hao Yun's "Bullfighting"...

"At the 60th Cannes International Film Festival, the winner of the Jury Prize was "Growing Up in Iran" directed by Maga Satrapi and Vincent Palande..."

Under the spotlight, the two directors began to hug each other.

However, before everyone started to applaud, the presenter added, "There is also "Bullfighting" directed by Chinese director Hao Yun. Congratulations to the three directors above..."

Then came the jury's comments on the two films.

The jury's evaluation of "Bullfighting" is "This film uses the joys and sorrows experienced by a small person to show the development and changes of the society at that time, and therefore it is more real and reliable."

In other words, the Jury Prize had a double yolk.

Then Hao Yun was hit by one.

It was a big surprise, and not just an ordinary surprise, because Hao Yun had never thought about winning the award.

Having Zheng Zhi elements does not mean it is a plus.

The key is to see whether this "Zheng Zhi element" conforms to Western mainstream thinking and must be correct within the scope of other people's rules.

Obviously, China's anti-Japanese war was not so compatible.

However, considering that "The Devils" won the Grand Jury Prize at the 53rd Cannes International Film Festival, it is not too surprising that Hao Yun's "Bullfighting" won an award several levels smaller than the Grand Jury Prize.

After hearing his name, Hao Yun first shook hands with the people around him.

It’s a pity that An Xiaoxi was not brought along…

If I had known I could win the award, I would have brought her here. Then she could be more excited and do whatever she wanted, and everyone would understand.

When he got on the stage, Hao Yun hugged and greeted the presenters, as well as Marjane Satrapi and Vincent Palande, who shared the "Jury Award" with him.

Vincent Palande is French, and Hao Yun doesn't know him very well.

Maja Satrabi is an Iranian graphic novel writer and illustrator. Growing Up in Iran is her autobiographical illustrated comic work.

The three received their trophies and gave their acceptance speeches.

Hao Yun didn't say anything radical on the stage, and this wasn't a one-time deal.

As a director, if you appear too "uncool", it will not be conducive for the audience to view the work with a normal mind.

He hopes to bring more similar works to play in the future.

(End of this chapter)