Chinese Entertainment: Academic Director

Chapter 331 Permissions
Cao Yang first called Lao Situ back. To his surprise, Lao Situ didn't specifically mention the Berlin Film Festival, nor did he mention the importance of the Golden Bear to Cao Yang.

Old Situ chatted about everyday things for a while, and only when he hung up did he say, "Cao Yang, don't care what others say, and don't feel pressured. You've already been very successful. Just follow your heart."

Cao Yang smiled; this was the old Situ he knew.

In Lao Tian's words, the old guy is stubborn and inflexible. Compromise? What is that? In the old guy's dictionary, those two words simply don't exist.

When Lao Tian said those words, he didn't blush or skip a beat, as if he weren't that kind of person.

To be honest, although Lao Situ's achievements in the field of art films are not great, his students, regardless of other factors, have more or less inherited his personality.

Take Lao Tian, ​​for example. Given his family background and Lao Situ's connections, would the higher-ups really ban him for ten years? If Lao Tian were willing, he could simply admit his mistake internally, or even if he didn't admit it, he could just compromise a little and the ban would probably be lifted long ago.

But obviously Lao Tian didn't do that.

He even had the nerve to call the old Situ "stinky and stubborn," but wasn't he just like that himself?

And then there's Chen Kai, whose personality is also somewhat tinged with stubbornness.

After hanging up with Lao Situ, Cao Yang felt much more relaxed.

To be honest, before calling Lao Situ, he was also feeling anxious and uncertain.

A Grand Slam, to put it somewhat dramatically, is something that would make someone "famous for eternity" in the film industry. Who wouldn't care about that?
In the film industry, who would give up an opportunity?
Just like Zhang Yimou, who broke with the Cannes Film Festival in 99 because of "Not One Less" and even wrote a letter of farewell.

This was a major event that shocked the world at the time, and it was widely reported by Western media, putting the Cannes Film Festival in a very passive position.

Add to that the Italians' knack for backstabbing – the Venice Film Festival directly awarded "Not One Less" the highest Golden Lion award!
This left the Cannes Film Festival looking rather humiliated.

Zhang Yimou did something very bold back then; from our perspective, he acted like a true man.

But did Zhang Yimou regret it?
They probably don't regret withdrawing their film from the Cannes Film Festival.

However, he may have regretted exposing that letter of severance directly, as it made it difficult for him to reconcile with the Cannes Film Festival.

If he truly didn't regret it and didn't want to mend relations, he wouldn't have brought "House of Flying Daggers" to the Cannes Film Festival—he had subtly expressed at the time that he would never go to Cannes again.

Zhang Yimou has broken his promise.

Gilles Jacob is the true mastermind behind the Cannes Film Festival, serving as its artistic director for over two decades, from 1978 to 2000.

In 2000, Gilles Jacob handed over the artistic directorship to Thierry Frémaux, while he himself became the festival's president, a position he held until his formal resignation in 2014.

In other words, when Zhang Yimou withdrew his film and sent his letter of severance in 99, Gilles Jacob was in power at the Cannes Film Festival at the time.

Zhang Yimou tried making "House of Flying Daggers" in 04. Gilles Jacob was the president of the Cannes Film Festival at the time. "House of Flying Daggers" failed to enter the main competition, and it didn't even make it into the non-competitive section.

In other words, "House of Flying Daggers" won nothing at the Cannes Film Festival.

This made Zhang Yimou understand Cannes' attitude.

In 2014, Gilles Jacob, who had been in charge of the Cannes Film Festival for more than 30 years, officially stepped down and no longer held any position in Cannes.

That same year, Zhang Yimou took his film "Coming Home" to the Cannes Film Festival again. What a coincidence, right?
However, this time "Coming Home" was excluded from the main competition and failed to be selected for the main competition. Even in the non-competitive special screenings, it did not win any awards.

This incident left Zhang Yimou particularly frustrated, and he came to realize the truth—even if the Cannes Film Festival had a new leadership, it would no longer accept him.

Zhang Yimou's dream of a Grand Slam has also come to an end.

Cao Yang certainly wants a Grand Slam, but he also knows that the last remaining Berlin Golden Bear is the toughest nut to crack.

So he was waiting for an opportunity.

Cao Yang's advantage over others is that he has both a "golden touch" and is particularly young, so he can afford to wait.

But this is a very passive approach.

He's been thinking lately about whether to shoot a movie first and then test the waters in Berlin.

Cao Yang hadn't expected the initiative from Dieter Kosslick, the president of the Berlin Film Festival.

Neither the Cannes Film Festival nor the Berlin Film Festival is the same as the Venice Film Festival.

The presidents and artistic directors of the Berlin and Cannes Film Festivals often serve terms of ten to twenty years, while the presidents and artistic directors of the Venice International Film Festival serve shorter terms, usually four years, and are frequently replaced.

Dieter Kosslick, the president of the Berlin Film Festival, only took office in 2001. Throughout the history of the Berlin Film Festival, since its establishment in 1951, there have only been five festival presidents and artistic directors, each with an exceptionally long term.

It's easy to imagine that Dieter Kosslick will also have an exceptionally long tenure.

Incidentally, prior to 2020, the Berlin Film Festival's president also held the position of artistic director, making him the truly powerful figure in the event.

It wasn't until Dieter Koslick stepped down in 2020 that their festival president and artistic director were separated, with two people taking on both roles.

Like Dieter Kosslick, who is not only the president of the Berlin Film Festival, but also its artistic director, commercial director, and, as the festival approaches, the chairman of the selection committee...

Cao Yang then called Lao Tian, ​​Hou Yuan, and General Manager Han back.

Old Tian's words were the most concise. He instructed Cao Yang that even if he didn't become the chairman of this damn judging panel, he should politely decline and try not to offend Dieter Koslick.

He knew Cao Yang well, and only called Cao Yang to remind him of this matter because Cao Yang was reluctant to do these tedious things.

When General Manager Han called Cao Yang, he mainly gave Cao Yang some information about Dieter Koslick.

He told Cao Yang that Dieter Kosslick was a very famous film critic in Germany, with a very strict attitude towards film, and was considered a film "critic".

Since taking office, Dieter Kosslick has maintained his focus on political themes, supported new directors, and even refused to give female creators "additional nomination opportunities" in order to maintain "the level of art itself".

In other words, Dieter Kosslick values ​​new directors—he took office in 2001, and Cao Yang debuted at the Berlin Film Festival in 2001, winning the Berlin Jury Prize in his first year.

This was due to Xie Fei's efforts as a member of the judging panel at the time, as well as Dieter Koslick's emphasis on newcomers.

Furthermore, while political themes may be more likely to win awards at Dieter Koslick's festivals, they don't receive the same "special" treatment as Cannes or Venice.

The political correctness of the Cannes and Venice Film Festivals includes giving "special" consideration to female directors every year. Not only should there be female directors in the main competition, but under the same conditions, female directors are more likely to win awards.

When Han hung up the phone, just like Lao Tian, ​​he specifically instructed Cao Yang not to offend Dieter Koslick, fearing that Cao Yang was too young and impetuous.

Of the four people who called Cao Yang, without a doubt, it was Hou Keming, the director of the Houyuan Academy.

During his tenure at the Beijing Film Academy, if the school produced a director who achieved a grand slam, his political achievements would be one thing, but most importantly, he would definitely be specially recorded in the school's history.

Whenever Hou Keming thinks about it, he remembers that the school's history states: Under the leadership and support of Dean Hou Keming, our school's famous director Cao Yang won the Venice Film Festival Golden Lion Award, the Cannes Film Festival Palme d'Or, and the Berlin Film Festival Golden Bear Award.

He became the fourth director in the world to win all three major European awards, the first Asian director to achieve a grand slam, the first Chinese director to achieve a grand slam, and the first director from the Beijing Film Academy to achieve this...

Hou Keming was thrilled!

However, although Lao Hou was excited, he didn't lose his temper.

He called Cao Yang for only one purpose: what can the school do for you?
Old Hou told Cao Yang not to feel pressured. If he didn't want to be the president of the Berlin Film Festival jury, the school would use all its connections to ensure that he wouldn't be alienated from the Berlin Film Festival or Dieter Kosslick.

If you were to become the president of the jury at the Berlin Film Festival, the school would serve as a bridge between you and Dieter Kosslick, preventing any conflicts between you over film-related matters.

Furthermore, Hou Keming also told Cao Yang that although Dieter Kosslick did not support Chinese-language films as "openly" as the president of the Venice Film Festival, Marco Müller, the relationship between Germans and China has always been good.

Since Dieter Kosslick took over as director of the Berlin Film Festival, he has been very welcoming to Chinese-language films, with Chinese films almost always included in the main competition and invited to participate in the festival annually. After hanging up with Lao Hou, Cao Yang at least gained some understanding of Dieter Kosslick.

In summary, while the Germans were eager to expand the influence of the Berlin Film Festival and to build a closer relationship with Cao Yang, the fact that they didn't reveal any "benefits" to Xie Fei suggests that the Germans aren't the type to make empty promises.

Of course, this is just Cao Yang's judgment based on his understanding of Dieter Koslick and the current situation. Whether it is true or not, we will only know after we have contact with Dieter Koslick.

In fact, Cao Yang hoped that Dieter Koslick was a "meticulous" person. Generally, people who have their own principles and are willing to withstand pressure to do things.

This brings us to the Italians.

The Venice Film Festival dares to shout "Down with Hollywood!" while simultaneously inviting Hollywood movie stars, making promises to them, and then "eating" those promises back, thus playing a trick on Hollywood.

This resulted in a situation where, even after Mark Muller took office and made concessions and promises to Hollywood and its stars, few celebrities believed in Venice.

What Cao Yang fears most is that Dieter Koslick is a "trash talker".

This can only be known by talking to him in person. If Dieter Koslick is also a master of trash talk, Cao Yang definitely wouldn't go to Berlin.

Cao Yang originally planned to call Xie Fei again tomorrow, but after thinking about it, he realized there was really nothing to consider.

The main thing is to talk to Dieter Koslick. It's 10 p.m. in Los Angeles now, which is about 2 p.m. in Beijing. It's a good time to make a call.

So Cao Yang called Xie Fei and asked him to tell Dieter Koslick that he wanted to talk to him.

To Cao Yang's surprise, Dieter Koslick called around 10:30.

At this time, it should be around 7 or 8 a.m. in Germany, right? Is it that urgent?
Cao Yang knows Dieter Koslick.

In 2001, Cao Yang participated in the Berlin Film Festival and won the Jury Prize, which was the second-highest prize. He definitely needed to get to know the president of the Berlin Film Festival.

However, we only met briefly and didn't have much contact after that.

"Cao, it's been more than five years since we last met, hasn't it? I never imagined that the up-and-coming director who came from the Berlin Film Festival back then would now be a world-renowned director."

Your films *District 9* and *Inception* are both brilliant; the combination of art and commercial appeal is simply perfect. I've thought more than once about what award I should have given you if you had brought these two films to Berlin.

Cao Yang was slightly taken aback, he really didn't expect Dieter Koslick to be so "good at" talking.

This was a plan that had been prepared in advance, wasn't it?

Dieter Koslick's words, on the surface, contained two meanings.

First, I reminded Cao Yang that he became famous at the Berlin Film Festival and was a director promoted by the Berlin Film Festival. We should have a better relationship, and he should be a close associate of Berlin.

Is there an underlying message here? It's easier to win the Golden Bear if you're a close associate.

In addition, Cao Yang was explicitly told that if the Venice Film Festival could label his film "Nine-Tailed Fox" as an experimental film, then the Berlin Film Festival could also award his films "District 9" and "Inception".

There's a hidden meaning in his words, but it's expressed rather subtly.

"Thank you for your recognition, Mr. Dieter. If I had known, I should have brought 'District 9' or 'Inception' to the Berlin Film Festival first. It's a pity that I missed out on such an important award."

Cao Yang said.

It's just a test, I can do that too.

“Just call me Dieter, we’ll definitely become good friends. You’re right, Cao, you should have come to Berlin a long time ago. You became a famous director in Berlin, and Berlin will always be your supporter, that will never change.”

Dieter Koslick paused for a moment, then said with a smile:

"Like District 9, it's an excellent film that reflects racial discrimination and segregation. Even though it was produced with a commercial pace, it doesn't stop it from being a classic film."

"If a film like this were to come to the Berlin Film Festival, I personally believe it would deserve a Silver Bear for Best Director."

"Best Director?"

Cao Yang repeated the sentence softly.

"That's right. As far as I know, no director in the world has ever won the Best Director awards at Cannes, Venice, and Berlin at the same time. That's a remarkable achievement."

Dieter Koslick emphasized.

Cao Yang thought for a moment. As far as he knew, there seemed to be a director in later generations who won the grand slam of the three best directors in Europe.

It seems to be Paul Thomas Anderson.

However, it seems he only has one Best Director award at the Cannes Film Festival so far; he hasn't won the other two yet.

Cao Yang was silent for a moment, then decided to stop beating around the bush and asked directly, "Dieter, what if I submitted an art film to the Berlin Film Festival instead of an experimental film?"

Dieter Koslick remained silent for a long time.

Just when Cao Yang thought the talks between the two might have broken down, Dieter Kosslick said:

"Cao, do you know, this question is actually very easy to answer, but I've thought about it carefully. I don't want to give you a perfunctory answer, nor do I want to deceive you. Do you know what the consequences will be if I grant your wish?"

Before Cao Yang could speak, he continued, "The most likely scenario is that I will be ousted from my current position and then be criticized by the European media."

Did you know that Robert Altman was the last director to achieve a Grand Slam, but that was over a decade ago? I don't know what kind of art film could make your wish come true.

But one thing I can guarantee is that if this film is significantly superior to the other films in the competition in terms of artistry, I am quite certain that I will give you the top prize.

Cao, this is definitely not just to brush you off, so you should understand that there's a little bit of luck involved.

Is there an element of luck involved?
In other words, it just so happened that there weren't any outstanding films that year, and my film was clearly better, which is why I had the opportunity?
It looks difficult, but it's actually not simple at all.

Cao Yang knew that Dieter Koslick's words were very clear: if he dared to give him the Golden Bear at any other time, it would ruin his future and he would be ousted from his position as president of the film festival.

Only in special circumstances, when his movie stars are more popular than other movies, would he dare to withstand the pressure and award himself the Golden Bear.

That's why he said it takes a little bit of luck.

Okay, this isn't exactly just fooling myself.

"Dieter, I'd like to know how much authority I would have if I became the chairman of the jury."

Cao Yang asked.

In any case, I accepted the jury chairmanship this year to build a good relationship with Berlin, and I'll try making a film in Berlin next year to see if Dieter Kosslick can live up to his promise.

This can be considered a kind of test.

Dieter Kosslick was overjoyed. Cao Yang's appointment as the jury chairman was definitely a great thing for Berlin. At least if he invited Hollywood stars, or even superstars, many people would not refuse.

Which Hollywood star wouldn't want to work with Cao Yang these days?
Being able to show one's face in front of Cao Yang and build a good relationship with him is a very important thing.

Of course, Dieter Koslick knew Cao Yang's influence and certainly wouldn't lie to him; everything he said was something he could do.

"Haha, Cao, apart from the ownership of the Golden Bear which we need to negotiate, you can decide everything else yourself. In other words, I will not restrict your authority in any way except for the Golden Bear."

(End of this chapter)