Who are you calling "little fresh meat"? I'm the king.

Chapter 578 Talking about Movies (24)

It's all about aircraft carrier determinism!

Jiang Wen said this, and many people actually share this view.

For Chinese films to become number one in the world, either the films themselves must reach the top, or the nation's strength must reach the top!

Then a bunch of people started saying things like, "Vietnam also has an aircraft carrier," and "South Korean movies are so amazing, they must have a lot of aircraft carriers!"

In essence, it can be understood this way: an aircraft carrier represents powerful military strength. The United States uses the formidable military power behind its aircraft carriers to establish its own world, a world where values ​​and rules are dictated by its own.

Against this backdrop, the values ​​conveyed by American films have gained a wider audience.

Of course, this has little to do with whether or not a good movie can be made; at most, it just creates a better environment.

South Korea, although it does not have an aircraft carrier, is actually under the same value system and has benefited to some extent.

This is power worship!

Shen Yan added, "If the United States had lost the Cold War, would people still be talking about Hollywood?"

"So, you're hostile to Hollywood?"

"...No, I just feel there's no need to be so obsequious... It's like Hollywood movies are superior to domestic films. I've worked on several American films, including 'Dallas Buyers Club,' which won a few Oscars. Its production methods are no different from domestic dramas. As for the industrialized production of many special effects blockbusters, it's really just about setting a standard and then dividing the project. We used that method for 'The Martian'..."

Shen Yan chatted for half an hour, then the topic shifted to Wang Haifeng, the producer of "Havoc in Heaven"...

He also talked about the overseas expansion of his films, and boasted that "While 'Havoc in Heaven' is still in the filming stage, we have already signed contracts with more than 60 countries..."

The audience directly criticized, "It's a good thing that Chinese films are exported, but if we pin our hopes on a mediocre film, I think it's a failure of distribution. What experience and lessons have you learned from this issue?"

It's basically a way of criticizing "Havoc in Heaven" as a terrible movie!

Wang Haifeng looked a little embarrassed and explained, "Due to the timeline, our film's special effects rendering wasn't finished before we had to release it... A month before the film's release, the director asked if we could postpone it for another two months, but I refused. The release date was already set, and we had already signed contracts with over 60 countries. More than 40 countries said that if we didn't deliver the film soon, there would be problems, and they would sue us..."

Shen Yan couldn't help but interject: "So, you're just using half-finished products to fool the audience into buying them?"

"It can't be considered a half-finished product; some details just weren't done well..."

Shen Yan smiled and said, "I've read 'Havoc in Heaven'..."

Wang Haifeng immediately apologized: "I actually feel very sorry for the audience who bought tickets, and I can accept all criticism..."

Shen Yan suggested: "I still think you should change your art director. The Journey to the West series should at least have Eastern aesthetics and Chinese aesthetics. I personally think the biggest problem with The Monkey King is the film's art aesthetics. The cultural core has nothing to do with traditional Chinese culture... On the contrary, it copied the aesthetic culture of European and American films."

Especially the design of that heavenly palace, it's a complete copy of Asgard from Thor...

Ultimately, this resulted in an aesthetically pleasing but ultimately foreign work, bordering on a hodgepodge, both in its visual style and its core storyline.

After a pause, Shen Yan added, "I'll make a Chinese film that looks like a traditional Chinese ink painting when I have time, but I haven't thought of a story for it yet!"

"Which Chinese film do you think embodies Chinese aesthetics?"

"King Hu's 'Legend of the Mountain' is simply a flowing landscape painting from the Song and Yuan dynasties."

There are mountains and streams, the soft light of dawn, deep mists, birdsong echoing through the secluded mountains, and a solitary traveler on the edge of the world. The scene possesses a unique "spirit," a perfect embodiment of the Chinese philosophy of "harmony between man and nature." Later, Ang Lee created *Crouching Tiger, Hidden Dragon*, whose art direction inherited from *Legend of the Mountain*!

...The first forum was mainly about chatting with some producers...

Shen Yan felt that he had just performed normally and hadn't made any outrageous statements...

But for many filmmakers, the aircraft carrier theory is explosive enough!

After all, we are still in the learning phase, and it would be a big deal if our films won awards overseas…

Aircraft carrier determinism?
Many people mocked, "Your country's overall national strength is second in the world, but is its film industry second?", "Cultural thugs, logical idiots!", "Films are only about films; Iranian films are world-famous, but does Iran have an aircraft carrier?"

Shen Yan didn't bother to respond...

He's eating crayfish!

Fang Li treated everyone to a meal, and Yu Dong and Han Han were also there…

Han Han's "The Continent" has finished filming and post-production is almost complete. He came to the Shanghai International Film Festival to promote it.

"The Continent" was produced by Fang Li's Laurel Films and Lu Jinbo's Guomai Culture, with Bona's Yu Dong joining later—a guaranteed distribution deal of 3.5 million yuan!
To be honest, Yu Dong has the mentality of a gambler!

Nobody knows if "The Continent" will be a big hit...

As for Fang Li, Han Han has collaborated with Laurel Films multiple times—he wrote lyrics for Laurel Films' films "Buddha Mountain" and "Double Exposure" without receiving any payment.

Then, the two male leads of "The Continent," Chen Bolin and Feng Shaofeng, were also the male leads of "Buddha Mountain" and "Double Exposure," respectively...

Lu Jinbo needs no introduction. He is Han Han's publisher and also created Han Han's persona: genius, young, rebellious, and daring to defy authority.

He later used the same approach to promote Li Jihong, a "genius young translator".

However, readers are no longer the same as before, and Li Jihong was subjected to a barrage of criticism.

However, this couldn't stop the hot sales of "Li Jihong's New Translations of World Classics." After all, the majority of people only judge a book by its packaging and don't know its true value...

Han Han transitioned to the film industry, and Lu Jinbo became one of his most important film partners, investing in films such as *The Continent*, *Pegasus*, and *The Four Seas*.
As publishing trends have changed, Lu Jinbo has kept pace with the times and signed a number of popular new generation writers, including Yuan Zihao, Zhang Haochen, Li Xiaoyi, Liu Shenleilei, and Shier.

Therefore, it's not surprising that you see Zhang Haochen launching his new book on Guomai and Han Han making an appearance to endorse it; it's all part of the same profit chain.

Moreover, all three of Zhang Haochen's works have been registered with Han Han's Tingdong Pictures.

Yu Dong was very enthusiastic… even a bit obsequious…

It's understandable that Bona Film Group has been somewhat lackluster over the past two years. Apart from "A Simple Life," which stood out, other films such as "The Last Tycoon," "The Lion Roars II," and "Truth or Dare" failed to attract much attention from the market.

Shen Yan didn't really say much, just briefly chatted about the movie, and then Yu Dong kept making fun of him, even calling Shen Yan "Teacher Shen..."

It's time for "The Continent"...

Shen Yan had only watched half an hour of the trailer before, but he was quite impressed with "The Continent". He casually said, "Actually, Director Han has a very good aesthetic sense. When it comes to movies, the most important thing is the director's personal aesthetic sense. If the aesthetic sense is above the passing grade, the work will not be bad!"

"You mean many veteran directors have terrible taste?"

"No, you also have to have your own bottom line... Look at 'A Simple Noodle Story,' Zhang Yimou didn't stick to his bottom line..."

(End of this chapter)