The only sun in Huayu

Chapter 155 One Article to Suppress the Scoundrels (14)

The morning air at Qingdao Railway Station was crisp and salty, the sea breeze dispelling our weariness.

Under the rising sun, the railway tracks gleamed with a cold, hard metallic sheen.

Several green train carriages, temporarily used as filming locations, lay quietly on the side track.

inside the carriage.

The luggage racks were overflowing, and the aisles were piled with all sorts of packages, instantly transporting people back to the Spring Festival travel rush.

The opening ceremony was low-key and almost simple.

This is in stark contrast to the grand spectacle of "The Supervisor" with its fluttering banners and a large media presence.

Shen Shandeng, wearing a white coat, stood in the center of the crowd, with the core crew behind him.

It stands out strikingly, with a sharp edge unique to young people.

Xu Zheng on the left is wearing a well-fitting suit, creating an elite look.

On the right, Wang Baoqiang, wearing a thick cotton coat, grinned with a simple and honest smile, looking exactly like Niu Geng, who was about to embark on a journey to collect debts.

Then, the main actors, including Chen Hao, Li Xiaolu, Ma Li, and Shen Teng, stood in turn.

Chen Hao was radiant, but despite Shen Shandeng's help in getting into character last night, she was not grateful.

Li Xiaolu's eyes sparkled, eager to try.

However, within the crew, Shim Sun-deung was an absolute tyrant, the only sunshine.

Under the sun's rays, she naturally dared not look directly at it, and could only scan the surroundings with her gaze, finding it difficult to harbor any impudent thoughts.

"Everyone."

Shen Shandeng announced loudly, "The filming of 'Surprises on the Journey' officially begins today!"

Shen Shandeng continued to use this pseudonym and did not reveal the official film title.

Marketing is essential for a film's success.

"This is a movie about going home, about funny mishaps, about us in real life."

Shen Shandeng's gaze swept over the crowd, and he said confidently, "Together, we will bring the laughter and warmth along this road to all the audience in their entirety."

"It will bring a new comedy genre to Chinese films!"

After a brief speech, the opening ceremony began.

Shen Shandeng continued his previous extravagance, skipping the traditional opening ceremony and instead giving each staff member and actor present a red envelope and a piece of festively packaged milk candy.

"Filming begins today!"

Shen Shandeng shouted loudly, "The machine spirit is overjoyed! Great fortune! The machine spirit is overjoyed! Great fortune!"

Shen Shandeng and the main creators together lifted the red cloth covering the camera.

The journey of "Lost in Thailand" officially begins at this moment.

Unlike the deliberately low-key opening ceremony, there was another unseen battlefield.

Shen Shandeng's counterattack, however, was as loud and sharp as a thunderclap.

The previous understanding and agreement have been broken by the other party, and from now on, any retreat will be regarded as weakness.

fighting!

It wasn't just for Shen Shandeng himself, nor just for the team, but also for Marco Müller and Smith.

Shen Shandeng needs to make some people understand that there are basic rules to follow when dealing with him.

This also shows that the role of intermediaries is indispensable.

If the counterattack is not strong enough, it will cause the enemy to misjudge the situation.

Shen Shandeng understood this principle well: either don't do it at all, or do it thoroughly. When doing things, be down-to-earth, but when wielding a sword, aim straight for the throat.

Almost simultaneously with the launch ceremony, Shen Shandeng's spokesperson published a lengthy article under the name "Shen Shandeng" to major media outlets and portal websites.

A Journey of Dialogue: From Historical Dramas to Period Films

Fellow colleagues, audience members, and friends who care about the future of Chinese cinema:
Just recently, I had a frank and in-depth conversation with director Ang Lee at the Beijing Film Academy.

It was not just a discussion about film genres, but also a collision of ideas about cultural stances, creative concepts, and future paths.

I appreciate this exchange, as it helps us understand more clearly who we are and where we are headed.

Today, I would like to reiterate my belief in the path of filmmaking, which is the construction of our own culture.

The success of "The Supervisor" is not the end, but the beginning.

This proves one thing: what Chinese audiences crave are stories that truly belong to us. Our films cannot forever live within the grammar, standards, and expectations of others.

We must forge a new path: Chinese core + Chinese visual effects. This is not just a slogan, but a complete system.

In terms of production, we insist on giving equal importance to historical authenticity and Chinese aesthetics.

It's not about distorting history, but about bringing it to life; it's not about showcasing spectacles, but about conveying its spirit.

The smooth narrative, intense conflicts, and inspiring values ​​all serve a higher purpose: to allow Chinese people to see their own lives through film.

Thematically, we focus on heroes, nation, and justice. This is a return to fundamentals.

Film should not only be about darkness and deconstruction, but also about light and construction.

We dare to express the value of loyalty, courage, and sacrifice because they are timeless and form the foundation of our civilization.

From a market perspective, I would say: the future of Chinese films lies in the hands of Chinese audiences.

Behind the nearly 400 million yuan box office success of "The Eunuch" lies the choice of millions of ordinary people. Your support is our greatest source of confidence.

I have no doubt about the potential of the Chinese market; it will undoubtedly become one of the world's largest film markets. What we need to do is repay this trust with excellent films.

For me, filmmaking is not just a business, but a calling. We are not pursuing short-term box office returns, but rather a more enduring value.

All of this stems from the deepest emotions: my family and my country.

These four words are not empty slogans, but rather the land beneath our feet, the civilization in our blood, and the heroes reflected in the lens.

My conversation with director Ang Lee has further solidified my belief that Chinese cinema does not need to grovel before anyone's standards.

We do not reject learning, but we will never give up our autonomy.

Starting with "The Eunuch," we will systematically build a "Chinese historical film universe," where the names of those who illuminate or witness history—from the Jiajing and Hongwu reigns to the Han, Tang, Song, Yuan, and even the Qing and Republican periods—will be reborn on the silver screen.

This year is the Olympics, and I believe this is no longer an era of looking up to others, but an era of confidence.

Following "The Eunuch," three new films have been launched. We will use industry as our pen, history as our scroll, and our original aspirations as our ink to write a true era of enlightenment for Chinese cinema.

The road is already beneath our feet; fellow travelers, let us journey together.

Shen Shandeng

January 25, 2008, at the Qingdao film set
Shen Shandeng's article has sparked a heated debate from all sides.

Shen Shandeng, who had personally created the storm, seemed to have entered the eye of the storm and became unusually calm.

They completely ignored external influences.

He devoted himself wholeheartedly and meticulously to the filming of "Lost in Thailand".

Shen Shandeng first filmed the scene where Li Chenggong and Niu Geng squeezed onto the train.

"We'll rehearse once first, and tell everyone to just treat it like a normal train ride and not to look at the camera."

He wanted to use the scene of people squeezing onto a train to establish the theme and tone of the play.

(End of this chapter)