I am a historical film director in the entertainment industry.

Director Gu looked at the fair and delicate body, his breathing became a little rough, and he reached out his hands, intending to touch her all over.

Ring ring ring!
Suddenly, a cell phone ringing interrupted Director Gu's actions.

Director Gu frowned, took out his phone from his pocket, and became slightly nervous upon seeing the caller ID.

"Director Gu, whose phone is that?"

Hearing the phone ring, the woman turned around and asked curiously.

"Don't make a sound."

Director Gu warned the woman.

Seeing that the woman remained silent, Director Gu finally answered the phone.

"Gu Changwei, where have you gone?"

A woman's voice came from the phone, and her tone was clearly not good; she was obviously unhappy.

Gu Changwei said, "Wenli, I'm going back to Kyoto."

"Go back to Kyoto? What will happen to the film crew if you leave?"

"Don't worry, there are people in charge on the set. I'm only going back to Beijing for two days. I'll be back on set tomorrow. Nothing will happen on the set."

What are you going back to Beijing for?

"Victory Film and Television Company has business with me, and I'm back in Beijing to discuss business with them!"

"They want you to direct a film?"

"I don't know yet, I'll find out when I get to their company."

"Regardless of whether the business deal goes through or not, you must maintain a good relationship with Shengli Film and Television Company."

"Okay, I understand."

"Alright, that's all. Come back early after you've finished negotiating the business. Every day the crew spends here is precious, and it costs tens of thousands of dollars!"

"Ok."

Director Gu hung up the phone. The woman's eyes darted around, and she smiled, saying, "Was that your wife, Jiang Wenli, calling?"

"Hmm, are you dressed yet? If you are, let's go!"

"Let me put on some makeup."

Soon, Director Gu and the woman secretly left the hotel.

Then I took a taxi to Shengli Film and Television Company.

Cheng Sheng's office.

“Sister Aina, Jiang Jiang is planning to become a full-time actress. Can you help me find a new personal assistant?”

Cheng Sheng said to Xing Aina.

He's about to take the film crew off to shoot a movie, and he might be away from the company for more than half a year. So he needs to hire a personal assistant to keep an eye on the company and report to him on any issues that arise.

"Any requirements?" Xing Aina asked.

"I need at least five years of personal assistant experience, preferably between 25 and 35 years old, and she must be a beautiful woman," Chen Sheng said after thinking for a moment.

"Boss, the most important one is the last one, right?" Xing Aina teased with a smile.

“A personal assistant represents the company’s image. If we hire an ugly woman, you might not be ashamed, but I am!” Cheng Sheng rolled his eyes.

"Okay, I'll have HR keep an eye on it." Xing Aina nodded. (Knock-knock!)

Just then, there was a knock on the door, and Xing Aina's assistant pushed the door open and walked in, saying, "Boss, manager, Director Gu and Ms. Zhang Jing have arrived."

"Okay, go and take them to the conference room." Xing Aina nodded to her assistant.

"Gu Changwei? What's he doing at our company?" Cheng Sheng asked, puzzled.

“Our company has invested in the movie he is currently filming, ‘Springtime’,” Xing Aina said.

"Sister Aina, you have a good eye. Director Gu's movie is definitely worth investing in." Cheng Sheng nodded approvingly.

Factory Director Gu was familiar with Cheng Sheng, though this familiarity stemmed from another set of memories.

Gu Changwei is hailed as China's foremost cinematographer. His debut film, "Peacock," won the Silver Bear at the Berlin International Film Festival, making him a truly talented individual.

In total, Gu Changwei's works are not numerous: from "Peacock", "Springtime", "Love for Life", to "Love in the City" and "It's Great to Meet You", there are only five big-screen works in total.

Even so, Gu Changwei is destined to be an indispensable name in the history of Chinese-language films.

Before becoming a director, Gu Changwei worked as a cinematographer for many famous directors in the industry.

For example, Gu Changwei was the cinematographer for Zhang Guoshi's directorial debut, "Red Sorghum".

Gu Changwei was also the photographer for Chen Kaige's "King of Children".

The high-quality performances of "King of the Children" and "Red Sorghum" earned Gu Changwei the double Golden Rooster Award in 1988. After that, he also collaborated with Zhang Guoshi on "Ju Dou", with Chen Kaige on "Farewell My Concubine", and with Jiang Wen on "In the Heat of the Sun" and "Devils on the Doorstep".

These films, directed by him, have become classics in the history of Chinese-language cinema and even hold a significant position internationally.

In particular, his collaboration with Chen Kaige on "Farewell My Concubine" not only won the Palme d'Or at the 46th Cannes Film Festival, but also received nominations for Best Foreign Language Film and Best Cinematography at the 66th Academy Awards!

This is a source of pride for Chinese-language cinema and a tremendous achievement for Gu Changwei as a cinematographer.

During the filming of "Farewell My Concubine", many scenes were actually quite difficult to shoot.

In depicting scenes and emotions in Peking Opera, Gu Changwei's extremely delicate yet grand visuals perfectly complemented Chen Kaige's pursuit of a textured aesthetic that possesses historical depth and cultural reflection.

Gu Changwei's achievements in the field of photography earned him the title of "One of the 100 Outstanding Photographers of the Century" selected by Eastman Kodak, and he was once hailed by the media as "China's No. 1 Photographer".

Gu Chang's outstanding photography skills earned him recognition in Hollywood, where he was invited to participate in the filming of many works, including "The Enigmatic Layout," "Men and Women in the Floating World," and "Autumn in New York."

In 2003, screenwriter Li Qiang's script "Peacock" ended up in Gu Changwei's hands, which gave him the creative impulse to direct a film.

In fact, the script for "Peacock" had been read by many people in the industry at the time, but no one was determined to make it into a film.

After watching it, Gu Changwei decided to film it.

"Peacock" is a story about the fates of three brothers and sisters in an ordinary family in the late 70s and early 80s.

Originally, the female lead was intended to be Zhang Ziyi, but due to scheduling conflicts, she was replaced by Zhang Jingchu, who performed exceptionally well during the audition.

When the film was completed and released in China, it achieved good results in both critical acclaim and box office performance.

"Peacock" ultimately received the prestigious Silver Bear Award at the Berlin Film Festival.

This not only made the film itself shine, but also allowed Gu Changwei to officially enter the public eye as a director.

After "Peacock", he released "Springtime" and "My Favorite".

After watching films like "Peacock," "Springtime," and "Love for Life," most viewers categorize Gu Changwei as an "art film director."

Because his works, in both style and thought, do indeed have a strong art-house film feel.

While Gu Changwei's talent was widely recognized, his love life was quite similar to that of Yan Po and Fu Pengcheng. (End of Chapter)