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Chapter 161

Winter came suddenly in Beijing.

After a cold snap in November, the temperature plummeted, and the sycamore trees lost all their leaves overnight, their bare branches reaching towards the gray sky.

The north wind howled through the gaps between the city's tall buildings, stirring up fallen leaves and dust. Pedestrians wrapped their coats tighter and hurried past.

Li Jun stood by the window of his studio, looking at the desolate street scene outside, holding a cup of hot tea in his hand.

The tea was a gift from Cheng Guoqiang, who said it was a health-preserving tea specially formulated by an old Chinese medicine doctor, which could moisturize the lungs and dispel cold.

The tea soup is deep red, with the fragrance of medicinal herbs, and it warms you from your throat to your stomach when you drink it.

Post-production on "Dwelling in the Fuchun Mountains" is now complete. The final cut is one hour and fifty-eight minutes long, twelve minutes shorter than the initial cut, with a smoother pace and more cohesive emotions.

Li Jun was pleased with Su Xiao's progress in editing; she had learned to prioritize and to express the same emotions in a more concise way.

The submission for review went smoothly.

The Film Bureau gave the opinion of "approved without modification", which is rare in the current censorship environment.

The theatrical release license has been obtained, and the release date is set for December 24th, just before Christmas.

This is a risky choice. The Christmas season has always been a battleground for commercial blockbusters, and an art film that tries to squeeze in is easily drowned out.

But Wang Zhonglei insisted: "We need a time when the film can be seen by more people."

Although the Christmas movie season is highly competitive, it also attracts a large audience.

As long as we have a good reputation, we can carve out a path for ourselves.

Li Jun agreed. He was confident in the film.

The distribution strategy has also been decided:

It was released simultaneously in art-house cinemas nationwide, but only had an 8% screening rate.

This number made Su Xiao a little frustrated, but Li Jun comforted her: "When 'Dreams of Mountains and Rivers' first started, it only had 10% of the screenings, but later it rose to 30% thanks to word of mouth."

"Dwelling in the Fuchun Mountains" will also be made, as long as the film is good enough.

Besides the film project, Li Jun is also preparing another project, a film about the inheritance of traditional crafts, tentatively titled "The Heart of Craftsmanship Remains the Same".

The script is already being written, and the screenwriter is an old professor from the film academy who has in-depth knowledge of traditional handicrafts.

The story revolves around a nearly lost art called "kintsugi".

Kintsugi is a Japanese technique that uses gold powder to repair broken porcelain, but there is a similar tradition in China.

The main characters are an old craftsman and a young designer who has returned from abroad. The two generations have different understandings of "restoration", which leads to fierce conflicts and eventual reconciliation.

"This subject matter has international relevance."

Yuan Tao said after reading the story outline.

"The clash between tradition and modernity, and the expression of Eastern aesthetics, are very suitable for international film festivals."

"But I don't want to make movies just for film festivals."

Li Jun said.

"What I want to film are those people who still insist on slowness in a rapidly changing era."

Just like Kintsugi, a broken piece of porcelain can take months or even years to repair. Every crack is painted with gold powder, turning imperfection into another kind of beauty.

This spirit is so precious in this fast-paced era.

"6

"So when do you plan to start filming?"

"Next spring. After 'Dwelling in the Fuchun Mountains' is released, I'll focus my efforts on this."

Li Jun paused.

"In addition, I would like to ask Lin Mo to be the art director and Su He to be the sound designer."

They have proven their talent and deserve a bigger stage.

"Where's Su Xiao? Isn't she a signed director with New Sprouts?"

"Su Xiao has her own path."

Li Jun said.

"After the success of 'Dwelling in the Fuchun Mountains,' she will have more opportunities."

We can't tie her to our project; we need to let her develop freely.

Just then, the receptionist knocked and came in: "Director Li, a lady wants to see you. She says she's from Shanghai and her surname is Zhang."

Li Jun was taken aback: "Zhang Ziyi?"

She said she was Zhang Ziyi's agent, and her surname was Liu.

"Please invite her to the conference room."

A few minutes later, Li Jun met a capable woman in her forties in the conference room. She was wearing a business suit and had exquisite makeup.

She handed over her business card: Liu Wei, agent of Zhang Ziyi's studio.

"Director Li, I apologize for disturbing you."

Liu Wei got straight to the point.

"Zi Yi said that 'Dreaming of Mountains and Rivers' is one of the best Chinese-language films she has seen in recent years."

"9

"Thank you for your recognition, Ms. Zhang."

Li Jun said politely.

"Purple Robe wants to cooperate with you."

Liu Wei took out a project proposal from her bag.

"We are preparing a new film that tells the story of a female painter from the Republican era."

Zi Yi wants to act, but can't find a suitable director.

After watching your movie, she felt you were the most suitable candidate.

Li Jun opened the project plan.

The project is called "Ink Dance and Painting," and it tells the story of a female painter in the Republican era who persisted in creating art during the war and used her brush to record the times.

With a production budget of 80 million, the plan is to hire a top-notch team of photographers, art directors, and musicians, aiming for international film festivals.

From a business perspective, this is a great opportunity: big production, big stars, and high attention.

But Li Jun had some reservations. Not about Zhang Ziyi, but about the utilitarian nature of targeting film festivals.

"Ms. Liu, thank you for the invitation, Ms. Zhang."

Li Jun closed the plan.

"But my schedule is already full for next year. I'm currently preparing a film about traditional crafts, so I probably won't have time to take on this project."

Liu Wei was clearly not expected to be rejected. She was stunned for a moment, but quickly adjusted her expression: "Director Li, would you like to reconsider?"

"The production team is very sincere; the salary is negotiable, and they can give you a lot of creative freedom."

"It's not a matter of salary or freedom."

Li Jun said.

"I have already decided on the direction for next year."

Ms. Zhang can look for other directors; there are many excellent directors in China who would be suitable for this project.

Liu Wei was silent for a moment, then said, "Director Li, may I ask you a question? Do you have any opinions about Zi Yi because of the 'Beauty in Troubled Times' incident?"

The question was very direct. Li Jun thought for a moment and answered honestly, "Miss Zhang in 'Beauty in Troubled Times' is an actress. Actors have their own considerations when choosing roles, and I have no opinion on that."

I rejected this project purely because our creative directions differed.

Liu Wei nodded: "I understand. I hope we can cooperate again in the future if there is an opportunity."

"must."

After seeing Liu Wei off, Yuan Tao walked in: "You refused?"

"I refused."

"What a pity, such a big production costing 80 million."

Big productions aren't necessarily good.

Li Jun said.

"Moreover, Zhang Ziyi may not need a director like me."

What she needs is a director who can help her transition her career and help her win awards.

But I don't want to make movies just to help someone win an award.

"You're becoming more and more like an artist."

Yuan Tao smiled.

"But that's good too. Only by sticking to your own path can you go far."

In the afternoon, Li Jun went to Cheng Guoqiang's martial arts training class.

The training course was held in a converted warehouse next to the studio.

Cheng Guoqiang sat in a wheelchair, with a dozen or so young people, both men and women, standing in front of him. They were all students from film or drama schools.

Cheng Guoqiang's wife acted as a translator, as Cheng Guoqiang's speech was not clear and needed her to relay it.

Today I'll teach you a basic move: the empty stance with palms outstretched.

Cheng Guoqiang demonstrated, and although his right hand was not very flexible, his left hand movements were standard and his eyes were sharp.

"Note that your eyes should follow your hands, not the ground, but your opponent."

Martial arts is not just for show; it's about real combat.

The students imitated diligently.

These young people are mostly in their early twenties, with a love for movies and a thirst for knowledge shining in their eyes.

Cheng Guoqiang corrected each movement one by one, patiently explaining: "Your waist needs to sink, yes, sink down, the center of gravity is on your heels. Not like this, it's like this—"

Li Jun stood at the door, watching, feeling a warmth in his heart.

Cheng Guoqiang found a new meaning in life, and these young people gained valuable learning opportunities. This is what inheritance is all about.

After class, as the students left, Cheng Guoqiang saw Li Jun and smiled, "Director Li is here."

"Master Cheng, thank you for your hard work."

"It's not hard work, I'm happy."

Cheng Guoqiang said.

"Looking at these children is like seeing myself when I was young."

I learned it the same way back then, practicing one movement hundreds of times.

"You teach very well."

"These are all basic things."

Cheng Guoqiang waved his hand.

"True martial arts choreography comes from practical experience on set."

Director Li, your new film needs a martial arts choreographer. How about letting these kids do some internships?

"Of course."

Li Jun said.

"There's a scene in 'The Craftsman's Spirit' where they restore ancient porcelain. We can use martial arts choreography techniques to film it—slow, steady, and precise. We'll ask your students to help out."

"well."

Cheng Guoqiang nodded repeatedly.

It was already dark when I left the training course.

In winter, it gets dark early in Beijing; the streetlights are all on before six o'clock.

The wind was cold, so Li Jun wrapped his coat tighter around himself and walked back to his studio.

My phone vibrated; it was Zhang Liangying.

"What time will you be home tonight?"

"Around eight o'clock. Where are you?"

"In the recording studio, we did the final editing of the master tapes for 'Between Sound and Shadow'."

Zhang Liangying said.

"I recorded a new song today called 'Jianghu Night Rain'."

This is written for you, and also for all of us who are walking the path of art.

"The song title is good."

"I'll sing for you when you come home."

"it is good."

After hanging up the phone, Li Jun stood by the roadside waiting for a car.

In the night, BJ is a sea of ​​cars, their taillights forming a red river.

The neon lights on the distant high-rise buildings flicker like the pulse of the city.

On December 20th, the premiere of "Dwelling in the Fuchun Mountains" was held in Beijing.

The venue is still the Poly Theatre, but the scale is smaller than that of "Dreams of Mountains and Rivers".

On the red carpet, Li Jun and Zhang Liangying attended as producers and theme song singers, Su Xiao as director, Zhou Yuan and Xiao Yu as lead actors, and Wang Zhonglei as producer.

They didn't invite many celebrities, but many film industry colleagues and film critics came.

Su Xiao was very nervous today, wearing a simple black dress, and her hands were shaking.

Li Jun patted her shoulder: "Don't be nervous, the movie is there, that's enough."

"Director Li, I'm afraid the audience won't like it."

Su Xiao said in a low voice.

"The audience will like it."

Zhang Liangying grasped her hand, "Because you took the photos with such sincerity."

The premiere begins. The lights dim, and the screen lights up.

The opening scene is an empty shot of the Yangtze River, with boats gliding across the surface in the morning mist and the long, drawn-out sound of their whistles.

Then there's the scene of Xiaoman, played by Xiaoyu, washing clothes by the river, and the scene of the painter, played by Zhou Yuan, sketching on the shore. Two worlds, two lives, slowly unfold.

Halfway through the movie, Li Jun noticed the audience's reaction: they were quiet, but very engaged.

When Xiaoman and the painter had their semi-impromptu conversation in the teahouse, some audience members chuckled softly.

When Xiaoman decided to leave Yunyang, some audience members were wiping away tears as she said goodbye at the dock.

The film ends on the Yangtze River in spring, where the ice and snow have melted, the river water has warmed, and the willows on the banks have sprouted.

Xiaoman returned from Chongqing and stood by the river, looking at this familiar landscape. Her eyes reflected growth, understanding, and love.

Applause erupted as the end credits rolled.

Although not thunderous, it was persistent.

The lights came on, and the main creators came on stage.

Su Xiao's eyes reddened, and her voice choked as she spoke: "Thank you everyone for coming to see this movie."

This is my first work, and there are many immature parts.

But what I want to record is my hometown, the real lives of ordinary people.

Thank you, Director Li, for giving me this opportunity. Thank you to all the staff for their hard work. Thank you, Changjiang. Thank you, Yunyang.

During the group interview with the media, the questions were very friendly: "Director Su, as a new director, what was the biggest challenge during filming?"

"The biggest challenge is believing in yourself."

Many times I doubt whether this is the right way to shoot it, or whether this is the right way to edit it.

Director Li always encouraged me and made me trust my feelings.

"Director Li, as the producer, what do you think is Director Su's greatest strength?"

"7

"sincere."

Li Jun said, "Su Xiao made this film not to prove anything, not to win awards, but simply to record what she saw and felt."

This sincerity is the most precious thing about film.

"This is Xiaoyu's first time acting, how did you train her?"

"It's not about training her, it's about making her become the character."

Su Xiao continued the conversation.

"Xiaoyu is from Yunyang, and she is familiar with everything there."

All I did was reassure her and make her believe that she was Xiaoman.

The premiere was a great success.

But the real test is tomorrow, when the film will be officially released and face a wide audience.

However, on the very night after the premiere, some discordant voices began to emerge online.

First, several entertainment influencers posted similar Weibo posts: "After watching 'Dwelling in the Fuchun Mountains,' to be honest, I was disappointed. The pacing was too slow, the plot was bland, and the acting of the new actors was awkward."

I don't understand why a director who won the Silver Bear at the Berlin Film Festival would produce a film like this.

Then an "industry insider" revealed: "I heard that the producer of 'Dwelling in the Fuchun Mountains' is Wang Zhonglei, the same Wang Zhonglei who cheated Cheng Guoqiang and made 'Beauty in Troubled Times'."

"Isn't it a bit beneath Li Jun to collaborate with him?"

Then, a "viewer" gave it a one-star rating on Douban, with a very harsh comment: "Pretending to be artistic, but actually empty."

"What a waste of money on a movie ticket."

"Li Junjiang has run out of talent and has started using his reputation to promote newcomers."

Although these sounds were few, they were jarring and spread rapidly.

Yuan Tao detected it immediately and called Li Jun right away: "Someone is stirring up trouble. The methods are very professional, not those of an ordinary netizen."

"Wang Zhonglei's enemies?"

Li Jun asked.

"They could be competitors."

Yuan Tao said.