Entertainment Era: My Good Sister Is All Over the World

Chapter 102 Film Exchange Meeting (Please Subscribe)

Huang Wenbin was young and vigorous, in the prime of his life, how could he not have wild fantasies?

Of course, he wanted to find a beautiful girl in her prime, to be inseparable from her every day.

However, in this day and age, the standards for male-female relations are quite strict.

Dating without the intention of marriage is just being a scoundrel.

In the coming years, there will be a crackdown on sexual misconduct, and Huang Wenbin doesn't want to take that risk. He was given a second chance at life and wants to enjoy a longer life, not just seek momentary pleasure.

Actually, Liu Xiaoqing is quite a good short-term partner. She doesn't require you to take responsibility for her, and she won't tell anyone.

It can only be said that she is not Huang Wenbin's type, and now is not the right time.

After resting for a day, Huang Wenbin returned to the Film Academy.

Dean Lu had high hopes for him, and after offering a few words of encouragement, she let him off the hook.

The teachers were used to it, after all, Huang Wenbin could make movies, and the movie he wrote sold 500 copies, which was unprecedented. What could they possibly teach him?

They even wanted Huang Wenbin to come and teach the students how to write a good script and how to participate in the filming of the movie.

Huang Wenbin didn't hold back. He didn't need to teach, but he could organize an exchange meeting, and he invited Zhang Yimou and Zhang to join him. Although he didn't bring Zhang along when he filmed "The Cotton Robe," he did get the Beijing Film Studio to recommend him to other film crews to help out, so he gained some practical filming experience.

After Dean Lu Meng learned about this, she personally invited director Chen Huaikai and lead actor Yang Zaibao, among others.

What was originally just a creative sharing session in class instantly escalated into a rather formal film exchange.

Then, someone leaked the word, and students from other departments, and even some film industry professionals from outside the school, rushed over.

The main reason is that "Let the Bullets Fly" is so popular that everyone wants to hear Huang Wenbin talk about the movie and also discuss some of the techniques and problems encountered during filming.

The teachers in the directing department had to take it seriously and opened a large classroom, welcoming all students and teachers to attend the lectures.

This exchange was related to the movie "Let the Bullets Fly," and even some people from outside the school came to listen after hearing about it.

The exchange meeting officially began at 2 PM.

The meeting was chaired by the class teacher, Sima Zhaodun. His opening remarks were very orthodox, which included talking about the current state of contemporary Chinese films, the impact of reform and opening up on the film industry, introducing newcomers to the film industry such as Huang Wenbin, and finally focusing on the groundbreaking impact of "Let the Bullets Fly" on the entire era.

"We are honored to have the main creative team of 'Let the Bullets Fly' with us: director Chen Huaikai, screenwriter Huang Wenbin, trainee cinematographer Zhang Yimou, and lead actors Yang Zaibao and Ge Cunzhuang. It is a pity that Jiao Huang had a formal performance and was unable to attend."

Sima Zhaodun was very perceptive and knew what everyone wanted to hear, so he only spoke for about ten minutes before ending the interview. "Next, let's welcome them to tell me about their creative ideas for 'Let the Bullets Fly,' their thoughts during filming, and the problems they encountered during filming."

After the applause subsided, Chen Huaikai smiled and said, "I have a very special connection with the Yenching Film Academy. Back in 1951, I was transferred here to teach in the acting department; at that time it was still called the Yenching Film School. In 1956..."

In 1999, I was transferred to the Beijing Film Studio as a director and officially directed my first film, *Tiger's Den*. It was during this film that I discovered my immaturity, both technically and conceptually.

"Later, I directed several films in succession, but the response was not very good. By chance, I made a traditional opera film, which happened to be loved by the audience. When the higher-ups saw this, they basically only allowed me to make traditional opera films. If I wanted to make a feature film, I had to co-direct with other directors. This was quite a blow to the self-esteem of a solo director."

"After filming 'The Iron Bow' last year, I was actually thinking about retiring. But before retiring, I had to make one more feature film on my own, just to satisfy a little bit of my own longing."

"I locked myself in the guesthouse at the Beijing Film Studio and buried myself in writing several script outlines, but I couldn't get anywhere with them. Just then, I happened to run into Xiao Liang, an editor from the literary department of the Beijing Film Studio, downstairs. He told me about an arrogant young man who had submitted three scripts to the studio at once. Out of curiosity, I asked Xiao Liang to bring me all the scripts."

"Among these three scripts is 'Let the Bullets Fly,' and the other two are also excellent. 'Shaolin Temple' was selected by director Zhang Xinyan of Hong Kong's Great Wall Film Company, and the other one, 'The Cotton Robe,' was bought by Xi'an Film Studio. Filming was completed a month ago, and it should be released in the second half of the year."

Director Chen Huaikai talked about his creative process and how he came across the script for "Let the Bullets Fly".

She then shared some anecdotes from the filming process, as well as her thoughts on adapting the script with Huang Wenbin.

He spoke so vividly and interestingly, like a storyteller, narrating the story so engagingly that the audience was unconsciously drawn in.

At the end, Chen Huaikai smiled and looked at Huang Wenbin: "As for the origin of the idea for the script 'Let the Bullets Fly,' that's for screenwriter Huang Wenbin to explain."

Huang Wenbin remained calm and composed, showing no signs of nervousness. To him, it was just a public lesson, and he was even a little excited.

He was very familiar with the creative process behind "Let the Bullets Fly," whether it was Jiang Wen's version or his own.

After the movie was released, Jiang Wen published a book called "Riding a Donkey to Find a Horse", which explained in detail how he found the novel, how he adapted it, and what the changes were - he even included the two letters he wrote to Ge You and Zhou Runfa.

Because the letter was so heartfelt, Chow Yun-fat jokingly said that he thought it was a love letter, and he was also a little sad that no man had written him a love letter in so many years.

As for his own reasons for writing "Let the Bullets Fly," that's even simpler; he made it up as he pleased.

He created a fictional old man who had been sent down to the countryside near his home, and then heard many strange and wonderful stories from this old man.

Huang Wenbin immediately said that this old man was his literature mentor, and that he also learned to write well during that time.

Anyway, if you keep making it up for a long time, you'll start to believe it yourself.

The more you believe something, the more it seems like the truth.

As for whether someone will go to his hometown to look for an old man in the future, there's even less to worry about.

According to Huang Wenbin's account, the idea for "Let the Bullets Fly" originated from a legend about a bandit who stole an official in the old man's hometown.

Stories of bandits fighting against local tyrants have been common throughout history.

How can we revitalize it?

So he simply reorganized the whole story according to his own thinking and then gave it new ideas.

Huang Wenbin concluded by saying, "After reading the script, Director Chen pointed out some of my shortcomings and obvious mistakes, which ultimately made the script more perfect. It was also the hard work, sincere cooperation, and perfect coordination of the entire crew that made this film possible."

A round of applause erupted from below.

Some female students from the performing arts department who came upon hearing the news were so excited that their hands went numb from clapping.

Fang Shu was also in the audience, her beautiful eyes revealing a hint of reverence.

There are also people like Zhang Tielin who sneer in disdain.