Huayu 1999: Starting with nothing but getting something for nothing

Yin: "I'm a little confused. I think I've forgotten why I came to interview you."

Yang: "You're confused because you don't understand that literary and artistic works have class characteristics. Once you understand this, you won't be confused."

Yin: "How so?"

Yang: "If you break down a doggerel, you'll understand. The scholar says: 'The snow falls heavily to the ground.' The official says: 'It's all auspicious sign from the imperial court.' The rich man says: 'What's wrong with it snowing for three more years?' The farmer says: 'Bullshit!'"

Yin Junjie suddenly realized: "I understand, that's why your company is called Doubao Media."

Yang Che gave a thumbs-up with satisfaction.

Yin Junjie laughed and said, "So your movie falls under the 'farmers' category?"

Yang: "Yes, 'My Sassy Girl'."

Yin: "What category do you think Zhang Yimou's films belong to?"

Yang: "He has made a lot of movies, all kinds of movies. 'Not One Less' and 'My Sassy Girl' are similar, both about contemporary issues. When I was a senior in college, I worked as a teacher in the countryside, and it was pretty much like that."

Yin Junjie said, "You want to bring art down from its lofty heights."

Yang Che shook his head: "I really don't think it's a big deal. Film and television music is just for ordinary people, so don't think of people in the arts as something high and mighty. And those in the arts shouldn't try to act all high and mighty. It's really nothing."

Yin: "I think I understand. I really want to have a deeper conversation with you, but this is 'Entertainment Live.' Let's go back to your movie, 'My Sassy Girl.' The plot is about a girl who is deeply in love with her boyfriend and is healed by another boy after he dies."

So, did this girl end up with the boy because of love, or because she was moved?

Yang Che was speechless: "Big sister, this is just a romantic comedy, can you not make it so serious?"

Yin Junjie said earnestly, "Because your target audience wants to hear this."

Yang Che opened his mouth, thinking that Yin Junjie had been holding back and wanted to ask him about Fan Bingbing and Gao Yuanyuan's situation. After a pause, he began to talk nonsense in a serious tone: "I know what you want to ask. I want to say that the human emotional world is extremely complicated. In this world, it is very normal to fall in love with two or even more people."

Go to a kindergarten and ask the children who haven't been subjected to societal and conventional advice how many people they love. Can you say their love is fake? Probably not. Forcing a child to choose one person is like asking them whether they love their father or mother more; it forces a choice between their most beloved, which is extremely inhumane.

The reason for using children as an example is that children are pure, and so is love.

Children who haven't received societal guidance are selfish and self-centered, and their love is also selfish and self-centered. It's not surprising that they might fall in love with multiple people simultaneously to satisfy their inner emotional needs. Therefore, it can be said that someone who loves multiple people at the same time is selfish and self-centered, loving themselves the most. However, it absolutely cannot be said that this love is fake, nonexistent, or that it's not love but rather a feeling of being moved.

Yin Junjie's first reaction was that Yang Che was talking nonsense, but upon closer inspection, it made a lot of sense. However, he still felt that something was wrong, and he felt very uncomfortable.

Seeing his serious and righteous demeanor made me feel even worse.

However, she probably understood that with Yang Che's smooth talk, it shouldn't be difficult for him to get two extremely beautiful girls to follow him, especially since he was talented, good-looking, and, most importantly, rich.

After that, Yin Junjie became more obedient and asked some serious questions about filming. After listening to her, she also wanted to become a director.

Because Yang Che's explanation was too simple, it could be summarized in one sentence: "I thought of an effect, then I found someone to do it, and that was it."

That's true, except that the people Yang Che mentioned were all outstanding young talents.

Cheng Er, Liu Chang, Zhao Xiaoding, Lin Mu, Dong Dabao, Wang Danrong, Song Xiaofei... There really aren't enough people with insufficient knowledge, slow brains, and slow hands to get together.

The interview ended, and Yang Che saw them off. After all, he still had to go to the Beijing Film Academy to ask Hou Keming some questions (and report the situation). Even if he only showed his face briefly, he had to.

When I went to the Beijing Film Academy, it was during a break between classes. The students either stared at me, whispered to each other while looking at me, glanced at me and continued walking, or smiled, waved and called out "Hello, Director".

"Hello, He Lin and Yan Danchen."

Downstairs in Building A, Yan Danchen, arm in arm with He Lin, approached and asked, "Yang Che, are you really going to apply for our school's graduate program?"

Yang Che paused for a moment and then smiled, "Yes, let's talk later. Teacher Hou is waiting for me."

"goodbye."

Watching Yang Che's figure disappear into the directing department office building, He Lin looked at Yan Danchen with sympathy.

Then Yan Danchen reacted as if a cat whose tail had been stepped on: "Don't look at me like that. You're the one who dragged me over to say hello."

He Lin pouted: "Ah, right, right, right."

"......."

The meeting between Yang Che and Hou Keming was unremarkable, lasting less than five minutes. Yang Che talked about copyright operations, while Hou Keming discussed the promotional video "Not One Less," saying it had been submitted to CCTV and a result was expected in mid-November, around the time of graduate school applications.

After that, Yang Che left the Beijing Film Academy and began to travel around busily.

I bought a street-facing courtyard house in Tayuan Village, north of the Beijing Film Studio. It covers an area of ​​305 square meters.

The courtyard is 130 square meters, spacious enough for a truck to drive in and unload goods. There are nine brick bungalows in the courtyard: three rooms on the north side, each 80 square meters; two rooms on the east and west sides; and two rooms in the rear building, each 15 square meters, for a total of 90 square meters. The layout is very square.

The price is 13.

Yang Che also decided to buy instead of renting after hearing the price. The rent was 2500 per month, so why not buy?

Yes, that's right, it's 130,000. The price is only because the yard is well-maintained, there are many houses, and it faces the street. Otherwise, the same area would only cost 80,000 or 90,000. Of course, the reason it's so high is because a high penalty for breach of contract was added to the purchase agreement.

The reason it's so cheap is because of the land's nature. It's a rural homestead in the suburbs, so it can't be transferred to a new owner. You can only sign a "Permanent House and Courtyard Transfer Agreement".

You don't need to go to the housing management bureau or the village committee to get an official stamp, or ask the village chief to act as an intermediary. Hmm... this cost 10,000 yuan.

Anyway, even if the landlord reneges on the demolition and sues later, the court will most likely give the demolition compensation to the landlord, but the landlord will have to give Yang Che 1300 million yuan, a hundred times that amount.

Yang Che also inquired and found that a proper old courtyard house in Beijing, about this size, would cost around 350 million yuan.

Yang Che wouldn't buy it even if he had the money, let alone not. He bought this courtyard purely because it was cheap; it could be used as a warehouse or an office.