Back to 17, My Brother is the Cult Leader

Spring came exceptionally late in 1998.

After Director Feng's remarks that "young screenwriters are not worth mentioning" were published, the Beijing film and television industry was in an uproar.

First, the Beijing Evening News reprinted the full interview in half a page.

Following suit, Wenhui Daily, Southern Weekly, and Yangcheng Evening News all followed up with their reports.

For a time, "Director Feng criticizes newcomers" and "Father of Lunar New Year films angrily confronts the younger generation" became hot topics on the streets.

But what truly escalated the controversy was the successive statements from the three universities.

In an interview with China Film News, Professor Lin Zhaohua, a professor and doctoral supervisor in the Department of Dramatic Literature at the Central Academy of Drama, used rather strong language:

"Director Feng is a good director, no one can deny that."

"The Dream Factory" truly pioneered a new film format, and it deserves our respect.

However—the success of one artist should not be used as leverage to suppress those who follow.

Lin Zhaohua adjusted his glasses and continued:

He said Fang Yuan's script was "not worth mentioning." I would like to ask him if he had carefully read the script for "Lost in Thailand".

Could any college freshman write something like that notebook, with its observations of ordinary people, its depiction of the Spring Festival travel rush, and its poignant, bittersweet quality?

Having taught screenwriting for thirty years, I can say with certainty that this script truly reflects a part of contemporary life.

Professor Wang Lina, head of the Department of Literature at Beijing Film Academy, published a long article in the Beijing Youth Daily entitled "Respecting Creation is Respecting the Future".

She wrote: "Director Feng said that Fang Yuan was 'standing on the shoulders of old guys to pick fruit,' which sounded very harsh."

Film art is not like planting a tree; it's not about whoever occupies the land first having the right to speak forever.

Every generation of creators has its own era's challenges.

"The Dream Factory" responds to the urban confusion of the mid-to-late 90s, while "Lost in Thailand" responds to the nostalgia and laughter of a mobile China over the past two decades of reform and opening up.

They are not in a relationship of dependence on each other, but rather they complement each other and each has its own unique beauty.

Sun Huizhu, vice president of the Shanghai Theatre Academy, went even further, speaking out in the Xinmin Evening News:

"If you define the success or failure of a movie by its box office revenue in one week, that's the logic of the market."

However, defining the power of discourse by the box office of an era is a domineering logic.

I can understand Director Feng's anxiety, but this anxiety should not be transferred to a young person as a source of pressure.

The film industry isn't a martial arts arena; there's no ranking system.

He added a meaningful sentence:

"When Director Xie Jin mentored younger generations, he never said anything like 'You're ranked way below the 38th tier.'"

The statements from the three universities have elevated this debate from a matter of "personal grudges" to a matter of "professional ethics."

Public opinion began to diverge.

Some people supported Director Feng, believing he was right; experience and accumulated knowledge are a form of authority, and newcomers should act like newcomers. But many more people—especially younger viewers and industry professionals—sided with Fang Yuan.

At the same time, Shanghai Film Studio also made a clear statement.

Factory director Zhu Yongde publicly stated in the Liberation Daily:

"Shanghai Film Studio has always paid attention to and supported outstanding young creators."

Although Fang Yuan is young, his screenwriting talent in "Lost in Thailand" is remarkable.

We have extended an invitation to him, hoping that he can come to Shanghai to create his next work.

Shanghai Film Studio will provide the best creative environment for young screenwriters.

These words were spoken in a very dignified manner, neither directly attacking Director Feng nor failing to clearly indicate that the speaker had taken sides.

In the interview, Zhu Yongde subtly added, "Chinese cinema needs more 'sources,' not less."

In an instant, Fang Yuan's name went from "the person Director Feng scolded" to "a rising star screenwriter supported by three major universities and Shanghai Film Studio."

Reporters flocked to the scene, eager to interview the young man who had suddenly found himself at the center of the storm.

But Fang Yuan has consistently refused to be interviewed, and no one can find him.

He wasn't hiding.

He was thinking about something.

Fang Yuan sat at his desk in the rented room, with all the newspapers from the past three days spread out on the table.

He had a stack of cut-out reports from newspapers such as the Beijing Evening News, Beijing Youth Daily, China Film News, and Southern Weekly, and he read each one several times.

Lin Zhaohua's words, Wang Lina's words, Sun Huizhu's words, Zhu Yongde's words—these words moved him, but also confused him.

What moved me was that my script had actually been seen by these industry veterans.

What's puzzling is that so many people are speaking up for him, but one side remains silent.

Forbidden City Film Studio.

Fang Yuan pulled up the list of production companies for "Lost in Thailand," which clearly stated in black and white: Forbidden City Pictures, Shanghai Film Studio, and Yuanchuang Culture. Forbidden City Pictures was listed first.

In other words, the true "home" of this film is this long-established state-owned enterprise in Beijing, founded in 1995.

The higher-ups in the Forbidden City couldn't possibly be unaware of what Director Feng said.

They must have seen the support from the three major universities and the Shanghai Film Studio's stance.

If the Forbidden City is willing to speak up for him, that would be the most powerful counterattack against Feng Xiaogang.

After all, the Forbidden City was the primary producer of "The Dream Factory".

That's right.

Feng Xiaogang's film "The Dream Factory" was also produced by the Forbidden City.

Fang Yuan suddenly realized a fact that sent chills down his spine:

Forbidden City Pictures is also the producer of "The Dream Factory" and "Lost in Thailand".

On the left is Director Feng, the pioneer of the Lunar New Year film season, a box office champion, and a proven success story.

On the right is a young screenwriter who has just started out, has only written one work, and whose future is uncertain.

How can the Forbidden City choose sides?

Silence became the only option.

Fang Yuan stared at the list of producers for a long time.

What he didn't know was that Forbidden City Film Studio had held an internal meeting.

Zhang Heping chaired the meeting and called in people from the marketing and distribution departments. There was only one agenda item—

How did the company respond to the public criticism of "Lost in Thailand" by Feng Xiaogang?

The marketing manager, surnamed Li, was a fat man in his forties who spoke bluntly.

"Mr. Zhang, Director Feng has a lot of influence now. One word from him is more effective than a month's worth of work."

Zhang Heping glanced at him: "You mean good news?"

"That's good. The more fiercely he curses, the more curious the audience will be. How could a Spring Festival travel script written by an 18-year-old screenwriter make Director Feng so angry? What exactly did he film? Buy a ticket and go see."

The distribution manager said, "I agree with Manager Li's opinion. There's no need to respond; just let it cool down. Responding would only give him an advantage."

Business is business, and personal matters are personal matters. Director Feng was criticizing Fang Yuan, not the Forbidden City.

The company should cooperate where it should cooperate and release films where it should release films; it shouldn't take sides.

The meeting lasted an hour, and the conclusion was—

No response, no withdrawal of the film, no change to the publicity plan.

This is business.

It's also about human relationships.

Fang Yuan did not receive a call from General Manager Zhang.