This director loves making friends.

"Come on, let's go to the study to talk. Stay for dinner later."

Xie Fei was extremely pleased with Qin Keqing's arrival. "Are you adjusting well in Hong Kong? I heard that everyone there speaks Cantonese, which can be quite disorienting for people from the mainland."

"Yes, very few people can speak Mandarin, and even if they can, their pronunciation is not very standard. If you don't understand Cantonese, it's hard to adapt all at once."

Qin Keqing had just sat down when he saw Xie Fei about to make tea. He quickly stood up and snatched the tea from Xie Fei's hand.

When he was preparing for "The Scented Soul Woman", he served as Xie Fei's personal assistant and visited Xie Fei's home quite often, so he was quite familiar with the place.

Seeing Qin Keqing busy at work, Xie Fei was very happy, but also somewhat sentimental.

He never expected that Qin Keqing would win two major awards at Cannes after only making one low-budget film in Hong Kong. This was definitely beyond his expectations.

Xie Fei still remembers what Qin Keqing said after filming "Woman Sesame Oil Maker":

"A few days ago, I rewatched the works of directors such as Tsui Hark and John Woo, not from the perspective of an audience member, but from the perspective of a film industry professional."

To be honest, I was deeply shocked!

I can sense that Hong Kong films have a very mature system in terms of narrative pacing, camera work, and efficient crew operation, which is completely different from the system in mainland China.

It's clear that they possess efficient production management and skillful genre film storytelling techniques.

I'm not capable of judging the pros and cons of these two different systems, but I want to see for myself, experience and feel them, and learn and verify what the effects of different systems are.

In other words, this kid is aiming for commercial films!

But how did he suddenly become an art-house film director?

If I had known you were going to be an art-house film director, why would you have gone to Hong Kong?

Wouldn't it be better to just apply to my graduate program directly?

Why go to the trouble of seeking something far away when you can find something nearby?

What kind of fertile ground is there for art films in Hong Kong?

"By the way, the Film Bureau has approved Win's Entertainment's application for 'A Bittersweet Life' in early June. China Film Group has included 'A Bittersweet Life' in this year's import quota. When would you like it released?"

Xie Fei took a sip of tea, calmed his jumbled thoughts, and asked Qin Keqing.

Qin Keqing pondered Xie Fei's words for a moment; in just a few words, a great deal of information was contained.

In those days, Hong Kong films produced entirely with Hong Kong capital, regardless of whether they contained mainland elements, were considered imported films as long as they did not go through the formal co-production process. They were either bought out or imported through revenue sharing by China Film Group and were subject to annual quota restrictions.

And what is the quota? 10 units!

Hong Kong films and Western films share approximately 10 revenue-sharing film slots.

Therefore, it is extremely difficult for Hong Kong films to be released in mainland China, as they need to compete with global films, including those from Hollywood, for a quota of 10 films.

Unless there are special circumstances.

"A Bittersweet Life" was reported directly to the Film Bureau under "special circumstances"—a purely Hong Kong-funded film directed by a mainland director, which won two Cannes awards. Such special circumstances have never happened before.

Therefore, "A Bittersweet Life" was approved by the Film Bureau before it was "directly approved" by China Film Corporation, which was a special approval process.

China Film Group Corporation, officially known as China Film Distribution, Exhibition & Export Corporation, has three main functions.

First, it has the exclusive right to operate the import and export trade of Chinese films and the export of their copyrights.

Second, it is the exclusive importer of foreign films (including those from Hong Kong, Macao, and Taiwan) and is responsible for the management of domestic distribution and broadcasting rights.

Third, we will organize participation in international film festivals and exchanges between Chinese and foreign film weeks.

However, if it is a co-production between China and Hong Kong, and the project is initiated, invested in, and credited by a state-owned film studio in mainland China, and has passed the approval process, then there is no need for such trouble. It can be regarded as a domestic feature film and distributed directly without taking up import quotas.

Qin Keqing's upcoming film, "The Uncle," follows the process of co-production between mainland China and Hong Kong, and is being produced through the Qingdao Film Studio, thanks to Xie Fei's recommendation.

This is also the first Sino-Hong Kong co-production film that Qingdao Film Studio has received since the country broke China Film Group's monopoly on the purchase and distribution of domestic films this year.

Based on this, and with Xie Fei's help, the process of "The Uncle" going through both formal project initiation and approval at the Qingying Film Studio was extremely fast.

In terms of cooperation model, the "tradition" approach is still followed: Hong Kong provides the funding and main creative team, while the mainland provides the location, actors, and qualifications.

Regarding copyright and profit distribution, the "tradition" is followed: mainland production companies own the distribution rights, screening revenue rights, and corresponding regional copyrights within the mainland region, while overseas and Hong Kong, Macao, and Taiwan copyrights belong to the Hong Kong side.

It should be noted that the copyrights and revenues owned by mainland production companies are not exclusive, but shared with the Hong Kong side.

The overseas and Hong Kong, Macao and Taiwan copyrights owned by Hong Kong are exclusive, and mainland production companies have no copyrights or revenues.

This was the cooperation model during this period.

For mainland film studios, the investment is "minimal": filming in mainland China is practically free; actors are also almost free; qualifications are also free.

In this "tight" era, being able to acquire distribution rights, screening revenue rights, and corresponding regional copyrights within the mainland region without spending money, even if these are split equally with the Hong Kong side, is still "pure profit."

Qin Keqing acted as the "Hong Kong side" this time, and did not break this cooperation model.

He used to think that the Hong Kong side was too domineering and had too much power in this cooperation model, but this time it was his turn to provide money, equipment and personnel, and the film studio only needed to provide the shooting location and odd jobs, which he found surprisingly reasonable.

This is probably a case of "your position determines your perspective."

Qin Keqing's mind raced; he discerned another meaning in Xie Fei's words.

"Can we still choose the release date?"

He asked tentatively.

"Hehe, definitely not. As a selected imported film, it can only passively follow the arrangements of China Film Group. China Film Group will coordinate the release according to the actual situation."

Xie Fei first denied Qin Keqing's words outright, then changed the subject, "However, China Film Group will also take into account the production company's suggestions. After all, the production companies of Hong Kong films are all compatriots from Hong Kong, and their opinions should be taken into consideration and respected."

understood.

"Teacher Xie, before I came to Beijing, Win's Entertainment suggested that 'A Bittersweet Life' be released in July. This film is a Cannes award-winning film, and Win's Entertainment also wants to let the film meet the mainland compatriots as soon as possible."

Qin Keqing was talking nonsense with a straight face.

"Um."

Xie Fei didn't say much, just nodded, and then changed the subject.

"I've read the script for your new movie, this movie..."

Xie Fei originally wanted to say that there was too much commercialism and a slight lack of artistry, which was somewhat unbalanced, but then he suddenly realized that Qin Keqing was neither his student nor a pure art film director.

"A Bittersweet Life" is a highly stylized experimental film.

This film, "The Man from Nowhere," clearly inherits the style of "A Bittersweet Life," combining commercial appeal with an exploration of human nature. Its core themes are post-traumatic loneliness, rebuilding trust, ethical boundaries of violence, and mutual redemption.

A director who aspires to make commercial films is now making movies that, while being commercially viable, also delve into human nature and explore the boundaries between commercialism and artistry. What is there to criticize about such a film and such a director?

Xie Fei suddenly realized that he had gone too far.

Xie Fei suddenly realized why a director who aspired to make commercial films was now making experimental films that combined commercial appeal with artistic merit.

The answer is obvious!

"This kid must have been influenced by me!"

Xie Fei was greatly pleased!

Previously, he didn't understand Qin Keqing's choice, but he supported it, after all, spring is only when all flowers bloom.

just now……

Xie Fei looked at Qin Keqing with a face full of satisfaction, his eyes almost disappearing with laughter.

"This movie, 'The Man from Nowhere,' is great, and you are great too. I hope you can continue down this path. If you encounter any difficulties in the future, come to me."

Qin Keqing was momentarily stunned.

Even after he met He Qing that evening, he was still puzzled by Xie Fei's sudden change to a more "kind" demeanor.