Entertainment from Divorce

In her office in the State Administration of Culture building, Ye Wen sat behind a large desk, holding a thick document in her hand, her brows slightly furrowed.

The document lists the science fiction film projects submitted for review in China over the past three months. The densely packed list spans five pages, but very few of them have a solid story core or conform to the logic of science fiction creation.

"Another batch of projects trying to ride the wave of popularity." Ye Wen gently closed the file, her fingertips lightly tapping the words "List of Science Fiction Films Submitted for Review" on the cover, her tone tinged with helplessness.

Since Interstellar's global box office surpassed five billion US dollars, becoming the first Chinese non-English film to enter the top ten highest-grossing films in global film history, the domestic film market seems to have been swept up in a "science fiction craze" overnight.

Directors who originally focused on urban and period dramas have turned to science fiction; even some newly graduated screenwriters have flocked to write scripts related to "black holes," "interstellar travel," and "artificial intelligence."

However, most of them are empty and devoid of substance, either awkwardly piling up special effects elements or putting a science fiction shell on an urban love story, and they can't be considered real science fiction movies at all.

Ye Wen got up and walked to the window, looking at the traffic below, and gradually came up with an idea.

She picked up the phone on the table and dialed the Film Bureau's number: "Pass the word that a symposium on 'Science Fiction Film Creation and Development' will be held next Friday at 9:00 AM in the State Administration of Radio, Film and Television's conference room. We will invite directors and screenwriters with experience in science fiction creation, as well as heads of several leading film and television companies to participate. In addition, we will compile a list of science fiction projects submitted for review in the past three months and conduct case analysis at the meeting, highlighting the key problems."

She is all too aware of the current trend of "following the crowd" in the industry.

Tan Yue's realistic films became popular, and a large number of poorly made realistic films immediately appeared on the market. Later, his suspense films were box office hits, and countless people followed suit and made suspense films, most of which turned out to be illogical "bad movies".

Now that Interstellar has ignited the science fiction craze, she must intervene in advance to warn those creators with impure motives and prevent domestic science fiction from falling into the "bad money drives out good" dilemma just as it is beginning to take off.

"To make the meeting effective, we need to invite people who truly understand science fiction and have practical experience to share their insights." Ye Wen's fingers slid lightly across the table, and the first name that came to mind was Tan Yue.

As the director of "Interstellar," Tan Yue not only proved with his work that Chinese filmmakers can make world-class science fiction films, but also balanced scientific rigor with humanistic warmth in his creation. His experience has great reference value for the industry.

She picked up her phone and dialed Tan Yue's number.

The phone rang twice before it was answered, and Tan Yue's gentle voice came through the receiver: "Director Ye, hello."

"Mr. Tan, are you busy? There's something I'd like to discuss with you." Ye Wen's tone was somewhat friendly. "Recently, 'Interstellar' has been very popular, drawing a lot of attention to science fiction films, which is a good thing. However, among the projects submitted for review, there are too many shoddy works, all trying to ride the wave and make a quick buck. The State Administration of Radio, Film and Television is planning to organize a science fiction film development discussion next Friday and would like to invite you to come and share your creative experience with domestic directors and screenwriters, guiding everyone to have a correct understanding of science fiction films."

Without hesitation, Tan Yue on the other end of the phone immediately agreed: "No problem, Director Ye. I'd be happy to contribute to the development of domestic science fiction films. Actually, I've also noticed the bandwagon effect in the market. Some projects don't even explain basic scientific logic, which can easily dampen the audience's enthusiasm for science fiction. It's a good thing to be able to exchange ideas with everyone at the meeting and discuss how to create good science fiction."

Hearing Tan Yue readily agree, Ye Wen breathed a sigh of relief: "I'm relieved to hear you say that. I'll have my staff send you the meeting agenda in advance. You can mainly share your creative ideas for 'Interstellar,' such as how to balance scientific settings with story narrative, and how to explore the human emotions behind science fiction. These are the things that everyone is most concerned about."

“Okay, I’ll prepare in advance.” Tan Yue’s voice was full of sincerity. “Also, Director Ye, if you need recommendations for other people with experience in science fiction creation, I can recommend a few—for example, Director Sun Daohao. He has been insisting on making domestic science fiction films. Although his previous works did not have top box office results, there are many things worth learning from him in terms of scientific rigor and localized expression.”

Ye Wen's eyes lit up: "I was just thinking of contacting Director Sun! With him attending the meeting with you, he can provide different perspectives and make the meeting even more effective."

After hanging up with Tan Yue, Ye Wen immediately dialed Sun Daohao's number.

Sun Daohao's hair is already a bit gray, but he still maintains his love for science fiction movies.

He started making domestic science fiction films twenty years ago. Although his works have never been able to break through the box office bottleneck due to limitations in technology and funding, he has accumulated rich experience in the industry and cultivated many young science fiction talents.

A few years ago, his Chinese box office record was broken by Tan Yue, but he was not jealous at all. On the contrary, he praised Tan Yue in public many times for "opening up new possibilities for Chinese films". The two also exchanged creative ideas at industry events. Sun Daohao greatly admired Tan Yue's talent.

The phone rang for a long time before being answered. Sun Daohao's voice sounded somewhat tired: "Director Ye, hello."

"Director Sun, how are you feeling?" Ye Wen asked with concern. "Have you been busy with a new project lately?"

"It's alright, it's just that I'm getting older and my energy isn't what it used to be." Sun Daohao smiled, his tone tinged with a touch of emotion. "The new project is still working on the script. I want to make a science fiction story about 'deep-sea exploration,' but the progress is a bit slow."

“Take your time, a good story deserves polishing.” Ye Wen changed the subject and brought up the meeting. “The State Administration of Radio, Film and Television is organizing a science fiction film development discussion next Friday and would like to invite you to participate and share your creative experience with young directors and screenwriters in China. You have been committed to creating domestic science fiction, and your experience is very valuable to everyone.”

Sun Daohao was silent for a moment, then said hesitantly, "Director Ye, thank you for the invitation. However, I haven't been feeling well lately, and my energy is limited. I'm afraid I won't speak well at the meeting and will take up everyone's time. Perhaps we should postpone it..."

Ye Wen had anticipated his hesitation and quickly said, "Director Sun, Tan Yue will also be attending this conference. He specifically recommended you, saying that your work has many aspects of localized science fiction expression that he can learn from. The two of you attending together can provide a more comprehensive reference from the perspectives of different eras and creative styles, which is very important for the development of domestic science fiction."

Upon hearing that "Tan Yue will also be participating," Sun Daohao's tone instantly became excited: "Tan Yue will be going? Then I'll participate! I've been wanting to have a good chat with him about the creative details of 'Interstellar,' especially the interpretation of the relationship between 'family' and 'time and space,' which is so touching."

Ye Wen smiled and said, "Then it's settled! I'll have my staff send you the meeting agenda and materials. You can focus on how to incorporate local elements into your science fiction creations, as well as the difficulties you've encountered in making science fiction films over the years and the solutions you've found. These are things that young creators need to know most."

After hanging up the phone, Sun Daohao sat on the sofa, still unable to contain his excitement.

He got up, walked to the bookshelf, and took out a thick notebook containing his insights and reflections on making science fiction films over the past twenty years.

He originally thought that he was getting old and would gradually be forgotten by the industry, but he never expected that Tan Yue would recommend him to attend such an important conference, and he never expected to have the opportunity to have in-depth exchanges with Tan Yue on creation.

"I really want to call Tan Yue right now and talk to him about the script." Sun Daohao picked up his phone, found Tan Yue's number, his finger hovering over the dial button, but then gently put it down. "Never mind, don't bother him while he's working." He shook his head with a smile, "Anyway, I'll see him this weekend, and we'll have plenty of time to talk then."

Meanwhile, in the office of Brilliant Entertainment, Tan Yue had just hung up the phone with Ye Wen when he received a document delivered by Chen Ye.

The revised script of "Time Ticks" compiled by the film department.

"Mr. Tan, this is the revised script by Director Lin. Based on your suggestions, he added a storyline about the old watchmaker's regrets with his father, and also added a few more detailed shots. Please take a look."

Tan Yue picked up the script for "Time Ticks By" and began to read it carefully.

Lin Qingye did put a lot of effort into the details, adding a scene where the old watchmaker discovers the old tools left by his father, and using the inscriptions on the tools to bring out the conflict between the two in the past; he also added a scene where the boy helps the old watch shop shoot a short video, showing the charm of the old craft from the perspective of young people, making the story more relevant to contemporary life.

"The script revisions are quite good. Let Director Lin prepare it. We'll find some time next week to have a meeting to discuss the preparations before filming starts."

"Okay, Mr. Tan, I'll arrange it right away." Chen Ye replied and turned to leave the office.

Tan Yue leaned back in his chair, feeling no pressure as he recalled Ye Wen's invitation to a science fiction film discussion.

He has attended many such industry conferences, and whether it is sharing creative experience or exchanging ideas with peers, it is all very familiar to him.

Moreover, he felt it was his duty to contribute to the development of domestic science fiction films.

He opened his computer, created a new document, and briefly listed a few key points for his sharing: the scientific research process of Interstellar, how to balance commercial appeal and artistic merit, humanistic concern in science fiction films, and suggestions for the future development of domestic science fiction.

These are his most genuine insights from the creative process. They don't need fancy words; just sincere sharing can inspire his peers.

In the afternoon, Tan Yue attended a project meeting of the film department, where he discussed the casting and location scouting plans for "Time Ticks" with Zheng Tong and Lin Qingye. He also took some time to review the outline of the new drama submitted by the television department and offered some suggestions for revision.

His busy work schedule left him little time to think about the meeting, but it also gave him more confidence in the upcoming discussion.

Friday arrived quickly.

The conference room of the State Administration of Culture was full of people, including well-known domestic directors, screenwriters, and heads of major film and television companies.

As soon as Tan Yue and Sun Daohao entered, they attracted everyone's attention. The two greeted each other with smiles, sat side by side in the front row, and whispered about their recent creative progress.

Sitting in the main seat, Ye Wen looked at the attendees and said in a serious tone, "I invited everyone here today to talk about the development of domestic science fiction films. The success of 'Interstellar' has shown us the potential of domestic science fiction and has also drawn more attention to this field."

"However, many poorly made works have recently been submitted for review. Some don't even explain basic scientific logic, while others use science fiction as a gimmick with empty content. Such works will not only dampen the audience's enthusiasm but also ruin the reputation that domestic science fiction has worked so hard to build."

She paused, then picked up the list of submissions on the table: "Let me give you a few examples. There's a project called 'Space Romance,' which is about astronauts falling in love in space. There's no scientific basis whatsoever; instead, they use the space station as a 'date spot.' There's another project called 'Artificial Intelligence Crisis,' where the AI's premise is contradictory—one minute it can destroy the Earth, the next it's defeated by a mobile phone virus. These kinds of works aren't real science fiction films; they're just using science fiction as a pretext to make quick money."

The attendees below the stage nodded in agreement, and many showed expressions of approval on their faces.

Seeing everyone's reaction, Ye Wen softened her tone: "Today we have invited Director Tan Yue and Director Sun Daohao, both of whom have extensive experience in science fiction creation. Next, let's have Director Tan Yue share his creative experience with 'Interstellar,' hoping it will inspire everyone."

Tan Yue stood up, walked to the front of the stage, and said with a gentle smile, "Thank you, Director Ye, and thank you everyone. Actually, the creation process of 'Interstellar' was a process of constantly balancing 'science' and 'story'..."

His sharing didn't involve much theory, but rather incorporated the creative details of "Interstellar," explaining everything from scientific research and script polishing to actor selection and special effects production.

The attendees listened attentively, taking notes from time to time, and raising their hands to ask questions, which Tan Yue patiently answered one by one.

Next, Sun Daohao shared his creative experience, discussing how domestic science fiction films can make up for their shortcomings through localized storytelling and emotional resonance when technology is limited, and also encouraged young creators.

The meeting lasted for more than three hours, and the atmosphere was exceptionally warm.

After the meeting, many young directors and screenwriters surrounded Tan Yue and Sun Daohao, asking them for advice on problems they encountered in their creative process.

Tan Yue and Sun Daohao patiently answered questions and supplemented each other's answers, providing many practical suggestions to everyone.

As Sun Daohao left the State Administration of Radio, Film and Television, he shook Tan Yue's hand and said with a smile, "I'm very happy to have had the opportunity to exchange ideas with you today. If there's a chance in the future, we can collaborate on a science fiction project to make domestic science fiction even better."

Tan Yue smiled and nodded: "Okay, I'm looking forward to it."

The sunlight bathed them, warm and gentle. (End of Chapter)