It's reasonable for me, a stuntman, to live a crazy life, right?

Chapter 1431 Guiding Happy Twist!
"The Hollywood import 'Captain Marvel 2' has been officially released, and its box office revenue on the first day was 5963 million."

"The realistic film 'The Room Next Door,' directed by Liu Yifei and starring Gong Li and Zhang Manyu, officially concluded its run today, grossing 11.69 billion yuan at the box office."

"The Hollywood import film 'Aquaman 2: The Lost Kingdom,' produced by DC, has been officially announced to be released on December 20."

"The comedy film 'The Annual Meeting Can't Stop,' produced by Jia Ying Spring, with Huaying and China Film Group participating in the production/distribution, directed by Dong Runnian, and starring Dapeng, Bai Ke, Zhuang Dafei, Wang Xun, and Sun Yizhou, is scheduled to be released on December 29."

"The new film 'Lurking' starring Andy Lau, Gordon Lam, and Eddie Peng is scheduled for release on New Year's Day..."

……

With November more than halfway through, the film industry has entered another peak season.

Looking around, many films have officially announced their release dates, making it a very lively scene.

It seems that all the major film companies want to take advantage of the year-end golden period to grab a share of the box office market.

During a break on set, Chen Fei was browsing industry news.

The news of the official release date announcement for "Aquaman 2" suddenly caught my eye.

October 20th, only two days earlier than "All or Nothing"?
He raised an eyebrow slightly, and suddenly felt like laughing.

He didn't believe it was a coincidence, after all, in this fiercely competitive film market, the choice of each release date is full of hidden strategies.

China Film Group's move is most likely a targeted attack on "All or Nothing".

Feiyue Films has been too unconventional lately, and China Film Group may be trying to use the Hollywood IP influence of "Aquaman 2" to suppress their momentum.

But a faint smile quickly appeared on Chen Fei's lips.

He doesn't think Aquaman 2 can suppress All-in.

The Lunar New Year film season is a vast market, like a huge cake, big enough to accommodate multiple films.

Aquaman 2 may seem like it's going head-to-head with All-in, but in a way, it actually does him a favor.

The release of Hollywood blockbusters will attract a large number of viewers to the cinema, stimulating market activity. At the same time, it will eliminate those poorly made films that attempt to profit from the Lunar New Year season, freeing up more screenings for them.

This portion of the screenings could be allocated to "All or Nothing".

He has absolute confidence in the quality of this film!
Good works have their own market competitiveness and are not afraid of any competitors.

However, "If You Are the One 3" is going to be in trouble.

As a comedy, it faces considerable pressure from another comedy, "The Annual Meeting Can't Stop".

The cast of "Lives of Omission" is even more impressive, including Lau Tak-wah, Lam Ka-tung, and Eddie Peng, making it a highly anticipated production.

In fact, Chen Fei had recently noticed Feng Xiaogang's actions, especially the inclusion of numerous distribution companies in the film, which he considered completely unnecessary.

Because in today's film market, quality is the key factor that determines box office success.

If the quality is good enough, the movie's box office will naturally be a hit.

Just like the previous "The Wandering Earth" series, it became a box office hit as soon as it was released, thanks to its excellent science fiction special effects.

But what's the point of large-scale advertising and marketing if the quality isn't good?
Today's audiences are no longer naive; they know to pay attention to word-of-mouth before watching a movie.

Even if there are some nostalgic viewers, their numbers are limited and simply not enough to support a poor-quality film to achieve high box office returns.

Although he was reborn in his previous life, he was unable to see the final cut of "If You Are the One 3".

However, considering Feng Xiaogang's current decline... his works are receiving increasingly negative reviews, he is losing industry resources, and even his most relied-upon "connections in the Beijing circle" are failing to secure screenings. It is estimated that this film will not perform well either.

Chen Fei has always believed that people have their own fortune.

When your luck is at its peak, everything you do goes smoothly. Audiences buy into it, investors flock to it, and even flawed works are tolerated.

But once this momentum is broken, no matter how much effort is put in afterward, it will be like "a spent arrow," unable to seize opportunities or retain people's hearts.

Feng Xiaogang has clearly passed the "smooth sailing" stage, and "If You Are the One 3" will most likely be his last appearance in an attempt to turn things around, but he is powerless to do so.

He was browsing news reports about the Lunar New Year films when his assistant suddenly came over and reminded him, "Chairman Chen, Mr. Zhang from Happy Twist and his team have arrived and are waiting outside."

"Oh?" Chen Fei casually turned off the screen, stood up from his chair, and said, "Let them in."

"Ok."

The assistant turned and walked out, and soon returned with Zhang Chen into the film set.

Following behind were Shen Teng, Ma Li, and other core members of Happy Twist.

The group of people looked around in surprise as soon as they entered, exclaiming in astonishment.

"Mr. Chen, I'm sorry to disturb your filming," Zhang Chen said first, his tone polite.

"You're welcome what?"

Chen Fei waved his hand, indicating that he didn't mind.

After exchanging pleasantries for a while, seeing that everyone was still looking around with barely concealed curiosity, he simply said, "Come on, let me show you around the film set."

The group's eyes lit up immediately, and they quickly followed.

Passing through the well-constructed "Red Coast Base" real-life architectural complex, the group saw many staff members debugging miniature models of planetary engines in a giant green screen tent in the distance.

Many people hurried past pushing sophisticated photography equipment, revealing the meticulousness of a "big production" everywhere.

Zhang Chen was amazed as he walked, and couldn't help but exclaim: "Honestly, Chairman Chen, with this scale, Happy Twist probably could never produce such a big project in their lifetime."

When we used to shoot comedies, all we needed was an indoor set and a street scene; compared to this, it's like playing house.

Ma Li, standing next to her, nodded in agreement, saying, "It's truly amazing! The details of this real-life base alone are enough to be a tourist attraction. No wonder everyone says that 'The Three-Body Problem' will definitely be the 'ceiling of domestic science fiction'."

Shen Teng touched his chin and suddenly remembered his experience filming "Lonely Moon".

He added with some emotion, "When I was filming 'Lone in the Moon,' I had already seen what it's like to be filmed in a science fiction movie. At the time, I thought the special effects studio and the lunar scenes were pretty amazing."

But after coming to the Three-Body Problem section today, I suddenly understand what it means to be a novice compared to a great master!

He pointed to the "water droplet" prop being assembled in the distance and said, "Look at that thing. Just the material of the outer shell and the reflectivity show that it is very sophisticated. This is the real hardcore science fiction style!"

Hearing the exclamations of the others, Chen Fei smiled and replied, "The Lone Moon is a soft science fiction comedy that focuses on 'human relationships'; The Three-Body Problem is hard science fiction that relies on 'details' to support it. The approaches are different."

However, if Happy Twist ever needs sci-fi scenes in the future, you can use any of the locations at Shanhe Film City, and the special effects team can also lend a hand.

"Thank you so much, Chairman Chen!" Zhang Chen's eyes lit up immediately.

"We're all family, so let's not talk like strangers, haha."

At least Feiyue Films is still a major shareholder of Happy Twist, so they can be considered part of the same family.

The group chatted as they walked, discussing everything from set design and script polishing to acting and post-production special effects.

Several directors signed with Mahua FunAge were seen taking notes on their phones from time to time, clearly hoping to learn more about big-budget productions during this "set visit".

Chen Fei also shared his creative insights on science fiction without reservation.

After taking a quick tour and experiencing the awe-inspiring atmosphere of the "Three-Body Problem" film set, Zhang Chen glanced at Peng Damo and Yan Fei beside him, cleared his throat, and revealed the real purpose of his visit:

"Chairman Chen, actually, besides visiting the set, we also have a personal matter we'd like to ask you for help with."

"What?" Chen Fei looked at him curiously. "Well, Happy Twist has just finished developing a new project and would like to ask you to take a look and give us your opinions."

As he spoke, he took a blue-covered script from his assistant and handed it to Chen Fei with both hands.

Chen Fei reached out and took it, his eyes first falling on the three gold-embossed words "Claw Machine" on the cover.

After a moment of surprise, he turned to the first page with a hint of curiosity.

As he read the contents, he pondered to himself.

Although I had long anticipated this day, I didn't expect it to come so soon.

I had never heard of this project in my memories before my rebirth, which means that my "prophetic" advantage from my previous life has vanished.

Now, he can only rely on his years of experience in the film and television industry to judge the quality of a script.

After turning just two pages, Peng Damo leaned over, his tone a mix of anticipation and nervousness:
"Chairman Chen, let me briefly explain the plot to you. The story is about the impoverished Ma Chenggang and Chunlan family, who dedicate themselves to raising children in order to defy fate. However, the story is not as simple as it seems on the surface..."

As Chen Fei listened, he glanced at Peng Damo, then looked at Yan Fei, Shen Teng, and Ma Li standing to the side.

The look in their eyes was one of solemn anticipation, as if they were waiting to be judged.

He instantly understood something and asked curiously, "You guys are teaming up again? Director Peng is directing, you're writing the screenplay, and Shen Teng and Ma Li are starring?"

Upon hearing this, the others immediately laughed.

Shen Teng nodded first: "Chairman Chen understands us best."

Ma Li added, "The main thing is that the story is quite interesting. It has both the absurdity of comedy and the warmth of human relationships. It connects with our previous style, but also adds some new elements."

Yan Fei doesn't talk much, but he did speak up this time, saying, "This is the third feature-length comedy film that I have collaborated on with Da Mo after 'Goodbye Mr. Loser' and 'Hello Mr. Billionaire,' and it can also be considered a work to mark the tenth anniversary of the Xihongshi IP."

Just then, Zhang Chen suddenly sighed, his tone tinged with helplessness: "To be honest, this script is rated S+ internally, which is why we wanted to make a big splash."

Happy Twist hasn't produced a truly blockbuster film in recent years. Their previous films have either been criticized as "just the same old thing in a new bottle" or received only mediocre reviews. I'm really worried about them.

He looked at Chen Fei with earnest eyes, "You are the most knowledgeable about content in the industry. We invited you to look at the script today with the intention of seeking your guidance. Is this approach feasible? Should we adjust our direction? We will listen to you."

Chen Fei didn't answer immediately, but quickly flipped through the second half of the script.

It's clear that this is not just a simple comedy, but also a work about family, growth, and education.

The plot cleverly incorporates social issues such as parent-child relationships and intergenerational communication, breaking down these hard topics into a soft comedy format. It presents these seemingly ordinary yet universal problems in a humorous yet heartwarming way...

Seeing this, he looked up at the expectant group of people in front of him and slowly said, "The story is quite novel."

Upon hearing this, the group's eyes lit up.

Just as Shen Teng was about to respond with a smile, Zhang Chen's lips also curled up.

But before they could even fully smile, Chen Fei suddenly changed the subject: "But..."

These two words were like a bucket of cold water, instantly poured over their heads.

A collective gasp sank in their hearts, their smiles froze, and a hint of tension replaced their expressions.

Because they are very clear that what follows "but" is the key.

Chen Fei didn't hold back, pointing to the key plot points in the script and saying directly, "The rich pretending to be poor and the 'successor plan' are indeed hot topics that can spark discussion right now, and piling them together can create a lot of laughs."

But have you considered that the script's narrative is incomplete, its logic is flawed, and to put it more bluntly, I even question whether the story's values ​​are problematic?

Upon hearing this, Peng Damo subconsciously leaned forward, and Yan Fei also frowned, taking out his phone to record.

“Look here.” Chen Fei turned to the section where the male protagonist, Ma Chenggang, recalled his childhood. “The first three pages were dedicated to describing the hardships he endured as a child.”

In order to raise an elite successor, his parents forced him to learn advanced mathematics and practice piano, and did not even allow him to touch a snack. This was the beginning, laying the groundwork for his resistance to utilitarian education.

But what happened next? He suddenly decided to force his child to defy fate in the same way, abruptly ending the narrative and failing to explain the core motivation behind his change of heart. Was it the pressure of life? Or was he provoked by others? Simply saying he didn't want his child to follow in his footsteps is simply untenable.

He then flipped to the ending: "The most crucial thing is 'reconciliation.' The child suddenly said at the end that he didn't want to be the successor and just wanted his parents to be happy. Ma Chenggang and his wife immediately abandoned the plan, and the family hugged and reconciled... This was too abrupt!"
After all that buildup about their obsession with 'changing their fate,' even going so far as to pretend to be poor kids, how could they possibly change completely just because of a single sentence?
Without going through a process of struggle, reflection, and communication, the closed loop is broken, and the audience will only feel that it's 'fake' after watching it.

Peng Damo scratched his head and whispered in agreement: "It seems... a bit abrupt. We were only thinking about stringing the jokes together and didn't pay much attention to the transition."

“It’s not just about the narrative,” Chen Fei continued. “Today’s audiences are no longer satisfied with just having some fun. They don’t demand that comedies have profound educational significance, but at least the story should be complete and self-consistent.”

Your "successor plan" is essentially using children as tools to fulfill the regrets of their parents. It's presented in a lighthearted, comedic way at the beginning, but it fails to offer a reasonable solution later on.

It neither critiqued the problems with this educational philosophy nor offered a better solution, and ended abruptly, easily leaving viewers feeling conflicted about their values.

He put down the script and looked at the group: "The core of comedy can be sadness, it can be reality, but it cannot be 'chaos'."

Why did "Goodbye Mr. Loser" become a classic? Because its logic is sound. Xia Luo travels back in time to make up for his regrets and finally discovers how good his original wife was. The plot is complete and the emotional conclusion is solid.

You're so focused on creating trending topics and laughs that you've lost sight of the fundamental story's structure.

By the end, fine beads of sweat had formed on the foreheads of Peng Damo and Yan Fei.

The two nodded repeatedly, their previous confidence completely shattered.

In fact, the decline in the quality of script polishing in Happy Twist films in recent years has been a topic of criticism from audiences and industry insiders.

The jokes are becoming increasingly contrived, and the story is becoming increasingly loose...

However, they were too eager to prove that they could still create hit content, and too eager to seize the opportunity of the "10th anniversary of the Xihongshi IP," which led them into a vicious cycle of "making for the sake of making," neglecting the content itself.

Zhang Chen forced himself to speak, his tone earnest: "Chairman Chen, you're absolutely right. We did get stuck on a rut. So... how should we revise this document?"

Chen Fei picked up a pen and drew a few lines on the script: "First, add the 'development' part, add a scene where Ma Chenggang attends a class reunion and sees his childhood friend, who was 'left to his own devices' by his parents, now a designer based on his own interests, while the 'elite successor' from back then is living a very repressed life. This contrast stimulates him, making him both afraid that his child will repeat his suffering and afraid that his child will lose at the starting line. This contradiction is the root of his change in mentality."

"Then change the 'combination' part. Don't let the child solve the problem with a single sentence. You can design a conflict."

For example, a child secretly enrolled in his favorite model airplane class and used his pocket money to buy parts, but Ma Chenggang found out and the two had a big fight. The child cried and said, "You don't care what I want at all, you only care whether I can make you proud."

These words jolted Ma Chenggang awake. He went through his child's model airplane creations and saw the comic books he had secretly hidden back then, and only then did he truly begin to reflect.

In the end, it wasn't a sudden reconciliation, but rather the whole family sitting down, Ma Chenggang apologizing, the children expressing their thoughts, and together they changing the 'Successor Plan' to a 'Growth Plan'—that felt more genuine.

He looked up at the group and said, “As for the issue of values, there’s no need for deliberate preaching. Just tell the audience through Ma Chenggang’s transformation that education is not about ‘copying elites,’ but about ‘respecting growth.’”

The humor can be retained, but it must serve the plot. For example, the contrast between pretending to be poor and being exposed by the neighbor, or the chaotic scene of tutoring homework—these jokes that are tied to the characters and the plot are more memorable than simple skits.

As soon as Chen Fei finished speaking, the scene suddenly fell silent for a few seconds.

Then, Peng Damo slapped his thigh and exclaimed, "That's right! How come I didn't think of that! Adding a contrasting scene makes the motivation stand out! Maximizing the conflict before the reconciliation makes the emotions feel real!"

Yan Fei suddenly realized and quickly took notes on his phone: "Tying the jokes together with the plot is indeed a key point. It seems that we previously separated the 'jokes' from the 'story'."

Zhang Chen was so excited that he stepped forward and tightly grasped Chen Fei's hand: "Thank you so much, Chairman Chen! Your words have truly enlightened me! We'll go back and revise it immediately, and then I'll show it to you!"

Chen Fei smiled and said, "No need to thank me. The script itself has a good foundation, it just lacks a bit of 'strength'. The tacit understanding between you old partners is still there. If you can straighten out the story, you will definitely be able to produce a good work."

Ultimately, Happy Twist's comedic genes are still there; they've just temporarily lost their way.

What Chen Fei can do now is to use his experience to help them get back on track.

He has always adhered to the "high-quality" approach, so he is well aware that the film industry is destined to become increasingly difficult in the future.

Faced with the onslaught of short videos, audiences need more sincere works, not shoddy, trending-driven content...

(End of this chapter)