The Best Actor in the Vase of Meiyu

Chapter 1862 Everyone is his own master
"what."

Thierry smiled.

This man, who later stood at the pinnacle of Cannes, wielding immense influence, still maintains a degree of caution. In his first important position, he hasn't fully unleashed his potential, but the confidence and composure emanating from his brow already reveal his inner strength and hint at the qualities of a powerful and ruthless leader.

"No, I don't have that kind of courage or ambition. The spittle in the manual could peel off a layer of my skin. I don't want to ruin the film festival as soon as I take over. In my blueprint, I shouldn't go down in history in this way. Things shouldn't be like this."

"Cahiers du Cinéma," a professional film magazine that originated from the New Wave, holds a unique position not only in France but also globally, so much so that it has a distinctive name among film critics: the "Cahiers du Cinéma school."

The manual is a staunch advocate of "auteur cinema theory." A detailed explanation would be rather complicated, but simply put, they believe that film is the art of the director, and all other aspects are merely tools for the director to complete the creative process. The director is the soul and the core, and the director is the very reason for the existence of film.

The powerful influence of "Cahiers du Cinéma" extends across the globe, inevitably affecting even top film events like Cannes and the Oscars.

Of course, the aesthetics of "Cahiers du Cinéma" and the Hollywood Oscars are two completely different systems, existing independently of each other. However, for directors, film critics, and film professionals, the existence of these two systems is an essential process for everyone to explore their own understanding of film.

Even Thierry, if he were to openly confront or even destroy the aesthetic system and film theory established by "Cahiers du Cinéma," would likely face a siege from the entire French and even European film industry.

The simplest example is streaming media.

Twenty years later, streaming media has spread globally, and streaming films have officially become an indispensable part of the industry. More and more top directors and actors are joining the ranks of streaming studios. However, in France, Cannes has always required that all films entering Cannes continue to be screened in French theaters for a certain period of time before they can be released on streaming media; otherwise, these works are prohibited from being screened in Cannes.

This stems from the persistence of the manual faction.

Thierry was initially hesitant. With the financial power of streaming media fully impacting the global film market, should Cannes, which has always been at the forefront of the times, set a precedent by allowing streaming works to be shown at the film festival without going to theaters?

However, the manual faction was exceptionally tough, and even Thierry, who stood at the top of the industry and had absolute power, eventually succumbed, agreeing with the manual faction's ideas and refusing to compromise.

Now, Thierry, whose career has just begun, is even less likely to offend the manual faction.

Anson was well aware of this.

Anson brought this up deliberately, not because he believed Thierry was truly prepared to overturn the situation, but to subtly shift the balance and establish an equal footing in the conversation.

He needs the truth. Not the insincere pleasantries of social occasions.

Thierry noticed this, his smile still on his lips, and paused slightly. "We trust Anson Wood's taste."

Anson tilted his head slightly, looking somewhat confused. "You believe in Peter Parker's traffic."

Thierry burst out laughing. "Of course, we won't refuse Peter Parker's traffic; but what we really trust is Anson Wood's taste."

“We have the courage to invite ‘The Elephant’ to the main competition, we have been closely monitoring the filming progress of ‘Sons of Men’, and we hope that ‘Songs of the Heart’ will be released in Cannes.”

“As a film enthusiast and as an actor, Anson Wood has proven his worth. So we hope to invite Anson to the Cannes stage again.”

Anson maintained his smile, quietly observing Thierry without making any unusual movements.

But Thierry knew that Anson was still waiting, waiting for the truth.
Thierry sighed inwardly. As expected, Anson was not easily fooled. "An invitation, just an invitation, not a guarantee."

Finally, the truth came.

Anson remained patient, waiting for further developments. Thierry said, "We hope 'Walking with Song' can be submitted to Cannes. Our selection team will watch it collectively and then determine which section the film will be placed in."

The whole story has finally come to light.

Indeed, Thierry extended the invitation not because he trusted the director, but because he trusted the actors, or perhaps they needed Anson's popularity.

In Thierry’s first year as director of the Cannes Film Festival selection committee, he had already demonstrated his political and social skills, and he knew how to generate buzz.

But Thierry is different from Hollywood's "entertainment to the death" mentality. He won't risk everything for entertainment. He needs Anson, but not "at all costs".

Therefore, Thierry's purpose today is not to invite "Singing Along" to the main competition, but to invite "Singing Along" to register for Cannes.

Similar in meaning, but treated very differently.

If Anson hadn't remained calm, overjoyed and carried away by Thierry's personal appearance, he probably would have already happily agreed. In that case, whether "Walking with Song" would enter the main competition, or even whether it could enter Cannes at all, would have depended entirely on Cannes' decision.

Let's suppose that "Walking with Song" is rejected by Cannes. To the average person, rejection is no big deal and there is no loss. But reality is not that simple.

Once the news of "Walking with Song" being rejected by Cannes leaked out, film critics, professionals, directors and actors, and the general public all had one impression:
The film was of mediocre quality and was turned away at theaters.

By then, before the film has even begun its promotion, preconceived notions will already be at a disadvantage.

Therefore, Cannes suffered no loss; they could even use Anson to attract some attention. But "Walking with Song" and Forest Pictures suffered heavy losses.

But the key point is that small companies like Forest Films need to take risks and seize every opportunity, even if they know that Cannes is a trap or a gimmick, they still need to take the plunge.

Because he understood these things, Thierry planned everything meticulously.

From surprise set visits to gifts and praise for Alfonso and Emmanuel, Thierry meticulously planned each step, constantly blurring the focus and diverting attention, because he knew what he was plotting.

Unfortunately, Anson eventually saw through his plan.

So, should Anson refuse?

No, Lucas's assessment is correct; they need this opportunity. All those crises and predicaments were built on the foundation of the film's rejection, but if "Walk the Line" enters the Cannes main competition, it can immediately turn the tide, and the situation will be completely different.

Thoughts briefly swirled in Anson's mind.

Cannes has its own stance, and so do they; everyone is looking out for their own interests, which is perfectly understandable.

Therefore, the focus now is on how to play the game.

If Thierry were directly asked to commit to a spot in the main competition for "Singing Along," he could easily have made a promise without further discussion.

The decision-making power remains in Thierry's hands.

So, what should Anson do?

(End of this chapter)