Generation Z Artists

Chapter 210 Monument
After solving the biggest problem of the film, Wei Ping was overjoyed, while Zhang Yimou remained unsatisfied.

It's clear that he genuinely wants to convey his ideas.

"To stop war for the sake of the world, and to gain enlightenment through peace—how wonderful and profound!"

Every now and then, Fang Xinghe could hear him rambling on and on.

That old ox is really stubborn.

Li Lianjie stood beside Fang Xinghe, holding a sword, and comforted him with a smile: "Director Zhang is a straightforward person. Even if he can't figure it out, he will do his best to make it well. Fang, don't worry."

"What am I worried about?"

Fang Xinghe chuckled, "Wei Ping is holding him down."

Li Lianjie glanced at Zhang Weiping, who had run over again to give Fang Xinghe a hot water bottle, and secretly took a deep breath.

That's too much, what kind of sycophant are you anyway?
Wei Ping, the sycophant, truly took differential treatment to the extreme. On the entire set, apart from Brother Fang, no one could make him fawn over her so devotedly.

As the male lead in the film, Li Lianjie's treatment on set was practically that of a minor supporting character compared to Fang Xinghe.

However, he was not jealous; on the contrary, he was extremely polite to Fang Xinghe.

"I really like your ending, thanks, Xiao Fang."

This wasn't the first time Li Lianjie had thanked Fang Xinghe; the further the filming progressed, the more grateful he became.

The original Nameless was the least likable protagonist he had ever played. He felt something was off when he read the script, but because the King of Qin couldn't die, he had no choice but to grit his teeth and film it anyway.

He harbored a great deal of resentment, but there was nothing he could do.

In the early stages, Nameless was portrayed as the greatest assassin in the world. However, after killing so many righteous people to reach the King of Qin, he was persuaded by words before even drawing his sword, breaking the chain of action and completely ruining the character arc.

As a qualified actor, how could he not know that the character would definitely not be likable when portrayed?
Of course I know, I just can't handle it.

Even before Fang Xinghe arrived, he had tried to discuss with Director Zhang: "Could we have a final battle with Qin Huang? Even if we lose, we could be persuaded to surrender..."

From screenwriter to Zhang Yimou, everything was rejected.

"No! Our story is based on true history. Qin Shi Huang was not known for his personal bravery, so we can't change it."

"The remaining ending needs to be elevated in theme, so it can only be a dramatic scene."

Li Lianjie was not giving up and tried one more time.

"Then, how about designing a capable double for the King of Qin, so they can exchange a few blows?"

Screenwriter Lao Feng looked at him with a particularly strange expression: "Brother Jie, the dignified Qin Shi Huang used a body double when he went to court?"

Li Lianjie blushed, feeling somewhat embarrassed.

He tried to salvage the situation by saying, "This is a meeting with martial arts heroes, safety comes first..."

"He can't meet with anyone! We've only ever heard people criticize Qin Shi Huang for being tyrannical, never for being despicable. If a body double comes out, is he still the First Emperor?"

Old Wang also said, "Regardless of whether it's a stand-in or not, Teacher Chen Daoming is wearing a dragon robe and an imperial crown, personally going down into the fray and fighting the assassin to a standstill. Think about it yourself, does this kind of villain setting suit you?"

Li Lianjie knew the man was right, and quickly came up with another idea: "Then, could we get a more capable palace guard?"

The crowd reacted even more excitedly.

"No, it's impossible. Where am I supposed to find an actor who can fight better than you and Xiao Fang? Ordinary fight scenes won't hold up; it'll just be superfluous."

"No way! The climax of the fight scenes in the whole film has already passed. Think about it, with your and Fang Xinghe's status, the focus of the fight scenes must be on the two of you, otherwise, how can the audience accept it?"

“Structurally speaking, the ending really can’t be reworked unless it’s completely scrapped and started over.”

Jet Li had no other choice but to continue filming like this.

In the original timeline, Li had discussed the ending with Zhang Yimou many times. He had the status, but ultimately he couldn't overcome the constraints of historical adaptations.

This is a paradox.

Without adapting historical themes, the grand scenes that Zhang Yimou envisioned—military formations, thousands of arrows, royal palaces—couldn't be filmed.

When adapting historical themes, the ending has to be constrained and cannot be freely developed.

Anonymous is bound to lose; the only difference is how they lose.

Jet Li's own goal was to make the defeat as tragic as possible, so as to establish the character's integrity.

But the director and screenwriter disagreed: You can't draw the sword, otherwise the story won't be coherent.

As soon as Fang Xinghe arrived, he did a simple and straightforward middleman operation: You can draw your sword and give Qin Shi Huang a cheat code.

Jet Li was overjoyed. This method preserved the character's action chain, and the character's arc not only did not collapse, but was also elevated in the end.

Mou Zi was sullen. This divine intervention was completely contrary to the profoundness he wanted, and it felt awkward no matter how he thought about it.

The advantage is that the Kung Fu Emperor happily accepted being tortured by Fang Xinghe during the climax of the fight scene.

The downside is that Director Zhang, still harboring ulterior motives, suddenly had a whimsical idea and planned to film two different endings.

That day, Mouzi came over and chuckled.

"Xiao Fang..."

Fang Xinghe didn't wait for him to plead any further and decisively agreed: "You can make as many versions as you want. The domestic version will be your testing ground, as long as the version shown overseas is the Destiny version."

"Really?!" Mou Zi was overjoyed.

"of course."

Fang Xinghe hadn't really valued the domestic market. The original version's box office of 2.5 million yuan was already at its limit, and his own performance wouldn't be much better. The domestic economic environment and the number of cinemas didn't allow for much growth.

However, I must say this upfront:

"Let's make this clear first: if you get really badly criticized later, don't come complaining to me."

"That's definitely not possible."

Mou Zi was laughing heartily and brimming with confidence.

"Foreign audiences may not understand my thinking, but domestic audiences will definitely understand my good intentions. We Chinese people admire the righteousness of sacrificing the individual for the greater good!"

puff!
Fang Xinghe almost couldn't help but burst out laughing.

Still appreciating it?
I'll curse you to death!

Even though he didn't live in this era in his previous life, he still knew the ending of "Hero"—it was a box office success but was relentlessly criticized by the media for half a year, and ordinary viewers also cursed it severely.

Top-notch aesthetics, but a ridiculously weak plot—that's practically a given.

Chinese people do appreciate sacrifice, but the problem is that compared to Jing Ke, who generously faced death in official history, the nameless man who was persuaded to give up by words is really disappointing.

Commercial films, if you leave the audience holding their breath and unable to express themselves, how can you expect good reviews?
In fact, domestic audiences already knew that Wuming was bound to lose; they had expected it. As long as a plausible reason was given, they could accept it.

But Lao Zhang is obsessed; he insists on making profound points in commercial blockbusters, even if it's just through words, and he fantasizes that the audience can resonate with him.

What right do the audience have to do this?

The general public, or what we might call "the majority of ordinary people," just want to see something exciting.

Tickets aren't cheap these days. People come to the cinema because of Zhang Yimou and Li Lianjie's reputations, expecting grand scenes, thrilling action, and an emotional release at the end—that's all that matters.

Only a small group of people have high-end tastes and appreciate refined culture; they themselves will watch "Teahouse" many times.

Ordinary viewers just want to see someone rise up unexpectedly. It doesn't matter how they lose, as long as they don't back down and show their spirit even if they can't win.

The requirements are simple, right?

But this is the core contradiction of the movie "Hero"—when the emotions reached the end, audiences all over the world were looking forward to Nameless drawing his sword, but Zhang Yimou went against all expectations and sacrificed the essence of commercial films for the sake of his artistic vision.

In fact, Fang Xinghe's solution is not perfect either.

In the paradox of "Nameless must use his full strength to fight → Qin Shi Huang cannot lose → and no more fight scenes can be added", as the screenwriter, he can only give Qin Shi Huang a non-martial arts cheat.

The fundamental logic behind Wuming's need to go all out is to vent the pent-up emotions of the audience.

The fundamental reason why Qin Shi Huang must be preserved intact is the review requirement of "respecting true history and not over-adapting it".

The fundamental reason why no more fight scenes could be added was the audience's expectation that "the fight scene between Fang Xinghe and Li Lianjie must be the climax of the entire film's martial arts."

None of these three core points can be changed.

The film "Hero" is inherently like this, and there's no way to change it.

Therefore, Zhang Yimou's approach was "to choose personal artistic exploration out of helplessness," for which he sacrificed the audience experience.

Fang Xinghe's approach was to "respect the psychology of commercial film audiences as much as possible despite the helplessness," sacrificing a little bit of rationality for this.

However, the combination of flying martial arts films and a touch of low-level Taoist fantasy is not something that audiences would find unacceptable.

Hollywood is currently obsessed with making epic blockbusters, and which one doesn't have fantasy elements?
There's no reason why they can film it, but it's outrageous for us to film it.

So the ending was indeed filmed in two versions—Zhang Yimou's version, "The World," and Fang Xinghe's version, "Destiny."

"Your idea? Try filming it yourself!"

Mouzi is really good at handling people; he directly handed over the opportunity to get started.

Fang Xinghe didn't stand on ceremony and immediately began giving instructions.

“Brother Jie, your movement in this part is very simple—the short sword slides into your hand. There will be a close-up of this part later.”

Then charge forward with all your might, wielding your short sword, but not aiming for the throat. The first strike is intended to capture the King of Qin alive; a neck strike will suffice.

"Come on, action choreography team!" Fang Xinghe beckoned and continued, "The wire work here shouldn't be swaying; I want it to be fierce, emphasizing Wuming's speed and sudden killing intent."

"Props, special effects, come here!"

Fang Xinghe found the next group of employees.

"When Brother Jie takes a step, I need a special effect of the palace bricks shattering under his feet. You guys discuss it and see how to create the best effect."

Finally, the actors were called in.

"Teacher Chen, when Brother Jie suddenly advances, you should lift your eyelid slightly. I need a subtle detail in your expression that shows a slight surprise, yet also composure."

Then, whether you gaze at Wuming with a melancholy look, or glare at him angrily, or even sneer with disdain, is entirely up to you. Let's shoot a couple more takes and see how it goes.

Chen Daoming nodded to indicate his understanding, then asked, "How should I demonstrate the automatic protection of the Imperial Seal of the State?"

Fang Xinghe already had a plan in mind, and he spoke without hesitation.

"From the moment Wuming entered the main hall, you have been gently stroking the jade seal. We will film two more close-up shots later."

When he suddenly attacks, apply a little more force with your hand, and leave the rest to the post-production special effects.

The nameless man's first sword strike was blocked by the misty light, but his skill was extremely high, and his protective barrier trembled violently. At this moment, you should give a deeper level of surprise.

Immediately following the second sword strike, you raised the Imperial Seal of the State to block it, but Brother Jie chopped off a corner of the seal and was then thrown back.

That's roughly how it works. You don't need to do much; it's mainly Brother Jie who's cooperating with you.

Chen Daoming understood completely and chuckled as he cracked a joke.

"Good heavens, this makes perfect sense! So that's why the Imperial Seal of the State was missing a piece; Wang Mang is taking the blame for you!"

"Hahahaha!"

The palace erupted in laughter, and the main cast members were thoroughly amused.

Fang Xinghe remained unfazed: "This is to highlight Wuming's strength and determination. He must exert all his strength to appear tragic enough."

Mou Zi, who was watching the spectacle from the sidelines, couldn't help but ask: "Then why not design the Imperial Seal of the State to be even more powerful, so that the protection would not be able to move an inch? Wouldn't that make Qin Shi Huang's destiny seem even more powerful, and his namelessness seem even more pathetic and pitiful?"

"Because this is a commercial action film, we must give the rebels enough rewards."

Fang Xinghe's thinking is clearly on another level.

“The symbolic significance of cutting off a corner of the Imperial Seal of the State generates value on three levels in total.”

On the narrative level of the film, this is about seeking solace in sorrow.

The nameless rebellion was unsuccessful, but it did achieve some results and was not in vain; it was a small outlet for emotional release.

On an imagery level, it embodies the spirit of resistance among the lower classes of the Chinese nation.

The related ideas have been circulating among the people for a long time.

For example: Even if I can't beat you, I'll still take a bite out of you.

For example: I'd rather die than let you bleed.

A common man's anger can lead to bloodshed, ultimately representing a last resort of breaking the law in anger and risking one's life for another.

This is the ultimate helplessness, and also the ultimate indomitable spirit.

Finally, at the deepest cultural level, it hints at a traditional Chinese philosophy that "water can carry a boat, but it can also capsize it" and "the ruler governs the country with tyranny, and the people use violence to disrupt the ruler."

The Imperial Seal of the State is a symbol of the Mandate of Heaven, but where does the Mandate of Heaven come from?
It is the will of the people and their expectation.

This is not a power that can be used recklessly simply because it is bestowed by Heaven. Since ancient times, our monarchical power has been divided into 'righteousness' and 'unrighteousness'.

The holy sword and holy grail of the West are indestructible and indestructible because they originate from God and are divinely ordained.

However, China's Mandate of Heaven is people-oriented, and it can be harmed or even overthrown by the people.

That's the biggest difference.

Therefore, Wuming, as a righteous man of the Yan state, broke off a corner of the Imperial Seal of the State with all his might, symbolizing the people of the six states' disapproval and refusal to submit to the Mandate of Heaven of Qin.

This implicitly corresponds to the Qin Empire's demise after only two generations, with the Mandate of Heaven slipping away.

Western audiences will certainly grasp the first two points, but I hope they will vaguely sense the third—that destiny is determined by the people, not by the gods.

Mou Zi was taken aback: "What's the use of this?"

"It's really useless now."

Fang Xinghe shrugged.

But who knows what will happen in the future?

Cultural invasion and counter-invasion never require scrutinizing the merits and demerits of a single event or play.

The fact that "Hero" can be seen by as many viewers as possible is a success in itself.

As for the real competition...

It would take a century, requiring efforts in every aspect, with the economy as the foundation and military strength as the base, hundreds of thousands of films and games, various cultural and sports exhibitions, and wave after wave of popular trends... It is simply not something that one person or even one generation can accomplish.

Fang Xinghe gave a perfunctory reply, offering no explanation, as he was too lazy to discuss such matters with people in the entertainment industry.

Can they understand?

No, 99.9% of people cannot, and are even unwilling to, shout slogans like those in the cultural sphere.

This is reality, and Fang Xinghe cannot completely and thoroughly change it, so for the time being he can only accept the status quo and do what he can.

And that's what... pragmatism is all about.

The pragmatic director quickly began filming.

The final scene wasn't difficult to film. There were no complicated staging or grand scenes; all that was needed was to carefully consider the lines and check the actors' performances.

very smooth.

Chen Daoming's portrayal of Qin Shi Huang carries a strong resemblance to Chen Daoming himself, which happens to be exactly the kind of profound domineering presence that Fang Xinghe needs.

This is a commercial film, and Fang Xinghe has no intention of portraying the supporting character, the First Emperor, as a passionate idealist.

Let him be profound, brave, domineering, and arrogant, if that's all you want.

As the final boss who doesn't make a move, Teacher Chen's performance is just right, possessing both presence and composure.

After throwing the sword and pinning the nameless man down, the nameless man pleaded with him: "Hang my head and the head of the Crown Prince of Han to see if Your Majesty can fulfill your promise."

Chen Daoming waved his sleeves, put his hands behind his back, and raised his chin slightly: "Yes, I grant it!"

In fact, Qin Shi Huang only began to refer to himself as "朕" (Zhen, meaning "I" or "the Emperor") in 221 BC, which is a small flaw, but the use of "朕" in this context is particularly fitting.

Li Lianjie's acting in dramatic scenes was also quite good. The role itself wasn't particularly difficult to perform; he portrayed a heroic spirit even in the face of death, which was enough.

The final scene was filmed in just three days, and Fang Xinghe had all the materials, including the action sequences, ready.

This was his first real directorial effort, but the ability he displayed amazed everyone.

"You little rascal, is there anything you're not good at?"

"Director Fang, you're awesome!"

"Is this what genius is? Holy crap, that's terrifying!"

They are all mainland filmmakers, and many of the staff are even direct descendants of Fang's faction from Changchun Film Studio. Don't be shy, just praise them to the skies.

However, besides flattery, some people did actually gain something.

The day filming wrapped, Zhang Yimou pulled Fang Xinghe into the bedroom, excitedly spinning him around.

"Xiao Fang, the overall tone of our film is finally clear!"

"Oh? What came to your mind?"

"Warring States!"

Mou Zi waved his arms vigorously: "The spirit of the Warring States! The romance of the Warring States! The Warring States' commitment to keeping one's word and disregarding life and death! A courtly martial arts world that has never been seen since!"

Hmm? That's an interesting way to put it!

Fang Xinghe knew what Mou Zi wanted to express.

Later unified empires respected Confucianism and law, and were very orderly, but the Warring States period was quite different.

The king was like a patriarch, his sons like chivalrous heroes, and his retainers were all righteous men; the imperial court was like a martial arts world.

There aren't many dogmas, and people place great importance on trust and loyalty in their interactions with each other.

The original "Hero" failed to capture this exceptionally moving quality well and clearly; each character lacked a certain charm.

Although the finished product is beautiful enough, it doesn't resemble the Warring States period.

To put it simply: the world presented in the original version is visually spectacular and awe-inspiring, but it doesn't inspire a sense of tranquility or longing.

Now, Mouzi has figured out this flaw himself and decided to change it.

Fang Xinghe then realized that another brick had finally been added to this monument in film history.

(End of this chapter)