Huayu: Are you even sitting up straight? You're going to be the director?

Chapter 10 Han Sanpin: My Heart Is Uneasy
"I…"

In just two minutes, Han Sanpin had been stumped three times by Cao Zhong's answers.

It was completely blocked.

Han Sanpin once had the urge to kick Cao Zhong out directly.

In his office, Han Sanpin felt he almost broke down.

Cao Zhong has a mouth that dares to say anything.

Han Sanpin was even afraid that if he refused again or said anything about waiting, he would be scolded by Cao Zhong.

This temper of his is even more difficult to deal with than his mother, Jiang Wen.

Fortunately, they were still quite polite.

Han Sanpin didn't start criticizing directly; he even wondered how filthy his mouth would be if he did.
He wanted to give the young man some pointers, but before he could finish speaking, the young man made Han Sanpin's blood pressure rise.

Wang Hongwei, standing to the side, was even more comical. He only dared to sit on half of his buttocks, his back was ramrod straight, and he didn't dare to utter a sound.

It's cold outside in winter, but warm inside the house with heating.

But Wang Hongwei genuinely felt a bit of bone-chilling cold.

Apart from Cao Zhong, the other two were uncomfortable.

Cao Zhong retorted, "Isn't an eagle good?"

They were both completely speechless.

Militarily speaking, eagles may be bad, as they are seen as reckless, but what's wrong with eagles in movies?
Neither of them could answer.

Ultimately, isn't a movie just a way to promote and showcase ideas?

My ideas are a bit radical, and the movies I make are a little radical, is that not allowed?

Han Sanpin dared not speak, could not speak.

What's wrong with the movie that Cao Zhong is going to make?
It will inevitably affect Sino-Japanese friendship and foreign investment.

"We are not friends."

Han Sanpin understood that line from the movie.

But who knows what the consequences might be.

Han Sanpin was afraid that he wouldn't be able to handle it.

You, Cao Zhong, have no reputation or power. Even if you try to be assertive and powerful, your superiors won't give you any face. You can only wait.

If Zhang and Chen want to take the photos, Han Sanpin won't have any objections, because he'll definitely be able to complete the procedures.

If you have some ability, background, and resources, even "Devils on the Doorstep" can get approved.

That guy didn't just curse the Japanese pirates; he cursed a large number of Chinese people as well.

He cursed while going around in circles.

So even after winning an award at Cannes, he was still banned.

But they still managed to get it released.

Isn't it because he has connections that allow him to reach the highest levels of power?
Cao Zhong, no.

You're being so blunt and direct.

There's no way to hide it?
Han Sanpin has to try it to see if it works.

Otherwise, who would dare to guarantee it for you?

However, Han Sanpin quite appreciated and admired Cao Zhong's answer.

He has also met many new directors.

Too pretentious.

He has a very high opinion of himself and always thinks he is invincible.

Ning Hao's style is already considered unconventional.

But Cao Zhong is even more formidable.

At least his self-positioning was extremely accurate; he wanted to shoot "Nanjing Photo Studio," and even went so far as to portray himself as an eagle.

It doesn't talk about art, business, or awards.

It boils down to four words: attracting the audience.

Damn it, even Han Sanpin couldn't get angry.

He really needs a director with this style.

He knows directors who have this style, but most of them don't understand the logic and operation of commercial films.

The films they make have a grand scope and profound themes, but they fail to achieve box office success.

For example, Zhang Li's "The Birth of a Nation," a patriotic film, only grossed 11 yuan.

This movie is good.

However, Han Sanpin absolutely could not accept continuously making this kind of movie.

This kind of film has its significance, but it is not a work worth commemorating for the positive development of Chinese cinema.

It is not even a spark in the Chinese film market.

Cao Zhong's suggestion, however, is feasible.

The main obstacle is that Cao Zhong is too young, inexperienced, and adrift.

If Cao Zhong had been replaced by someone older, Han Sanpin would definitely have withstood the pressure and stood up against all opposition.

Seeing Han Sanpin remain silent, Cao Zhong took out a storyboard and continued to apply pressure.

"Mr. Han, don't hesitate, I need your help."

You also need my support. No matter what I say, there are only the three of us in the house today, so it won't be heard by anyone else.

I'm not trying to promote any kind of nationalism or democracy.

If Japan dares to deny its history, then we should have someone record and depict it. For us to become stronger, the first thing we must do is abandon the idea of ​​reflection.

This film is meant to remember history and to help reduce forgetting. The bricks and historical sites I wrote about in the film are still displayed at their Hakkaichiu Pagoda.

Even for the 70th anniversary of Nanjing, I still have to earnestly advise you here because of this type of script.

Do you think there's still hope for the Chinese spirit to be passed down through generations?

Han Sanpin's head was buzzing; Cao Zhong's level of understanding had gone too far.

It's higher than the sky.

Cao Zhong opened his bag and handed over the storyboards he had painstakingly drawn, which he had stayed up all night working on.

"These are the storyboards I drew. Mr. Han, take a look. Do you think these scenes will evoke memories in every Chinese person? Will they make people willing to spend a little money to go to the cinema to watch them?"
Mr. Han, you can think whatever you want about me, and you can completely disregard my request today. But the responsibility for the Chinese film market rests on your shoulders. The words "revival of Chinese cinema" are, in principle, not my responsibility to speak.

However, in Mr. Han's eyes, a film with a sufficiently commercial narrative, sufficient emotional appeal to promote the film, enough to resonate with audiences across China, sufficient to showcase the Chinese spirit, and sufficient to reflect the tremendous changes in China is not enough to secure investment or be suitable for production.

Where does the talk of a "revival of Chinese cinema" come from?

silence.

Unusual silence.

Wang Hongwei wanted to dig a hole and bury himself in it.

He had previously met with Chairman Han with Ning Hao. Ning Hao's persuasive words to Han Sanpin were:

"I invest little, I tell multiple stories, and I'm confident I can make my investment back."

Cao Zhong's vision today is truly grand.

It sent chills down Wang Hongwei's spine.

This kid is talking about the revival of Chinese cinema, the enduring spirit of China, remembering history, and awakening those who have forgotten.

They're even resorting to moral blackmail?!
Wang Hongwei was speechless, looking embarrassed.

Han Sanpin's face was also somewhat expressionless.

Both of them looked at the storyboard.

Cao Zhong even drew some of the details, including the framing, annotations, and even the characters' expressions and positions.

The first few pictures show a car that claims to be a vehicle.

From the feet, to the car body, to the top view,
The relationships between the characters within the environment are gradually revealed.

Han Sanpin was completely unaware that this was drawn by a greenhorn.

The film's main theme, presented through the lens of "simulating the candid perspective of a firsthand witness to history," is "bright and clear footage."

It echoes the camera.

It echoes the stories of those who personally experienced the entire historical process in the script.

The angle is wonderful.

This shocked Han Sanpin.

I watched it for a while.

"Your research on 'The Ming Dynasty' is quite in-depth."

Han Sanpin was speechless for a while, then couldn't help but complain.

It would be a lie to say I wasn't moved.

Cao Zhong made it clear that the purpose of China Film Group's existence was clear.

Cao Zhong also clearly explained the advantages of this film.

But the burden of the Chinese film market rests on our own shoulders.

Han Sanpin often felt like he was being compared to Yan Shifan.

After chatting for a few more minutes, Cao Zhong's request was confirmed.

Filming yourself keeps costs low.

Five or six million from China Film Group would be enough.

Han Sanpin was going to a meeting, leaving behind storyboards and a script.

Wang Hongwei and Cao Zhong left.

Before the meeting started, Secretary Zhao Haicheng came in, curious as to why Han Sanpin had been talking for so long, but he didn’t dare to ask.

Han Sanpin thought for a moment and told Zhao Haicheng to quickly arrange a meeting with Director Tong, and also with the Ministry of Foreign Affairs, the Central Propaganda Department, and their liaisons.

He was going to meet with them after the meeting.

"Mr. Han, are you preparing to help Producer Wang's film project get approved?"

Zhao Haicheng asked curiously.

“It belongs to that young man,” Han Sanpin said. “His name is Cao Zhong.”

"Cao, whose family is this?" Zhao Haicheng pondered for a moment, but couldn't figure it out.

Han Sanpin said, "He's not from any family; he's just a new director."

But I wouldn't feel at ease if I didn't help by asking around.

It wasn't just what Cao Zhong said to him.

It was because Cao Zhong mentioned the Eight-Colored Pagoda and the Xingya Guanyin Garden.

He wasn't even quite sure.

It's also because of that saying, "Moderately awaken what has been forgotten."

Han Sanpin suddenly realized that even he had forgotten some things.

Or perhaps, those things are clearly deep in our memories, but they seem to have never been shown by our own people in their own way.

It wasn't developed using the logic of a business narrative.

That is indeed a bit of a shame.

(End of this chapter)