Feng Shui Secrets of the Entertainment Industry

"Damn it, this foundation and that foundation, they've infiltrated them like sieves!"

Fatty Lin rubbed his nose, looking a little helpless.

"This is the price of openness!" I said, shaking my head.

Just as I finished speaking, my phone vibrated. I glanced at it and said, "Come on, take a look. It was sent by Second Master. He probably wanted to prevent anything from getting out of hand, so he explained the chain of events surrounding Wu Yu's case!"

"Let me see!"

Fatty Lin leaned over and read the text message aloud: "The main financial backer, the America Asian Cultural Foundation, also known as ACC, has been providing Wu Yu with creative allowances and exhibition subsidies since the 1990s. They cover all his expenses for venue rental, equipment purchase, and specimen matching, specifically supporting him to produce extreme works that deconstruct local ethics of life and death and subvert traditional folk customs."

"You described it in such detail, with those capital letters and punctuation marks so clearly. It doesn't seem like it was posted by Second Master. Someone else must have told Second Master, and he forwarded it!" I thought for a moment and said.

"Of course! When has Second Master ever included punctuation in his messages?" Fatty Lin chuckled.

"Ugh, here we go again!"

Just as he finished laughing, another message arrived. Fatty Lin continued reading: "The Uli Private Art Foundation in Switzerland is also their major financial backer. The Uli Private Collection Foundation is the core. They, together with the Nordic Contemporary Art Promotion Foundation, bought out the copyrights and video materials of all of Wu Yu's controversial works at a high price, helping him open up channels for participation in European biennials and overseas museums, giving him prestige, building his reputation, and elevating his status."

"In addition, the Ullens Foundation and the Ford Foundation in Belgium also joined in, providing funding, resources, and channels to cultivate talent in all aspects."

"The Shochiku Culture Promotion Foundation of Japan provides all support except for funding!"

Several short messages clearly explained the entire chain of events, allowing us to understand the whole picture: "In other words, Wu Yu's animalistic performance art, which depicted a child being born without an anus, wasn't for the sake of so-called avant-garde artistic ideals; it was simply a way to get paid and curry favor with Western capital and overseas art circles!"

"That makes perfect sense!" Fatty Lin narrowed his eyes and gritted his teeth, saying, "These Western foundations and overseas art critics don't need our normal traditional Chinese art at all. What they want are works that trample on the local ethics of Great Xia, smear the culture of life and death of Great Xia, and amplify extreme negative labels."

"That Wu Yu is such a jerk, he'd do something like that!" Long Nier said through gritted teeth. "If I get the chance, I'll definitely get him!"

"Girl, Wu Yu is the kind of person who is obedient, daring, and has no bottom line. He'll be the one who gets special support and long-term financial backing. If you dare to lay a hand on him, I guarantee the three of us will be ganged up on!" Fatty Lin said.

"What can we do then, just watch and wait?" Long Nier said indignantly.

"Chirp!" Little Hachi couldn't help but chirp out.

"You can't just watch and do nothing. If you're going to make a move, you have to be careful!" I thought for a moment and said, "People like Wu Yu, Fatty is right. He's a sharp knife that external forces have cultivated to deal with our local culture. He's specifically responsible for exporting our negative narratives to the outside world, while internally dismantling our own folk beliefs."

"Actually, it's not just Wu Yu; some sixth-generation directors are like that too!"

As I was talking, I thought of certain directors: "Don't be fooled by the fact that their films don't do well at the box office in mainland China. You might think they'll lose money, but they actually don't lose money at all!"

"Once the film is released, the overseas rights are bought up at a high price, and the profits have already been recouped. Domestic box office revenue is completely unimportant to them; it's just a matter of how much money they make!"

"Those foundations abroad really know how to spend money!" Fatty Lin said, clicking his tongue.

"They want to use money to crush and disrupt us!" I said.

These foundations' actions are not spur-of-the-moment decisions, but rather long-term commitments made day after day for decades.

Regardless of who is on stage or not, they have always done this.

It has been twenty years since the 1990s.

It is foreseeable that this plan will continue and will not be stopped.

Of course, no one expected that years later, America would appear with a blond-haired man, cutting off the food supply for this group of rebels.

After figuring out what had happened, the three of us composed ourselves, suppressed our anger, and pretended nothing had occurred as we returned to the meeting room.

Upon returning, I saw Jiro Tatsuta surrounded by a group of directors and producers in the center.

Not only was Jiro Tatsuta there, but those two sycophantic directors were also there.

The two of them fully performed their duties as lackeys, humbly and diligently accompanying Tatsuta Jiro on either side.

Whenever a director sought their advice, the two of them would introduce the person's background to Jiro Tatsuta.

The people around them were completely unaware of the situation and kept praising the two for being reliable.

Behind the praise lies envy, jealousy, and resentment—resentment at not being the one deeply appreciated by the renowned Japanese director, Jiro Tatsuta.

Jiro Tatsuta, on the other hand, smiled gently throughout and was very humble. He readily accepted any questions from domestic directors and would occasionally offer a few comments.

It must be said that Jiro Tatsuta is indeed quite skilled; he speaks eloquently about both creative ideas and cinematic language.

The more he acts this way, the more people in China praise and worship him.

No one expected that his real purpose in coming here was to disrupt the feng shui of Shanghai.

Those two lackeys, facing the envious, jealous, and hateful gazes of the crowd, worked even harder.

The more this happens, the more envious and jealous domestic directors become, and some strange remarks have also emerged.

"Look at those two guys, they're just doing a location scouting trip with Director Tatsuta, and they're already acting like they're on top of the world. What are they so smug about? Anyone who didn't know better would think they were going to be filming with Director Tatsuta!"

"Yeah, what's with the attitude!"

Similar discussions continued to emerge.

These so-called up-and-coming directors only care about resources, connections, and opportunities to break out of their niche. As for cultural confidence and making good films about our great China, they don't care at all. All they can think about is how to get ahead.

The three of us mingled on the periphery of the crowd, observing everything with a cold eye, silently noting who took the initiative to talk to Jiro Tatsuta and hand him their business cards, and who was deliberately trying to curry favor with him.

We wrote down all of these people and made a mental list of them.

The morning forum was packed with activities, including presentations of emerging works, industry roundtable discussions, and announcements of a support program for young directors.

Throughout the process, the Fusang team cooperated fully, and Jiro Tatsuta even took the initiative to go on stage to share his creative experience.

His actions improved his image in everyone's eyes.

This whole thing made us curse inwardly.