This actor just wants to verify

Quentin looked confused, but he was a movie fanatic. When he knew that these were the questions Hao Yun asked him, he did not want to escape, but read them one by one with great interest.

"Now you understand why he can write such a script while being an actor, right?"

Jiang Wen sat on the chair and leaned back subconsciously.

This was an evasive action.

He was almost traumatized by Hao Yun. When he was having sex with his wife, he would suddenly stop because he had inspiration and could answer a question that Hao Yun had not answered before.

I had to take a pen and write it down quickly.

"Sweatisthelubrantofscess!" Quentin gave Hao Yun a thumbs up.

Unfortunately, Hao Yun's English was not very good, and he did not read enough. He had no idea who said this famous quote, but suspected that Quentin was driving.

Quentin picked up a card and began to tell Hao Yun about his understanding of movies.

"Should a screenwriter's inspiration come from life or movies? For me, my inspiration comes half from life and half from the movies I watch. Movies give me creative passion, let me know the current movie trends, and what changes have taken place in the film industry; and life always allows me to constantly gain inspiration and enlightenment, and I constantly get creative materials from life..."

He is a very talkative person, almost a chatterbox.

He has to say fifty or sixty sentences for a problem that can be explained in five or six sentences. Sometimes when he is in the mood, the topic goes off track.

However, you can learn a lot from chatting with him.

In addition, Hao Yun can pull out his attributes at any time, and listen to him with Quentin's attributes throughout the whole process. There is no problem of not understanding, but you can have a very pleasant chat.

Who would have thought that he and the chairman of the Cannes Film Festival jury are chatting and laughing here.

However, there is a topic that Jiang Wen, Quentin, and Hao Yun did not mention even a word.

That is the issue of awards.

I have known how to protect myself since I was a child. I know that if I don't want to be rejected by others, the best way is to reject others first.

The same goes for the same reason. As long as you don't ask, everyone will not be embarrassed.

The Cannes award is not a steamed bun from your neighbor's house. If you ask for it, Quentin will not break a piece for you out of courtesy.

After having a meal with Quentin, Hao Yun followed Jiang Wen's instructions and visited Xu Ke again.

At this critical time of the film festival, Xu Ke was very busy as a judge, and he had to avoid suspicion and try to reduce "informal" contact with the participating films. However, Hao Yun called his assistant and expressed his intention to ask for advice. Xu Ke actually met Hao Yun in the hotel room.

The hotel where he stayed had a large terrace, and he received Hao Yun on the terrace.

Cannes in May was not too cold, but the wind was a bit strong, so it was a bit chilly at night.

"Dante mentioned you, and I have also seen the movies you made. I haven't seen a young man who fights as well as you for a long time."

Xu Ke explained the reason why he was willing to meet Hao Yun at the beginning.

If Jiang Wen introduced Hao Yun to Xu Ke, Xu Ke would definitely give Jiang Wen this face.

But Hao Yun visited in a personal capacity, and he was willing to meet Hao Yun purely because of Hao Yun.

"Haha, for Director Lin and me, "The Legend of Zu" was made to make money, and that movie is really meaningless." Hao Yun said boldly.

"Oh, what kind of movie do you want to act in?" Xu Ke was really curious.

"Like "The Legend of Zu"..."

Hao Yun said one without hesitation, not Xu Ke's "New Dragon Inn", nor "Invincible East", or "Green Snake" or "A Chinese Ghost Story". In Hao Yun's opinion, Wang Jiawei's best movie is "Ashes of Time", and Xu Ke's best movie is "The Legend of Zu".

He is not as arrogant as Jiang Wen.

Otherwise he would say that the best movie has not appeared yet, and I will shoot it later.

"The Legend of Zu"..." Xu Ke shook his head and smiled bitterly, sighing: "If you really say this, there is no possibility for us to cooperate. The Hong Kong market can no longer bear such a movie. You don't know what this movie means at all."

Hao Yun did not expect that this seemingly glorious Hong Kong director would be so depressed.

But we can understand his pain.

In the mid-to-late 1990s, Hong Kong films entered a period of low development.

In 1997, Xu Ke, who felt that the Hong Kong film market was weak, chose to go international and cooperated with Hollywood film producers on "Double Firepower".

After the release of "Double Firepower" in North America, the response was mediocre.

Undeterred, Xu Ke filmed "Thunderbolt" in 1998.

However, after the release of "Thunderbolt" in the North American film market, the effect was still not ideal.

After repeated setbacks, Xu Ke also realized that the creative thinking of Eastern directors was not very suitable for the Western market. So in 2000, Xu Ke returned to Hong Kong and returned to the creation of Hong Kong films.

It was also in this year that Xu Ke filmed the classic "Upstream and Downstream".

However, the Hong Kong film market in 2000 was still sluggish.

After the release of "Upstream and Downstream", it only got a box office of more than 4.4 million.

If it were just like this, he would definitely not have been able to make "The Legend of Zu".

That year, Du Qifeng, who joined Xiang Huaqiang's "Huaxiaxing" company, suddenly had a bold idea. He wanted to gather all the famous Hong Kong film directors at that time to set up a film company and keep each other warm.

So many industry elites gathered together, which would surely save Hong Kong films from danger and save the market from collapse.

Du Qifeng and Xiang Huaqiang, one dared to think, and the other dared to invest.

With the financial support of "Huaxiaxing", Du Qifeng established a film company called "One Hundred Years of Film" in 2000.

After the company was established, Du Qifeng found Xu Ke, Chen Jiashang, Lin Lingdong, Liu Zhenwei, Zhao Chongji, Lin Chaoxian, Qiu Litao, Liu Guochang, Liang Bojian and others, and after some lobbying, pulled these people into "One Hundred Years of Film".

After the personnel were in place, Xiang took out a large sum of money to let these famous directors show their skills.

In 2000, Du Qifeng filmed "Lonely Man and Widow" for "One Hundred Years Movie", Chen Jiashang filmed "Love Battle in Okinawa" for "One Hundred Years Movie", and Lin Chaoxian filmed "Rivers and Lakes in Crisis" for "One Hundred Years Movie".

And Xu Ke also got funds in this year to prepare and film a blockbuster for "One Hundred Years Movie" - "The Legend of Shushan".

This "The Legend of Shushan" cost a lot of money. The whole film used more than 1,600 special effects shots, and the production of special effects alone cost more than 40 million.

The gorgeous lineup and a large number of special effects made this "The Legend of Shushan" cost nearly 100 million in production costs.

However, the effect of the film after its release was not ideal. In the Hong Kong film market, this "The Legend of Shushan" only got a box office result of more than 11 million. In the mainland film market, the box office revenue of the film was only 20 million.

It can be said that even if other directors make a little money, such as "Slimming Men and Women", they can't stand the loss of "The Legend of Shushan".

Then...

Then the 100-year film industry is almost finished.

Hong Kong films are completely dead.

Xu Ke is willing to meet Hao Yun, not only because Lin Chaoxian mentioned Hao Yun in front of him, but also because he wants to get in touch with mainland directors.

By chatting with mainland directors, he can learn more about things.

He met Zhang Yimou during the day today.

In the evening, he heard that Hao Yun was coming to visit him, so he met him.

As for avoiding suspicion, he doesn't care about it at all.

"You can consider developing in the mainland." Hao Yun suggested.

"If the problem of piracy is not solved, it will be difficult for the mainland market to have much explosive power." Xu Ke knew that the mainland was the only way out for Hong Kong.

"The problem will always be solved, it won't always be like this." Hao Yun is very confident in the future.

In recent years, policies to boost the market have been continuously introduced, and with the development of the economy, more people will definitely be willing to go to the cinema.

It is different from the widespread grief in the Hong Kong film market.

Mainland directors are full of confidence and are planning to make blockbusters. In addition to the already released "Hero", Zhang Yimou also has "House of Flying Daggers" which is about to be released. The third blockbuster has also entered the preparation stage.

Chen Kaige started shooting "The Promise" with an investment of 30 million US dollars in March.

Compared with these two master directors, Ma Dagang is undoubtedly inferior. He himself is not a "master" and is not from an academic school, but he is not convinced. He also wants to impact the Oscars, so he plans to make a Chinese movie based on the foreign classic "Hamlet".

It can please domestic audiences to maintain box office and please the Oscars to win awards.

When Hao Yun had dinner with Ma Dagang in Hong Kong before, he talked about this topic and asked Hao Yun if he was willing to act.

Hao Yun did not give an accurate answer.

In comparison, Zhou Xingxing has no ambition to impact the Oscars. He only wants to make money.

"Director Xu, this is my storyboard script, please take a look..."

Hao Yun and Xu Ke talked about the movie for a while, and then began to ask him about drawing storyboards.