Hou Hsiao-hsien and Qiao Feng said that the red lantern was hung high, that they talked about Taiwanese movies, and that they talked about their own movies.

As he spoke, he began to sigh that the investment in literary films was too difficult to pull, and he begged his grandfather to tell his grandmother that he finally brought in the investment, and there was an accident.

Qiao Feng didn't pick up this stubble, because he had already seen that Hou Xiaoxian said so much later just to bring up this topic, and the ultimate goal was to attract investment to himself.

But Qiao Feng didn't want to invest in Hou Hsiao-hsien's film.

Because Hou Hsiao-hsien's movies are too literary.

And his literature and art are not the same as Lao Mouzi's literature and art.

Most of Lao Mouzi's literature and art are red sorghum, chrysanthemum beans, and red lanterns hanging high, which have connotations and stories, and the audience can see them.

Hou Hsiao-hsien is not, his films basically do not take the audience into account, and they make movies completely with their backs to the audience.

When you enter the cinema, there may not be one out of a hundred who can watch his movie.

Many of Hou Hsiao-hsien's fans are literary film directors, writers and the like.

It is said that the great director of literature and art is Hirokazu Kore-eda, who clearly rejected the honorary title of "Yasujiro Ozu's successor", but regarded him as a father-like existence on the road to film, because it was his "Love in the Dust" that pushed Hirokazu Kore-eda to the road of film.

After seeing his works, South Korean director Lee Chang-dong decided to stop writing at the age of 43 and began to shoot films, and later became a director of Chungmuro.

In the second decade of the 21st century, Bi Gan, a cutting-edge director in the mainland, thought that it was only with his recognition that he really had the "feeling of winning awards".

American director Jim Jarmusch, on the stage of the Cannes award, unabashedly confessed loudly: I am his student.

Jia Zhangke, Section Chief Jia, is "his" number one fan brother, and once wrote a lyrical article: "Every time I see him, it's my best time......"

Even Xu Anhua, the first literary film director in Hong Kong who is the same age as him, said that he has studied his "Once Upon a Time in Childhood" for decades, and he never dared to have traces of an axe and chisel when shooting life pictures.

Then there are old Coppola who made the "Godfather" trilogy, Akira Kurosawa, etc., too many directors give him super high praise and can't put down his films.

Compared with the strong pursuit of his peers, Hou Hsiao-hsien's films are often given a cold reception by the audience.

Hou Hsiao-hsien often shoots the simplest stories, with few lines and a slow rhythm and other styles that have remained unchanged over the years, which has kept many people out of the movie.

In fact, this really can't be blamed on the audience's appreciation that they don't understand.

"Few lines and slow rhythm" corresponds to Hou Hsiao-hsien's signature "long shot, sense of distance", which is the so-called poetic aesthetics in Hou's films.

But the audience is watching the plot, watching the climax of the plot, the story is dramatic, the conflict is a little more, a little more intense, at least a little twists and turns.

What about Hou Hsiao-hsien's films?

Basically, it won't make you feel any of that.

Long shots of large sections bring the audience nothing but dull, dull, dull.

Not to mention anything else, take Hou Xiaoxian's first film to enter mainland theaters in his later life, and also made him win the Best Director Award at the Cannes International Film Festival.

The picture is beautiful, but the plot is unknown.

People want to see the "assassin" Shu Qi fly to the ground in the movie, and they want to see her and Zhang Zhen stage a lingering love tragedy, but the demand for watching the movie has not been satisfied.

So it doesn't matter what the master is not a master, just scolding correctly, I can't understand it, you are just pretending to be forced.

As some viewers commented, whether the movie is good or not is not up to the director or a few people to blow.

Because since you got it to be released in theaters and sold it to the audience for money, then you have to respect the audience and pay for the audience's money.

As a result, you made money from the audience, and you left a sentence that my movie is not for you to see, because you are not literate enough.

In that case, why do you want to show it and sell it for money? You engrave it into a disc and show it to people who like your movie, and laugh at yourself, right?

Hou Xiaoxian's directing style or attitude towards the audience is something Qiao Feng does not dare to agree with.

Why does Qiao Feng like the fat man Wang Jing?

The biggest reason is that Wang Jing really filmed from the audience's point of view.

Whether he makes comedies that are, pee, and fart, or makes restricted films, or other blockbuster films, he knows that it is what the audience likes.

He took out the film, even if the audience didn't praise him, they wouldn't feel that the ticket money was completely fed to the dog, and even if the audience didn't like it so much, at least they felt that the money was not spent so unjustly.

Qiao Feng feels that only people like Wang Jing who respect the audience and money, can really make Chinese films go wider and move to a higher level.

Instead of blindly making literary films, going to win awards at home and abroad.

That wouldn't have been able to do that.

Otherwise, French, British, and German directors will win no more awards at the three major European film festivals than Chinese directors, and their film industry will not be much better than China's.

But what about the facts?

In later generations, they were far worse than China.

Why did China go from not seeking business now to the world's second largest film market and the second largest film industry in the future?

Are they those literary films made by Lao Mouzi?

No.

The rise of Chinese cinema began with the hero of the first commercial blockbuster in China made by Lao Mouzi.

And the United States, which has been the number one market for movies from the beginning, is the same.

The reason why Hollywood's movies can dominate the world and conquer the film markets of various countries, and later even the domestic market has been accounted for a lot, is not because of their literary films.

Neither Shaw Shengke's redemption, nor the Silence of the Lambs, nor Forrest Gump, Schindler's list.

It's Jurassic Park, it's the Terminator, it's a true lie, it's the Titanic.

These pure commercial blockbusters are the magic weapon and weapon of Hollywood in the world.

If there were no commercial blockbusters that respected the audience and the money, Hollywood would still be Hollywood, but it would only be Hollywood, a small town in California, a place name.

Therefore, Qiao Feng is really grateful to Hou Xiaoxian.

Spending money to make movies that only a very small number of people will be willing to watch and like to watch was not Qiao Feng's original intention to make movies from the beginning.

With that money, Qiao Feng might as well vote for Xu Anhua and Zhang Yimou for these directors.

At least they can tell a story that most viewers can watch while winning the award.

Again, what is the relationship between Qiao Feng and Qiu Fusheng?

Can Qiao Feng not know the investment in Hou Xiaoxian's film?

I'm sure I know.

Hou Xiaoxian's movie has Qiu Fusheng's investment, and the sad city starring Liang Chaowei and Fang Shiyu and Li Lei Laohu the year before last that won the Golden Lion Award at the 46th Venice International Film Festival was invested by Qiu Fusheng.

But not only Qiu Fusheng, but also Yang Dengkui's.

Now Hou Hsiao-hsien has cut off the investment in the movie, which is also the investment of these two.

Qiu Fusheng won't talk about it, Qiao Feng and he are partners, and he doesn't know how to say anything if he intervenes.

The other Yang Dengkui is different.

That is the boss of Taiwan's Taoist numbers, and it was because he was arrested in last year's anti-crime operation that Hou Hsiao-hsien made a lot of films before he cut off his funds.

This is what Hou Xiaoxian complained about just now and asked Qiao Fengla to invest.

To offend a black boss for a literary film that he doesn't like or a literary film that doesn't make money, Qiao Feng is not a fool, how could he do such a stupid thing.

Therefore, Qiao Feng withdrew in a slippery way.

I took my two children to my last life's home, the small county town and small village that I had been back to twice, and then I went back to Hong Kong.

......................

Thanks to the book friend Vinsion_Woo for the 100 coin tip.