On July 16th, the Dongying delegation led by Yasukuai Tokuma came to Beiping again to negotiate the script of "A Game of Chess That Never Finished". Since the original Japanese screenwriter Yasuko Ohno withdrew from the film for personal reasons, the Japanese screenwriter who came to participate in the negotiations this time became Shio Kamiami.

In addition to Xu Wangqiu, Hu Jian and other old faces, the Chinese side also added screenwriter Liu Heng.

Xu Wangqiu has several targets in his heart that must be dug up, Lu Wei, the screenwriter of "Farewell My Concubine" and "Alive", Liu Heng, the screenwriter of "Qiu Ju's Lawsuit" and "Assembly Number", and Yan Geling, the screenwriter of "Jinling Thirteen Hairpins" and "Fanghua". Lu Wei is now in the West Film Studio, and Xu Wangqiu doesn't know whether Lu Wei is his real name or a stage name; Yan Geling is a soldier in the Rongcheng Military Region, and it is more troublesome to transfer the two of them to the art center. Liu Heng works as an editor in "Peking Literature", and it is easiest to transfer him.

For "Peking Literature", it is not a problem to have one more editor or one less, and Liu Heng is also very interested in becoming a screenwriter in the art center. After all, being an editor is to read other people's manuscripts, and being a screenwriter is to engage in creation; and Xu Wangqiu also said that being a screenwriter is relatively leisurely, and he has a lot of free time, and he can engage in literary creation and write anything.

It took almost no effort for Liu Heng to be transferred to the art center. The first thing he did after he was transferred to the art center was to participate in the negotiation of the script of "A Game of Chess That Never Ends", and he was responsible for the writing of the script.

After hearing the news, the other screenwriters in the art center were a little indignant, feeling that Xu Wangqiu was doing things unfairly, he had been a screenwriter for many years and was sent out to do market research, but Liu Heng had never been a screenwriter at all, but entrusted him with a heavy task to participate in a big project like "A Game of Chess That Wasn't Finished".

Xu Wangqiu doesn't care about criticism at all, in the future, Liu Heng will grow into China's top film screenwriter, such a person must be cultivated, and he also has selfishness in it, hoping to train Liu Heng to become his royal screenwriter.

Many famous directors have royal screenwriters, such as Kurosawa's royal screenwriter Shinobu Hashimoto, and Ang Lee can write scripts, but he also has his own royal screenwriter James Shams. It's better to leave professional things to professionals.

Since China and Japan have already negotiated twice on the script of "A Game of Chess That Has Not Been Played", the general direction of the script and the entire story framework have been finalized, and this negotiation is mainly to revise the details of the script. Of course, there are also major changes, Xu Wangqiu's new script adopts a very unique structure, the whole story is divided into 1956 Dongying delegation to China, 1946 Guo Yishan to Dongying to find his son, and 1926 Guo Yishan met Songbo and sent his son to Dongying three pieces, using parallel montage and cross montage to tell this history.

Through the joint efforts of both parties, the draft of "A Game of Chess That Has Not Been Finished" was completed on August 12. The Ministry of Culture was satisfied with the script and sent the script to Xia Yanjia and asked him to revise it. After the summer performance is revised, it will be reported to the State Council for national approval. After the approval of the state, China and Japan will sign a co-production agreement, and the film will officially start filming.

Shortly after the script of "A Game of Chess That Never Was Finished" was submitted to the Ministry of Culture, the art center welcomed a guest from Hong Kong, Wu Siyuan, the owner of Siyuan Pictures.

The Heung Kong Film Company handed over hundreds of scripts to the art center, but all of them were wiped out, and none of them passed. After the news reached Xiangjiang, it caused an uproar, and the pro-Taiwan media even took the opportunity to stir up trouble, saying that the export company did not look down on the Xiangjiang film industry, deliberately played tricks on the Xiangjiang film industry, and even spread rumors that the export company was deceiving the script of the Xiangjiang Film Company.

In the eyes of many Xiangjiang filmmakers and film companies, the mainland is poor and backward, and the mainlanders are a group of local buns who have never seen the world, and this sense of superiority exists many years later.

In the late 90s, after the collapse of Xiangjiang films, Xiangjiang filmmakers could only go north to survive, but these Xiangjiang directors were all unaccustomed to the soil without exception. The fundamental reason is that the Xiangjiang filmmakers have a sense of superiority, thinking that mainland audiences are stupid hats who don't understand anything, and if they make up a movie casually, mainland audiences will buy it.

Chen Kexin was also full of a sense of superiority at the beginning, and when "Casting a Name" and "The Assembly" were fighting, what he was thinking of was a movie about the People's Liberation Army, how could the common people recognize it? Being able to say this shows that he understands the feelings of the mainland people towards the People's Liberation Army at all, and he does not understand the mainland audience at all.

After losing several blockbusters in a row and bankrupting the company, Chen Kexin finally came back to her senses and felt that she couldn't make anything I thought was awesome, and wanted to make movies that mainland audiences liked. After figuring out this problem, his films "Chinese Partner", "Dear", and "Chinese Women's Volleyball" were all great successes, and the box office reputation was a bumper harvest.

The Xiangjiang filmmakers and film companies, who are full of superiority, do not think that their scripts are bad, but think that the export company has no sincerity in cooperating, and is deliberately making things difficult for themselves, and even believes the rumors of the pro-Taiwan media, suspecting that the export company is cheating on their own scripts, and scolding the export company.

In later generations, Wu Siyuan was known as the "Godfather of Hong Kong Film", and when he was young, he entered the Hong Kong Shaw Brothers Southland Experimental Theatre to study choreography and directing, and later founded his own film company, and became famous for directing the film "Dangkou Tan". In the late 70s, after he began to turn to the background as a film producer, he discovered Tsui Hark and Yuan Heping, and became popular with superstars such as Cheng Long, Liu Dehua, and Zhou Xingchi.

Wu Siyuan was born in the magic capital and immigrated to Xiangjiang with his family at the age of 14. In 1979, Wu Siyuan, who was already a famous producer, returned to the mainland and visited the studios and cinemas in Beiping and Modu. Of course, due to political reasons, he came back quietly, and he didn't use his real name, otherwise if it was known, Taiwan would have banned all his movies.

Wu Siyuan, like other Hong Kong filmmakers, has a sense of superiority when facing mainland films. However, after all, Wu Siyuan has been to the mainland and has had contact with mainland filmmakers, and he is a more pragmatic person, so he thinks that the export company should not deliberately embarrass everyone, maybe the script really does not meet the requirements. He felt that no matter what, he should ask what was going on. So, he quietly went north and went to the export company to ask what was going on.

Xu Wangqiu said directly: "When I was in Xiangjiang, I should have said that we mainly make war movies and kung fu movies, but there are many other types of scripts you sent, more horror films, more zombie films, we can't shoot this, we are a socialist country, we don't believe in ghosts and gods, we can't engage in feudal superstition, and there can't be ghosts and zombies in movies." ”

Wu Siyuan nodded, understanding this.

Xu Wangqiu continued: "Xiangjiang can't make war movies, and the main thing that can cooperate with us is kung fu films. There are quite a few kung fu movie scripts you have sent, more than forty, but these scripts are ......."

Xu Wangqiu looked at Wu Siyuan and laughed: "I really don't dare to compliment." I don't know if the Hong Kong filmmakers think that our export company is a bun that has never seen the world, or if they think that we are so foolish that we will buy a script if we just tinker with it. Most of these scripts stink badly, and I don't even think it stinks when I wipe my ass. ”

Did Xu Wangqiu know that his words were hard to hear, he said this on purpose, deliberately knocking on these Xiangjiang filmmakers with a sense of superiority. The basis of cooperation is equality and respect, if one party thinks very highly of itself and looks down on the other, it is difficult for such cooperation to last for a long time, and it is also difficult to make a good movie. Xu Wangqiu felt that only by letting the Xiangjiang filmmakers and film companies know the power of the export company would they be convinced to cooperate with the export company, and there would not be so many moths.

Saying it so badly might offend Wu Siyuan, but Xu Wangqiu didn't care at all, because the export company held the mainland market in its hands. As long as he holds the card of the mainland market, even if Wu Siyuan has any views and dissatisfaction, he can only pinch his nose and accept it. Don't talk about Wu Siyuan, even the bosses of the six major Hollywood film companies are the same.

When the bosses of the six major Hollywood film companies go to many countries and regions around the world, there will always be the bosses of the local film companies who greet them at the airport, for fear of neglecting them. A good example is that when Zhu Yanping's new film was released, he begged to be a friend of the theater manager, and for the sake of his many years of friendship, he posted two posters of himself at the door of the theater, but the manager was worried that he would be punished by the Hollywood company, so people would not grant him the right to screen the blockbuster. In the end, in desperation, the manager friend pasted his poster on the floor of the theater elevator.

The bosses of the six major Hollywood film companies did not receive this kind of treatment when they came to China. Not only did the Chinese company go to the airport to greet them, but they also had to take a car to China Film Group to visit Han Shanping. If the third master is unhappy and doesn't see them, then they can only stare dryly.

Wu Siyuan is well-known in the Xiangjiang film industry, and it can be said that he is a unique figure, even if he goes to Taiwan, the boss of Taiwan Film Company is also polite to him. He didn't expect Xu Wangqiu, a young man in his twenties, to be so faceless, to say so ugly, and said with a calm face: "I'm afraid Mr. Xu's words are a bit too much, right?"

Xu Wangqiu said lightly: "There really isn't." If Mr. Wu doesn't believe me, please come with me!"

Xu Wangqiu took Wu Siyuan to the creation room, asked the staff to open the filing cabinet, randomly drew a few scripts, and put them in front of Wu Siyuan to analyze the problems of these scripts. Xu Wangqiu criticized several scripts in an all-round way from the aspects of script structure, character building, contradictions and conflicts, etc., which can be said to be incomplete.

Wu Siyuan himself is also a screenwriter, has studied film scripts, and has read some theoretical books, but in the face of Xu Wangqiu's huge knowledge of film theory, he is still in a passive position. Listening to Xu Wangqiu's gushing out character arcs, story triangles, etc., which are completely unfamiliar, but they sound very lofty, as well as various film theories, Wu Siyuan can only smile bitterly. At this moment, he finally understood what it meant to get an axe.

In fact, don't talk about Wu Siyuan, even if he invited Hollywood experts to come, he could only bow down in front of Xu Wangqiu. Because in Hollywood now, the study of movie scripts is not as developed as in later generations, many classic film script works have not yet been published, and many classic film script theories have not yet been born, such as Sid Field's "Fundamentals of Film Script Writing" will not be published until 82 years, and Robert McGee's "Story" will not be published until 1997.

After Xu Wangqiu criticized a few scripts in his hand, he looked at Wu Siyuan and said unceremoniously: "It's really not that I'm embarrassing everyone, but that the script is really not good." In terms of the quality of these scripts, even the level of junior students of Peking Film Academy is not as good. ”

Although Xu Wangqiu did not approve Wu Siyuan's script, as a filmmaker in Xiangjiang, Wu Siyuan still felt that his face was dull and his face was quite ugly. Now when he heard Xu Wangqiu say that these scripts were not even as good as junior students, he couldn't help but say: "Mr. Xu is a little exaggerated, although there are many problems with these scripts, but to say that they are not as good as junior students, I absolutely don't believe it." ”

Xu Wangqiu didn't talk nonsense, and directly took out Liu Lin's script and put it in front of Wu Siyuan.