Gu Cheng and Director Feng could talk quite well, and they talked for a whole afternoon. Pen fun and pavilion www.biquge.info

Seeing that it was time to eat, Pan Jieying saw that Gu Cheng was not ready to get off work, so she came to his office to have a look, and bumped into a few of them.

Pan Jieying was a little embarrassed, apologized and prepared to withdraw: "Yo, there are still guests, then you talk slowly, Ah Cheng, you are also rude, and you don't invite anyone to eat first." ”

Everyone else knocked on the door when they entered Gu Cheng's office, but Pan Jieying was mainly used to it, and she was the only one in the company who sometimes didn't knock.

Director Feng obviously also knew who the senior management of the company was here, and he was very polite: "Don't bother, don't bother, let's talk by ourselves." If it weren't for Miss Pan's reminder, I would have forgotten that I was hungry - Mr. Gu invited me to drink two cups?"

Gu Cheng was also not ambiguous: "What's so vague, go, Jiangnan will - I met you Mr. Wang at the beginning." ”

When chatting with cultural people, you have to have the way of cultural people, and it's not interesting to be polite.

When I arrived at the clubhouse, the table was set up, and after three glasses and two lights, the topic was not limited to opinions on movies.

Wine is a good medicine for divergent thinking and association. What's more, Pan Jieying is not a person in the film industry, Gu Cheng has to take care of her understanding when she speaks.

"As soon as I drank this wine, I remembered reading Mr. Feng Zikai's prose when I was in middle school. ”

Director Feng is also considered a cultural person, and he praised it in passing: "Then you fellow countrymen, 'living next to Geling Zhaoxian Temple, the door is opposite the Crane Pavilion on the lonely mountain', you can tell me what kind of article, I will see if it should be the scene." ”

Gu Cheng dipped his fingers in wine, gestured on the table, and said: "The old gentleman's article said that he traveled to Tiandu Peak of Huangshan Mountain, climbed the back of crucian carp, painted a great fortune, and painted a landscape. Then he wrote an essay on the question of 'what is the value of painting after the advent of photography'.

The article said: As soon as the photo comes out, who in the world can paint more like the photo? Therefore, if you blindly seek the image, this painter has no value in living. However, the skill of painting can be shown in detail here, and the lack of pen is left blank. If it is the same as the photo, all the lush vegetation on the back of the crucian carp is painted, and it must not show the dangerous danger of this day, and it must be a few strokes to outline the ridge, not the rest, one person and one ridge, to get its essence.

Back to the topic we talked about in the afternoon, Feng seniors are 'looking forward' when discussing the meaning of painting, not saying that as soon as the photos come out, the painter complains about the sky and hates to eliminate history. ”

"Mr. Feng still wrote such an article? That's disrespectful, I thought he was a cartoon painter, but I didn't expect to be a master. Director Feng also accepted the frivolous expression at the beginning, although he drank the wine, he still naturally had a look of admiration for the sages.

"It's not surprising that we focus on craftsmen and cross circles to produce masters. Although the old gentleman's knowledge and painting skills were not the best at that time, after all, he dabbled in several circles at the same time, could paint, knew a little photography, and wrote some prose, so it was easy to summarize the comparative advantages. The stones of other mountains can be used to attack jade". Gu Cheng explained lightly, then drank a few glasses and continued to summarize:

"At the beginning, people look at what is, do not summarize or summarize, natural and simple. The mountains are mountains, the water is water, and what you see is what you get. After being summed up and summarized, the skin and flesh were all removed, and only the bones that were left as the 'common law' were all about the same, and they all looked the same, 'seeing the mountain is not the mountain, and seeing the water was not the water', and only seeing the law of 'the white horse being the horse', and the 'white' skin was lost.

Then some people feel terrible and afraid. Don't summarize, don't generalize, don't rule, just go back to the original way, and return to the original state of seeing the mountains and seeing the water as water.

The other kind of people have also reached the realm of 'seeing mountains instead of mountains/seeing water not water'. I'm afraid of him, but I'd rather be afraid than turn back, and continue to rush forward. Against the fear of white bones, dig out the existence value of those dismantled flesh and skin, and dig out the meaning of the word 'white' on the white horse.

Then the customer gives the bone when he wants it, and the meat when he wants it. As long as the customer can run a horse, he will give it to the yellow horse, and the customer wants a handsome horse before giving it to the white horse - this is called looking at the mountain or the mountain, and the water or the water. There is an extra word 'yet', which is different from the original 'looking at the mountain is the mountain / looking at the water is the water' realm. It is equivalent to the skin, flesh and bones are dismantled, and the existence value of each part of the skin, flesh and bone is understood, and it is put back together into a landscape, not the original landscape. ”

"Just like primitive society, there is no private property, and communism has no private property. But can these two be the same? One is that they are so poor that they have no food to eat, and everyone has no surplus food, so they have no private property, and the other is so rich that they can take whatever they want, so there is no need for people to hoard, so they have no private property.

If a primitive person has just stepped into a slave society/feudal society, he shouts: "Oh, it's so miserable!" How can there be exploitation in slave society! How can someone oppress people! And then he is afraid, he only knows how to criticize exploitation, and rushes back and says, 'I'd better go back to primitive society' -- this kind of art film is a fart? It reflects the pains of the progress of the times, and it looks so profound, but when you ask for a solution, it is all backwards, and when you see the pain, you hide back, which has the meaning of hair!"

Gu Cheng's words seem to be easy to say, but in fact, they are easier said than done, how many people in the world can practice them?

Speaking of the fear after the arrival of the era of artificial intelligence, the big directors such as James Cameron, who had unparalleled box office results in human history, could only use a 10,000-ton hydraulic press that symbolized industrial coldness to crush Arnold Schwarzenegger's T800 Terminator to dispel the fear of the future.

Does he want to get the application scenarios where the machine can live in harmony with people and be used by people after the development of the machine to that height? No, no?

It's not that Cameron's artistic attainments are not enough, his attainments in movies have long been exhausted, and he is contemptuous. However, he only understands movies, a liberal arts student, and an art student, lacking cross-circle vision.

is still the same sentence, focus on craftsmen, and cross the circle to produce masters. There are fewer and fewer masters in contemporary society, in fact, it is not unrelated to the increasingly detailed division of labor in society, and there are not many people who can see science, engineering, agriculture, medicine, literature and history, and it is naturally difficult to summarize the universal laws that cross the circle.

"That's great! After listening to Gu Cheng's incisive remarks, Director Feng also drank and slapped the table, "When you said this, I figured something out." The Last Samurai was nominated for several Oscars last month, and I've always found the film awkward. But I just can't say how to twist it individually, and now that you say this, I figure it out:

"The Last Samurai" so many people say it's good, the plot is actually okay, after all, history can't be tampered with. But the dull twilight in the film is really unpleasant. 'Muskets eliminate katanas', this kind of principle that schoolchildren know is still taught by Edward Zwick? Do you want you to perform 'the poignancy of classical jade smashed on the cold steel of the industrial age'?

The character played by Ken Watanabe in the film is simply going back more and more, and at the beginning he knew how to use the strengths and avoid the weaknesses when the katana and the foreign spear team fought, how to use the terrain and fog; As the last samurai, he did not think about the meaning of the continued existence of the katana and samurai in the age of muskets. ”

"The Last Samurai" is a Hollywood film released at the end of November last year, directed by Edward Zwick and starring Tom Tom and Ken Watanabe, and just received four Oscar nominations last month.

At present, the evaluation of the film in the Asian film industry is hot. Especially on Fusang's side, because the big directors of the rice country father actually focused on Fusang's end-of-story theme, it really made Fuso people high-tide, and I heard that Sony gave Warner money for this.

However, Gu Cheng didn't watch this film, and he wasn't optimistic about it. In his heart, this is also a twilight film that doesn't look forward at all. Of course, you can't blame the film entirely, after all, the subject matter is like this, and it is really difficult for a loser to deduce a different kind of flower.

After listening to Director Feng's introduction, Gu Cheng held the wine glass and smiled slightly mockingly: "The Fusang people are also taken for granted by the people of the United States, and the obscenity is black enough, anyway, the samurai have been eliminated by history, so it is good to die generously." ”

Director Feng echoed sympathetically: "So Zwick actually doesn't understand the Fusang people, you know that the Fuso people in 1543 'Tanegashima iron cannon came', and the samurai have used muskets for hundreds of years, how can they not think about the question of 'after having a gun, the meaning of the sword to continue to exist'?

Speaking of this, Director Feng seemed to suddenly think of something, stopped drinking, took out a cigarette, got up and walked to the window, and paced back and forth for two steps.

Then he snapped and lit the lighter, took a sharp breath, and turned around and asked Gu Cheng: "Are you afraid of being scolded?"

Gu Cheng smiled very happily: "I don't want money when I make films, I'm afraid of eggs." ”

Director Feng saw that Gu Cheng didn't care, and he also spit out a smoke ring easily: "If you're not afraid, I suggest you try to find a Fusang book, change it yourself, dilute the national background of the story, and maybe you can get a script that better meets your needs." Although I don't like Fuso people either, these people's brains are the axis, and they may gain something by studying those 'not cost-effective' things every day. ”

Fusang people like to drill the tip of the horns, and Gu Cheng has experienced it firsthand.

When filming "The Family of Gold Powder", in order not to let the chrysanthemums in the cold autumn become sunflowers, Gu Cheng asked Lin Zhiling to look all over the world, and finally went to Kumamoto to get the exterior of the chrysanthemum. But I have to say that this kind of drilling is indeed reluctant to abandon any tradition, and then bury their heads there year after year to dig out the subtle details that modern technology cannot replace in the tradition.

Director Feng proposed this, but it was also a way.

"Change it with the Fuso people's book? What about the director, you can't use the Fuso people too. Gu Cheng doesn't care about the source of the story, after all, it can be diluted, but if the director and the script can't be co-produced, it will be troublesome.

Director Feng's brows furrowed even deeper, and he had a quarter of the cigarette left in one puff:

"Actually, I had a suggestion in the afternoon, and I couldn't get it at the time, but now that you are so decided, I think you can give it a try - you might as well talk to two of the top directors of Wanwan art films, their brain circuits are more compatible with the books of the Fuso people. Just like Gu Long's martial arts novels, they are all the same as Fusang people, brewing for a long time, killing with one knife, and there are no bells and whistles. ”

Gu Cheng only took three or five seconds to digest this suggestion, and he was relieved.

Indeed, in the afternoon, Director Feng told him directly: mainland, Xiangjiang, all art film directors do not have this habit of thinking, everyone does not look forward, this is not the traditional STYLE.

As a result, there are actually only a few options for directors in the Chinese-speaking cultural circle.

"I'll call a friend to come over for a drink, Director Feng, wait a minute. Gu Cheng thought about it, took out his mobile phone and called Lin Zhiling, "Hey, Sister Zhiling, aren't you busy, are you? ”

Lin Zhiling happened to be in Qiantang these days, mainly because during the Girls' Generation draft, there were potential stocks suitable for early signing from time to time, so she didn't return to Wanwan.

More than half an hour later, Lin Zhiling arrived. In the past few years, she has been in charge of artist management under Gu Cheng, and she is no longer the pure vase Lin Zhiling in parallel time and space. With the skills of a courtesan and a wealth of opportunities and insights, Lin Zhiling is still quite well connected in the Wanwan entertainment industry.

Gu Cheng introduced the two parties, and then said his requirements, and asked Lin Zhiling to look for resources.