"Just these four movies?"

"Inside, just choose these four!"

"Okay, I'll tell their person in charge to find you!"

"Inside, it's really troublesome President Jiang. Pen @ fun @ pavilion wWw. ｂｉｑUｇE。 ｉｎｆｏ”

"Don't be so polite, if you have any difficulties in the future, come to me directly!"

After saying goodbye to Jiang Digui who sent him warmly, Han Jiaren drove away from Zhongwu Road in a trance, until now, she has not come back to her senses, she didn't expect the problem to be solved so easily, what surprised her even more was what was the relationship between Jiang Digui and Lu Deshuang, why Jiang Digui would be so enthusiastic to help, it was definitely not as simple as Lu Deshuang said, Jiang Digui was his friend.

Indeed, Han Jiaren's guess was right, the relationship between Lu Deshuang and Jiang Digui is indeed not simple.

First of all, Lu Deshuang has already invested in Jiang Digui's company, accounting for a lot of shares, and is the majority shareholder of Jiang Digui's company, but outsiders don't know, of course, the reason why Jiang Digui is so enthusiastic to help Han Jiaren this time is naturally to give Lu Deshuang face, because, with the help of Lu Deshuang, Jiang Digui will go to the United States to make a movie in the second half of the year, and the investor of the film is Lu Deshuang, do you say he can not be enthusiastic?

……………………

Jiang Digui just helped Han Jiaren solve the problem of the movie, and Lu Deshuang also met a person who came to ask for help, and this person's request was exactly the person Lu Deshuang wanted to refuse, but couldn't refuse, he was a professor of Nortel's directing department - Xie Fei!

Some young people may not know who this person is, but for the elderly, it is a memory of an era!

In 1942, Xie Fei was born in Yan'an, Xiabei, where the smoke of gunpowder was filled, his mother was a veteran Red Army, and his father Xie Juezai later became the first Minister of the Interior and President of the Supreme Court of New China.

In that tense era of the Anti-Japanese War, the movie was still a legend only in the city for Xie Fei, who grew up in a cave.

After staying in his mother's womb for less than seven months, Xie Fei was in a hurry, and the medical and nutritional conditions at that time were very backward, so he couldn't help but let his parents worry about him, so he gave the baby in swaddling clothes a milk name that symbolized "endless flow": Yanhe.

The little "Yanhe" grew up drinking the water of the Yanhe River, ushered in the victory of the Anti-Japanese War in ignorance, and spent three years of the Liberation War in the flickering fragments of memory.

Since the age of seven, Xie Fei and the country have ushered in their own good years. From Bayi Primary School, No. 101 Middle School, and Beiping No. 4 Middle School, to studying calligraphy and performing dramas, this young man gradually showed his literary and artistic talent, which even his father, an old and serious jurist, never expected.

When Xie Fei was studying in Peking No. 4 Middle School, he wrote scripts and acted in dramas with his classmates, and even played a campus drama "Cai Wenjiao" in male and female costumes. Later, under the influence of his sister, who loves to collect movie manuals, Xie Fei became obsessed with movies.

"In the future, I will make preliminary comments on the artistic treatment of the film and the actors' performances, and draw conclusions to improve my own level" - this is a very logical expression. Xie Fei set up his "ambition" with this word, "planted in", and insisted on writing three thick movie notes from 1957 to 1962. He watched an average of fifteen or sixteen movies a month, one in two days, and each one had an analytical review.

Xie Fei and Xie Juezai have an age difference of more than 50 years, and his father is more of a spiritual edification and subtle example to him. Xie Jue took on an important position and didn't have much time to directly ask about his son's career plan, but he gave Xie Fei the right to choose his life path.

In fact, choosing film as a lifelong career is a bit wrong for Xie Fei. His original intention was to go to the Soviet Union to study Russian literature and history, and to translate and study Russian novels. However, this plan was stalled due to the deterioration of Sino-Soviet relations.

Since then, Xie Fei has applied for the Peking Film Academy and embarked on the road of the film he loves.

Xie Fei grew up with Xinhuaxia, and he has a clear understanding of his "sense of social responsibility and national distress". A kind of "supply and national complex" permeates Xie Fei's film works, which is the adherence to traditional values and norms, and the close connection between the individual and the destiny of the motherland.

At the end of 1979, the Film Bureau of the Ministry of Culture held a national film creation meeting, Yang Yanjin and Xue Jing's "Troubled Laughter", Teng Wenji and Wu Tianming's "Trill of Life", and Huang Jianzong's "Little Flower" in the name of assistant director all made the audience's eyes shine.

In 1980, Wu Yigong's "Bashan Night Rain", Zheng Dongtian's "Neighbors" and Zhang Nuanxin's "Sand Gull" appeared, as well as many awards such as "Golden Rooster" and "Hundred Flowers" won one after another, officially announcing the debut of the "fourth generation" of Chinese films.

The "fourth generation" insisted on the interaction between creation and theory, setting off a trend of film innovation in the early 80s of the 20th century. Just like the declaration they wrote in the "Beihai Reading Club": "Carry forward the spirit of gritting teeth of hard work, contribute to our national film industry, and aspire to climb the peak of world cinema." The Cape of Mo Dao is far away, but the time has come to raise the whip."

Xie Fei is the one in the "fourth generation" who has adhered to the subjective position and personalization of poetic arias for the longest time. Although he was not the frontrunner in the early days of the "fourth generation", he was almost the only practitioner of the "fourth generation" directors who carried out the author's position throughout.

Xie Fei directed a total of 9 works, of which 6 are identified with himself, including "Our Field", which reproduces the common memory of the "Heguo Generation", "Hunan Girl Xiao Xiao", which is adapted from the literary masterpiece, "Xiang Soul Girl" and "Natal Year", which excavate the depth of human nature, "Black Horse", which embodies the poetic consciousness of the "fourth generation", and "Yixi Zhuoma", which is an ethnic minority theme.

Xie Fei's creation is accompanied by the ups and downs of social and cultural thoughts, the style of Soviet poetry and film has influenced his film grammar, literary masterpieces have provided his films with profound cultural heritage, and ethnic minority themes have allowed his talent to gallop at will. He celebrates idealism with poetic images, and his works coexist with national charm and oriental temperament, humanistic care and literature and art, forming a film flow rich in humanistic atmosphere.

From 1974 to 1975, Xie Fei worked as a scene reporter for the film "Cuckoo Mountain" and an assistant director for "Haixia" at Beiping Film Studio. Xie Tieli, Cheng Huaihao, and Qian will be the teachers of his professional practice course. To this day, he still retains the original draft of the storyboard script recorded during the filming of "Cuckoo Mountain", and the seriousness and moral character of the "third generation" director have greatly influenced him.

Xie Fei's first two films were not recognized by himself.

At that time, the "Gang of Four" had just fallen, and everyone's thinking had not been completely reversed, after ten years of turmoil, he was eager to fight for the right to practice and create, so he co-directed the films "Fire Baby" and "Guide" with Zheng Dongtian.

Xie Fei believes that these two films are the products of class struggle and heroic figure theory, and their content and form have little to do with his personal artistic ideals. But the failure of "Fire Baby" also taught him a lesson, when the shutdown was rough cut, he found that the plot was not enough, the length of the whole film was less than 70 minutes, and a large reshoot was required.

When Xie Tieli looked at the sample film, she said: "It seems that it is not possible to write a script on film. This sentence made Xie Fei remember it for the rest of his life.

In 1965, at the age of 23, Xie Fei had just graduated and encountered the "Wen Revolution", and at first, he and his young people devoted themselves to this "great movement" with fanatical passion. It wasn't until the later stage of "Wen Ge" that he suddenly woke up.

At the end of the 10-year catastrophe, everyone realized that everything could not be summed up simply by class, and that the essence of literature and art was to truly express the complex and rich human nature. Xie Fei is also self-reflective and has launched his first independently directed film, Our Field.

And "Our Field" became one of the representative works of the mainstream literary trend of scars and reflection at that time (at that time, there were a number of films that accused and reflected on "Wen Ge", such as "Troubled Laughter", "The Legend of Tianyun Mountain", etc.). Xie Fei's "debut film" is sincere and lyrical, but the character creation is slightly weaker, and his overflowing idealism also makes the film more than warm and less critical.

By the mid-80s of the 20th century, there was an upsurge of cultural reflection in the literary and theoretical circles. Xie Fei felt that he could not only complain about the past disasters with bitterness, but should seek to solve the difficulties of progress and the source of "Wen Revolution" from the two thousand years of feudal culture. The film "Hunan Girl Xiao Xiao" is his reflection at this stage.

The movie "Hunan Girl Xiao Xiao" is adapted from Shen Chongwen's famous work "Xiao Xiao", which depicts the story of a 12-year-old child daughter-in-law who suffers and finally becomes a mother-in-law, but brings the same disaster to her next generation. Feudal culture and ethics are like a strange circle that spins in place, restricting everyone in the story.

"I only build small Greek temples. This kind of temple is dedicated to human nature", Shen Chongwen's sentence was printed on the opening of the film and became the title. The film also appeared for the first time in fruit. The scene of the body and the "wild combination" breaks through the traditional film "sex and fruit. body of the forbidden zone".

Similar to "Our Field", the film crew of "Hunan Girl Xiao Xiao" mostly used the school's people, so as to achieve economic relaxation and a strong academic and artistic atmosphere. In 1988, the film won the Golden Panda Award at the 4th Montpellier International Film Festival in France, the Don Quixote Award at the 26th San Sebastian International Film Festival in Spain, and was also released in Japan, Germany, Canada and other places as the first film in China to enter the American commercial distribution network.