Hearing that Lin Youlun knew so much about Zhang Yusheng, Zhu Yanping was surprised and delighted.

What was surprising was that Lin Youlun should have guessed that the person he wanted to recommend was Zhang Yusheng before he said Zhang Yusheng's name, but he kept quiet; The good thing is that since Lin Youlun knows Zhang Yusheng so well, he must have paid attention to Zhang Yusheng before, so the possibility of Zhang Yusheng getting this role has greatly increased.

At this time, Lin Youlun was still waiting for Zhu Yanping to answer his question, so Zhu Yanping didn't have time to think about it, and explained: "Originally, he was going to retire until the middle of next year, but some time ago because he was injured in training, he was allowed to retire early. ”

Lin Youlun frowned, Zhang Yusheng's experience was a little different from what he remembered. Of course, this aside, Zhang Yusheng is indeed a suitable candidate.

"You contact him, ask him about his wishes, and if he doesn't agree, don't force it, if he agrees...... The Chinese version of the theme song of this movie was handed over to him to sing. ”

Zhang Yusheng was once called "Asia's No. 1 tenor" in his later life, and the theme song of "My Sassy Girlfriend" was covered by Sun Nan when it was introduced into China.

Zhu Yanping was worried that it would take a lot of effort to persuade Zhang Yusheng at first, but the condition added by Lin Youlun later made him sure that Zhang Yusheng would not refuse.

——

The two opening films of this year's Hong Kong International Film Festival are special effects blockbusters, so the symposium held during the festival is naturally related to film special effects. And in this regard, of course, it is Lin Youlun and George Lucas who have the most say. Therefore, the two of them also made the main speeches at the seminar.

"I've always insisted on that. Special effects are for film, and in every film I work on, there is a complete story before I think about how to do it. But now, both in Hollywood and in Hong Kong, I've found a trend that a lot of movies are going for special effects for the sake of special effects, which in my opinion is a terrible idea. The essence of the film is to tell a good story to the audience. Special effects are just an aid to storytelling, and if this aid becomes the main purpose of filmmaking, we have actually deviated from the original purpose of making a movie. ”

George Lucas does have a lot to think about in this regard, and he also specifically used the movie "Godzilla" as an example.

"I wonder if everyone watched the movie Godzilla and only focused on the amazing special effects scenes, and then rejoiced that this monster was finally destroyed by humans. In fact, at the end of the movie, I felt a strong desire to cry when I saw Godzilla wailing and lying on the bridge in pain, this big guy created by humans and killed by their own hands, it was lonely and sensitive. A lifetime is only for the purpose of reproduction. Although this movie is a complete disaster movie, the humanistic care revealed in it touched me the most. What did those large numbers of little Godzilla do, they were just born, and they were brutally killed by humans just for the instinct of survival, in fact, all the evil comes from human beings themselves, poor Godzilla, in fact, it is the biggest victim in this film. I believe that the essence of this film is not how realistic the visual effects are, but the warning meaning brought to us by the film itself. ”

George Lucas's words couldn't help but win warm applause from the audience, and at the same time, many people reflected on whether they were watching this movie as a visual carnival, and ignored something that the story of the film itself wanted to convey to the audience.

At the end of the seminar, Lin Youlun added some additions to Lucas's words: "I agree with some of Mr. Lucas's views, but I also want to make some explanations, in fact, not every film has to bring meaningful inspiration to the audience, and I think that most comedy films, as long as it can bring joy to the audience, the purpose of the film has been achieved." I think Mr. Lucas's emphasis on the significance of the story of the movie is actually to remind everyone not to rely too much on special effects, because no matter how powerful the advanced special effects are, the audience will get bored after watching too much, and the reason why the audience can really like this movie must be because it tells a good story. ”

At the end of the seminar, Lin Youlun and the others in the audience were almost gone, and they were about to walk outside the venue, when a middle-aged man blocked his way.

The other party was very tall, sharp-eyed, about fifty years old, full of angry hair mixed with a few gray hairs, and two large deep gray eyes that shone brightly from time to time.

Seeing that this person was followed by a female translator, Lin Youlun suddenly realized that he might be a director from South Korea or Japan.

"Mr. Lin, I'm Lim Kwon-taek from South Korea, it's a pleasure to meet you!"

When she heard the words "Lin Quanze" from the mouth of the female translator, Lin Youlun's originally casual expression suddenly disappeared, and was replaced by a serious face.

Lin Youlun never thought that the middle-aged man in front of him, who was not amazing, was actually Lin Quanze, who was called a "national director" by Korean filmmakers.

Lim Kwon-taek became famous in 1962 for directing "Seeing Doumanjiang Again", and has made more than 100 films in the past few decades, which can be called one of the most diligent and prolific directors in South Korea. His works are deeply imprinted with Korean culture, using beautiful images to show the essence of traditional Korean culture and the passing folk customs of contemporary Korea, and to trace the historical background of the story and the living conditions of the people, so as to inspire the audience to reflect on the history and modern life of Korea.

In addition to the director, there is another important reason for Lim Yoo-lun to remember Lim Kwon-taek, who was the initiator and leader of the "skinhead movement" in South Korea in 1998.

South Koreans have a particularly admirable thing is that they have a strong sense of nationality, from electronics, automobiles to film and television, Koreans are very supportive of their own products, which is also an important reason why South Korea can give birth to international brands such as Samsung Electronics and Hyundai Motor, which are famous in the world.

The rise of the Korean film and television entertainment industry is also inseparable from the support of the people, and the most famous of them is the "skinhead movement", when the South Korean government was strongly requested by the United States to abolish the screening quota system. They rallied in Seoul's business district, claiming that without screening quotas, South Korean theaters would be controlled by American distributors and that only Hollywood movies would be left on the screen.

At that time, Lim Kwon-taek came to the forefront of the protests as a respected elder, leading South Korea's stalwarts filmmakers to directly attack Hollywood's invasion of South Korea, and claimed: "In order to defend Korean films, we can even die!" ”

Admiration is admiration, Lin Quanze came to the door at this time, and Lin Youlun always had a premonition that it was not very good.

Now Hollywood films have not yet begun to expand strongly in the world, but Hong Kong films have dominated Asia, especially many films invested by Lin Youlun, which have broken the highest box office record in South Korea many times.

Compared with Hollywood films, Hong Kong films also have a natural advantage, that is, the similarity of cultures between each other, Hong Kong films are actually more acceptable to Korean audiences than Hollywood movies. According to the current development trend of Hong Kong films, it may not be long before Korean filmmakers launch a "bald movement" against Hong Kong films.

From the beginning of the meeting, Lin Youlun felt that Lin Quanze was a little unkind.

"Mr. Lin, I have a few puzzles, I want to discuss them with you, I wonder if you have time now?"

After the translator relayed Lin Quanze's words, Lin Youlun suddenly had a headache, if it was at another time, he would be happy to discuss with Lin Quanze, but today he made an appointment to have dinner with Zhou Comin.

"Director Lin, I'm sorry, I have an appointment soon, see if you can change the time, the film festival is still a week away, and we still have a lot of opportunities to discuss the issues you talked about."

Lin Youlun said it very politely, but there was a clear tone of rejection in his words.

As soon as Lin Quanze heard the translator's relay, he immediately became anxious, and regardless of whether it was rude or not, he asked noisily: "Mr. Lin, how long are you going to let Hong Kong films continue to invade the Korean film market like this?" ”

The translator was stunned when he heard Lin Quanze's words, and finally at Lin Quanze's strong request, he relayed his original words to Lin Youlun.

Lin Youlun laughed when he heard this, and only felt that this old man was a little cute.

"I don't know why Director Lu Daolin would say such a thing? Or do you have any evidence? ”

"Does Mr. Lin think that Hong Kong films can still occupy nearly one-third of the box office market under the quota system of Korean films?" Lin Quanze asked rhetorically.

"But we didn't force Korean audiences into the cinema with guns, did we?"

Lin Youlun's words made Lin Quanze speechless for a while.

"Since I have talked about this issue, I have a question I would like to ask Director Lin, compared with Hong Kong and South Korea, whose local film market is larger and has more audiences?"

"Of course it's us Korea!" Lin Quanze straightened his back.

"Then I wonder, the scale of the Hong Kong film market is not as good as that of South Korea, the number of audiences is not as good as South Korea, and Hong Kong does not have a film quota system like South Korea to specifically protect the development of local films, so why can Hong Kong films do better than South Korea?" (To be continued......)