Although Sean is not a professional editor or director, as a producer, he may have a lot of names, but he does participate in the production of some movies, and he still has his own vision in this regard.

Just like now, Sean feels that it is completely possible to take the part of the American couple who are shot to the front and put it in the first paragraph of the opening scene. This will not only grab the audience's attention at the first time, but also create suspense at the end, after all, not everyone is interested in the ordinary life of the herders in Morocco, they still like the stories of people they know well.

Then put the Japanese story second, but vaguely mention that the Japanese girl's father went to Morocco, so as to give further clues and continue to attract the audience's attention. Then there's the story of the United States and Mexico, where even if you don't mention the relationship between a few plots, the brain turns so fast that people will quickly come to a conclusion, and then go back to the poor family in Morocco, so the puzzle is solved, and the first cycle is over, and it will be more appealing to the audience, and how it will evolve next.

As mentioned above, not many viewers are really interested in the lives of poor families in Morocco, thousands of miles away, and most of them just want to see a story. And such an opening is easy to bore many impatient people, and if it takes a little longer, it will make them lose interest in watching the movie.

Sean knows what Inárritu is doing for him, without him, the so-called humanistic care, Inárritu became famous through literary films after all, and he doesn't want Toro and Cuaron to have experience in directing commercial films, so naturally they will be more literary and artistic when making it.

And most literary films have a common characteristic, that is, the pace is slow, especially at the beginning, after showing a lot of emotional pictures that have nothing to do with the specific story. The difference between a bad literary movie and a bad literary movie is that if you watch a good literary movie patiently, you will still watch it, and even if you watch a bad literary movie from beginning to end, you don't know what Lu Dao is talking about.

Of course, there is no shortage of guys who praise each other, or like this kind of incomprehensible tune, who blow a movie that seems inexplicable into a classic. Well, Sean has always felt that the "Mulholland Drive" starring Naomi has this suspicion, although he recommended her to go.

The difference between watching a videotape at home and watching a movie in the cinema is here, when you watch it at home, you can rewind it if you want to, and stop it if you want to stop, so if you don't like literary movies, you can change it immediately when you see that the beginning is not attractive, and if you like literary movies, you can taste one detail at a time.

And in the cinema, there is no way to rewind or pause, and if you want to leave, you feel sorry for the ticket money, so unless the boring plot is too long and exceeds the bottom line of patience, the audience will generally not leave. Then, as soon as the story unfolds and is indeed engaging, they will naturally read it slowly and with peace of mind.

It's also like now, even though the plot jumps to Japan, clear clues and suspense have been given before, so even if some people don't like this style, they start to keep reading with their eyes wide open.

What follows is that the Moroccan boy refuses to herd sheep anymore, but he can't tell his family; The American tour group found a small town, and the husband Zhang Huang was at a loss to find a doctor, and everyone was dragged down; The Mexican nanny had a good time, taking the host's children to the wedding and having a good time; Although the Japanese girl is deaf and mute, she has finally found someone who can play with normal.

Then, the situation took a turn for the worse, the Moroccan teenager finally told the truth, and then the U.S. government declared that it was a terrorist attack, and the Moroccan police began a fierce search, and the father had to flee with them; The American couple had been in the town for too long, and the group of people together became impatient, and finally asked to get in the car and leave, but the husband tried desperately to stop him but could not do anything.

Then, the Mexican nanny and her other nephew sent their two children back from Mexico, but they were stopped at the border by the police, who suspected her of abducting American children, and the grumpy nephew was very impatient and rushed away from the border, and finally the nanny and the two children wandered in the desert.

And although the Japanese girl found a young man with whom she could play and did not mind that she was deaf and dumb, she could not dance together because she could not hear the music in the dance hall, and another girl who was also deaf and dumb was very excited to dance because she could hear a little sound, so she was abandoned again.

The whole story is constantly going up and down, everyone is struggling with the difficulties, and they influence and connect with each other - even if the connection between the story and the main line in Japan is not clear, the various suspense and foreshadowing still attract the audience's attention.

Eventually, the Moroccan father, who fled with his child, was stopped by the police, and the older man returned fire with a shotgun in anger and was eventually killed behind a rock, while the younger son surrendered to the police in tears.

The American couple finally reconciled in this life-and-death fear, but in order to win the rescue, he had to make a deal with the American embassy, to praise the government's security and efficiency in front of the media after being rescued.

The Mexican nanny, who wandered in the desert, lost her feverish little girl because she got lost, and just dragged the little boy around in the sun. Although the American police eventually found her for help, the two children were recovered, and the owners in Morocco, the American couple, did not intend to prosecute him, the American police still drove her back to Mexico under the pretext of working without permission, and she was not allowed to re-enter the country.

As for the Japanese girl, when the police came to find out if her father had been to Morocco and gave him a shotgun like a local—the whole story was finally here—she thought she had come to investigate her mother's suicide again, so she lied, and it was with that shotgun that her mother committed suicide.

Then, because she was too lonely and eager to communicate, she made all kinds of gestures to seduce the police, and even went naked in front of him, hoping to find a little solace and prove that she existed in this way. Of course, she didn't end up having sex with the police and reconciled with her father when he returned.

Basically, the movie ends here, and when the subtitles are finished, the applause immediately erupts. It's very warm, although I don't know if the road has reached the point of deafening, but the audience in the screening room is basically applauding, and this level of applause is also very good in Cannes.

Although the movie still has some flaws, it is still of a considerable level on the whole, at least several story lines are interspersed without chaos at all, even if the story of the Japanese girl is not connected to the main line until the last time, but it also highlights the theme of the story more.

The reason why the movie is called Babel is because it is taken from the story of the Bible, people want to build Babel to go to heaven, God is dissatisfied, so they are asked to speak different languages, which is very inconvenient to communicate, and eventually leads to failure, and the movie is about the problem of communication.

Husbands and wives are unable to communicate because of the death of their youngest son, poor families in Morocco are unable to communicate because of the brutal way of the police, Mexicans are unable to communicate with the police at the U.S. border because of long-standing border problems, Japanese girls are unable to communicate with society because of deafness, and so on.

These hate are easy to resonate with the audience, who hasn't encountered communication problems in life? Add to that the excellent details – this kind of film that goes hand in hand has to be good enough in terms of details, and Iñárritu, who directed "Love is a Son of a Dog" and "21 Grams," has a pretty good grasp of that detail.

For example, the irritability and despair of Japanese girls again and again, or the dispute between Moroccan brothers about shotguns, or the red dress worn by Mexican nannies to weddings, etc. At the same time, there are also many places that are very sensational, the American couple finally showed a huge back injury to the pain of losing their child in their cabin in Morocco, and finally got on the rescue helicopter after the last time, and the husband wanted to give the tour guide who stayed with them, but the other party never wanted it, these places are easy to infect those sensitive audiences.

So, even if this movie is not as compact and good-looking as "Crash", it is still worthy of such applause.

However, in the future, let him focus on literary films. After taking the stage to express his gratitude to the main creators, Sean looked at Inárritu who was surrounded by some reporters and thought like this.

Again, both Toro and Cuarón have experience in commercial films, but he became famous with literary films, and his paths were different from the beginning. So if you really want to solicit, Toro and Cuarón can make commercial films to make money, and Iñárritu can only make literary films and win awards, once they exchange or have the intention of exchanging, then they should definitely not invest.

"Hey, Sean!" Just as Sean was thinking this, a voice came, and then Inárritu was seen waving his hand over there.

Then, many reporters turned around, and a few anxious people rushed over directly: "Sean? Mr. Tang, Iñárritu said that you took the initiative to invest in this film, is that true? ”

Sean did not answer directly, but came to Inárritule with a smile and hugged him to congratulate him before turning to face the reporter: "Yes, I am very happy to know Avery and I am also happy to have invested in this film, and today it turns out that it was the right decision." ”

"Why would you want to invest in this film?" Another reporter asked.

"I love the script, and I'm sure Ellie can do a good job," Sean spread his hand and looked at Iñárritu, "I wasn't really optimistic at first, but Ellie suggested that I read the script, so I read it, and honestly, I could feel the tension of the story just by reading the script." ”

"That's an exaggeration," Iñárritu modestly said, "but he's very welcoming, so I thought yes, why wouldn't he play a role?" Although he was older than him, he was very good at this kind of role, and he agreed. ”

"How did you meet Sean, Iñárritu?" Then another reporter asked.

"Oh, we're through Naomi? Ms. Watts knows. Inárritu said quickly, and Sean next to him suddenly twitched twice.