Chapter 804 Using me to get promoted?
After learning about this, Lu Yanhe thought for a moment and sent a message to Wang Biao, telling him that the media outlets that had previously sent interview requests could be screened again, and if possible, they should be arranged.
Lu Yanhe truly hadn't expected that at the prestigious Venice International Film Festival, the media wouldn't be able to get any celebrities to interview.
Even many of the key members of the competition teams explicitly stated that they would not participate in media activities.
Such a scene is truly unbelievable.
Like Lu Yanhe, who had previously turned down many media interview invitations, he still participated in the group interview session after the film's premiere.
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The premiere of "Dingfeng No. 1" was the day after he arrived.
Professor Wen Shengming didn't even arrive in Venice until very early the next morning.
He was very busy filming another movie.
After the filming of this movie was completed, Wen Shengming and Lu Yanhe became very familiar with each other and developed a deep trust because of the Jose Film Festival being held in China.
Over the past year, Lu Yanhe has mentioned Wen Shengming on several public occasions. Each time, Wen Shengming is referred to as a "mentor" or "senior".
Those familiar with Lu Yanhe can actually understand what he means.
Lu Yanhe was using his influence to elevate Wen Shengming to a very high position.
If you respect me, OK, then you should respect him even more.
This point is actually not very significant for Chinese audiences. The significance and position that Wen Shengming holds in the hearts of Chinese audiences is unmatched even by Lu Yanhe today.
This is a true actor, whose significance and influence have been imbued by the times.
Lu Yanhe initially intended this message for the people at the Jose Film Festival. Wen Shengming was representing the China Film Association to communicate with the Jose Film Festival representatives. He wanted those who didn't know who Wen Shengming was to at least have a clear understanding—that Wen Shengming was a senior whom Lu Yanhe greatly respected.
Later, when Lu Yanhe learned that Wen Shengming had defended him, protected him, and even stood up for him against some people on several occasions, Lu Yanhe's respect for him became even more genuine.
He actually had a selfish reason: actors like Wen Shengming, who missed the era when Chinese films won awards overseas, have never gained any international fame despite their superb acting skills.
He sincerely hopes that Teacher Wen can win some influential international awards and have some representative roles, instead of just existing in the hearts of Chinese audiences—in fact, in the hearts of Chinese audiences, Teacher Wen is already a veteran actor, "not at the age to be adventurous."
Why can't it be the age for taking risks?
Why is it that Hollywood can allow Mark Rylance and Olivia Colman to reach new heights in their careers when they are in their fifties or sixties, allowing them to continue to strive and work hard, while Chinese actors are required to enter the "veteran actor" showcase when they are in their fifties or sixties?
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"Hello, Teacher Wen."
Before heading to the red carpet for the premiere, Ning Zhiyuan, the director of "The Magistrate's Run," met Wen Shengming at the hotel and greeted him very proactively and warmly.
As a member of the China Film Association, Wen Shengming naturally knew this director who gained his reputation in the film industry with "Nine Yin".
"Director Ning," Wen Shengming said with a warm smile, "thank you for supporting our film."
He also learned that the crew of "The County Magistrate Runs Away" would be coming to the premiere to support them.
“I can’t wait to see ‘Calming the Wind No. 1’,” Ning Zhiyuan said. “Knowing that I would be seeing you in Venice this time, I brought a script with me. I wonder if you could spare some time later so we can chat?”
Upon hearing this, Wen Shengming showed a hint of surprise.
"Of course, no problem." Wen Shengming's attitude was definitely very good. In fact, Wen Shengming was very willing to work with directors like Ning Zhiyuan who had risen to prominence in recent years.
After Ning Zhiyuan greeted Wen Shengming, Zhou Yuning also came forward.
Zhou Yuning's attitude became even more respectful.
Wen Shengming admired him and patted him on the shoulder, encouraging him.
Zhou Yuning is one of the few actors nowadays who actually has some martial arts skills.
With his roles in films like "Nine Yin Manual," "Dragon Inn," and "The Magistrate's Run," Zhou Yuning has demonstrated solid acting skills in dramatic scenes. At the peak of his career as a male actor, and with Chinese films gaining international recognition, Wen Shengming believes that Zhou Yuning has every chance to carve out a future as an action star.
Of course, Wen Shengming was unaware that Lu Yanhe was also supporting Yan Liang in pursuing this path.
However, Yan Liang doesn't have the same basic skills as Zhou Yuning. He has only been training for two or three years, so he still needs a stunt double in many situations.
Of course, even so, the two are not competitors.
This track is wide enough to accommodate more than one person.
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Lu Yanhe met Wen Shengming in the waiting area of the red carpet.
Besides the two of them, there were other actors.
Longyan is very generous in this regard and does not skimp on travel expenses at all. Basically, as long as the actors have time and are willing to come, Longyan will pay for their travel expenses.
As a result, seven actors came to "Dingfeng No. 1".
The Venice International Film Festival had originally arranged a "three-minute clearance" for Lu Yanhe, allowing him to walk the red carpet alone first, so that media from various countries could take enough photos of him, and then he could walk the red carpet again with the crew.
Lu Yanhe refused.
It wasn't that he didn't want to be treated specially, but rather that he didn't want Wen Shengming standing on the sidelines waiting for him.
This so-called "clearing out" treatment is certainly a "symbol of status" for him, but it also means that the entire crew has to stand at the entrance of the red carpet and wait for him to finish "his solo filming" before they all go up together.
Lu Yanhe didn't care about the others.
However, Lu Yanhe was unwilling because Wen Shengming was among the others.
Wen Shengming also found out about this.
Wen Shengming said to Lu Yanhe, "It doesn't matter."
Lu Yanhe said, "It's relevant to me."
In short, because of Lu Yanhe's insistence, when "Dingfeng No. 1" walked the red carpet, the organizers cleared the area, and only the crew members were on the red carpet. Others who had also received invitations through commercial cooperation or other means had to wait on the side.
All the media present were calling out Lu Yanhe's name.
The camera flashes went off one after another.
Lu Yanhe waved to the photographers on both sides with a bright smile.
“This is the first time I’ve felt so directly how popular you are internationally,” Wen Shengming said to Lu Yanhe with a smile.
Lu Yanhe said, “Because everyone knows me now. Since ‘Three Mountains’, I have attended several international film festivals almost every year. These photographers, including the media reporters, are all regulars at film festivals. If they see you often, they will recognize you. If you are polite, courteous, and dedicated to them, they will respect you. At that time, if you also have a few representative works that they like, then in such a place, they will put you on the throne. They are just like us, a part of film and film festivals. Professor Wen, I especially hope that domestic filmmakers, regardless of whether they are shortlisted for the main competition, will come to such top international film festivals more often. It is because here, you can feel that most people love film and hope that the industry is good. All people who love film will be inspired and inspired here.”
Wen Shengming nodded.
"In recent years, more Chinese films have been participating in international film festivals, which is indeed a good thing."
Lu Yanhe said, "At least overseas, people will no longer wonder why there are so few Chinese films in such a big country as China."
Wen Shengming said, "There was a time when we stopped regarding international evaluations as the ultimate standard and instead pursued self-identity. As a result, while we were demystifying international film festival awards, we also began to belittle them."
Lu Yanhe smiled.
"Fortunately, this is just a process," Lu Yanhe said. "Film is currently the most popular art form among all art media, and it is also the art form that can break through various limitations. After the Jose Film Festival was held, I saw many film fans praising China on foreign websites. In fact, many people have a scale in their hearts, but many people do not have the opportunity to move the weight back to its original position. From the beginning, they have been misled because of a lack of understanding."
"It still needs to be seen by people."
“Hmm.” Lu Yanhe nodded. “People used to say that movies about Chinese people couldn’t sell well in Europe and America. Look, now they can.”
Since then, such stories have no longer been isolated incidents.
In fact, with the start of the Jose Film Festival, domestic audiences seem to have regained some interest and attention towards film.
At least judging from the box office figures this summer, that's certainly true.
The worst thing for an industry is to be self-satisfied while actually being stagnant.
The same applies to advertising and marketing methods.
It's always the same old routine. Don't you, as the audience, get tired of it?
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When Lu Yanhe, Wen Shengming, and other key members of the creative team walked into the screening room, the entire audience stood up and applauded.
Lu Yanhe looked around, waving and greeting everyone to express his gratitude.
The premiere of the film "Dingfeng No. 1" was a Chinese film, but the venue was packed to capacity.
On the one hand, it was because of Liu Bige, and on the other hand, it was because of Lu Yanhe.
Two iconic figures in Chinese cinema are collaborating once again; who wouldn't want to see what happens?
Lu Yanhe has great confidence in the quality of "Dingfeng No. 1". His only slight concern is the film's historical setting, which might give the impression that it's a mainstream Chinese film.
At film festivals, mainstream films from any country are unpopular because they carry strong "political overtones."
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"The Wind-Ding-No. 1 may not win any awards this year."
At the editorial office of "Jump Up," we were discussing this movie while having lunch together.
Lin Yu and her team have already gone to Venice to conduct on-site interviews and live broadcasts.
But there are still many people in the film and television content department who stay behind to guard the company and are responsible for the work in China.
Among these, one very important task was "Dingfeng-1".
What kind of buzz should this movie, starring Lu Yanhe, generate in the domestic media?
Saying nice things is the easiest thing.
But if all that's needed for publicity is to say nice things, then the work has no value whatsoever.
"The Wind Rises is a spy film, but in the past, spy films that have received good reviews at international film festivals have generally been about human nature rather than about political stances."
Everyone looked at each other in bewilderment.
"However, 'Windbreaker No. 1' is not a completely standard patriotic film. If it were, it would not have been able to be shortlisted for the main competition at Venice."
"It's just that it's easy for people to misinterpret it," someone said. "Especially those Western media outlets, they always like to engage in conspiracy theories. They might even portray this film as Lu Yanhe losing his artistic pursuits and becoming a political tool."
"That's quite possible. This is something we really need to be wary of. In Europe and America, there are some people who see Lu Yanhe as an enemy from abroad who has taken away their cake and want to drive him out. If Lu Yanhe is really labeled like that, then it will be terrible."
"We should take some preventative measures in advance to address this issue."
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While the cast of "Jump Up" was discussing this issue, Chen Yin of Linghe Films had already realized the problem and had communicated with Darren Wilson in advance.
Darren Wilson now shares a significant common interest with Lu Yanhe.
He would absolutely not want to see Lu Yanhe being "blackened" (smeared/vilified).
Therefore, Darren Wilson had prepared some public relations measures well in advance.
He not only flew to Venice in person to attend the premiere of "Calm Wind One," but also wanted to find out what kind of film "Calm Wind One" was as soon as possible, and also to find out how everyone on site viewed the film.
What I fear most is that when this movie is shown in Venice, before most people around the world have even seen it, someone will take advantage of this time gap to deliberately smear, slander, and exaggerate certain parts in order to portray Lu Yanhe as a politicized figure.
However, when the movie was halfway through, Darren Wilson was completely engrossed in it.
Clearly, this film is not a mainstream film at all.
It is still about a person's awakening.
Lu Yanhe plays an intelligence agent who, while monitoring the secret mission of the deputy station chief played by Wen Shengming, gradually learns about the deputy station chief's secrets, discovers his true identity, and knows what he is doing. Then, he begins to face the dilemma of choosing between protecting his country and upholding righteousness, or choosing to compromise and protect himself.
It tells the story of a person's transformation from "escapist self-preservation" to "awakening to life in the face of death".
The film ends without any sentimental embellishment.
This film is about patriotism and righteousness. These are things that every country and every nation has.
Darren Wilson breathed a sigh of relief.
This film is very restrained and also very depressing.
Lu Yanhe's performance in this film can be described as "outstanding".
Even in a thoroughly Chinese film, a spy story, Darren Wilson can clearly see every emotional shift in Lu Yanhe—his subtle changes in his eyes are as precise as a scalpel, cutting into every heart.
The biggest taboo for this kind of movie is being sentimental, but the biggest fear is failing to move the audience.
Therefore, 99% of people will choose low-level emotional manipulation when they can't achieve a sophisticated level.
But this movie doesn't need that.
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"Lu Yanhe has once again delivered a representative role in his career." As soon as the movie ended, Chinese media immediately commented on social media, "So many moments made me feel disoriented. Is he really Lu Yanhe? It's unbelievable."
"His role is too difficult to play. Too much affectation and sentimentality, and too little makes it hard for people to believe in the changes in his inner beliefs."
"No wonder the filming of this movie was postponed several times because of Wen Shengming. Apart from Wen Shengming, no other actor can match Lu Yanhe's precise acting details. It's not that other actors can't match his acting ability, but that other actors can't match his aura. Only Wen Shengming can match it."
"Liu Bige left Lu Yanhe with the image of a cruel youth through his novel 'Late Spring,' and now he has left his mark on the portrait of awakened youth with his novel 'Dingfeng No. 1.'"
"At this age, only he. Only he can truly portray the awakening of this age. The scene of Lu Yanhe lying on the bed, expressionless and motionless, making his final inner choice will be deeply, deeply engraved in everyone's heart."
...
"Your static performance skills are truly amazing," even Wen Shengming said to Lu Yanhe. "They've reached the pinnacle."
Lu Yanhe quickly shook his head, saying he dared not.
Wen Shengming said, "You are truly enviable. At your age, no one can act better than you."
Lu Yanhe: "Teacher Wen, please don't flatter me to death, please."
Wen Shengming took a deep breath.
In the movie, there are many solo scenes featuring Lu Yanhe, which Wen Shengming did not see during filming.
So, this is the first time Wen Shengming has seen it today.
It was only then that he realized that Lu Yanhe's greatest weapon in acting was not when he was acting with others, but when he was performing a solo act.
He still vividly recalls the scene of Lu Yanhe lying in bed late at night, staring at the ceiling with his eyes open.
The film gave him a close-up shot of about thirty seconds. Of course, Liu Bige used montage techniques to interweave this close-up shot with other shots, and it was not a single continuous shot.
It lasted for two seconds at first, then five seconds.
Four times in total.
Until the very last time, it lasted a full fifteen seconds.
Lu Yanhe's eyes remained completely still except for blinking; not even his pupils moved an inch.
However, in these four cut-out shots, each one was slightly different from the last.
You can't quite explain what the change is; you're just affected by his emotions.
In the end, little by little, without you even knowing how it happened, some things seemed to solidify and become firm. It was like the last brick being placed into the gap in the wall.
It's complete.
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For foreign media and film critics, although Lu Yanhe is a big star and the superstar of the film "Dingfeng No. 1", their evaluations are still more focused on the film itself.
From the film's themes to its form of expression.
The first batch of publicly available media reviews shows that many people have a positive view of the film.
Especially noteworthy is that the director of this film is Liu Bige.
This makes it even more surprising.
Liu Bige's first film, *Late Spring*, is a brutal coming-of-age story. His second film, *Even Faking Death Won't Work*, is a romantic comedy with a very unique style. His third film is the martial arts film *Dragon Inn*.
The fourth installment was another somber and suffocating story that ultimately found a glimmer of hope amidst despair.
The four films are completely different in subject matter and style.
It's rare for a director's works to be so unrelated.
It could even be said that there is no connection.
However, it is precisely because of this that it is full of surprises.
Liu Bige is no longer an ordinary director. As a director who has already achieved international acclaim and recognition, he is often subject to stricter evaluations from the media and critics. However, his consistent choice of completely different themes and genres in his films is something that earns him much admiration.
In the eyes of many, he is a director who is constantly stepping out of his comfort zone and exploring new fields.
Such directors may not necessarily gain market acceptance, but they are always more likely to be respected by their peers and the media.
The release of the score for "Calm Wind One" in the festival program confirmed this, as it ranked fourth with a score of 2.7, the 16th film screened in the main competition.
This score is considered to be in the core circle.
Some say, "If Liu Bige's cinematography style weren't so distinctive and individualistic, its score would actually be higher."
Liu Bige's film style is indeed unique, which is especially evident in his cinematography.
He particularly likes to shoot images in a somber and melancholic style.
This characteristic can be seen in all three films except for "Fake Death Is Not an Option".
A somber mood, like an oil painting.
Because of its realistic style, the overall tone of "Dingfeng No. 1" feels even heavier, more cramped, and more oppressive.
This is also a point of focus for some negative reviews.
Liu Bige didn't care about this.
He was never a director whose goal was to make movies that everyone would like.
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At the press conference, Lu Yanhe and his team were greeted with cheers and applause as they entered.
This is the courtesy that the film festival's media will give to every film crew.
Unless your movie is so bad that no one wants to act anymore, they won't even give you a semblance of respect.
After Lu Yanhe and the others took their seats, a barrage of questions was thrown at them.
Wen Shengming had no idea that several foreign reporters' questions were actually directed at him.
People asked, "In the movie, when did you realize that the young man played by Lu Yanhe could be guided to your faith?"
People ask, in many of your scenes with Lu Yanhe, you use a calm and composed approach to deal with Lu Yanhe's impulsiveness and irritability, but the same approach has very obvious differences before and after. What effect do you want to achieve with this approach?
People ask, "We see from the information that you are a highly respected actor in China. When you choose to work with talented but young filmmakers like Liu Bige and Lu Yanhe, do you guide or influence them?"
...
Wen Shengming truly felt what Lu Yanhe had told him—
Aside from some domestic symposiums and seminars, he rarely finds himself asked questions that revolve around the film and its creators.
No wonder Lu Yanhe enjoys attending film festivals so much.
As a filmmaker, how could I not like a place where my profession is taken seriously?
Until a reporter asked Lu Yanhe a question: "You played a self-awakening character in the film, but in such a subject and historical context, does this have any symbolic meaning? The characters you and Wen Shengming played are actually pioneers of the current Chinese rulers, is my understanding correct? Although this is not explicitly stated in the film."
The atmosphere at the scene immediately became tense.
Especially the Chinese present.
Lu Yanhe paused only for a moment before nodding and readily admitting, "Yes."
Then he asked, "Is there a problem with this?"
Lu Yanhe remained calm and composed, showing no sign of panic.
However, there was an underlying unease at the scene.
Most people actually deliberately try to shield themselves from things like politics and religion, so that movies are just movies, and filmmakers can be less constrained and more honest and open.
However, the objective reality is that this is still a world full of division, competition, and contradictions.
Things that are deliberately suppressed must be faced once they are brought up by someone with ulterior motives.
The reporter was taken aback for a moment, seemingly not expecting Lu Yanhe to admit it so readily, then laughed and said, "Isn't this turning the film into a tool for your political propaganda—"
"Wait a minute." Lu Yanhe interrupted him with a serious expression. "Let me ask you first, which country are you a journalist from? Which media outlet do you come from? What is the political stance of the media you represent? Are we here to discuss politics or movies?"
Lu Yanhe's words were clear and resounding.
The reporter seemed a bit flustered.
All eyes were on him.
The reporter said, "I am Alexander Modi, a reporter from the Australian Herald."
“I understand.” Lu Yanhe smiled. “The Herald, I know this newspaper. Fifteen years ago, it was acquired by Mr. Mortensen of Britain, and since then, it has become a political commentary newspaper. I’m curious why your newspaper would come to the Venice International Film Festival to participate in a press conference for Chinese films? As far as I know, your newspaper only publishes political news and commentary articles from Europe and America. Even when you occasionally mention films, it’s always European and American films. Alexander, your presence here today, asking me pointed questions, makes me very uneasy. I am—”
He blinked. "Which Western politician has taken a liking to me and wants to use me as a target to get promoted by attacking and slandering me?"
The entire audience erupted in uproar.
Alexander Modi looked extremely flustered.
He had no idea that Lu Yanhe would expose his background so clearly when he simply said he was a reporter for the Herald in Australia. How could he possibly make a sound argument with that?
(End of this chapter)
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