Hou Hsiao-hsien and Qiao Feng said that the big red lantern was hanging high, they talked about Taiwanese movies, and they talked about their own movies.

As I spoke, I began to feel that the investment in art films was too difficult, and I asked my grandpa to sue my grandma and finally got an unexpected investment result.

Qiao Feng didn't take this because he had already seen that Hou Hsiao-hsien said so much later to raise this topic, and his ultimate goal was to attract investment from himself.

But Qiao Feng did not want to invest in Hou Hsiao-hsien's movies.

Because Hou Hsiao-hsien's movies are too literary.

Moreover, his literature and art are different from those of Lao Touzi.

Most of Lao Tou's literature and art are red sorghum, chrysanthemums, and big red lanterns hanging high, which are connotational and story-like, so that the audience can watch.

Hou Hsiao-hsien is not. His movies basically do not take the audience into consideration, and he makes movies completely with his back to the audience.

If there are not one hundred viewers who can watch his movies in the cinema.

Many of Hou Hsiao-hsien's fans are art film directors, writers, etc.

The director of the Art Arts in the Arts of Koreya Hirokazu clearly rejected the honorary title of "Successor of Yasujiro Ozu", but regarded him as his biological father-like existence on the road of film, because it was his "Love of Wind and Dust" that would push Koreya Hirokazu to the road of film.

After reading his works, Korean director Lee Cangdong decided to become a writer at the age of 43. He started shooting movies and later became a great director who never failed Zhongwu.

In the second decade of the 21st century, Bi Gan, a new mainland director, believed that only after he received his recognition did he really have the feeling of "winning awards".

American director Jim Jarmusch confessed without any concealment on the Cannes award-winning stage: I am his student.

Chief Jia Zhangke is even the number one fan of "his", and once wrote an article to express his lyricism: "Every time I see him is my best time..."

Even Xu Anhua, the leading director of the Hong Kong No. 1 art film, who is the same age as him, said that he has been studying "Childhood" for decades and never dared to have traces of chiseling in life.

There are also Coppola, who made the "Godfather" trilogy, Japanese master Akira Kurosawa, etc., too many directors have given him super high praise and love him for his movies.

However, compared to the strong pursuit of his peers, Hou Hsiao-hsien's movies are often treated coldly in the audience.

Hou Hsiao-hsien often shoots the simplest stories, with few lines and slow rhythms, and other styles that remain unchanged over the years, which keeps many people from watching the movie.

In fact, this really cannot be blamed for appreciating it without understanding.

"Small lines and slow pace" corresponds to Hou Hsiao-hsien's iconic "long shots and sense of distance", which is the so-called poetic aesthetics in Hou's films.

But the audience is watching the plot, the climax of the plot, the story is dramatic, the conflict is more intense, at least there are some twists and turns.

What about Hou Hsiao-hsien's movies?

It basically won't make you feel this.

The long and long shots of the audience are only dullness, dullness and dullness.

Not to mention anything else, just take Hou Hsiao-hsien's first film in mainland theaters in his later generations, which also made him win the Best Director Award at the Cannes International Film Festival. After the release, the polarized reputation did not allow many viewers to experience the charm of this master's films up close.

The picture is beautiful, but the plot is unknown.

People want to see the "assassin" Shu Qi fly into the sky in the movie, and to see her and Zhang Zhen perform a lingering love tragedy, but all the movie needs are not met.

So no matter what master is, I can't understand it, you are just pretending to be arrogant.

As some viewers commented, whether a movie is good or not is not played by the director or a few people.

Because since you have been released in theaters and sold to the audience for money, you have to respect the audience and be worthy of the audience's money.

As a result, you made money from the audience and said, "I'm not for you to watch my movies, because you don't have enough quality."

In this case, why do you need to sell it out for sale? You can carve it into a disc for those who like your movies and go and have fun, right?

Qiao Feng dared not agree with Hou Hsiao-hsien's directorial style or attitude towards the audience.

Why does Qiao Feng like Fatty Wang Jing?

The biggest reason is that Wang Jing really went to film from the audience's perspective.

Whether he was filming those comedies of shit, peeing, or making restricted-level videos or following other big-name videos, he knew that it was something the audience liked.

He took out the video, and even if the audience didn't praise him, they wouldn't feel that the money for buying tickets was completely fed to the dog. Even if the audience didn't like it so much, at least they felt that the money was not so unfair.

Qiao Feng feels that only those who respect audiences and money like Wang Jing can really make Chinese films go wider and higher levels.

Instead of just making art films and winning awards at home and abroad.

That would not be possible.

Otherwise, the directors in France, Britain and Germany won no more awards than Chinese directors in Europe, and their film industry would not be much better than China.

But what about the facts?

In later generations, they were far inferior to China.

Why did China go from the current world's second largest film market and second largest film industry in the future?

Are they those art films made by Lao Mouzi?

no.

The rise of Chinese films began with the hero of the domestic number one commercial blockbuster film made by Lao Mouzi.

And the same is true for the United States, which has been the largest market for movies since the beginning.

The reason why Hollywood movies can thrive in the world and conquer cities and land in various countries' film markets was later occupied by a lot of domestic markets, not because of their art films.

Neither the redemption of Xiao Shengke, nor the Silence of the Lamb, nor the Forrest Gump, Schindler's list.

But Jurassic Park, the Terminator, the True Lie, and the Titanic.

These pure commercial blockbusters are the magic weapons and weapons that roam the world of Hollywood.

If there is no commercial blockbuster that respects the audience and money, Hollywood will still be Hollywood, but it is just Hollywood, a small town below California and a place name.

Therefore, Qiao Feng really respected Hou Hsiao-hsien but didn't thank him.

Only a very small number of people are willing to watch movies when spending money. This is not the original intention of Qiao Feng to make movies from the beginning.

With that money, Qiao Feng might as well invest it with Xu Anhua and directors like Zhang Yimou.

At least they can tell a story that most viewers can watch while winning the award.

Another thing is the relationship between Qiao Feng and Qiu Fusheng? That is the relationship between partners.

Can Qiao Feng not know the actual investment in Hou Hsiao-hsien's movies?

I definitely know.

Hou Hsiao-hsien's movie contains Qiu Fusheng's investment. The sad city that starred Liang Chaowei and Fang Shiyuli and Lei Laohu from the 46th Venice International Film Festival, which won the Golden Lion Award at the 46th Venice International Film Festival was invested by Qiu Fusheng.

But it’s not only Qiu Fusheng, but also Yang Dengkui’s.

Now Hou Hsiao-hsien said that the movies that have stopped investing are also the investments of these two.

I won’t say anything about Qiu Fusheng. Qiao Feng and him are partners, so they don’t know how to say anything even if they get into it.

The other Yang Dengkui is different.

That person is the boss of Taiwan. It was because he was arrested during the anti-gang campaign last year that Hou Hsiao-hsien filmed a lot of films before he cut off his funds.

This is why Hou Hsiao-hsien complained just now and asked Qiao Feng to invest.

Qiao Feng is not a fool, so how could he do such a foolish thing for a literary film that he doesn't like.

So, Qiao Feng retreated frantically.

I took my two children to my home in my previous life, and the small county town and village that I had been back twice, then turned back to Hong Kong.

................
Chapter completed!