Huayu started as a lecturer at Beijing Film Academy

Two days before the official start of filming, the backstage and other actors began to join the crew. While there was still some free time, Gu Zhongyu wanted to take a walk in Chang'an first.

Although it was not the first time to come to the land of Sanqin, the last time he came to play was in junior high school, so Gu Zhongyu wanted to revisit the old place.

As soon as we talked about traveling, everyone was excited. Originally, several men wanted to go together, but now actresses such as Wan Qian, Nazha, and Li Yuan also wanted to go together. After all, these days of training during the day and reading scripts at night are too boring.

So in the end, we had to find a bus to carry this group of people.

The girls wanted to see the Terracotta Warriors and Huaqing Pool first, but after discussion, the boys decided to go to the holy land of filmmakers - Chang'an Film Studio as the first stop.

Chang'an Film Studio is a monument in the mainland film industry. In the early 1980s, it already had a large number of Chinese film directors known as the fifth generation, including Zhang Yimou, Chen Kaige, Gu Changwei, Tian Zhuangzhuang, Wu Ziniu, Li Shaohong, Jiang Wen, Lu Yu, Jia Zhangke, Ning Hao, etc., which brought the film studio to its heyday.

After its sudden rise, Chang'an Film Studio performed very well, especially the Yellow Earth, Life, Old Well, Wild Mountain, Red Sorghum, Qiu Ju's Lawsuit, etc., which were filmed after the reform and opening up of the Chinese Empire, which caused a strong response in society. The number of international awards and the export volume of films ranked first in the country!

The film that brought Chen Kaige a lifetime of dividends, the masterpiece of the Chinese film industry, Farewell My Concubine, was also co-produced by Chang'an Film Studio and Hong Kong.

Unfortunately, as the old director Wu Tianming went to the United States to give lectures, the craze of the "Fifth Generation Gathering" dissipated, and Chang'an Film Studio finally began to decline in the 1990s.

"Come on, everyone, look, this is the studio. I used to shoot here, but unfortunately I didn't have the chance to join Chang'an Film Studio." Yin Zhusheng is a local of Chang'an, so he naturally acted as a tour guide.

Arriving at the film studio was like going back to the 1970s and 1980s, with red brick Soviet-style houses, rows of big sycamore trees, and advertisements on the walls, etc., the atmosphere of the times was very strong.

"Alas! It's a pity that I didn't catch up with the good times of our domestic films!" Zhou Yiwei looked at the pile of stills in the memorial corridor and lamented that he was born at the wrong time.

"Who is this? The one standing in the middle?" Zhu Yilong saw the stills from the filming of "Red Sorghum", one of which was a shirtless photo of Lao Mouzi and Jiang Wen, Gong Li was on the far left, and there was another person standing, but he couldn't recognize who it was.

Gu Zhongyu answered him: "That's Mo Yan, the original author of Red Sorghum, a very famous writer."

"It seems that Mr. Gu also likes to read scar literature!" Han Tongsheng saw that Gu Zhongyu recognized the young Mo Yan at a glance, and actually thought that he also liked this kind of book.

Scar literature is a literary phenomenon that dominated the mainland literary world from the late 1970s to the early 1980s. Early domestic films were particularly fond of adapting stories from scar literature.

"Wrong! I never read scar literature. Reading that kind of book has basically no effect except making people negative, depressed, and like to complain about everything."

Gu Zhongyu has never looked down on these so-called scar literature and those art films shot by the fifth generation directors. He came to Chang'an Film Studio today just to visit, not to worship.

When the fifth generation of directors were at their most creative and prosperous, they shot all kinds of art films that depicted the darkness of society, the ugliness of human nature, and criticized the decade. In particular, in the early 1990s, Tian Zhuangzhuang's "Blue Kite" was banned in China, but it received rave reviews from foreign film critics. This made these people even more obsessed with making art films. As long as they could win awards, they only cared about self-expression and completely ignored the needs of the audience and commercial interests.

It's not that this kind of critical and satirical film is bad. It's right to make films that reflect social reality, but the directors at that time were already crazy. One by one, they rushed to tear open their scars to show foreigners in order to win favor and medals. This was a bit too much.

Moreover, the consequence of the crazy shooting of art films was that the commercial films in the mainland could not take off. By the year 2000, there were still few people in the mainland who could make commercial films. At one time, they could only rely on Hong Kong and Taiwan directors to make up for this deficiency. This indirectly led to the fact that young mainland actors in the first ten years had almost no movies to shoot and could only hang around on the small screen.

This situation did not improve until the release of Zhang Yimou's "Hero" in 2002. Although Gu Zhongyu had some complaints about Zhang Yimou's "Half Lake Green", his contribution to the development of domestic commercial blockbusters was indeed huge, and this cannot be denied.

"Look, that's the memorial room of "A Chinese Odyssey". Let's go in and take a look!" Several girls were not interested in the archives of those art films, but they were fascinated by Zhou Xingxing's "A Chinese Odyssey".

I almost forgot that "A Chinese Odyssey" was also a collaboration with Chang'an Film Studio. In a sense, this may be the most influential film in the studio except "Farewell My Concubine".

But in the beginning, Chang'an Film Studio regarded this movie as a shame!

It's funny to talk about it. When Stephen Chow was filming "A Chinese Odyssey", Chang'an Film Studio, the producer, was unwilling to enter the studio because it was embarrassing. Even the composer Zhao Jiping said: "When typing the subtitles, don't type my name, it's embarrassing!" Guan Erye, who played the Bull Demon King, didn't want his name to appear in the cast list.

Now when talking about the "A Chinese Odyssey" series, even famous domestic film schools use it as a textbook, as the pinnacle of nonsensical comedy movies.

"Wow! Here are the restored costumes of Zhizunbao, and you can try them on! Teacher Gu, try them on! It must be very handsome." Nazha picked up the ugly clothes and wanted to put them on Gu Zhongyu, and by the way, she looked for Zixia Fairy to change into.

"I don't want it!" It was too embarrassing. He was sure that Nazha wanted to find Zixia's costumes to match himself.

As a result, Tang Yixin and several other people also joined in the fun, and urged Gu Zhongyu to change into it. Seeing that everyone unanimously requested it, he had no choice but to put on this weird outfit to pretend to be Zhizunbao.

"Does it look good?"

"Of course, Teacher Gu is much more handsome than Zhou Xingxing! Let me find where Zixia's clothes are."

As soon as Nazha finished speaking, she saw Wan Qian, who was confused, scratching her cheek and walking over wearing Zixia Fairy's skirt...

"Why are you wearing Zixia's clothes?"

The little bitch deliberately came to interrupt me, right?

Chapters 91 and 92 are finally released. Be careful when driving in the future!