Millennium director

"The photography is very good, very characteristic of a senior brother."

"To be honest, your way of using the long lens is completely different from mine. I really can't comment on it. This is your characteristic."

"However, I can see that, senior brother, you want to explore new fields. This short film is an attempt in a new field."

The 17-minute short film can be watched in the blink of an eye.

Facing Jia Zhangke's expectant gaze, Wu Yuan could only say good things.

To be honest, he really doesn't like the extensive use of long shots full of information.

This is really tiring for moviegoers to watch.

But for professionals in the film industry, it is a great visual feast.

Perhaps this is why Jia Zhangke's films have won numerous awards at film festivals, but received only mediocre response from the public after their release.

The works he has produced are all too profound, too highbrow, and naturally not suitable for ordinary movie fans. They are all for knowledgeable insiders.

Wu Yuan doesn't like this. Most of the movies he makes, even if they are literary films, are designed to make ordinary audiences understand and empathize with them. He takes the initiative to cater to the audience.

Rather than being like Jia Zhangke, who does not consider whether the audience can understand or not, but only considers his own artistic expression.

"Xiao Yuan, making short films is actually quite good. It's a good way to try new things."

Jia Zhangke didn't think so much, but started chatting with Wu Yuan enthusiastically.

"Do you know how long it took me to make this short film?"

He held up three fingers: "Three days, I just took three days of shooting and it was done."

"The film bureau is also very supportive. When I sent "Love on the River" to the film bureau, it was reviewed and approved in just one week."

"If you want to try something new, you can do it in the form of a short film, which is convenient and economical, and can also win a wave of awards at international film festivals."

"Although the short film award is useless, it still looks good in the award cabinet!"

"We originally planned five short films. I will shoot Suzhou, Han Jie will shoot Magic City, Chen Tao will shoot Xi'an, Peng Tao will shoot Chongqing, and Li Hongqi will shoot Guangzhou."

"Would you like to join us and make a short film? You can shoot it in Beijing!"

Wu Yuan smiled and shook his head: "Next time, definitely next time."

He doesn't have the skills.

He is different from Jia Zhangke. The film festival really loves Jia Zhangke.

Three days after its premiere in Venice, "Love on the River" was selected for the New York, London, Vancouver, Tokyo Ginza, and Sao Paulo film festivals.

Among them, the New York Film Festival has specially opened a channel for "Love on the River" and invited it to be shortlisted when the shortlist has been announced.

"I hope there will be more opportunities to collaborate with Director Jia in the future, and I am also grateful to the director for fulfilling his long-cherished wish to go to the Venice Film Festival."

Look, the actor Guo Xiaodong, who was thanking everyone on stage, was quite impressed that Chief Jia was able to bring him to Venice with a short film.

The heroine Hao Lei also said bluntly: "The selection is due to the director's influence, and our role is not particularly big."

Wu Yuan applauded with a smile on his face: "Brother, look, even your actors know that the selection of this short film depends entirely on your appearance."

Jia Zhangke smiled coquettishly, waved his hand and said, "Hey, there's nothing I can do about it. The public doesn't buy my movie, so I have no choice but to take the film festival route. I'm all forced to do it."

That's what he said, but looking at Jia Zhangke's pride and pride, it doesn't look like he is dissatisfied with the status quo.

After cheering for Jia Zhangke, Wu Yuan also did not miss the premiere of the two Chinese films "Dang Kou" and "Woman" under the call of the leader of the Chinese Legion to "unite comrades".

However, compared to Jia Zhangke's "Love on the River", these two movies are more obscure and difficult to understand, and the filming is a bit pretentious.

Anyway, after watching it, Wu Yuan felt that he did not understand these two movies.

Are you saying that his appreciation level is not good enough? He understands Jia Zhangke’s movies, so why can’t he understand the works of these two unknown directors?

It can only be said that Jia Zhangke has the hard power to be able to successfully perform at various international film festivals around the world.

Compared with these literary films, Wu Yuan is still more satisfied with "The Hurt Locker" which premiered in Venice on the 5th.

As one of the major directors in Hollywood, he took Liu Yifei to the Venice premiere of the Hollywood blockbuster "The Hurt Locker" at the invitation of director Kathleen Bigelow.

The film will not be released in North America until July next year, but it was previewed by various filmmakers in Venice a year in advance.

Obviously, the director has great ambitions. He not only wants to win Oscars, but also wants to win awards at Venice.

"The Hurt Locker" was indeed shortlisted for the main competition in Venice.

Wu Yuan, who only had later memories, knew that if nothing else happened, the film would fail in Venice.

There is no way, "The Hurt Locker" is a very typical Hollywood hero-style movie, and it is not an exaggeration to say that it is a commercial movie.

A classic American soldier saving the world plot, a classic thrilling rescue.

It's just that this time the old-fashioned hostage rescue has been changed into a slightly newer bomb disposal crisis.

The entire film is filled with the image that the American soldiers are righteous and are here to save the world, while the local rebels are evil. This is a typical American propaganda film that reverses black and white.

How could the European film industry, which has always been at odds with Hollywood, award an award to such an American promotional film?

To be shortlisted for the main competition is to succumb to the power of Hollywood.

But it should be said that this movie is still very exciting to watch.

Wu Yuan watched it with gusto, and Liu Yifei also enjoyed it.

After the premiere, she held onto Wu Yuan's hand and said, "Brother, no one in China has ever made a crisis-rescue movie like this."

"It would be great if there were people in China making movies like "Taken", "Mission: Impossible" and "007"."

"There may be some similar police and gangster films on Hong Kong Island, but there are almost none involving the military."

Wu Yuan smiled and said nothing.

Is he going to tell his little girlfriend that in the not-too-distant future, there will be a man named Wolf Warrior who will make China's own personal hero-style blockbusters, and then be scolded by audiences who are used to American crisis-rescue blockbusters?

American soldiers traveled thousands of miles to rescue hostages, OK.

Retired Chinese special forces soldiers traveled thousands of miles to rescue hostages, no.

American-style personal heroism, with the male protagonist showing off his powers like Superman, is fine.

Chinese individual heroism, where the hero shows off his powers like a superman, doesn’t work.

Wu Yuan did not understand this logic, and even more disagreed with it.

However, I heard that there was a shortage of money during the filming of the "Wolf Warrior" series, and Wu Jing had to sell her house to make the movie.

How can this be possible? Our director Wu can't stand this kind of thing. When "Wolf Warrior" 1 and 2 are about to be filmed, Light and Shadow Times will definitely help with the filming.

Wu Jing had better not suffer the pain of selling a house, let the Light and Shadow Era come up with the money, and make the money with tears in his eyes!