Be careful?

What's the meaning?

Could he still eat me?

Zhang Junsheng was a little confused, but he still answered respectfully: "I haven't had time to see..."

"Can't Without You" is hailed as a movie with a very "New Wave Style".

According to Taiwanese media, "Dalynin said that he chose black and white images as the visual style of "Can't Without You" to let the audience focus on the plot itself, but my experience is gray: dove-gray sky, silver-gray clouds, black-gray sea water, fluorescent gray streets, and gray people, gray oil on their clothes, gray smiles on their faces, and many helpless gray expressions."

"The grasp of emotional degree in "Can't Without You" is a bit like the Japanese director Yukazu Koreya's restrained self-sustainment in "No One Knows", which is all arranged through the sense of landscape and the emotional rhythm of the soundtrack, just like overflowing from the human heart, natural and innocent."

"The film "Can't Without You" protects the tradition of Taiwanese literary and artistic films and continues to focus the camera on marginal social figures. However, the film does not have the small circle atmosphere of self-talking like the previous Taiwanese literary films. The entire social ecology has become an important element to promote the development of the plot. Although the film has strong dramatic conflicts, the focus of "Can't Without You" is on Li Wuxiong's efforts after being forced to separate from his daughter. He continues to work, does not give up on finding, and portrays a grassroots self-esteem and persistence. In summary, "Can't Without You" is a commercial film that breaks the commercial film model!"

Then, the box office was NT$4.91 million...

How many Taiwanese people are said to have moved? The problem is just moving. They only contributed 4.91 million yuan in box office. Is this a good result?

Compared with the 10th top-selling "Museum Shocking Night 2" in 2009, which box office was 53.77 million yuan? Who has the last laugh?

Taiwan media themselves also said: "In fact, there is no need to film such a realistic film of social tragedy. If you have money to set up a charity fund, you can help the poor to sue. Why not?"

Look, Taiwanese media like to fight with themselves!

"You haven't watched "Can't Without You"?"

“…I’ve never been interested in films with fringe themes!”

Wang Tong sneered: "I heard that mainland directors are very modest and polite. Today, it seems the opposite. They are ignorant and ignorant at a young age. If you don't understand art movies, don't come here to expose your own shortcomings."

“…Water?”

Zhang Junsheng was a little confused...

I don't understand the art of film?

I have taken the Palme d'Or and the Golden Bear. Do you think I don't understand the art of movies?

Wang Tong turned his face to Hou Xiaoxian next to him and said, "I just said that young people don't understand movies! I know this Zhang Junsheng. For filmmakers like him, movies may be just a tool to make money..."

Speaking of this, Wang Tong said in an elder tone: "Young directors are mostly uncertain. They like to do whatever they cater to the market. In order to please the audience, they dare to shoot any plot! The audience likes stories of crime, so he fictionalizes a "Crazy Stone". When the audience pays attention to eroticism, he shoots "A Chinese Ghost Story"... Anyway, he shoots whatever he makes money. Director Zhang, you are not old and have a saying that honest words are unpleasant, but you must also say that filmmakers should have their own dignity! Otherwise, they are just businessmen wearing the director's cloak!"

Hou Xiaoxian was a little embarrassed...

Zhang Junsheng came to participate in the Golden Horse Awards, and he also made a lot of efforts. In a sense, Zhang Junsheng belonged to the guest...

How can the owner blame the guests?

As for Wang Tong, Hou Xiaoxian would never dare to offend him!

This lord has been a member of parliament and is known for his eloquence, has a strong background, is good at eloquence, and cannot afford to offend him. What's important is that he has a good pen and has a far greater influence in the media industry than other directors.

Wang Tong advocated the so-called "Taiwan Literary and Art Film Blockade", calling on all directors in the industry to dig out the degenerate forms of commercial films, which are famous eloquent and eloquent thorns in the industry...

He opposes commercial films and star system. In short, he opposes all the movies that can make money!

In Hong Kong films, Wang Tong said that they have bad taste.

In the era of mainland blockbusters, Wang Tong despised them for disrespect for film art.

All directors who have lost all Chinese regions are still shameless and openly claim that they are the last barrier to film art...

The most depressing thing is that this person is surrounded by a bunch of people...

Zhang Junsheng shook his head: "I don't agree with the old man's words. The film industry has always been the king of business and box office first. Vigorously developing commercial genre films is the foundation for the prosperity of Chinese films. Art films can only be embellishments!"

"Since the director wants to make a movie, the first thing he faces is the audience. He guides the audience in different regions with different themes, rather than taking other people's filming things he likes! The audience likes comedy, and you insist on making tragedy. What is this not destroying the film industry? The director should consider his preferences and guide the audience on this basis. This is what a serious director should do!"

"If every director is like you, and doesn't think about how to make a movie every day, he will point fingers at all filmmakers, regardless of location or group of people, and use a subject that you like to be the highest standard, suppress others and raise yourself. Once no one likes to watch it, you will scold others for being tasteless, which is no different from a shrew!"

"I've always been very strange. Taiwanese films have always been a new wave, but in such a large Chinese region, from Taiwan to Hong Kong, mainland China, and Singapore, there are more than 100 film companies in total, but no film company dares to invest in you. Why is that?"

"I heard your opinion on the movie, now I understand, you are so artistic!"

Do you really think Zhang Junsheng dare not argue with others?

Respect for the elderly does not mean respecting the elderly and hooligans!

“…The Golden Horse Award will never be awarded to a director like you who only knows how to promote commercial films!”

Zhang Junsheng looked at him with some pity: "...I only now understand what Yelang is arrogant. Do you really think I care about the Golden Horse Award?"

"There are a few flies hitting the wall in the small world. They buzz, shrill, and sobbing. Ants are exaggerating the country by locusts, and how easy is it to shake the tree by storing the ants!"

He turned his head and left, regardless of Hou Xiaoxian's dark face - he was also the filmmaker Zhang Junsheng said that he could not attract investment...

The market is the most realistic. If you lose money, no one will ask you to make a movie. Even if you are famous, it is still the case.

The capital market has a profit-seeking nature!

Not to mention Hou Xiaoxian, even Kurosawa Akira is the same. He has a reputation and cannot attract investment!

After Kurosawa's box office defeat in "City Without Seasons", it is difficult to easily attract investment.

In the end, he went to the Soviet Union before returning to the film industry.

The same is true for Hou Xiaoxian. In 2001, he filmed "The Name of the Rose of Millennium Mambo" includes French funds;

2003's "Coffee Time" entered Japanese funds;

By 2007, he simply used French actress Juliet Binoche to shoot a French film "Travel of the Red Balloon", and of course the funds were from France.

During this period, he almost avoided overseas, using overseas money, overseas actors, and overseas markets to open up a path of survival overseas...

Why use overseas funds?
Chapter completed!