The Best Director

Chapter 236: The Biggest Stumbling Block

“There’s not much of a problem with art films; we participate in festivals every year and win awards,” hearing his name called by the host, Zhang Yimou, sitting on the right of the stage, raised the microphone with a serious smile, “But times have changed. In the past, it was enough for us to focus on a theme and insist on artistic creation. Today’s young people prefer Hollywood; they like Director Wang’s movies. Our works seem outdated and unfashionable to them.”

Wang Yang responded with a smile, Feng Xiaogang, with his arms crossed, turned his head to look at Zhang Yimou; meanwhile, the young people seated around were nodding silently. The market no longer favors rural films. Impacted by Hollywood blockbusters, not only do audiences dislike watching them, but even filmmakers are reluctant to focus on rural themes. With the industrialization of film, there’s suddenly a clear path forward—ancient costumes, martial arts, action, romance, science fiction…

“If young people don’t like watching your movies, then there’s no point,” Zhang Yimou said, gesturing with his left hand, “You can’t just cling to your art and admire yourself. Time won’t wait for you. While you’re still lost in your high and lofty ideals, the era has passed you by. Now we emphasize achieving a unity of thought, artistry, and entertainment—the commercial films that everyone talks about.”

Zhang Yimou paused, pondering how to transition and make a commercial hit that could surpass the success of ‘Hero.’ He still had a lot to think about. Comparing to Hollywood? He continued, “The gap between mainstream Chinese commercial films and Hollywood is comprehensive. Film technology, storytelling techniques, scripts, acting… Beyond the films themselves, there’s also promotional packaging—all areas in which we are still feeling our way across the river by groping for stones.”

“It’s not just China. Hollywood is the ‘enemy’ of global cinema. Now all the traditional European film powerhouses have had most of their market share taken over by Hollywood movies. They’re all retreating step by step, discussing how to ensure the healthy development of national and local films.”

“Hollywood is like the NBA; even a world team might not beat them,” said Zhang Yimou, his tone casual but seemingly self-deprecating. Feng Xiaogang nodded, Wang Yang kept a poker face. Zhang Yimou continued, “China’s film industry has just begun; we can’t catch up with Hollywood overnight. We should recognize this gap, understand it, and then gradually narrow it.”

Looking at the young alumni below, Zhang Yimou finally said, “With our population and economic development, the future of our film market is sure to be among the global leaders. I believe in the hope that rests in our youth. In the next 10, 20, 30 years… we will surely see a group of outstanding young directors emerge, who will hold their own against Hollywood with their excellent work and gradually take over overseas markets, facing the world.”

Applause! A resounding clapping suddenly filled the multifunctional hall, becoming deafening. The students of the Beijing Film Academy were all smiling confidently, clapping hands—this was called having substance! In touch with reality!

Listening to the applause, Wang Yang felt quite happy; at least the young people in the industry were confident and driven, which was good, wasn’t it? But to close the gap in all aspects, it would still take one step at a time.

As for Hollywood’s “domination of the world,” although he was part of it with a rapidly growing film company… he felt very helpless and unwilling to see such a pattern in world cinema.

Such a layout is extremely unhealthy. Each country has its cultural character and its cinema should flourish in diversity. Take for example, Hong Kong cinema, which has a completely different flavor from Hollywood with its gangster movies and slapstick comedies, yet now it too has declined.

Beyond the hope that as a filmmaker and an ordinary viewer, he saw a healthy bloom of diverse films, as a person of Chinese heritage, Wang Yang truly wished that Chinese-language cinema could become stronger, whether in mainland China, Hong Kong, or Taiwan, and make its mark on the world. Broadly speaking, he even prayed that this land would soon shake off all fetters and grow strong, winning greater voice and fairer treatment for the global Chinese community.

But what help could he provide to Chinese cinema? Never mind the “authorities,” the film industry in every place has to rely on that place’s overall foundation, which includes education, concepts, environment, market… It’s up to the local filmmakers to develop, and only native filmmakers can truly capture the local flavor and spirit of the age.

Let him make movies with the backdrop of mainland China in the 90s or the present, it’s not that he has no concept of it, but he can’t quite grasp the feeling. Moreover, a director is just a director, and a producer is just a producer; without a good creative team, a blockbuster cannot be completed.

If he wants to make such a movie, like the still-in-preparation ‘Kung Fu Panda,’ the whole creative team is still researching and understanding traditional Chinese culture, absorbing Chinese and Asian members… Production will only begin when every creative role is fully prepared.

Just one question: what did the young people born in the 80s in mainland China grow up playing with? What shared memories do they cherish? What common slang do they share? Wang Yang doesn’t know, and his creative base wouldn’t have a clue either. Those who understand this land best are the people who grew up here.

But regardless of Hollywood or not, filmmaking is the pursuit he’s dedicated his life to. It’s inconceivable to think, “To avoid helping Hollywood films dominate the globe, I’ll stop making films, and even if I do, I won’t distribute them overseas.” What kind of fool would that be?

However, even though he’s not Superman, Wang Yang believes there are still some things he can, should, and is happy to do.

Just like with ‘MIT-21-TEAM,’ he introduced a new Chinese male lead image to global cinema screens—wasn’t that great? And with the upcoming project ‘Firefly,’ he intends to integrate more Chinese elements, to bring the aesthetic beauty of the East into the realm of science fiction.

Beyond himself, Wang Yang hopes Hollywood, the center of world cinema, will witness more Chinese faces and more market-established Chinese directors and producers. As the numbers increase, the influence will naturally form. And what he can do is to use his financial resources to ensure that Firefly Pictures provides a good environment and more opportunities for people like Lin Yibin, James Wan, Ang Lee…

Meanwhile, if there are any outstanding films from the Chinese-speaking regions, Firefly Pictures will also strive for their overseas distribution rights, to bring them to North America, to the world.

“Director Zhang put it very well,” the bespectacled male host spoke after the students’ applause had tapered off, looking at the three of them and asking again, “Since there’s a gap in all aspects of film technology, wouldn’t it be better for us to stick to what we know best? Director Ang Lee’s ‘Crouching Tiger, Hidden Dragon’ won the Golden Globe Award for Best Director and Best Foreign Language Film, along with the Academy Award for Best Foreign Language Film. Then Director Zhang made ‘Hero,’ and is now preparing ‘Ambush from Ten Sides.’ Could Chinese cinema enter an era of historical martial arts epics?”

“I know Chen Kaige also has the intention of shooting a historical costume film,” Feng Xiaogang said, holding the microphone. Mentioning “Ambush from Ten Sides,” Zhang Yimou commented, “For me, wuxia films are a challenging genre; they can showcase your imagination and test your creativity. In fact, when we were filming ‘Hero,’ we were already writing the script for ‘Ambush from Ten Sides.'”

“I hope it is completely different from ‘Hero’ in theme. As for what direction, let’s not talk about that for now,” Zhang Yimou said with a simple-hearted smile. ” ‘Hero’ was our first attempt. This time with ‘Ambush from Ten Sides,’ we are better prepared, so we’re up for the challenge again.”

The students in the audience broke into applause again, and the male host turned to Wang Yang, who was drinking mineral water, and asked with a smile, “Director Wang, what do you think?”

Wang Yang screwed the cap back on the water bottle and set it down before picking up the microphone and saying, “I believe that Chinese culture isn’t solely about historical costume and martial arts, although it is representative and unique. But if everyone blindly follows this trend, there’s… great danger in that.” He glanced over at a smiling Zhang Yimou and added with a laugh, “I’m not talking about Director Zhang. I’m just saying that the industry needs more diversity; it needs to do well with its own culture. Movies sometimes do divide along national lines, or let’s say audience markets differ.”

The media journalists seated below had already started scribbling in their notebooks, “Majestic Yang warns Zhang and Feng against blindly following historical martial arts trend, seeing great danger.”

“A film that Chinese audiences love and find moving or hilarious might be met with indifference by American viewers. Why?”

Shrugging his shoulders, Wang Yang looked earnestly at the students in front of him and continued, “Because audiences need to grow up and live within the cultural environment presented in the movie in order to truly empathize. This is a cultural difference. What always attracts people is their own native culture; if you do well, naturally there will be appreciation. America does not make films about China, and China should not make films about America.”

“I think what Chinese cinema needs most right now is to appeal to Chinese viewers. Forget about those foreign awards,” said Wang Yang earnestly, not looking at anyone, but the last words were meant for Zhang Yimou. He planned to discuss this privately with him later.

From their several encounters, he could tell that Zhang Yimou seemed to be very eager for awards like those from Cannes and the Oscars. Seeking recognition is very normal but one mustn’t become obsessed, because the judges’ criteria are influenced by cultural differences. And one mustn’t aim for these awards right from the start of the creative process, just like Ang Lee said, “You need to feel the truth within your heart.” The reason ‘Hero’ feels very hollow is because it lacks genuine emotion.

“Director Wang, could you give us an evaluation of ‘Hero’?” the male host sensed a good topic, but it created a slightly awkward atmosphere. The media reporters in the audience, though, were instantly reinvigorated, as criticizing ‘Hero’ had become somewhat trendy. Jin Yong said, “It was absurd.” Chen Kaige commented, “It’s all over the place, completely hollow.” Feng Xiaogang had said earlier before the Oscars, “It lacks tension and depth.”

Zhang Yimou maintained his simple-hearted smile; Feng Xiaogang switched the position of his crossed legs, continuing to look aggressive; Wang Yang glanced at Zhang Yimou, and under the expectant gaze of the audience, he said earnestly, “‘Hero’ has very beautiful cinematography, colors, and brightness, which are stunning. In terms of film techniques like props and makeup, it is top-notch; however, its story structure is somewhat disorganized, which is its weak link.”

Wang Yang did not wish to continue the topic, which had a tendency to criticize individuals, and said, “I’d like to talk about storytelling methods. Perhaps due to the lack of a rating system, Chinese films seem to cater to the entire market, but that’s impossible…”

Listening to the young grandmaster director talking about “how different audience groups have different needs” and “editing can give a film its magic, transforming an ordinary story into something fascinating, with suspense films like ‘Memento’ setting the standard,” Zhang Yimou remained expressionless; Feng Xiaogang held back, longing to spew all the bitterness in his heart.

He secretly prided himself on understanding commercial films better than anyone else in the country, knowing exactly what the audience wanted. But so what? Many things, he knew, could be improved upon, but he simply couldn’t act on them, not because it wasn’t doable, but because he wasn’t allowed.

It was like the current planning for ‘A World Without Thieves’; he didn’t want there to be a police officer on the train—better to shove that character into the luggage compartment and let them fend for themselves. Yet the current script had added a robbery and a police officer scene, making it all confusing; what room was there left for commercial art? To speak of art meant that future censorship wouldn’t pass, and without compromise, all those films could just rot.

A rating system!? Dream on! In his opinion, ideological censorship is the greatest stumbling block and problem for the development of Chinese cinematography and culture.

Time passed amid conversation and applause. The mineral water bottle gradually emptied, and then there was the intermission… After nearly two hours of discussion and dialogue, the session finally came to an end with the enthusiastic applause of the students and media journalists.

After leaving the multi-purpose hall, Wang Yang spoke privately with Zhang Yimou and Feng Xiaogang for a while, urging them, “Never compromise just for the sake of awards; that way, you will lose everything. Neither side will appreciate it.” Whether they took his words to heart or not, Wang Yang didn’t know. And just as he was about to leave the Beijing Film Academy, Susan McCarthy received a request from the school’s administration. She said, “There’s a female acting student who is your fan. She hopes to meet you and get an autograph and a photo together.”

“Thank her for me, but I won’t meet her. No one has privileges.”

On the sunny campus road that afternoon, flanked by bodyguards, Wang Yang headed straight for the parking lot. After the discussion session had ended, he had chatted and laughed with the students of the Academy and took group photos and autographs. Now, the request for a private meeting was likely because the girl had some background, and his mood at the moment was quite adverse to all this, especially within the college campus.

“Mr. Wang really can’t see her for a minute? That child admires him a lot,” Susan McCarthy conveyed Wang Yang’s decision to her agent over the phone, hearing regret and reluctance on the other end. She glanced at Wang Yang, not far ahead, and said, “No, he’s a bit tired, he doesn’t want to meet.”

Soon, a black sedan slowly left the Beijing Film Academy campus, causing a burst of dazzling flashes from the cameras of the media reporters and fanatical fans waiting at the gate; some fans also ran chasing after the car, shouting loudly, “Wang Yang, Wang Yang!!—”(To be continued, please visit for more chapters, support the author, support genuine reading!)

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