Chapter 377: Attitude and Choices
After an impressive premiere, while people pursued various artistic styles and film depths, a truck driver unrelated to art showed that there is a kind of film that has little to do with art but attracts more attention than art films.
After the premiere, Lynch didn’t leave imdiately. The Foxes had arranged for so well-known docuntary directors and screenwriters in the industry to et and talk. What Lynch hadn’t expected was that Jas was also there.
Jas looked slightly awkward when he saw Lynch. He opened his mouth to speak but glanced toward the Foxes nearby. In the end, he called out Mr. Lynch, not Boss.
That simple form of address revealed Jas’s current status—he no longer saw Lynch as his direct superior at work.
“I didn’t know you had left. Cook never told ,” Lynch said without much reaction. “Are you working at Fox Films now?”
Jas’s embarrassnt faded as Lynch’s calm attitude eased so of the tension he felt from what he perceived as a betrayal. He nodded. “Yes, I’m sorry…”
Jas’s move from Cook’s team to Fox Films was partly because of his unique talent in screenwriting. He wasn’t a rigid academic type; he always sought to show depth through subtle details.
A truck driver had no depth—if anything, that depth belonged to the road girls, not them.
Jas’s scripts had a strong personal style, but the films didn’t get great reviews, possibly due to directors and editors.
Everyone knows there are countless good stories, but good directors are rare across the federation. Directors outrank screenwriters, and editors also hold high status.
Seeking a breakthrough, Jas began learning to beco a good director, which left him little ti for trucking. The Foxes hoped he would switch to Fox Films to help them. After two talks with Cook, Jas quit the trucking team.
He had his reasons. Being a truck driver, no matter how well he did, ant ending up like Cook—middle managent with a salary barely better than drivers, spending life in that role.
That wasn’t what he wanted. He wanted to turn his ideas into reality, make enough money to put his mother in a big house. To do that, he had to earn more, and faster.
Joining Fox Films was a good choice. The Foxes were just starting out, building their team. Joining early ant becoming a founding mber, with resources likely favoring him and a high chance of success.
What made him uneasy was feeling a bit guilty toward Lynch—like it was a betrayal.
But Lynch seed unconcerned. He patted Jas on the arm. “I’m also a major shareholder in Fox Films. I’m still your boss. Don’t think changing workplaces ans escaping !”
He spoke jokingly, easing Jas’s nervousness. “Sorry, boss, you know…”
Lynch cut him off. “People need ideals, Jas. I’m glad those around
find their own dreams and the right path to pursue them. When you’re ready to direct alone and need support, call .”
Jas was touched. Though Fox Films wasn’t big yet, internal power struggles were already surfacing—mostly about project approvals.
Which projects get funding, which receive attention—screenwriters and directors competed fiercely. Having Lynch’s backing would smooth Jas’s future in the company. ????Ν????Е??
At that mont, the Foxes and two middle-aged n with ssy beards and baseball caps walked in.
In recent years, in the Lardimore film circle, a full beard had almost beco the director’s trademark. Without it, you lost points in negotiations. Everyone started growing beards.
“This is the chief director of Minority,” Mr. Fox introduced the first bearded man—famous but controversial.
Minority was the most influential docuntary in the federation in recent years, exposing the hypocrisy of the federation by revealing immigrant and indigenous life in detail.
Because of it, many realized how ugly and evil the federation was. Except for a few wealthy investors and researchers, labor immigrants and natives faced despair.
Discrimination, humiliation, indifference, violence, cri—almost every social ill struck them, delivering a harsh slap to the federation’s claim of equality and freedom.
It was said so people smashed the director’s car and sent him bullets.
Despite this, he gained fa. After surviving those troubling tis, he was well-known, though ironically, he hadn’t gotten new work since.
When Mr. Fox discussed needing a docuntary director within their circle, this man heard about it and called that sa night, pleading for consideration.
The other bearded man was also well-known but in a different way. He excelled at portraying the federation’s positive side, making feel-good social docuntaries like Federal Families.
He followed six families of different classes to show how they solved the sa problems with varying reactions—joy, anger, sorrow, and happiness. Sotis it felt like a TV drama, but it was docuntary.
Also present were several screenwriters. Mr. Fox casually ntioned their nas without notable works.
Screenwriters held low status unless they were big-na originals, but even then, their rank wasn’t high.
Every year, studios receive thousands of scripts, many excellent. When a big company liked one, they’d buy the filming rights cheaply.
So even with notable works, writers rarely profited beyond a few bonuses for sequels. Asking for royalties or shares was a joke.
After introductions, they sat down, and Lynch shared his idea. “I plan to fund a docuntary about federation citizens in Nagaryll, showing their struggles overseas and eventual achievents from multiple angles.”
This was the foundation; everyone nodded and noted keywords: overseas, struggle.
Soone raised a question. “Mr. Lynch, why Nagaryll and not places like Gephra?”
It was the director who had previously exposed the federation’s flaws, asking a sharp, realistic question.
“Without your experience and recent events, people might never pay attention to Nagaryll,” he said. “Forgive my bluntness, but I don’t even know where it is on the map. Yet most federations are interested in Gephra.”
“Culture, economy, military, politics, society—everything there fascinates the federation. A docuntary about federation citizens in Gephra might have a much bigger impact.”
The director was right, but Lynch didn’t want to encourage federations to go to Gephra, where they wouldn’t have conveniences or support.
He couldn’t say this directly, so he expressed it differently: “That can co later. For now, our contact with Nagaryll is frequent. Once we establish diplomatic relations, significant capital will flow in to jointly develop the country with the local governnt.”
“People know nothing about Nagaryll, so we need to give them so understanding. This will help find paths in the coming great era.”
Mr. Fox sighed admiringly, “Great vision, my friend Lynch!”
Lynch smiled and nodded, “Thank you for your praise, Mr. Fox.”
No one pressed further. Lynch continued sharing ideas. These people were truly renowned for a reason. They quickly outlined practical content.
For example, which angles the docuntary should explore. Lynch was particularly interested in the progression from illegal → legal → above the law.
This idea ca from the director who had exposed the federation, who said that if people want to understand Nagaryll, they need to see the real Nagaryll.
Going to an unknown place to develop, struggle, and fight isn’t for grand ideals or lofty sentints—he lightly mocked Lynch and Fox’s earlier mutual flattery, which they both ignored.
He believed that if people were truly going to watch the docuntary, the best way was to pack a bag and buy a ticket to Nagaryll, showing an authentic “exploitative society.” It would reveal how to make money there—how to earn what they couldn’t make back in the federation.
This wouldn’t even be a docuntary about federation citizens living and working in Nagaryll. It would be a docuntary on how to quickly make money in Nagaryll.
That guy was truly a genius.
So Lynch chose the other director.
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