At this mont, the young director also issued a statent: The movie is my life. I speak through movies. Other than that, I don’t want to say anything else.
The young director’s high stance won widespread favor. Only Qin Miaomiao, seeing off the young director at the airport, felt a little regretful, "Are you really leaving?"
The young director really intended to leave. Although the fa and glamor of the entertainnt industry attracted him, what he told the vast number of netizens was also true.
The movie is his life, and he wants to speak for himself through movies.
Qin Miaomiao watched as this young, sharp, sensitive, and talented director walked step by step into the check-in gate, silently wishing him well in her heart.
Although the young director left, the comnts on Qin’s Film and Mo’s Film from netizens did not stop there. As ti passed, new headlines erged, and as the hype around the two films dwindled, those involved in the verbal battles over the new films had long forgotten the matter. After all, cases like Xiao Zhang and his boyfriend breaking up over a movie were rare.
Several years later, a docuntary film based on patients of pneumoconiosis appeared before the public, touching countless people. The young director won the Pulitzer Prize in Photography for this film and was included in the film history textbooks. His na "Old Monster Jiang Liu" beca a legendary figure.
When the public discussed Old Monster Jiang Liu, there was no longer a smokey atmosphere in their words, but a vast and compassionate outlook on the future of humanity.
So people specifically studied him and found his real works to be surprisingly few: only one martial arts historical film from many years ago. And in that film, the prototype and humanistic care of this docuntary film were already present.
At that ti, when Xiao Zhang heard the na of Old Monster Jiang Liu, he recalled the process of breaking up with his forr partner in his youth and couldn’t help but smile wryly. Youthful zeal seed both laughable and endearing.
When Old Monster Jiang Liu’s third movie was released, netizens left ssages one after another: All these years, we owe Old Monster a movie ticket.
The successful young director wrote a moir in his later years, ntioning the benefactor he t in his younger days, Qin Miaomiao.
Translated into Chinese—
She is an extraordinary woman beyond words. Her list of excellencies already contains enough elents, yet I constantly want to add more beautiful qualities to it, although I worry that words are too shallow...
This woman, with her gentle, insightful gaze, opened a new world door for an impoverished artist. I can responsibly say that it is precisely because of this woman that I have achieved what I have today, bringing the wide attention of pneumoconiosis patients to the public. She is the gospel of the new world.
...
This magnificent million-word opus, due to its simple words, clear logic, and inspirational content, was abridged by dostic translators into a hundreds-thousand-word Chinese-English dual edition extracurricular reading material for middle school students. Its influence is extrely far-reaching.
Of course, this is all hindsight.
Now, the box office battle between Mo’s Film and Qin’s Film at the premiere has already ended.
Mo’s Film, due to its large advertising investnt in the early stage, dominated the box office in that season. Qin’s Film closely followed with a gap of only two hundred thousand.
Although Mo’s Film ranked ahead in the total box office data, insiders all have a scale in their hearts. Mo’s Film had a high investnt but not a correspondingly high return, and even barely breaking even was considered lucky. In contrast, Qin’s Film had a small cost investnt and did not spend much on additional advertising early on. Achieving second place was already a big profit. Moreover, Qin’s Film was well-crafted, attracting interest from many TV stations, cinemas, and online platforms to purchase its rights.
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