The only sun in Huayu

Chapter 2: A Song That Stunned the Audience
After his initial excitement, Han Sanping quickly calmed down.

He is about to become the head of China Film Group and will also be responsible for overseeing reforms in the market framework.

Not only in China, but if he wanted, he could name any A-list Hollywood star, and the six major Hollywood studios could send them to him in a package.

Han Sanping knew that it wasn't because he was so great, but because he had a huge film market of 13 billion people behind him.

If he can hold on, then he can be the one to make decisions.

Hollywood tycoon CEOs must pay their respects to him before visiting China.

If he can't hold out, not only Hollywood, but also those within the country will come after him.

There are too many interests involved in asset restructuring and market-oriented reforms alone.

Han Sanping admires Shen Shandeng because Shen Shandeng's articles are indeed well-written and point out the current dangers facing Chinese cinema.

Film industry professionals are indeed generally naive, foolishly treating the conflict between the enemy and ourselves as an internal conflict.

Leaving aside cultural security and ideology, from a purely market perspective, behemoths like Hollywood have long coveted the Chinese film market.

Could it be that since the 1990s, Hong Kong has been uncooperative, and Hollywood has been sending films to the mainland for almost free? Are these capitalist film companies out of kindness?
As the helmsman of China's film marketization, he has encountered far too many flashy but impractical proposals.

Shen Shandeng wasn't even formally trained; he was a self-taught professional, so it was almost impossible for him to master this project.

After being touched, Han Sanping simply nodded slightly.

Seeing the lukewarm response from the crowd, Shen Shandeng felt a little disappointed, but only a little.

The project "Brotherhood of Blades II: The Return of the Sun and Moon" would be very difficult to create, not only in this time of year, but also in future generations.

Shen Shandeng's aim was to whet Han Sanping's appetite with this project.

Then, taking a big step back, he secured a project with China Film Group, giving him the opportunity to make a movie.

It would be difficult to directly demand the latter, but it would be reasonable to raise the bar by first setting a project worth 100 million, and then set a project worth 10 million.

Since it's a waste for Hong Kong directors to squander the resources in the hands of China Film Group, it's better to nurture this new generation of directors.

Shen Shandeng responded to this with righteous indignation.

Of course, this does not mean that Shen Shandeng will easily give up the "Brotherhood of Blades II: The Return of the Sun and Moon" project.

On the contrary, he poured a lot of effort into it, and if it were possible to film it, he would definitely want to.

However, it's very, very difficult.

Shen Shandeng took a sip of water, observed everyone's expressions, suppressed his thoughts, and introduced the specific details of the project.

"The film is set in the late Yuan and early Ming dynasties to showcase the grandeur of the Ming dynasty's establishment."

“There are three main characters, including Han Chinese and Mongolians. I will not emphasize their ethnic differences, but mainly their economic attributes.”

"Under the Yuan Dynasty's tax farming system, the Han Chinese and the Mongols at the bottom of society were friends. In fact, the Mongols were exploited even more and became a unique breed of slaves."

"The main plot revolves around the three protagonists joining the intelligence agency that was the predecessor of the Embroidered Uniform Guard, and their upward social mobility during the dynastic change. The story firmly grasps the growth of the three protagonists, allowing the audience to empathize with them and experience a sense of exhilaration."

"In my view, our films today don't distinguish between commercial films and art films; they are just films that speak human language and films that don't speak human language."

"Although I want to show a grand vision, I won't impose it on the audience. Instead, I'll focus on the character's growth."

As he listened to Shen Shandeng's narration, Han Sanping flipped through the script, even though he had read it once before.

The script is well-written and meticulously crafted, and the metronome is even marked.

It's really interesting.

And they know how to avoid certain things.

Shen Shandeng continued, "Through the protagonist's growth, we witness the establishment of the Embroidered Uniform Guard, the establishment of the Ming Dynasty, and the transformation of the intelligence agency from the shadows to the open."

"In my depiction, the Embroidered Uniform Guard is different from the traditional villainous spies; rather, it tends to be seen as a positive role."

"It highlights their role in restraining the landlord and gentry groups who lacked a sense of national identity under the lenient tax-farming system."

Upon hearing this, Han Sanping wrote it down in his notebook.

This is a difficult situation to handle, and it's somewhat out of step with the current atmosphere.

If China Film Group were to produce the film, the director's leading role should be emphasized.

We can't let people misunderstand that we're using the movie to promote policies, otherwise it would be very alarming.

Shen Shandeng also stopped there, not going into more detail about the topic.

There are also many perceptions in "Brotherhood of Blades II: The Return of the Sun" that are different from the current understanding.

For example, the period from the late Yuan to the early Ming dynasty gives people a familiar feeling, but it's not because he's making a reference to the past.

This feeling wasn't limited to the late Yuan and early Ming dynasties; it also extended to the late Ming and early Qing dynasties, as well as the late Qing and Republican eras.

This narrative perspective is quite different from our current understanding of history.

There is a historical view that treats the path and system followed by the West as the only one, and then uses this conclusion to find answers in Chinese history, forcing a fit, namely, "capitalist sprouts appeared in the late Ming and early Qing dynasties".

This actually made the path of capitalism unique and singular, which was later corrected in textbooks.

However, Shen Shandeng's objective analysis seems somewhat out of place in the current context.

Ultimately, some people are unwilling to acknowledge that China has a high level of civilization and socialization, and that some traces of modern China can also be found in ancient China.

This would lead to the conclusion that the West's leading position in modern times was merely accidental.

Shen Shandeng glossed over the topic, glossing over this sensitive point.

"The first climax of the plot I designed is that the three main characters join the intelligence department and Zhu Yuanzhang's team, which changes their personal fate and allows them to say goodbye to their exploited lives."

"The second climax is that the minor figures who were once looked down upon by the gentry have been integrated into the torrent of the times and have played a role in the unification."

"The third climax was the establishment of the Ming Dynasty, the capture of Dadu (Beijing), and the unification of the north and south."

"The fourth climax is the restoration of Han Chinese clothing and customs in the northern regions where Hu (non-Han) customs were prevalent, demonstrating the great unity of the Chinese nation as one family."

"Then the intelligence agencies that operated in the shadows moved into the open, and the Embroidered Uniform Guard was officially established."

"The underlying emotional point is to praise the Ming Dynasty and to demonstrate the pride and confidence of the Chinese nation by restoring the traditional Chinese clothing."

"As long as you create four climaxes, the film will definitely be good!"

"A blockbuster like this, with a budget of only 100 million, is such a great deal!"

After Shen Shandeng finished speaking, he quietly observed everyone's expressions again.

He stood at the front of the conference room, with his junior colleague Zhou Qifeng helping him project the image.

The meeting room wasn't large, but it didn't feel cramped; it was a nice room in the Beijing Film Studio's office building.

The equipment was complete; there was a TV in the corner, a projector next to it, and a VCD player.

When Shen Shandeng announced a production cost of 100 million yuan, everyone who had already read the proposal was shocked.

"A film debut? How dare you!" Han Sanping's secretary thought to himself.

The head of marketing at the production department questioned, "This project sounds good, but a budget of 100 million is a bit high, and you don't have any successful experience."

Shen Shandeng quickly explained, "I have prepared a very detailed production cost plan. If we follow the plan, we can definitely do a good job. In my opinion, the main job of a film crew is management, and that is what I studied."

Han Sanping, who hadn't said much, was a little disappointed.

Shen Shandeng was right; the Chinese film market is currently in a slump.

Zhang Yimou's "Curse of the Golden Flower," Chen Kaige's "The Promise," and Feng Xiaogang's "The Banquet" are among the period blockbusters that have suffered both critical and commercial failures.

He pushed for a blockbuster strategy, but faced a crisis.

There is an urgent need for new ideas and new talent; the mature formula of period dramas also needs to find new avenues for development.

But he would prefer Chen Kaige to come up with such a project.

Unfortunately, after "Steamed Bun," Chen Kaige was hurt and went to lick his wounds.

As for Shen Shandeng, he has no work experience. Unless he's crazy, it's impossible to entrust such a big project to him.

Han Sanping was optimistic about the project, but Shen Shandeng needed to hand it over.

Han Sanping said, "Have you considered taking this script out and finding a famous director to film it?"

Isn't this ruined?

Shen Shandeng bluntly stated, "Cultural workers must be cultured. They must understand what our culture is, whether horizontally or vertically." He then countered, "Director, when you use directors from Hong Kong, do you genuinely believe they can make good films, or is it because we lack talent?"

"My narrative is full of national pride. Who do you think could film it?"

Han Sanping fell silent.

This kind of narrative film is probably only something that a young person like Shen Shandeng could make.

Are we counting on fifth-generation directors, or on Hong Kong directors who make films about triads and gangsters?

Or are those sixth-generation researchers who were fooled by the New Wave theory?
tired.

Han Sanping was feeling a bit tired.

After counting, I really couldn't find a normal person.

How should I talk to my boss?

The production manager in charge of content emphasized, "Let's discuss the issues, Shen. Don't belittle others. It's not good for you to have this problem! Being capable doesn't give you the right to be arrogant!"

Shen Shandeng immediately admitted his mistake: "I'm sorry, I was just telling the truth. If I offended anyone, I apologize."

Han Sanping didn't take it to heart; he thought it was normal for Shen Shandeng to be young and impetuous.

Every talented person has a temper.
However, Han Sanping's interest was greatly diminished by the refusal to relinquish the project.

If it's about resources, Han Sanping can find a way to solve it. He also managed to get the $60-70 million he made from "Red Cliff".

The theory and planning are excellent, and it would be truly impressive if the film could be shot according to plan.

However, Han Sanping himself has worked as a director and producer, and he knows very well that the difficulty lies in whether or not it can be done.

Moreover, Shen Shandeng was a complete newcomer and had no control over the production team.

The scene became quiet for a moment.

Shen Shandeng disliked waiting, but at this moment he had no choice but to wait.

I couldn't help but look out the window.

The windows were old-fashioned steel-framed windows, and through the dusty glass, one could see the bare branches of the sycamore trees swaying in the cold wind outside.

Let's turn our attention back indoors.

At one end of the conference table, against the wall, stood a somewhat old filing cabinet, its glass doors crammed with files and scripts.

Several faded posters of classic films from the Beijing Film Studio hang on the wall, like silent witnesses, observing this meeting that may determine the future.

The walls were an old-fashioned light green wainscoting, with the upper half painted white.

Han Sanping and others sat on a long, dark brown conference table, in several wooden chairs with long towels on the backs.

The desktop bears the marks of time and the scalding marks from teacups.

The air was filled with the faint smell of laundry detergent residue from towels, cigarette smoke, and the dryness unique to the heating system in northern winters.

Seeing that Shen Shandeng was unwilling to let go, Han Sanping felt he needed to reconsider, or perhaps train Shen Shandeng first. He was about to speak.

Shen Shandeng seemed to have made up his mind, breaking the silence with a steady and powerful voice: "Factory Director, leaders, the spirit of a film lies not only in its visuals, but also in its soul. In order to convey the spirit of 'Brotherhood of Blades II: The Return of the Sun' more directly, I have prepared a theme song, which is also a spiritual footnote to this film."

"But this song of mine is also a promotional point for this play, so I need to ask the leaders to keep it a secret."

Han Sanping became interested and said, "I forgot, you're also a talented scholar. Come, we're all ears."

He decided he might as well give it a try.

But he had already made up his mind that if Shen Shandeng didn't let go of this project, then it would have to end here.

Shen Shandeng was unaware of what everyone was thinking, and he signaled Zhou Qifeng to take action.

Zhou Qifeng immediately took out the prepared USB flash drive from his canvas bag, inserted it into the laptop's USB port, and turned on the media player.

"This song is called 'Ode to the Reopening of the Ming Dynasty,' also known as 'Heavenly Questions.'"

As soon as he finished speaking, Shen Shandeng pressed the play button.

The prelude is a grand and desolate set of chime bells, accompanied by the deep sound of war drums.

Then came the distant sound of the xun (a type of ancient Chinese wind instrument), as if it came from the depths of history.

Then a tender children's chorus sang, transcending time and space.

Sun and moon, why do you hang on the roof?

Sun and moon, why do you give your light away in vain?
Sun and moon, why are you sometimes blazing and sometimes cool?
Sometimes together, sometimes in hiding
Sun and moon, have you ever been stained with the frost of Jinling?

Sun and moon, have you ever shone your light on the northern desert to shoot down the heavenly wolf?

Sun and moon, have you ever witnessed Hongwu wielding his sword to restore order to the nine directions?

Broken armor transforms into spring river

The Ming Dynasty continues its glorious chapter!
The glorious sacred flame illuminates the eight directions!

The Ming Dynasty, the Ming Dynasty, its red flags are fluttering in the wind.

Summoning the Kunpeng Bird

Spreading wings to the heavens

Sun and moon, cast iron armor or a dragon spitting flames, which is more powerful?
Sun and moon, Yongle Encyclopedia and Zheng He's treasure ships: which is more dazzling?
Sun and moon, what bloodline has saved the world since the Tang, Yu, and Xia dynasties?

Let the mountains and rivers be rebuilt!
May our land be free from sorrow!
Sun and moon, sun and moon, does that palace hold the answer?
Sun and moon, when will that dragon return to the mortal realm?
Sun and moon, when will the rooster crow its unfinished poem?
With resounding voice, we soar towards the Milky Way!
The Great Ming Dynasty, the Great Ming Dynasty, the Heavenly Gang

The glorious sacred fire illuminates the eight wastelands
The Ming Dynasty, the Ming Dynasty, this land has been rejuvenated.

The Red Sun Shines Over China

May you be bathed in the morning sun for eternity.

The Great Ming Dynasty, the Great Ming Dynasty, the Heavenly Gang

The glorious sacred fire illuminates the eight wastelands
The Ming Dynasty, the Ming Dynasty, this land has been rejuvenated.

The Red Sun Shines Over China

May you be bathed in the morning sun for eternity.

Great Ming Dynasty! Hey! Great Ming Dynasty!
The lyrics are revealed little by little as the children's voices sing.

The conference room fell silent again.

This time, there was complete silence.

The drumbeats and strings seemed to fade away, but the heart-stirring children's voices lingered on.

It was so innocent, so pure, yet so magnificent, so stirring.

A strange sense of contradiction exists; it is a children's song, yet also the final battle cry of a war.

Han Sanping, who was sitting in the main seat, didn't pay attention at first, thinking it was just an ordinary song. But when he came to his senses, he had been ambushed.

Oh no, I've got sand in my eye!
They ambushed him, an old comrade in his fifties!
Gradually, she closed her eyes.

After a while, when she opened her eyes again, her eyes were slightly red and her voice was a little hoarse.

"Come on, Xiao Shen, let's do it again."

　Everyone's imagining the Spring Festival Gala song "Jade Plate," but I can't create that kind of AI music, so I can only imagine it. I've put "Jade Plate" in the bonus chapter.

　　I adapted this song after listening to "Jade Plate" during the Chinese New Year. I was in a bad mood at the time and thought I would start writing it as soon as I started my new book. I wrote for another two months, but I couldn't keep it up and ended my previous book early. I guess I missed the peak of its popularity.

　　I was planning to use the new book later, but I've put it at the beginning.

　　Thank you all for your support.

　　To reiterate, I just want to write a story from a normal perspective; I don't want to challenge anything.

　　The next update will be at the previous time, 12 PM. (That's all for today.)
　　As one reader aptly put it, as long as something exists and continues to exist, that's enough.

　　I've cut all 100,000 words from this book, and I'm quite exhausted. I'll write slowly now, and I can't write fast anymore. Please read at your own pace.

　　The previous chapters will be deleted in a couple of days, so it won't affect your reading experience.

　　
　
(End of this chapter)