~： Seventy-three - Pulitzer Prize?

In the hotel lobby, cups were being exchanged, and Wayne, under the leadership of Jeff Robinoff, frequently shook hands and drank.

If anyone in this hall knows film critics best, it must be Wayne in this day and age. He knows what kind of stuff these people are. Don't look like they are all so tall, but in fact they are all leeches lying on the film industry.

This is a public relations feast initiated by Warner Bros. Both Warners and these film critics understand the rules. Now that you've embraced the studio's PR, keep your pencil in check and don't scribble in the newspaper.

Wayne understands that this is the best time for film critics to live. When the Internet age arrives, there will be more channels for movie fans to obtain film information, and the influence of film critics will only stay in the group of older movie fans, and will not be affected. The choice of fans.

"Wayne, this is the Pulitzer Prize winner, the famous film critic Mr. Roger Albert." Jeff took him to a middle-aged man with glasses and some baldness.

"Hello, Mr. Albert! I'm Wayne Greenberg." Wayne reached out and shook his hand, then looked at the man next to him.

"Hello, I'm Kenneth Turan." The other party extended his hand without waiting for Jeff's introduction.

"Hello!"

Roger Albert held a champagne glass and looked at the young director in front of him. "Director Greenberg!"

"You can call me Wayne! Mr. Albert."

"Okay, Wayne. I've met a lot of talented directors, and you're the most special one, not because of your age, but because of your style of filming."

Roger Albert leaned on the table behind him and stared at the tall and handsome young director, with a didactic tone in his tone.

"As far as these two films are concerned, you need to use the camera to advance the plot, the construction of the film frame, and the dark style of playing with humanity, all of which are very unique." In his voice, there is a serious meaning, his face There was also a pity look on it.

"You shouldn't pursue large-scale **** scenes too much, you should put your mind on other parts of the film. You did a very good job before the end of "Get Out", but unfortunately you didn't dig a few main characters in depth in the end In the heart of the man, the whole story ended with a **** killing."

In the sound of Roger Albert's persuasive teaching, he did not notice that Wayne's face became more and more ugly.

If there are no scenes that release emotions, do you still need to dig deep into the heart of the character? So what's left of this movie? A dark and long-suffering film that makes people sleepy and depressed.

What's the difference between Te and those **** art films!

At this moment, Wayne felt that the film critic really hoped that he would do that in the future, increase the depth of the film, and strive for an early award. Either he is not at ease and is digging a hole for him to want to pit him.

"If you do what I say, the film will be full of extraordinary artistic accomplishment!"

After he finished speaking, Wayne no longer had the patience to argue with him, and the two were not on the same channel at all.

"Mr. Albert, I haven't stabilized my shooting style, and no one can guarantee the future of the film." Just as Wayne was thinking about halfway through his mouth, he was given the Pulitzer Prize again by the Pulitzer Prize winner. interrupted.

"Trust me, Wayne! If you make a movie like I said, you will definitely get a lot of professional word of mouth."

Professional reputation? That's not up to the critics!

Everyone in this circle knows that these famous special film critics are all out of the market. When they are not subject to the public relations of the production company, all the film reviews issued are contrary to the opinions of the public fans.

Only in this way can they highlight their distinctive artistic accomplishment. Although Wayne has always wanted to form his own film style, he has also been working on it. But apart from the film art of the masses, what kind of art is it?

These film critics usually behave like instructors, constantly guiding the public to choose movies. That is, in this era, they can still be arrogant for a few days.

When the Internet age arrives, popular movie fans will soon discover one thing, how can a film critic group of several hundred people guide hundreds of millions of people in North America to choose movies?

Fans like commercial films, so they oppose commercial films. The sleepy literary films that movie fans can't watch are praised by them as elegant art.

To put it bluntly, in their eyes, what most people like must be vulgar, and only a few people like them can represent great film art!

Now, there are still six giant companies in Hollywood. Which one dares to make art films that are considered elegant in the eyes of film critics? Except for the purposeful award-winning works, the rest are all commercial films aimed at the public.

Just like this time Warner invited Roger Albert and the others, no matter what the production of "Get Out" looks like, they will praise them in tomorrow's newspaper column just because of the so-called "Escape". PR fees.

So what kind of thing is this? They're just talking about it, just a means of promoting the film. This is a group of leeches lying in the film industry, sucking blood and advocating art at the same time.

In a word from the other side of the Pacific Ocean, that is, not only became a bitch, but also set up a torii.

Wayne dealt with the Pulitzer Prize winner with a few words, and wanted to turn his head and leave here. He was afraid that he would slander him for a while.

"Director Greenberg!" Kenneth Turan, who had been watching, stopped him. "Let's go over there and sit down and talk for a while?"

"sure!"

Kenneth Turan had been observing just now, and when he saw Wayne's face slowly turning ugly, he almost laughed. He has a different personality and critic style than Roger Ebert, sometimes thinking the exact opposite.

It's just that Roger Albert became famous earlier than him, and he is a Pulitzer Prize winner, and his influence in North America is greater than him.

And one more important point, Kenneth Turan is also a native of Los Angeles Jewish! Naturally, he was very fond of Wayne.

"Director Greenberg, don't give up your own style. Even the most famous film critic may not be right. You must know that in our group, there are no famous directors, and you may not know the fans. need!"

The other party's first sentence made Wayne stunned. He thought that all film critics were as arrogant as Roger Albert.

"Mr. Turan, in fact, Roger Albert is right in something. If he made a film like he said, he would at least be closer to the Oscar statuette!" Although he spoke very seriously, everyone could hear him. Out of the joke.

"Don't worry, Wayne. Your production style is much simpler than those pure visual effects commercials!" Kenneth Turan took a sip from his glass, leaned forward again, and whispered. said:

"You're still too young, be patient, remember your ethnicity, you'll get what you deserve!" After that, he raised his head and stared into his eyes. "Remember, be patient!"

Wayne understood what he meant. As a Jew, he knew how much this racial identity helped him.

In this Hollywood, almost all executives, bosses, producers, and media practitioners are inextricably linked with Jewish people. Even the Oscar judges, the old men in the academy, the powerful ones are all Jewish.

So just like Kenneth Turan said, he doesn't have to worry, even if he ends up relying on his age, he can still get the golden statue.

"Thank you, Kenneth!" Wayne raised his glass and touched him again, he could tell that this was a film critic who really appreciated him.

Kenneth laughed when he heard his name, knowing that he understood what he meant. "Wayne, your production style is very special, although there have been similar films before, but there has never been a director like you.

As far as your two films are concerned, the core of the story is all about distorting the dark human nature, and then through the large-scale **** images, the audience can release their emotions. You must know that many horror films and thrillers are much bloodier and larger in scale than yours, but they don't have that kind of connotation.

I hope you can continue to make progress. This is a type of director that has never appeared before. It can not only express ideas, but also attract the love of public fans. It is very rare! "

Hearing this, Wayne instantly felt a kind of bosom friend. Since he came here, he has been planning his career, and only this film critic has seen a little bit of it intentionally or not.

Just like what Kenneth said, he is not choosing films at random. In his previous life, he watched a lot of noir films, and he could choose a lot, but those films with depth and great sales were made by many different directors.

He wants to take a different path, a different path in the Hollywood production line.

This is a deliberate choice for many years. It is a purely commercial movie. Who can beat the truck driver of James Cameron?

Before the truck driver, there was George Lucas, who created the wave of commercial films, Steven Spielberg, the all-rounder in commercial films, and Michael Bay, the explosive maniac who pressed the **** on the Transformers.

Gangster films have the unsurpassed Francis Coppola and old Martin Scorsese. It can be said that directors of any style in Hollywood already have representatives.

Wayne wants to blaze his own path, a path that no director has made in his previous life.

Starting from the next film, he will use the style he designed to shock fans all over North America and even the world.

"Thank you, Kenneth, I will keep shooting like this. I believe fans will like my idea."