novelraw Chapter 132
Chapter 132
Chapter 132
Zhang Liangying was silent for a moment, then said, "Do what you want to do. I support you."
"It might be very busy; I'll be traveling to the US frequently."
"It's okay."
Zhang Liangying smiled, but it was a faint smile.
"Anyway, I'm busy with my album. Let's each focus on our own things and meet up when we have time."
Li Jun looked at her and suddenly remembered how she looked when he first met her.
That day on the rooftop, after she finished singing, she turned around and saw him.
And now, she stands beside him, holding his hand, and says, "I support you."
Time has changed a lot, but some things haven't changed.
"Will you come with me this afternoon?"
he asks.
Is this appropriate?
"suitable."
Li Jun said.
"You are my partner."
Legendary Pictures' offices are located on the 68th floor of China World Trade Center Tower 3.
The meeting room features floor-to-ceiling windows offering panoramic views of the entire CBD.
The sky outside the window was overcast, but the lights inside the conference room were bright. Three Americans sat on one side of the long conference table, while Li Jun, Zhang Liangying, and Yuan Tao sat on the other side.
The man in the middle is James Carter, the senior vice president of Legendary Pictures. He is in his fifties, has gray hair, wears frameless glasses, and speaks very quickly.
"Director Li, I've heard so much about you."
He stood up to shake hands, speaking fluent Chinese.
"I've watched 'Bodyguards and Assassins' three times, especially the farewell scene at the dock. The staging and emotional control were perfect."
"You flatter me," Li Jun said.
After exchanging pleasantries, we got straight to the point.
Carter turned on the projector, and concept art for Looper appeared on the screen:
A futuristic city, a time machine, and scenes where two timelines intersect.
The core of the story is simple: In 2045, time travel has been invented but immediately banned, and only the black market organization "Loopers" uses it.
They are responsible for sending targets back in time, where they are executed by the "Loopers" of the past.
The protagonist, Joe, is one of them, until one day he discovers that the person being sent back is his future self.
"This is a story about self-redemption."
Carter said.
"But we hope to incorporate Chinese elements, not in a forced way, but in a way that is truly integrated into the narrative."
For example, key components of the future time machine might be manufactured in China, or the protagonist might choose China as their hiding place when fleeing.
Li Jun looked at the concept art without saying a word.
"We have seen your work and are aware of your ability to handle historical subjects."
Carter continued.
"But this time we don't need you to make a historical film. Instead, we need you to help us naturally integrate Chinese elements into the science fiction setting."
The Chinese market is important, but more importantly, we hope this film will resonate with audiences in both China and the United States.
What are the specific responsibilities of a co-producer?
Li Jun asked.
"Three parts."
Carter switches PowerPoint presentations.
"First, in the script stage, I am responsible for reviewing and providing suggestions regarding the relevant Chinese plot points;"
Second, during the production phase, we assisted with filming in China and coordinated with Chinese actors and teams.
Third, during the distribution phase, develop a marketing strategy for the Chinese market.
You don't need to travel to the US to be with the team; most of the work can be done remotely.
"And the salary?"
Yuan Tao asked very directly.
"The base cost is two million US dollars, plus three percent of the box office revenue from China."
Carter said.
"If the global box office exceeds $500 million, there will be an additional bonus."
Yuan Tao glanced at Li Jun, his eyes saying, "We can talk."
But Li Jun's focus wasn't on the money. Pointing to the time machine design in the concept art, he asked, "Why is it circular?"
"Symbolizing the cycle."
Carter said.
"The cycle of time, the cycle of fate."
"Too straightforward."
Li Jun shook his head.
"In Chinese culture, there are many images of cycles, such as the yin-yang symbol, the Tai Chi symbol, the cycle of the four seasons, and karma."
If it's just a simple circle, then the depth is wasted.
Carter's eyes lit up: "That's exactly why we need you."
Over the next two hours, Li Jun offered more than a dozen specific suggestions:
The design of a time machine can draw inspiration from the ancient Chinese armillary sphere.
The Chinese neighborhoods of the future should have a sense of layering, combining high technology with traditional elements;
The protagonist's confrontation with his future self can be interpreted with the Taoist philosophical metaphor of "one begets two, two begets three."
Zhang Liangying listened quietly from the side, occasionally jotting down a few notes in her notebook.
At the end of the meeting, Carter shook hands again: "Director Li, I look forward to cooperating with you."
My assistant will send you the contract details. Please feel free to contact me if you have any questions.
Stepping out of the meeting room, Yuan Tao couldn't help but say, "The conditions are good. And it's just production, which won't take up too much time, so you can prepare your own film about artists from the Republican era at the same time."
Li Jun didn't say anything, he just pressed the elevator button.
As the elevator descended, Zhang Liangying asked softly, "What are you thinking about?"
"I'm thinking about time."
Li Jun said.
"If I could really go back in time, what would I change?"
Will you change?
"Won't."
Li Jun shook his head.
Every choice, good or bad, has made me who I am today. If I had changed, I wouldn't be me anymore.
Zhang Liangying laughed: "Is this why you took on this project?"
"Maybe."
Li Jun said.
"I want to see what happens when different cultures' understandings of 'time' and 'choice' collide."
The elevator arrived at the first floor.
As they walked out of the building, it had already started to rain, a fine, dense rain that left countless streaks on the glass curtain wall. Yuan Tao went to get the car, while Li Jun and Zhang Liangying stood at the door waiting.
"What you just said in the meeting."
Zhang Liangying said.
"Regarding Yin and Yang and cycles."
"Just some ideas."
Li Jun said.
Whether it can be achieved depends on the script.
"It definitely can."
Zhang Liangying looked at him.
"Because you are Li Jun."
The car is coming.
As Li Jun got into the car, his phone received an email—the first draft of the complete script for "Looper," totaling 120 pages.
He clicked on it, and the first page read: "Time doesn't heal everything; it just buries the wounds deeper."
Until one day, you have to go back and face the wounded version of yourself from back then.
—Looper
One week later, in Los Angeles.
Li Jun sat in a conference room at a production company in Burbank, surrounded by the creative team behind "Looper".
Director Denis Villeneuve, fresh off his success with Sicario, screenwriter John, producer Carter, a Californian in his thirties, and several Legendary Pictures executives are all involved.
This was the first script reading session.
The California sun shines through the window, casting the shadows of palm trees onto the conference table.
The air conditioning was on full blast, and Li Jun felt cold even wearing a shirt.
"Li, welcome."
Villeneuve shook hands with him; the director had a beard and sharp eyes.
"I've seen 'Bodyguards and Assassins' and I liked your handling of ensemble drama."
"Thanks."
Li Jun said.
"Your Sisinar is also very impressive, especially the border gunfight scene, the sound design is superb."
After exchanging pleasantries, the reading session began.
The screenwriter, John, first introduced the story outline, and then everyone took turns reading the script aloud.
Li Jun was assigned to the third act, which consisted of several scenes in Shanghai, China, where the protagonist, Joe, was hiding from pursuers.
After reading it, Villeneuve looked at Li Jun: "Li, what do you think of the Chinese part of the story?"
Li Jun opened his notebook, which was filled with annotations.
Let's start with the agreed-upon parts.
He spoke.
"The visual imagination of Shanghai's future city is very bold, juxtaposing Kowloon Walled City-style slums with Lujiazui's skyscrapers; this contrast is very impactful. But—"
He paused: "The protagonist hides in a traditional Chinese medicine shop, and the old doctor uses acupuncture to temporarily numb his pain. This design is too Orientalist. Acupuncture is not an anesthetic; its principle is to regulate qi and blood."
If you really want to write it, you could change it to the old Chinese medicine doctor helping him calm his mind through acupuncture, so that he could remain calm during the chase.
This is both authentic and in line with the philosophy of traditional Chinese medicine.
Screenwriter John nodded and quickly took notes.
"besides,"
Li Jun continued.
"In the conversation between the protagonist and his future self, there is a line: 'Don't you Chinese people believe in karma and retribution?'"
This statement sounds too preachy. If we really want to talk about cause and effect, it would be better to show it through the plot, such as the protagonist unintentionally saving a child while on the run, and later that child helping him in return.
Actions speak louder than words.
Villeneuve seemed thoughtful: "So your suggestion is to reduce explicit cultural symbols and increase behavioral representations integrated into the narrative?"
"right."
Li Jun said.
"Chinese elements should not just be background elements; they should be an integral part of driving the plot and shaping the characters."
The meeting lasted four hours.
Li Jun put forward more than twenty specific suggestions for revision, ranging from dialogue to scenes, from props to character motivations.
He spoke in a calm tone, but every piece of advice he gave hit the nail on the head.
At the end, screenwriter John came over and said, "Lee, thank you."
To be honest, my understanding of Chinese culture was very superficial before, but your suggestions have shown me many more possibilities.
"Learn from each other."
Li Jun said.
"I'm not good at science fiction films either, but the principles of a good story are the same."
When he left the production company, Carter saw him to the door.
"Director Li, your performance today exceeded my expectations."
Carter said.
I thought you would be more lenient.
"In creative work, being mild-mannered is equivalent to being irresponsible."
Li Jun said.
"Now that I've taken this job, I have to do it well."
Carter laughed: "That's why I contacted you. I'll send you the second draft of the script next week."
"it is good."
On the way back to the hotel, Li Jun looked out at Los Angeles.
The setting sun dyed the sky orange-red, and the traffic on the highway looked like a glowing river.
He suddenly remembered the day "Bodyguards and Assassins" wrapped up filming, when Nicholas Tse stood in the rain, his back to him looking lonely.
At that time, he thought that after making that movie, he would find the answers—about movies, about himself.
But now he has discovered that the answer is not the end, but a new beginning.
The phone rang; it was Zhang Liangying calling from overseas.
"How did the meeting go?"
She asked, "There's piano music in the background; it must be from a recording studio."
"good."
Li Jun said.
"I've given a lot of suggestions, but I don't know how many they'll adopt."
"Definitely."
Zhang Liangying said, "Because you made the right suggestion."
Li Jun laughed: "You trust me that much?"
"I've always believed." Zhang Liangying paused. "By the way, I recorded the title track of my new album today, called 'Wrinkles of Time.' Would you like to listen to it?"
"Now?"
"Um.
""
A piano prelude came from the other end of the phone, very soft, like water droplets falling on the surface of water. Then Zhang Liangying's voice rang out, clear and warm: "Time folds itself up again and again, pressing yesterday into a specimen."
We walked past one intersection after another, and when we looked back, we could no longer see the way we came.
But some light will shine through all the wrinkles and illuminate this moment —
Li Jun closed his eyes and listened. The song traveled across the Pacific Ocean, across time zones, and reached his ears.
At that moment, he felt very calm.
IV. Ripples in Public Opinion On the third day after returning to China, Li Jun accepted an exclusive interview with Southern Weekly.
The interview took place in his studio. The reporter was a man in his forties named Chen Zhe, wearing black-rimmed glasses, and asked questions in a very gentle manner.
"Director Li, there's been a lot of controversy surrounding you and 'Bodyguards and Assassins' lately, and you haven't publicly responded. Why is that?"
Li Jun brewed two cups of tea and handed one to him, saying, "Because it's not necessary."
"unnecessary?"
"The film has been released, won awards, and been seen by audiences," Li Jun said. "The work itself is the best response. As for those rumors—the innocent will be proven innocent, and time will tell."
Chen Zhe noted: "But many people believe that silence equals acquiescence."
"I don't think so," Li Jun said. "In this era, a loud voice can drown out the truth. Sometimes, silence is a strength—it prevents you from being swayed by emotions or public opinion, allowing you to focus on what needs to be done."
"You mean Looper?"
"Including but not limited to," Li Jun said. "I'm also preparing my next film, a work about painters from the Republican era. That's the core of my creative work."
Chen Zhe nodded: "Speaking of 'Looper,' you were a co-producer, not the director."
Does this mean you're starting a career transition?
"It's not a transformation, it's an expansion," Li Jun corrected. "Directing is my roots, but producing is a new attempt."
I want to understand the entire chain of a film's development and distribution, and I want to learn how to build bridges between different cultures. These experiences will also help my own creative work.
"But some people question whether you take on Hollywood projects for fame and fortune."
Li Jun smiled, a hint of helplessness in his smile: "If it were for fame and fortune, I should have struck while the iron was hot and made 'Bodyguards and Assassins 2,' or accepted offers for those big-budget commercial films. The production cost of 'Looper' wasn't high, and the workload was heavy, requiring frequent coordination between teams in China and the US. I took it because the story moved me—about time, about choices, and about how people face their past selves."
He paused for a moment: "These themes are relevant to my own films."
The interview lasted an hour. At the end, Chen Zhe suddenly asked a personal question: "Director Li, has your relationship with Ms. Zhang Liangying been affected by the media storm?"
Li Jun was silent for a few seconds, then said, "No, on the contrary, I'm even more determined. Only when you've experienced false slander will you cherish genuine feelings even more."
After the report was published, public opinion underwent a subtle shift.
Many people shared Li Jun's quote, "Silence is a power," and rational discussions began to emerge in the comments section.