Chapter 639： courtesy

The outdoor temperature outside is about 20 degrees, the sun is very warm on the body, but standing under the sun for a long time, it is not warm but sweaty.

But such a group of people had to go down to the tarmac to greet them to show their attitude.

Because the second season of "The Walking Dead" almost brought more than $7 million in profit to each investor, and it will only continue to increase in the future.

This business can last for several years. Studios such as EMI, Europa, and Gaumont are of course willing to show such a gesture to welcome the arrival of the God of Wealth, Lehmann.

As long as you have a heart, you can see the prospect of fireflies, and it's okay to hug your thighs.

After all, few French filmmakers do well in Hollywood. Lyman is already the best.

Even Luc Besson broke into Hollywood briefly with "This Killer Isn't Too Cold", but he couldn't persist. After all, his production ability couldn't keep up with the market there.

Once the box office is bad, it will be abandoned immediately, plus there is not much foundation, it is better to return to France.

This situation is similar for filmmakers in other regions.

Therefore, the better the firefly, the better, which really impressed these French filmmakers.

In the aisle outside the tarmac, representatives of several cooperating studios were sent.

Everyone was chatting while waiting, and they saw the Gulfstream business not far away, sliding down on the ground and slowing down.

The plane stopped and docked in the aisle.

Lehmann came out of the cabin first, very conspicuous.

When he saw so many people, he was a little surprised, then smiled politely.

One of them said: "Mr. Rust, we have prepared a banquet. Mr. Luc Besson is waiting for you there."

After a short while, the answer was completed, and Lehman went to ask Eva and the others what their plans were.

This kind of personal banquet is definitely not easy for the crew members to go to.

Therefore, the difference between the status and treatment of the actors came out.

An old actor with high qualifications like Tommy Lee Jones immediately said that he had a residence in Paris and wanted to catch up with old friends; Javier Bardem did not have the connections and financial resources, so he could only go to the crew to arrange The same goes for Heath Ledger et al...

As for Thomas and Eva, they also said that they hadn't been home for a long time and were unwilling to go to the banquet.

Then, Lehmann had no choice but to bring Ryan, who also had no relatives and friends in Paris, to the banquet together.

The convoy was divided into several directions, and they agreed to meet at the hotel at 3 o'clock tomorrow afternoon, and then dispersed.

Lyman and Ryan got into the car, and after half an hour, they arrived at a luxury manor on the hillside.

Looking into the distance from here, in the field of vision, there are many buildings in the urban area of ​​Paris at a glance.

This place is the carefully decorated residence of the chairman of EMI.

The area is quite large, occupying more than half of the land on the top of the mountain, and it also diverts water to form a lake. The buildings are built in the style of a Mediterranean palace.

And the banquet was placed in the garden behind the main building.

When Lyman and Ryan arrived, the guests were high-level members of several studios.

At dusk, after a brief chat, the banquet was opened.

Looking up, there are long tables lined up, full of pastries, fruit plates or already cooked seafood, and there are live barbecues and various French dishes in the corner of the garden.

The waiters are constantly shuttled with trays, serving wine according to the needs of the guests.

In addition, a trumpet orchestra was also invited to the scene to accompany music...

Of course, Lehman had attended many similar banquets, so he was completely indifferent.

After all, in this kind of occasion, even if you drink, you can't drink well, and you can't eat well, but the atmosphere is full.

After all, it's just a social event.

In order to shorten their relationship.

Moreover, Lehmann can only say that these people are familiar, most of them don't know each other very well, and they just chat with several studio executives such as Luc Besson.

Some actors or models who were invited to accompany the wine were also circling around, laughing non-stop, and occasionally passing a few glances to the big people present, but they ignored them.

Lehmann talked to them about film and television projects, and some interesting things about the Oscars. They also talked about the company's shooting plans or cooperative development. Many cooperations were made verbally and then signed.

While they were talking, Luc Besson and the others introduced an older Frenchman to Lehmann.

This is an ordinary-looking old man who looks very friendly.

Lehmann knew that what could make Luc Besson's few people's attention was not as ordinary as his appearance, and he didn't take his posture and respectfully extended his hand to greet him.

The two shook hands, and the old man smiled happily, "Just call me Edmund, everyone calls me that."

Hearing the name, Lyman was still a little confused, but Ryan knew it.

This person has been a director and a screenwriter, but he is not very famous, but he has a wide network and is an important member of the Cannes Organizing Committee. Man serves as a judge and is considered a veteran of the film industry.

Taking the time, Ryan mentioned Edmund's history, and asked Lyman to talk to him patiently.

Although these characters have no wealth or fame, and are completely invisible to the public, they are someone who cannot be offended in the French film industry, and the old man is very enthusiastic, which makes people feel good.

Perhaps it was his character that allowed him to enter the Cannes Organizing Committee.

And Luc Besson's introduction of this person is also a gesture of giving away.

First, Lehmann's films are indeed eligible to win awards, and they are highly competitive. In addition, many judges of the organizing committee also like to support French filmmakers.

Although the awards for the Cannes Film Festival are judged by the jury every year, it is impossible to bypass the organizing committee. No matter what, it is necessary to communicate with the organizing committee.

Therefore, Edmund's friendship greatly helped Lehmann's works selected for the award.

After all, it’s no secret that the Cannes Film Festival relies on relationships to win awards. Just like Oscar’s PR, there are huge variables in human relationships, not just the quality of the film.

Whether it was before or after, the "injustice" of this kind of film festival has always existed, no matter which film festival it is.

In the original time and space, there was a joke this time around.

Lehmann wouldn't expect to do nothing and wait for the award, that's too naive.

Even if Laiman did not see any very strong opponents in this year's shortlist, "No Country For Old Men" is already very good, but human feelings and public relations are still essential.

As for Edmund, he really values ​​Lyman very much.

Because he thinks that the banner of Lehmann can make French filmmakers famous to a large extent—Hollywood is the focus of the world’s attention after all, even if the French literary and art circles do not admit it, they have to convince other people’s influence.

So, this small talk is one person who has such a mind and one who intends to make friends, and they quickly become familiar with each other.

After talking, Edmund looked at Lehmann and suddenly asked a very curious question hidden in his heart, "I have seen all of your movies, although some of them are too commercial and the plot is not enough, but in terms of performance, The power is absolutely excellent, but Lehmann, why have you never made a very French film?"

Edmund really wanted to understand this question.

In his opinion, even if Luc Besson is so flattering to the international market, he has made works that are purely French—French actors tell French culture in French Lehmann thought: How to answer this question?

Could it be because I have an oriental mindset, even if I made a romance film "Micro Love" and crime films, they didn't have the most orthodox taste of Hollywood, where did the works with French flavor come from, and I never thought about this at all.

Moreover, the French film market is sometimes not even comparable to that of the United Kingdom, and the ceiling of this boundary is low.

Of course, this can only be thought about.

Lehmann was hesitating to find a good reason, but he heard Edmund continue to ask with interest: "Is it because you also agree with the views of new filmmakers such as Luc Besson, that French cinema must abandon too much in order to go out. through geopolitical factors?"

"Uh... yes." Lehmann nodded, he felt that Luc Besson was right, no matter which region a movie wanted to really go out, it couldn't be too regional.

Even Hollywood, if their local films don't cater to international audiences, still won't sell at the box office.

In addition to kung fu movies, China rarely achieves results in the international market. In fact, regional culture restricts the development of movies towards the popularization.

Because of some cultures, it is difficult for outsiders to identify with them.

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