Chapter Twenty-Three Everything Is Ready

Zhang Jie’s Sichuan Restaurant was still in that little alley, still in the same private room.

Gu Zhi and Ning Hao set out from the Beijing Film Academy and arrived here by taxi in less than half an hour.

Ever since the Butterfly Effect film project had been confirmed, the two of them spent their days running around selecting auditioning actors. At night, they studied the script together, deliberating over distant and close-up shots, the use of long and short lenses, the interplay of lighting and music in each scene, striving to perfect every storyboard.

Most of the time, Ning Hao took the lead, while Gu Zhi assisted and learned alongside. Eventually, Gu Zhi simply moved into Ning Hao’s dormitory to save the constant back-and-forth.

This afternoon, they had arranged to meet with Han Sanping, who wanted to introduce them to two recommended male leads.

Gu Zhi asked in advance who they were, but Han Sanping wouldn’t say, only promising they would be satisfied. He asked Liu Qi, who likewise claimed ignorance, feigning cluelessness even if he knew.

Before arriving, Gu Zhi and Ning Hao worried that Han Sanping might use nepotism to stuff people into their crew. As the film’s largest investor and distributor, if Han Sanping really did so, even as director, Ning Hao would have no right to refuse. Gu Zhi’s own investment, compared to China Film Group, was nothing but a drop in the bucket.

But once they arrived, they realized they had misjudged Han Sanping. He was genuinely just matchmaking, and the two candidates were far beyond Gu Zhi’s expectations.

“Come, let me introduce you. This is Liu Ye, a senior at the Central Academy of Drama. Last year, he was nominated for the Golden Rooster Award for Best Supporting Actor—a rare talent.”

“This young man is Zhang Yishan, only eight years old but already filming commercials. His future is limitless, though he’s a bit mischievous. These are his parents.”

Everyone in the private room stood up as Han Sanping introduced them to one another.

“This is Gu Zhi, a renowned young adult novelist, just seventeen this year, brimming with talent—the screenplay for this film is his work.”

“And this is Director Ning Hao, who just finished directing a television series this year and has rich experience.”

In the blink of an eye, Han Sanping had sung the praises of everyone present, and in just a few sentences, both sides became acquainted.

Even without Han Sanping’s introductions, how could Gu Zhi not recognize these two?

The mischievous Liu Xing from “Home With Kids”!

Nuo Yi’s father, Liu Ye, president of the Fire China Society from “Where Are We Going, Dad?”!

Gu Zhi hadn’t expected Han Sanping to bring these two.

“Let’s eat first, then chat afterward,” Han Sanping suggested.

The familiar routine unfolded: fiery Sichuan dishes, food and drinks shared, a few casual words exchanged, and the sense of unfamiliarity between them quickly faded.

...

Once the meal was finished, Han Sanping spoke first. “Gu, Ning, Liu Ye starred in a movie two years ago called ‘That Mountain, That Man, That Dog.’ I produced it, and it won numerous awards at home and abroad. His acting is unquestionable.”

“I always thought highly of this young man, but he’s stayed at school for the past two years without any roles. Such a pity.”

“You haven’t found your male lead yet, right? What do you think of him?”

Han Sanping brought Liu Ye over to support the younger generation, not wanting such a good actor to be overlooked.

Gu Zhi and Ning Hao understood this well—Han Sanping genuinely cared about the Chinese film industry.

Ning Hao, as director of Butterfly Effect, was the first to respond. “I’ve seen ‘That Mountain, That Man, That Dog.’ Director Huo Jianqi captured the authenticity and simplicity of our country’s remote mountain villages. Liu Ye’s portrayal of the village boy was vivid and left a deep impression on me.”

He paused and nodded deliberately to the young Liu Ye beside him.

Liu Ye grinned and said to everyone, “Our crew lived in the mountains of Changsha for three months. Otherwise, I wouldn’t have been able to convey that feeling.”

Ning Hao, hearing this, admired Liu Ye’s dedication even more.

“His skills are evident. I have no objection.”

“Nor do I,” Gu Zhi echoed Ning Hao.

“Thank you, Director Ning Hao. Thank you, Writer Gu Zhi,” Liu Ye quickly stood up, expressing sincere thanks.

Though Liu Ye was several years ahead of Ning Hao and had a Best Supporting Actor nomination, he still felt inferior compared to Ning Hao.

Unless an actor’s skills were unparalleled, without a director’s favor, no one would invite you to act; what could you do?

Liu Ye was in that predicament—somewhat known, but neither highly sought after nor entirely obscure. After one film, he spent two years in silence.

If not for Gu Zhi’s sudden emergence, Liu Ye would have waited until 2001, competing with over a hundred others for a new role in “Lan Yu,” where he would play a same-sex couple with Hu Jun.

Gu Zhi remembered that Liu Ye had a special fondness for art films in earlier years, winning many awards but never guaranteeing box office success.

Only after starring in “The Promise” did he truly step into commercial cinema, though he remained lukewarm, never able to carry a film’s box office alone.

Later, to break free from his stereotypical image as an arty youth on screen, he tried many diverse roles, hoping for a breakthrough.

Yet he still couldn’t be the main draw for a movie.

Ultimately, it was the lack of box office appeal.

If he hadn’t participated in “Where Are We Going, Dad?” Liu Ye might have remained a semi-famous insider, unknown to audiences. “Big star” would have been a stretch; at best, he’d have been a minor celebrity.

A seasoned powerhouse with years in film and countless roles, yet a single variety show garnered more fans than all his movies combined.

Art films have prestige and win awards, but they rarely win the public’s affection or leave a lasting impression.

Fortunately, at this point, Liu Ye had no other options; otherwise, he likely wouldn’t have taken this role in Butterfly Effect.

With Liu Ye settled, Ning Hao had Zhang Yishan audition for two small scenes.

There were minor flaws—his performance was a bit too lively—but Ning Hao was confident he could guide him, so Zhang Yishan was signed.

Now their cast had Tang Wei, Liu Ye, Zhang Yishan—just one leading actress, the young female lead, remained.

On the other side, China Film Group moved quickly. Preparations for the film were nearly complete, sets were being built, teams were already breaking down the script and making scene cards.

According to Han Sanping, in three days at most, filming could officially begin.

Now, only the young female lead was missing.

...

Last year, Yang Zi, just seven years old, appeared in her first film and television work, “Such a Debut,” officially entering the entertainment industry.

It was a completely overlooked drama, with Yang Zi playing a minor supporting role, and, unsurprisingly, remaining unknown.

Though she was said to have entered the industry at seven, to the neighbors it was nothing more than a few brief appearances on TV.

Over the following year, no film or TV project sought out little Yang Zi; her parents took her to countless casting calls, but it was always just a fleeting introduction.

But starting today, Yang Zi would no longer be an obscure child star!

This morning, her parents received a call from China Film Group, inviting Yang Zi to play the young female lead in a movie.

They hadn’t even caught the film’s name clearly. After repeatedly confirming the caller’s identity and making sure there was no mistake, they were so overjoyed they could hardly contain themselves!

They picked up Yang Zi and rushed out, knocking on every door in the neighborhood to share the news.

Our Yang Zi is going to be in a movie!

Not as a supporting role!

As a lead!

A lead!