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One night in 1994, a high-end club in Beijing was brightly lit and staggered. Celebrities in the cultural circle gathered together, laughing and laughing. Suddenly, an angry scolding sounded like thunder: "Zhang Yimou? It's just a big dung picker, and it's long overdue! Far worse than Feng Xiaogang! In an instant, the whole field was silent, and all eyes were focused on Wang Shuo, who was drunk and hazy, and looked arrogant.
The eyes of the two inconspicuous gossip reporters present lit up and quietly recorded this astonishing remark. How could they have imagined that this drunken raving would become a bombshell that would detonate the cultural circle in the future.
Why is Wang Shuo so disdainful of Zhang Yimou? What kind of turbulent waves will this remark set off in the cultural circle? A fierce debate on art, individuality and achievement began.
In the contemporary Chinese film industry, Zhang Yimou is undoubtedly a legend. However, the now famous director was once just a poor boy from Xi'an.
The hardships of childhood are deeply imprinted in Zhang Yimou's heart. He once said frankly: "My growth was completed under the gaze of others, and I was burdened with psychological and personality depression and distortion since I was a child.
It is this unforgettable past that shaped Zhang Yimou's low-key and forbearant way of life in the future.
The gears of fate always turn quietly and inadvertently. From an obscure cinematographer to an internationally acclaimed director, Zhang Yimou has gained a foothold in the Chinese film industry step by step with his amazing perseverance and unique artistic talent.
Works such as "Red Sorghum" and "Hanging the Red Lantern" not only made him famous, but also won him the reputation of "decoration master".
Regarding Zhang Yimou's talent, even his critic Wang Shuo has to admit: "Zhang Yimou has the ability that ordinary people can't reach, he can turn ordinary and even dilapidated things into gold and decorate them with brilliance."
Although there is a hint of irony in this evaluation, it also shows Zhang Yimou's unique artistic charm.
However, the road to fame is never easy. Wang Shuo has a lot of criticism about Zhang Yimou's work, saying that "Something to Say" "did not work well", while the success of works such as "Red Sorghum" was "more due to the influence of the original novel".
In the face of these sharp criticisms, Zhang Yimou chose to remain silent, and this attitude is closely related to his upbringing.
Zhang Yimou's artistic pursuits have also sparked controversy. Wang Shuo once bluntly said that Zhang Yimou was so radical in his artistic exploration that he lost himself. He firmly believes that if Zhang Yimou can adjust his creative direction moderately and stick to his original intention, he will definitely be able to create more outstanding film works.
It is worth mentioning that Zhang Yimou once gave Wang Shuo the opportunity to write a script for the first time, and bought the copyright of his work "I Am Your Father". This past may explain why Wang Shuo said in an interview years later that he intended to write a sincere letter of apology for Zhang Yimou before his death.
Perhaps it was the shadow of childhood that taught Zhang Yimou the wisdom of surviving in adversity. Like Fugui, the protagonist of the movie "Alive" directed by himself, in order to survive in this highly competitive industry, he silently endured all kinds of pressure and doubts, never arguing with others or taking the initiative to talk about personal matters.
Zhang Yimou's success lies not only in his artistic talent, but also in his perseverance. As he himself said, "I am not gifted, but a hard-working type, like a stupid bird who flies first and works tirelessly."
It is this kind of perseverance and dedication day after day that has created Zhang Yimou's brilliant achievements in the Chinese film industry, and also allowed him to remain calm in the face of controversy.
In 2005, the Beijing Organizing Committee for the Olympic Games officially launched the bidding for the opening ceremony of the Olympic Games. In just three months, more than 200 teams submitted their ideas.
Among them, there are many teams led by top directors such as Ang Lee, Chen Kaige, Chen Weiya and other top directors, and the fierce competition can be imagined.
In this competition, Zhang Yimou's performance stunned everyone. When he arrived at the Olympic Organizing Committee's review site, the staff was surprised to find that Zhang Yimou's team had brought two fully loaded trucks! There are not only two elaborate miniatures of the bird's nest, but also 24 mysterious black boxes.
Each box contains four heavy books, all of which are detailed ideas for the opening and closing ceremonies of the Olympic Games.
Behind these breathtaking plans is Zhang Yimou's almost crazy investment. According to team members, Zhang Yimou often slept only three hours during the preparation period, and sometimes even worked through the night.
In order to perfectly integrate various ideas, he did not hesitate to spend a lot of time iterating and constantly reinventing and reinventing the wheel. It took five or six months of hard work to finally complete this amazing plan.
What discourages competitors even more is that Zhang Yimou not only prepared such a detailed main plan, but also formulated a preparatory plan and a record to deal with emergencies in advance.
This kind of preparation, which bordered on paranoia, made everyone present couldn't help but be moved. Ang Lee, who was also competing in the competition, couldn't help but sigh after learning about this: "Originally, I still had the ambition to compete for the position of chief director, but now it seems that it is a great honor to be Mr. Zhang Yimou's assistant."
Zhang Yimou's ultimate pursuit is actually a portrayal of his consistent work attitude. The word "almost" never seems to be in his dictionary. He would turn the watch up half an hour to put more pressure on himself; He is able to work for more than 10 hours in a row and seamlessly weave various meetings and discussions into each other; He would even get up in the middle of the night when he had a sudden inspiration and wait for the dawn to put it into practice.
This kind of almost demanding self-requirement made Zhang Yimou stand out in the bidding and finally won the important task of chief director of the opening ceremony of the Olympic Games. In the face of this hard-won honor, Zhang Yimou was not complacent, but more humble.
He once laughed at himself: "I am not a genius director, but a diligent type, like a stupid bird flying first and working tirelessly."
It is this kind of persistence and dedication day after day that has created Zhang Yimou's brilliant career. The success of the opening ceremony of the 2008 Beijing Olympic Games was not only the pinnacle of Zhang Yimou's personal work, but also an excellent opportunity to show the world the charm of Chinese culture.
However, even with such great success, Zhang Yimou still maintains a humble attitude. He knows that there is never an end to the path of artistic creation.
Every success is the starting point for the next challenge. This spirit of insatiability and constant pursuit may be the secret of Zhang Yimou's longevity in the film industry.
In the Chinese cultural circle, Wang Shuo and Zhang Yimou are undoubtedly two representatives with distinct personalities. Although they have both achieved great success in their respective fields, their personalities and ways of dealing with the world are very different.
Wang Shuo is known for his outspoken and uninhibited personality. His words are often like sharp knives, piercing the point mercilessly. At the private banquet that caused an uproar, his evaluation of Zhang Yimou can be described as a typical "Wang Shuo-style" remark: "Far worse than Feng Xiaogang, he is a big dung-picker, and he should have been extinguished a long time ago."
This kind of unvarnished criticism, although often controversial, is also the charm of Wang Shuo's maverick.
In contrast, Zhang Yimou is taciturn, cautious and introverted. In the face of Wang Shuo's repeated sharp criticisms, Zhang Yimou has always remained silent and has not responded publicly.
This way of life may stem from his poor background and difficult upbringing, which taught him the wisdom to survive in the face of adversity.
In a later interview, Wang Shuo once again commented on Zhang Yimou: "Today's Zhang Yimou is far inferior to Feng Xiaogang, Zhang Yimou is more busy with 'maintaining the dignity of celebrities', which is in stark contrast to Feng Xiaogang's joy and freedom to express himself."
Although these words are still sharp, they also show the essential difference between the two personalities.
Wang Shuo seems to appreciate Feng Xiaogang's spontaneous creative attitude, believing that this method can better show the artist's true self. In his eyes, Zhang Yimou paid too much attention to his own image and lost the freedom and authenticity of artistic creation.
However, Zhang Yimou's silence does not mean weakness. Instead, he responds to doubts with his own work and achievements. From "Red Sorghum" to the opening ceremony of the Olympic Games, Zhang Yimou has proved his strength with works that amaze the world.
These two distinct personalities and approaches reflect the artist's different choices in the face of public and criticism. Wang Shuo chose to face the conflict head-on and expressed his views without hesitation; Zhang Yimou, on the other hand, chose to speak with his works and prove his value with practical actions.
Both Wang Shuo's incisive straightforwardness and Zhang Yimou's quiet tenacity represent a different balance between the artist's pursuit of self-expression and social recognition. This difference not only reflects the uniqueness of their individual personalities, but also provides us with different perspectives to think about the relationship between artistic creation and society.
Zhang Yimou's inner world is far more complicated than his calm appearance. An anonymous psychological test reveals the inner contradictions and struggles of the famous director. Subject commented: "This is undoubtedly the answer of a well-known person!" I have never seen anyone who can live such a tangled life, who is both a perfectionist and has extremely high values, but at the same time has a relatively low sense of achievement.
This evaluation reveals the duality of Zhang Yimou's character: in artistic creation, he can achieve the realm of "extreme self", pursue perfection and realize his artistic ideals at all costs.
However, in real life, he often falls into the predicament of "extreme selflessness", chooses to remain silent in the face of doubts and criticism, and even sometimes feels a lack of fulfillment.
This dual personality may be the reason why Zhang Yimou can continue to break through in art, and at the same time be able to navigate in reality with ease. In his creation, he dares to challenge tradition and bring forth the new; In the face of the media and the public, he chooses to keep a low profile and never argue with others.
Zhang Yimou once said: "I actually grew up under the gaze of others, and I have suffered psychological and personality repression and distortion since I was a child. This sentence may explain why he shows such a great contrast between his artistic creation and real life.
His childhood experiences taught him to survive adversity, and art became his way to release his inner emotions and pursue self-realization.
This way of life is not only a portrayal of his character, but also a manifestation of his survival wisdom. It allowed Zhang Yimou to gain a foothold in the fierce competition, continue to move forward in the midst of controversy, and eventually become an iconic figure in the Chinese film industry.
Zhang Yimou's story is not only an artist's growth process, but also a vivid case of how to find a balance between ideals and reality.
In Zhang Yimou's dictionary of life, "bitterness" seems to have a unique definition. When Xu Zhiyuan asked him about his understanding of self-realization, Zhang Yimou's answer was intriguing: "Being able to continue to create as a director and complete every project without slacking off is my self-realization."
These words reveal Zhang Yimou's philosophy of life: to find value and satisfaction in continuous creation and dedication. For him, the arduous process itself is a kind of happiness.
Growing up from controversy and realizing oneself through perseverance, Zhang Yimou interprets the true meaning of "making fun in suffering" with practical actions.
This attitude may be the reason why he can still stand firm in the face of sharp criticism from Wang Shuo and others. Zhang Yimou's story is not only an artist's struggle, but also a vivid lesson in how to find meaning and value in the face of adversity.
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