God knows, will someone take advantage of this and attack the current domestic distribution methods?

These situations are too uncontrollable.

The leader does not want to see such a chaotic situation.

So there was no other possibility, they could only give the kind-hearted Ning Weimin a soft nail.

But having said that, Ning Weimin's original intention was good after all.

In essence, his suggestion was that he would not hesitate to suffer a loss, he was willing to take less money, but he also wanted to use the money in practical ways to support the development of the domestic film industry as much as possible.

So at this point, the leader of the film bureau finally gave him a reminder,

He said that although his suggestions cannot be adopted, from another perspective, they do not prohibit those production units from soliciting sponsorships themselves, nor do they prevent some units that want to support domestic cultural undertakings from actively donating to production units.

As a result, Ning Weimin immediately understood.

At this moment, even he couldn't help but secretly curse himself as "stupid".

To put it bluntly, things can still be done this way, it’s just a different name for paying money.

What the leader means is that as long as it is not in the name of box office sharing, he is willing to hand over his profits to whom and what to do. That is his personal freedom.

Isn't this almost the same as his recent initiative to express his willingness to take out his dividends from Tan Gong Restaurant and share them with his old friends from several investors?

If we are flexible and adopt a curved approach to save the country, there will be no policy obstacles.

Otherwise, in the face of this era that is destined to undergo a major transformation process, how can we be truly transparent?

The most critical point is not to be too straightforward in doing things, but to know how to assess the situation.

While maintaining the original intention, we must also start from the perspective of meeting the social environment and actual needs.

Sometimes you just have to take a detour.

Otherwise, if you only have enthusiasm and accept death, you will not be able to accomplish anything.

As for the specific selection of the first batch of films to be brought overseas, except for "Old Well" and "King of Children" of Xiying Film Studio, which were recommended by the film bureau leaders, Ning Weimin was inconvenient to refuse, and nodded in agreement.

Regarding the selection of the other three films, Ning Weimin chose to give priority to his hometown studio, Jingying Film Studio, and chose "The Drum Book Artist" and "The Golden Dart and Huang Tianba" that have already been completed.

Of course, the last one was left to Chen Peisi's "Father and Son" which was filmed a few years ago.

Regarding Ning Weimin's small "selfishness", people from the film bureau and China Film Group adopted a tacit attitude and did not openly oppose it.

It was just that people from China Film Company pointed out that "The Drum Book Artist" contains many plots of the Anti-Japanese War, and they were worried that if it was sent to Japan for public screening, it would encounter resentment and rejection by the Japanese, and not many people would come to watch it.

However, Ning Weimin has his own opinion on this point.

From what he saw, at least for now, the right-wing forces in Japan are not as arrogant as they will be in the future, and dare to tell lies and deny the heinous crimes committed by the Japanese army.

After all, there are still many people alive who have experienced war.

The trauma of the war has penetrated deep into the bone marrow. Those who are lucky enough to survive are all afraid.

Even many old Japanese who participated in the war of aggression against China realized that they were guilty of serious crimes and have become staunch anti-war elements.

Ning Weimin personally saw an old Japanese man scolding a group of ignorant Japanese young people on the streets of Tokyo.

It's because these young people are strutting around in old-style military uniforms on the streets of Tokyo under the "Rising Sun Flag" and attracting attention.

When the old man saw it, he started to curse on the spot without hesitation.

Even though he was as thin as a turkey, his fierce look on his face shocked all the young people.

"Asshole! Don't do this kind of thing. This is not Japan's glory, it is Japan's shame! You young people should stop worshiping these things. War will only cause disaster! If you do this again, sooner or later we will be abandoned by all of Asia.

Yes! Hey, you bastards, get out of here, otherwise I will call the police!"

When these young people met such an old man, they ran away completely pissed off.

It can be seen from this that if the police had come at that time, they would have interfered with these young people showing off their "martial arts of the imperial army".

This incident is enough to prove that Japanese society at this time was still full of guilt for the war.

Otherwise, the box office of "Li Xianglan" would not be so strong.

So with these people around, Japan's right-wing elements don't have a full stage to perform, so they can only tuck their tail between their legs and lie dormant.

They don't have the courage to openly whitewash those war criminals at this time.

At most, keep an attitude of silence as much as possible.

They expect their own nation to gradually forget this history, and they also expect others to forget this history.

They believe that even the lessons learned by millions of lives can be forgotten in just one generation.

Therefore, for domestic films, this is the best opportunity to release anti-Japanese films in Japan, and there will be more audiences.

I can scold you Japanese people and still earn your yen from you. How can you miss this opportunity?

In addition, Ning Weimin did not want the Japanese to get their wish, and he really regarded all these things as sesame seeds and rotten millet and gradually forgot about them.

He must do his best to remind the Japanese and let the young people in Japan know more about the crimes committed by their fathers and grandfathers.

Although it is always uncomfortable to be in debt to others, Japanese people generally hope that historical debts will be forgotten as soon as possible.

But for us victims, forgetting history means betrayal.
Chapter completed!