Chapter 885: Chapter 291: I’m Just Telling Stories
Once a decision is made, Adrian gives it his all, and a salon is a good place to stir things up. Although the attendees aren’t many, there are some well-known figures and some journalists. Moreover, indoors, his voice can be louder and more infectious and persuasive.
Thus, he started by feigning disinterest, and it happened that Lars von Trier, the fool, was also present. Adrian used his words to steer the conversation in his desired direction, casually saddling him with the notoriety of causing trouble. This self-absorbed and arrogant guy from Denmark never posed a threat. Adrian had concluded this after meeting him at the Cannes Film Festival with "Mulholland Drive" last time. To be blunt, this guy is just a packaged product that European filmmakers need, so he has no self-awareness.
It’s worth noting that Adrian’s question about "sympathizing with the Nazis" was something he asked casually from memory, not expecting that guy to nod in agreement. It shows he’s someone self-centered who never considers others, so his sermon wasn’t wrong at all. Since he wanted to be a stepping stone, of course, it should be satisfied.
The sermon seemed somewhat excessive; in the end, they even spoke of shame, but Adrian didn’t mind. On the one hand, the bigger the fuss, the better. Without stirring things up, how would Hollywood know he stood with them? Without stirring things up, how could he become a spokesman, then control everything to crown as king? Additionally, the speech was meticulously planned. To win a debate, you shouldn’t aim to refute the other side. There’s no impeccable theory; given enough time, you can find loopholes to attack. So, the debate’s purpose is merely to sway the neutral attitude of onlookers.
So, after establishing a basic logic—for example, Europe’s history and former glory, which fostered European cinema’s arrogance and self-absorption—capturing the audience’s sentiments and making them agree with you becomes very important. Simply put, it’s about being emotional.
Therefore, Adrian repeatedly stated his hope for someone to compete with Hollywood. There’s a little trick here. Although he didn’t say it explicitly, everyone knows that even with strong competitors, under his leadership, Hollywood remains powerful and unsurpassable; the achievements of the past ten-plus years clearly prove this.
In short, he put himself in a seemingly fair position and from there, accused European filmmakers of being selfish, cowardly, ignoring the bigger picture, fearing technological advancement, and wallowing in the past while abandoning the future. Even if there’s a suspicion of generalization, it’s tough to argue in that situation, let alone later on.
Furthermore, Adrian deliberately created divisions. Apart from Tier, he primarily targeted Bertolucci; after all, the old man was present that night. He also heavily praised some French filmmakers, even specifically mentioning Luc Besson. Once people accepted this deliberately created fairness, it became very easy to accept his words.
Of course, having the backing of AC Media is also one of the reasons. Even if their influence in Europe is relatively weak, Adrian’s voice can still spread quickly without hindrance, causing the European film circle to react slowly and the American film circle to show unanimous support. Why did Hollywood produce such a monster?
However, after Adrian’s airport speech, the European film circle finally caught on, or perhaps they reached an agreement, or they simply didn’t want Adrian to continue provoking. They began to issue strong criticisms one after the other. For example, the Miracle Director fully displayed his rude side, or saying things like "ashamed to be associated" but still bringing a work to Cannes, and leaving before the festival ended, which was very rude, etc. Even some British media joined in.
In addition, Godard, perhaps unable to swallow his pride, also stood up and made some lukewarm comments like "too young" or "mingling with Jewish people," which the media exploited heavily. In summary, there was nothing about Adrian from head to toe that wasn’t worth criticizing, as if their previous praises for him never existed.
It’s a pity it was a bit late. If they had done this right when Adrian’s statements first hit the media, they might have gathered a large following. But now, even many Europeans who don’t like the Miracle Director’s words felt their criticism seemed weak and unreasonable, while the Americans, who from the start stood with Adrian, naturally ridiculed them mercilessly.
Then the Cannes Film Festival organizers gave them a heavy slap in the face. Before this, they had already expelled Lars von Trier—there’s nothing to say about that. The Holocaust is a matter of political correctness in Europe, and this year marks the 60th anniversary of World War II’s end. If Cannes had let this slide, its reputation would certainly have plummeted.
European filmmakers were helpless about this. Even someone like Godard, who openly expressed disdain for Jewish people, kept silent. Additionally, AC Media was ready to make this well-known, so Tier was utterly finished. Expecting to be smug after being expelled, like in another time and space, was entirely impossible; stepping stones should be kicked away once used.
But subsequently, four days after Adrian left Cannes, at the awards ceremony, the jury awarded the Palme d’Or to "Pianist" in his absence!
This was a real blow; while European filmmakers were still criticizing Adrian, one of the three major film festivals, Cannes, awarded the Palme d’Or to his work. Despite the jury’s statement disagreeing with everything the Miracle Director said, they wouldn’t take it out on "Pianist," which they acknowledged as a great film. Moreover, they were right; "Pianist" is indeed a top-tier work, and that award isn’t that big of a deal; the work and the author should be separated.
Yet many still felt a burning sensation on their faces; some film critics even privately complained that if they had to give an award, best director or the jury prize would do, why must it be the Palme d’Or?
"It’s simple; they’re starting to commercialize," Adrian, however, saw through it.
After entering the new century, the Cannes Film Festival has been under increasing pressure. Coupled with Hollywood’s continuous encroachment on the European film market and the lack of progress in local films, creating things like the Dogme 95 Manifesto—which is a regressive move—from this perspective, Adrian’s criticism wasn’t wrong at all. If they don’t find ways to innovate and change, being eliminated is only a matter of time.
Anyway, the Berlin Film Festival is a political weathervane, and the Venice Film Festival caters to low-budget independent films, so Cannes being more commercial to maintain its leading position in Europe is perfectly fitting. Therefore, making good relations with AC Media isn’t a big deal, moreover, Adrian’s words never failed to express his fondness for French films, so he became one of the few who got the Palme d’Or twice.
Honestly, Adrian was also surprised. He originally expected only best director or the jury prize at best. After all, the Palme d’Or represents the highest honor of Cannes; very few have received it twice. Especially since he severely criticized European cinema at Cannes, openly declaring European cinema dead.
Who knew he’d end up with the Palme d’Or? The French are indeed like the gray animal; the more they’re lashed, the merrier they jump!?
"Either way, it’s a great honor, winning the Palme d’Or twice... surely some people won’t feel good about this. It’s bringing you closer to your goal, isn’t it?" Claude teased with a grin.
"Indeed," Adrian shrugged, "but I won’t alter my plans; French winks are of little use."
"So, I have to prepare to clean up after you again?" Claude raised an eyebrow.
"I trust there won’t be anyone that foolish," Adrian waved his hand, but after a pause, he added, "Of course, you never know if there’s a hot-headed guy."
No one is flawless, even if Adrian’s achievements can leave European filmmakers speechless. The "Matrix" trilogy, the "Lord of the Rings" trilogy, any one of these is enough for a director to benefit for life. But there’s also a point of attack: his private life. Not to mention, merely being seen returning to the hotel in Cannes with Nicole on his arm caused a huge stir—without which, he might not have made up his mind to implement his plan at the salon.
So after Europeans had no words left to say, it’s hard to say they wouldn’t try to find a way to counterattack in this aspect. Of course, Adrian has long let it be known through various channels that it’s okay to write some borderline reports; that’s part of the game. But if they go too far, affecting his goals, or involving his children, then they’d better not blame him for being unkind.
Over the years, entertainment journalists have mostly adhered to this unspoken rule, including a large batch of paparazzi like "The Sun." But this time, he stirred up such a big commotion, offending most European filmmakers; who knows, there might be someone unintentional or someone given free rein. That could be possible.
"So it’s up to you now, Crow. I’m going to deliver what might be the final blow." Adrian said this, then got up and signaled Ivanka to leave with him.
"""
Even at this point, despite successfully creating a trans-Atlantic tension in film production, the whole affair still isn’t over; there’s a small tail end to it. Even if Cannes awarded him the Palme d’Or, it couldn’t prevent the long-standing plan from being realized. Adrian would not let anyone block his way, which is why Claude gave that half-warning, half-joking reminder.
So what exactly is it?
"Welcome everyone to the latest episode of The Ellen DeGeneres Show. I’m Ellen DeGeneres. Today, we have a heavyweight guest. To find out how heavy, just check the recent newspapers," Ellen DeGeneres said casually in front of the camera, "Welcome Miracle Director, Adrian Cowell!"
As the music played, Adrian, casually dressed and not formally attired, walked out from backstage.
"Hi, Ellen, great to see you." He greeted DeGeneres happily.
"Me too, Ed, I’m glad you could come on my show." She gestured with a smile.
"Now you won’t nag anymore that I’ve never been on your show, right?" Adrian joked as he sat down.
"Oh, of course not, now I’ll just nag you for a more lucrative contract," DeGeneres teased.
"Damn, why do you all say that? On Jon’s show, it’s the same; on your show, it’s no different," Adrian complained, drawing a burst of laughter.
"Alright, so let’s change the topic. You’ve been in the spotlight a lot lately. At first, everyone was surprised you made a film about the Holocaust, then there were the hotel sightings with Nicole Kidman, and then suddenly, Europeans turned from loving you to hating you. It’s all a dizzying speed," DeGeneres got straight to the point, "what made you say those things? A moment’s impulse?"
"I was indeed a bit impulsive at the time. I didn’t want to say much initially. I didn’t agree with what they were doing, but it wasn’t good to argue with them, so I was somewhat distracted. But later, I felt it was necessary to express my stance clearly, so I simply said everything I had accumulated over time. I don’t think there’s anything wrong with what I said. I might have appeared a bit agitated at the venue, but everything I said was from what I’ve observed and concluded over the years." Adrian explained while making gestures to emphasize his point.
"But European directors don’t think so. They feel that you, as a famous film artist..." DeGeneres hadn’t finished when Adrian interrupted her.
"No, no, no, Ellen, that’s wrong. Art has nothing to do with me," he said with a grin but seriously, "The well-known science fiction novelist Robert Heinlein once said that he wrote novels just to earn a little money for some small drinks. I’m the same, I’m just telling stories, stories that can make people love, hate, move, sadden, and bring joy, and earn some money while I’m at it."
"Ha, this saying is a first for me," Ellen made an exaggerated expression, "but you have indeed made and directed many films with significant artistic value, haven’t you?"
"That’s not up to me. Those pearls are just lying there, and I simply went over, picked them up, and showed them to you," Adrian shrugged indifferently, "as for how to interpret them, that’s up to the audience."
"Why do you feel the need to separate art and film so strongly?" DeGeneres asked, hitting the crux of the matter.
"No, no, I don’t intend to separate them," Adrian shook his head and said, "I just think that the word ’art’... seems too lowly considered by people nowadays."
"Too... lowly?" DeGeneres blinked, and there were murmurs of confusion from the audience.
"In your view, can you explain what art should be like?" she then asked.
"Sure, but it’ll be later. We need to go around a big circle first," Adrian laughed, "All current art forms—architecture, painting, novels, drama, music, and even film—when they were born, their primary attribute was never art; the primary attribute was always entertainment! Only when these things meet the most basic entertainment needs of people can they potentially become art. It’s not about making some shapes out of wire, tossing them in a corner, and waiting for them to collect some dust, thinking they’ve become art!"
"Look at European films today, what do they have? Just as I said at Cannes, besides naked women, fragmented editing, and directors talking to themselves, what else is there? They haven’t even fulfilled the most basic function. I’m really curious what gives them the right to wear the crown of art so grandly on their heads."
"Are you very opposed to women exposing their bodies in films?" DeGeneres suddenly questioned, with a curious look, "In your films, apart from Eyes Wide Shut, you rarely have such scenes."
"Whether to expose or not is up to the directors and actors, it’s their freedom. The key is what effect they want—are they truly showing the beauty of a woman’s body, or are they just trying to provoke the audience’s emotions?" Adrian spread his hands honestly.
"Oh?" DeGeneres raised an eyebrow, and there were sounds of surprise from the audience.
"There are countless photos representing the beauty of the female body in the world, especially black-and-white photos. That conveyed beauty is indeed moving, and the key is they are static, they are calm, allowing people to fully observe the details," Adrian continued, "Whereas in film, the images are always dynamic, so no matter how you shoot, there’s always a hint of allure; you can’t repeatedly admire them. So when these scenes appear on the big screen, do people really focus on the beauty of the woman’s body or on those... uh?"
He didn’t say the word, but everyone knew what he meant, making DeGeneres burst into laughter, with ambiguous or awkward laughter following in the audience.
"Your description is really..." Known for always bringing up hot topics, even DeGeneres couldn’t help but stick out her tongue. This episode was live, and with this topic thrown out, reconciliation with that European crowd won’t be possible for a long time.
"It’s extremely difficult to portray that in front of the camera," Adrian said calmly, "I very much want to achieve that, but I never find the right opportunity. As for Eyes Wide Shut, that wasn’t my work. Therefore, I prefer to handle it vaguely, more half-covered and half-hidden, than to rashly show it, because art does not tolerate desecration!"
"Does this count as artistic fundamentalism?" DeGeneres teased.
"Of course not," Adrian shrugged, "I just want to emphasize the nobility and preciousness of art, just like I emphasize that I’m merely telling stories." (To be continued. If you like this piece, you are welcome to vote for recommendations and monthly tickets on . Your support is my greatest motivation.)