Bab 143: A dinner party
"Darling, is it really necessary to make such a grand affair out of this?" Élaine Allain handed their child over to the nanny with a hint of frustration, then walked over to her husband's side. "I don't understand. It's just a birthday, and yet you're insisting that the children shouldn't join us for dinner. Can't we celebrate as a family, like we used to?"
"This year is different, and you also wouldn't want those guests to dine with the children, right?" Jacques Perrin kissed his wife's cheek and explained, "It would seem impolite if we allowed that to happen, Élaine." He grinned, "In any case, today's dinner is not suitable for the children to participate. This is ultimately a social occasion. Of course, you can also view it as a prelude to negotiations of interests."
"Fine." Today was Élaine's birthday, but she clearly wasn't in the best mood. However, she understood her husband's considerations. "I hope you achieve what you desire, my dear."
"Thank you for your wishes. Let's go, to greet the guests at the entrance." Jacques glanced at his watch. "Luc Besson should be arriving soon too."
Before long, the trio arrived together.
"Hey, Lyman. Luc. And who is this?" Jacques warmly embraced the three, then took the gifts they brought. "I'm so glad you managed to make time, especially you, Lyman. I know you're undoubtedly busy now. Thanks for gracing us with your presence."
"No need to say that. The crew does indeed have a lot going on," Lyman said with a smile. "But your invitation clearly holds more weight than shooting, and I've always admired you, Director Jacques. I must've watched your "Z" at least twenty times. This is Eva Green, an actress." Lyman introduced her proactively.
Jacques couldn't help but smile broadly. It was evidently pleasing when a currently prominent director appreciated the works one had made in the past. Even if it was flattery, it was directorial flattery, and that was hardly bothersome.
"Let's have some aperitifs first. A few more guests should be arriving soon. We'll wait." He led the trio inside. Élaine promptly approached, holding glasses of wine.
"Allow me to introduce, this is my wife, Élaine Allain." Jacques took the glasses, beginning to pour the wine.
"Happy birthday, Mme Allain."
Observing the not-so-much-older Élaine, Lyman couldn't help but marvel at how directors knew how to play their cards.
Marrying a 20-year-old at 30, still marrying a 20-year-old at 40... and even at 60, marrying a 20-year-old.
Thinking about how Luc had invited him here and he didn't refuse, it was because he was curious about Jacques.
Yes, Jacques was one of the recipients of Best Foreign Language Film in 42nd Oscars. However, what he was most known for was "The Chorus" released later on.
Moreover, what he had just said wasn't entirely flattery. Lyman genuinely admired the director's works. Furthermore, "respect for the elderly and love for the young" was human nature. A person in their 60s who had spent half their life dedicated to their directorial career truly deserved respect.
"Thank you." After a brief toast with everyone, Lyman emptied his glass.
Moreover, what Luc said to him made sense: if they could establish the brand of French cinema internationally, it would greatly aid their international distribution efforts.
Luc hadn't forgotten his idea of uniting the domestic film forces to resist Hollywood's invasion.
Their purpose in coming today was to invite a director like him to maintain a cooperative relationship with EuropaCorp. Of course, discussions about projects were also on the agenda.
"Oh, Preston has arrived. Please, make yourselves at home. I'll go welcome the other guests," Jacques Behan said, leading his wife away.
Before long, the dinner party commenced.
Although the food was delicious, it was evident that most of the guests had their minds elsewhere.
Following a brief and pleasant dinner, it was time for a reception—a time to climb the social ladder.
After some words from the host Jacques Behan, encouraging everyone to enjoy themselves, he invited Lyman and Luc into his study.
Eva didn't follow them. Her role for the evening was to be a suitable companion at the party. However, anything related to business negotiations or exchanges of interests was clearly beyond her involvement.
She found a spot in a corner and sat down, silently sipping her champagne.
In the study, the three men found seats.
"Cognac? Or wine?" Jacques asked.
He poured drinks for both of his guests, determined to get straight to the point and discuss the project.
It wasn't just EuropaCorp that wanted to collaborate with Jacques; he also had similar intentions.
Because EuropaCorp's market share was growing, and it maintained a close business partnership with Paramount Pictures, there was a clear demand for someone like Jacques, a director of art films.
Perhaps precisely because he was an art film director, he wished for his films to be seen and appreciated by a wider audience.
"So, Luc Besson, you already know about my plans for a new film, right? Could you tell me your thoughts on it?"
Luc smiled, setting down his wine glass and adopting a relaxed tone. "Oh, Jacques, no need to be so formal. We're friends, and despite all the business aspects, I'd be happy to help a friend distribute their film."
Jacques chuckled. He didn't express any agreement or disagreement with Luc's words. In his view, his associate's choice to forsake the world of art and focus on how to make big money with films was misguided and didn't align with his own philosophy.
However, not agreeing with someone was one thing; cooperating with them was another.
He chuckled self-mockingly. "I'm getting older and might not have much energy left to make films. So, for this upcoming shoot, I hope my filming plans won't be interfered with."
"Of course, EuropaCorp has rarely intervened in directors' creative processes. Your companion sitting right here, Lyman, can vouch for that."
"Yes," Lyman nodded somewhat helplessly, acting as a witness.
The two of them had intentions to collaborate, and their discussion was particularly lively.
"Regarding "The Chorus", I will notify the company to greenlight the project as soon as possible."
"Thank you." Jacques's mood remained relatively upbeat.
The three of them raised their glasses once again and started chatting.
As the conversation flowed, the topic shifted to Lyman.
"I watched your "3 Idiots", but why did you then go on to make "Fury"?" Jacques inquired, his tone filled with a sigh of regret, as if lamenting unfulfilled aspirations.
Lyman pursed his lips, neither agreeing nor disagreeing. He didn't engage in an argument with this experienced senior.
Most French directors had a romantic style that often translated into the tangled affairs of ethics within their works.
The reality was, the majority of these directors were losing money. If it weren't for the substantial film subsidies provided by the French government every year, these directors might have starved to death.
In fact, the market was the most pragmatic judge; losing money usually meant it was tough to find investors for filmmaking. Yet, who would have thought that the French government was so odd, single-handedly propping up half of the country's artistic landscape. This made these directors free of the guilt associated with making films at a loss. Consequently, French cinema had gained a reputation for boldness worldwide.
As for the support of styles that Luc mentioned, Lyman could understand that as well.
From the perspective of someone like Jacques, who was a director of art films, deliberately catering to the audience's tastes was seen as a regression in filmmaking.
Perhaps he saw Lyman as backtracking and wanted to lend a helping hand to a younger colleague.
Unfortunately, Lyman had an unwavering heart and couldn't be persuaded by a few words.
Art for art's sake? If an artist couldn't even support themselves, relying on government subsidies, they weren't artists but parasites, or even hooligans.
Jacques was relatively more open-minded, not part of the most rigid group. He had also won awards for his films.
In terms of international influence, he surpassed Lyman by several streets. But in terms of investment returns or attracting investments for shooting films, Lyman was ahead by a few streets with his track record.
The capital market had a profit-oriented nature, and whoever made money naturally attracted investors.
From Lyman's perspective, instead of partnering with various film companies or filmmakers to realize Luc's idea of resisting Hollywood, he might as well negotiate with the government to cancel film subsidies.
Let them spend their own money; if they lost enough, they would stop pondering about art and enlightenment. By then, those who didn't make money would be eliminated, and the market would naturally choose a new batch of directors.
Currently, everyone was still walking down a "road of no return." The future of French cinema was a long and arduous journey.
Although the three of them had differing ideologies, their conversation was lively, and they each had their own views on filmmaking.
Jacques didn't have formal film education, but over the years, he had amassed rich theoretical knowledge and filming experience. He was particularly interested when Lyman discussed the structure of his film.
"When your film is released, I'll notify a few friends in the industry to support you." Jacques was getting older, and he was open-minded about everything. Seeing that Lyman had his own ideas, he didn't try to convince him further. He spoke with genuine sincerity.
Regardless of how different their filmmaking philosophies were, this man was intriguing, and one couldn't look down on him just because he was losing money.
"Alright, I'll thank you in advance, M. Perrin," Lyman smiled. "When my film is released in France, I'll definitely invite you to watch it."
The two grown men exchanged smiles, displaying a sense of familiarity and camaraderie.
After the discussion, the three of them exited the study.
Jacques took Luc to catch up with old friends, while Lyman looked around, spotting Eva's figure amidst the crowd.
She was sitting alone at the periphery of the gathering.
Lyman walked briskly in Eva's direction. Just at that moment, someone else arrived ahead of him.
It was a gray-haired old man in a coffee-colored suit.
He seemed to be greeting Eva.
Who could that be?
PERTIMBANGAN PENCIPTA 
Shallowman
Shallowman I was so confused with Jacques Perrin as his was translated as Jacques Behan and the Pinyin matches. Weirdly, there is a news report about Jacques Behan passing away with an illustrious career left behind, including getting an Oscar. So, it seems like it is one and the same person but for some reason, he is Jacques Behan in China, I don't know why. Feels like the author never really used non-Chinese sources for his story which is really weird since almost everything he is working with is foreign. That would explain why the Chinese transliteration for names and titles are so weird
"Z" - "Focus News"
Status Power Mingguan
-- Peringkat
Power 
-- Power
stone