 Good evening. Welcome to the last day of the Wanran film screening series. I'm Zhang Biyu. Welcome tonight. I know it is quite unusual to see during the holiday time the turnouts to be so great. After a whole year of fantastic screenings, we are ending this year's understanding Taiwan through film and documentary series with a bang. Okay? Tonight we are showing two films starting with the trailer of Wanran's new film, It Takes Two to Tangle. The Chinese name sometimes called Che Ping, sometimes we also know as Kua Hai, Tiao Tang Ge. And followed by a full-length feature film, Puppet Angel, Kui Lei Tian Shi. It Takes Two to Tangle is a satire of cross-stray relations. Why Puppet Angel is an examination of Taiwan's election, polarized politics and corruption. We are extremely honoured to have Director Wanran with us at Sewers Tonight. So, please put your hands together and give him a warm welcome, Director Wanran. Later he wants to also explain a little bit about the complicated different versions of these two films. However, we will leave that to the last because the best person to explain this. So, many of you have seen his most important films, Super Citizen Co., which we screened on Monday. It is a beautifully shot film providing an understated reflection on Taiwan's tragic past. However, I would like to emphasize that Wanran is a director of many dimensions. In fact, he is famous for his use of humour, irony and sarcasm. Emily Ye and Daryl Davis describe him to be, I quote, the most explicitly political and least or two risk of the new cinema directors. The former comment is understandable. You all know once you see the film because of his interest in exposing social problems and probing injustice. What do they mean by least or tourist? Perhaps because he has a broad range of repertoire not limited to any particular genre, style or topics. And he seldom repeats himself. So it's quite unusual have someone have such a broad range of vision and styles. And these three films we show in this series demonstrate this undefined ability of Wanran as a filmmaker and also showcase his ability to always expand his horizon. Wanran would like to specify that although Puppet Angel was made in 2010, you know, almost more than 10 years ago, it has never been released because he just told me that because he ran out of money to finance it's a little bit difficult. However, today the film you're going to see is a working version and it's also reworked version. And we are being given a special preview of this and I would say it's a director's cut. It's more true to the Wanran's own creative intention. Before we start the film, as usual, on behalf of the center of Taiwan Studies, we would like to express our thanks to the support of Ministry of Culture and also the generous donation made by Dr. Samuel Yin. Without this support, we would not have been able to put on so many fantastic events. So thank you very much. Now without further ado, we will play start-up screenings. First it takes two to tangle in only 11 minutes. And after that we will have the full lens. Then of course you have plenty of opportunities not only during the Q&A but also after the reception. Okay, thank you. So let me play this. Yes. Yeah, I had the politics. I mean, the second one, you will see the public, the Angel Heart. Public Angel. Public Angel is a whole team. It's never released before. The quality is kind of different from the other you will see. But this is the first time I'm showing the public. Yes. And also it's probably... And it's done in 2001. 2001. Yes. Okay. So I play this. And this is the new editing, the new version. Okay. He himself hasn't really seen this film for 10 years. As you can see, it hasn't really finished. It hasn't really finished. I mean, it's not a proper finish. So you guys... You have the lucky view that I've really seen this film. Excellent. It was finished. Okay. It was filmed during the first year of DPP's reign, and that's 2001. Okay. It was filmed during the first year of DPP's reign, and that's 2001. I think... When you made this film, I think it was a great place. We were still thinking about the fear of white, and today we have reached the DPP's position. I think Wenren wants to compliment the choice of this film, because the first day we watched the film is about white terror. Now it's right. 40, 50 years later, it jumped into the DPP's in power now. So it's a big transition. Okay. You can see quite a lot of the actual election rallies, and it was during the 2000s legislatures election, and also the county magistrate and councilors elections. Okay. What you can see is not documentary. It's even though it was filmed during the election period, but he said he's very proud and very confident by his own actions. He said, he's very proud and very confident by his own actions. He said, he's very proud and very confident by his own actions. He said he's very proud and very confident by his 10 years later, when he looked at his own work, he realized it's being done through cinematic aesthetics. It's not just about recording. That was the first time the election held during the DPP's reign. So the legislature got 80 seats, I mean DPP got more than 80 seats, and the magistrate got a nine. So it was a very rare victory, especially after so many years of martial law. I'm actually looking at it, just in case I got anything wrong. So do chip in if they're sitting. It was the first time the DPP gets more seats. Yeah, more than Gominang. Okay. This year is another round of the magistrate elections. The end of this year. So the party rotation is very important to Taiwan. He feels that it's very important to have different parties take powers, and it's this kind of taking over. It's actually good for democracy. In fact, in 2001, I didn't know that I had politics. You hate politics? Yeah. But why do I have anything to do with movies? I think... Your movies are related to politics. Yeah, they're related to politics, to society. Actually, I don't really like politics, but I just watched how he talks so much about politics. He said he hates politics. So then when he watched this film, he said why did I actually concern so much and I talk so much about politics? Right. I hope I get it right. For him, making film is not just about satisfying your creativity. He likes to tackle certain kinds of topics that express his ideals. Of course, being an idealistic person, he also sees himself being revolutionized. I hope I got it right. He believed that absolute power definitely corrupt people's human nature, and he believed that deeply. That, of course, is because his background is originally from history. That's how he got this kind of viewpoint. In this SOS, I shouldn't talk too much about politics, because it's a group of people. He said, of course, against this kind of background, people are more politically aware than him, I doubt. He said he felt like showing off in front of you guys. He doesn't like politics, but it's undeniable that politics influence everyone. There's no one who cares about the society who can't deal with politics or can't place yourself outside the political domain. You cannot ignore the political domain. I don't often talk about politics. When I watch this video, I think I'm very emotional. I'm very supportive of the party. But the failure of President Chen Shui-tian made me disappointed. Sorry, I have to, otherwise I'll forget. I feel deeply, I can share my thoughts with you. Rarely I talk about how I felt about this. I can admit to you that I do support DPP in the old days called Dang Wai. But because of President Chen Shui-tian's corruption, actually I felt dissolution. I really are against this kind of... And he's heard a lot of people. Actually, it's not only her fault for the supporters and also make many people dissolutioned. Now everyone knows that Ma Ying-jie is another person that made people disappointed. Okay, now he's looking forward to the 2016 election. And what many people predicted and almost foreseeable is the change of power again. He constantly emphasized it's a work print, working process. So that's why the end credit is just empty. Actually it's quite good. Okay. The reason why I want to make a film like this because I think politics are real and the so-called reality is real either. So it is actually need to be aware of this. Original storyline or the idea was that the politician was actually corrupted. He just had a scandal. Remember, this is 2001. The 2001, so at that time... But why didn't this film come out? In fact, this film is not suitable for ordinary audiences. But I see today's reaction seems to be wrong. Well, it was not released after it's being filmed. But before we showed the film, actually, Director Warren told me something wrong about finance. So it didn't happen enough. But at the same time, he said people also concerned about the audience. Maybe the box office is not good enough. But according to tonight's response, he thought maybe it's okay. In the cinema, there is a black movie. Maybe in the 1940s... Film? Yes. You can tell from the music and the cinema. Especially the mystery lady. Actually, they have a lot of films. But I didn't finish this film. Well, he felt it's actually unfinished work of his. You heard that it's a certain kind of genre, film noir. So it's mysterious, beautiful women. They don't necessarily need to explain everything. Especially the love scene or the back-end romance. The thing with the series and the guys. Yes. So this is actually a brand-new version. It's very different from what he so-called finished in 2000. Not quite. It's not that different. It's not quite the same. In what way? In fact, he added a lot. Because you have to talk about politics. I think I set the father of the male lead. Why did he, the father of the reporter, also reply to his mother about politics? So I added a lot of his inner intuition. For a man, this is probably his father's influence. His father was a politician. He put this part in. This particular version increased the emphasis on the main character's internal reflection. And mirroring his father's scandal and Huang Mingye's scandal. So it's kind of mirroring and contemplating on politics and corruption. And also, he was saying, as a man, you question your father's death. And also, it's kind of a shadow. So it's really the main issue he's questioning. It's not just about politics also. It's about internal reflection and feelings. I participated in Golden Hall Spring Vegetable in Taiwan. Got the one prize. So you... What did you say? I think it's something like some music. Anyway, I have to change one scene. Because you have to change one scene. After he finished this film, he got a war from the Golden Hall Festival for the music and sound. The thing is, because you got a war, you have to show to the public at least once. And he said, I don't know why, I don't really want people to see it. Only four people. So only four what? Four people. Four? Only four. Okay, so he only invited four people to come to that particular screening. Because he didn't really want to show to the public. So you are his intimate friends. Okay, so okay. Zhenzhen got a question there. Hi. I will make it briefly in English later. Oh great, that's good. I have a question for you. Do you think that in Taiwan, if there is a next political problem, there should be another one. When I interviewed you, you asked me a question. Taiwan is going to break the blue law. There are two questions. Is it a point? Do you think that there should be a complete policy to solve this problem? So I would just make it very briefly. I think this is a very brilliant film, especially I think it's very very inspiring. So my question is, because you say like, we don't know what truth is. So can we really believe in politicians? Or do you really think, how do you think, before the past few years, after so many years when you made the film, has anything changed in Taiwan? I mean, in terms of politics, can we still feel confident in the politicians? I personally, I don't. Because I think that most of the politicians, they lie. It's a different way they lie. But so, I mean, I'm just very concerned about our democracy. There's something, it's such a valuable aspect. Well, you talk about 2016 is a good opportunity. We can have a different party. But then do you really think this party is ready to move the country forward? Especially you mentioned in the interview, you mentioned that Taiwan will move to the new direction, which will be the cross-strait relations. It's quite important issue. Do you really think the party is ready for that? It can lead the voters to lead the public forward? Thank you. That's a very good question for Wang Minyan. Yes. I can... I don't like politics. I really don't know how to answer you. Because I came to talk about movies today. You know, even though my film is about politics, but to me, I think it's about movies. I think it's about movies. It's just because Taiwan is very special, politics is a very important issue. I can't... When I talk about society, I care about this place. I can't stop talking about it. Okay. Well, Wang Minyan actually replied brilliantly. You know, because his expertise and his interest and his here for talking about his film, not about politics, he concerned about politics and concerned about the social issues. But probably it's not for him to say. And I think... No. What should I say? I should... I should say that I think politics is... What should I say? We are looking forward to the politicians not a lot of politicians talking about politics. That's what I think. But let me tell you. I said 2016 is looking forward to Tai Chi. Maybe Tai Chi is too bad now, right? I think Tai Chi is looking forward to it. In 2016, do you think it will work? I'm not sure. Really. Do you want to... In 2011, I was talking about the corruption. How would I know? I couldn't have thought that the politicians, the ideal politicians, would be in that situation. So it shouldn't be like that. It's a drama. We are not politicians now. Okay. I just briefly translate what he said. He was saying maybe it's because the situation was so bad. That's why people can have certain kind of expectation for the future politics. And, well, the result of 2016's election would be better than now. Who knows? So it is... That's why he said I hate politics, or politicians, but it doesn't mean... We should say this. We have always said there is a corrupt government. Now there is a helpless government. What kind of government might be different? All kinds of things will happen. So we hope that a good politician will help us. A good politician is important. It's what we are looking forward to. Okay. Of course, there are corrupted governments or totally incapable governments. It's not the point. The point is, because these governments are not good enough, that's why we are hoping and wishing and expecting better politicians or regime come along and solve the problem. I mean, in the future, except for corruption and helplessness, there may be different mistakes and we hope that politicians will come. In the future, it may not be good, but I think it will be worse. You can't imagine it. Of course, there are even worse kind of regimes come along. You don't know, right? You don't know. However, we expect to have maybe some real professional idealistic politicians come along. Of course, they are all professional politicians. I mean, it makes you very... Idealistic? No. The so-called politicians are... Capable? No, not capable. Statement. Statement. Yes, they are politicians. Now, most of the Taiwanese are not politicians. Why? They are all politicians. People who... Because I sometimes envy many countries, they have a political character that makes you admire. Like the South. Mandela. Or Sui Sui. Even Covington, sometimes we will worship him. Because he is a politician. You know, he has the ability you mentioned, but I think what Taiwan wants is for everyone to admire him. So, probably we need someone with integrity and some sort of statesmanship that one day we hope we will have this kind of statement that we like Mandela or even Clinton. No, no, no, no, no. No, no, no. I mean, you didn't mention that? Yes, yes. Okay. We do... Can we... Can we... There are several people who are asking. David and Ming Ye. Okay, yeah. Yeah, I mean, I had a comment and a question. The comment kind of ties in with one of Ming Ye's points from yesterday. I mean, both the two films we've seen are very critical of the way Taiwanese politics is operating. And we see things like the corruption is really... is really highlighted, particularly in the second film. But from a political scientist's point of view, it's quite interesting because at this point in time, mid-1990s first film, 2001, we're quite optimistic about Taiwan's politics. Political scientists are taking good care of you. So that was the... So there's a bit of a contrast here. So that was the comment that Ming Ye touched upon last night. And the question was, in the first film, I could see how you must have done a lot of research in terms of looking at white terror records. But how did you research this film? I'm very curious about what kind of methods you use to actually... I'm receiving in you. So it's just based on life observations. I live in Taipei, and by... I would say I spend more time than concern this subject than the white heroes. I live in Taipei. This is important. More than any other information. Okay. So you already answered the questions. And Ming Ye, thank you. I use Chinese. And then... Thank you. Thank you. I actually have two questions. The first one is that we saw that this film is still working. Are you still not done? I think this version is already done. Oh, okay. It's just that it's a walk print. So many colors and colors are not adjusted. We call it a walk print. Okay. The first question is solved. Okay. The second question is we saw these three days. In fact, two half two plus a short film trailer. Among all these films, which one or which characters have the deepest recognition? Okay. Among all the characters you created between the two and the trailer, the two films and the trailer, which one which characters that you have the deepest identification? Okay. I think you do you want to switch? He's already switched. No, he's already speak English. Yes. Yes. Yes, this is what I want to say. Don't talk about politics. None of them talk about the old guy, the old man. Sorry? Which one? The Super Citizen Call. Mr. Call. And in Japanese call in Taiwanese is call. In Mandarin is shu. Call is for whole life. Call. So in fact, because this person can represent Taiwan or he can represent the past or with his his Do you agree? You I guess Ming Tse No, no, I mean which one I was definitely the old man in the movie. Because he had a kind of coincidence or you should say this first. Okay. Answering Ming Tse question Director felt that it is the Super Citizen Call. Call is suffering for all your life actually is implying it's a collective image of all the Taiwanese and he definitely deeply identified with that particular character and not to mention Lin Yang the the old but the the actor who played that Mr. Cole he was 62 years old when he played that role actually much two years younger than him is now he asked the question in that film of what is ideal and being an artist and ideas important however he felt in this film he always asked the question where should you put ideal what's the place it should be and the cost or the sacrifice you have to pay for your own pursuit of ideals and but he believed that everyone should have an ideal to pursue so it's a sort of struggle okay so the impact of the film is actually from this kind of pursuing of ideal and that's what he's close enough 定義什麼什麼用途什麼 對我來講政治就是 我把它弄越模糊越好 這是一個電影的導演的說法 我今天不是 不會去特別去 去定義定義 去台灣的政治什麼什麼 對我來講不是那樣做 對我最 我覺得最好的方法 是這樣 是用電影 不是用模糊的說法 Actually talking about this film tonight A Public Angel He feels his approach Is to not just clearly define What politics is Like political scientists do But for him He want to present the issue of politics Or at least raise the Enhance your interest And questioning what politics is Is by presenting it Not in a very clear cut way But in a more vague Or not out of focus I would say sort of like make it more Obscure Obscure But That is politics But what I mean is I think we should From the director's point of view To look at these things Of course I think his point is Because as an artist As a filmmaker His aim is not to make it clear Or like David here But make it more Profound I think So you raise questions and let people Contemplate on these issues Just like The biggest problem in Taiwan Must be the so-called Difficulties Of course Anyone knows about Taiwanese politics Will know the major issue Is about colours The contrasting between Different camps The green and the blue camps So maybe We should spend more More time to Make this situation Not so complex So actually It is not Maybe he should Reduce the contrasting colours And the contrasting forces Between different camps Rather it should be It is not important Which colour you belong to So this I have been preparing for more than ten years To make this kind of film I have thought about The contrast Between the so-called Polarised politics For a very long time Over ten years Between the blue and the green camps But because I have been filming for ten years So I don't have the chance To film After I stopped filming I was filming After Public Angel He stopped making films And he spent ten years Making public television Miniseries So that is why There is a gap there So at the end I think I think After that China and Taiwan's These issues So after ten years Then he came back He realised He came to realise The conflicts between The cross-strait relations Actually is the focus now But I emphasize I am still a political problem So I want to use the red You just saw the red I used the red And the green to fight And talk about marriage So Of course it's all down To politics again Even though it's a different contrast And he used quite a lot Ironies and Humour there For example Now it's not the blue and the green But it's red and green There is a certain colour contrast there And this frame We are going to show in Taiwan In the 7th of November of this year So Ten minutes of trailers For the Mainland China As the distributor So actually I have a lot of problems Because They are all in the movies Of course So this version The trailer actually was prepared For the investors and distributors On the mainland So actually avoid Quite a lot of Sharp contrast Ha Wei Sorry, this is the differentiation In the trailers Because you said that the trailer Was actually made for Mainland China So I'm just wondering if the content Of the film itself Is actually watered down So basically This trailer It's made for Mainland China So some problems Have been removed But the film itself Is it There are two different versions One is for Mainland China One is for Taiwan Is there such a situation Basically This film Is very complicated How to say I just said that Of course it is a topic of Taiwan But because of the two cases Mainland China is I think Mainland China is also in progress But no one dares to blame me I can make this film Mainland China has already seen clearly But this is a very important Just like the investment No one wants you to shoot such a theme Okay It's a complicated Issue Because the audience Are quite different But for This particular November release Will focus on Taiwan But when he's During the negotiation with Mainland people They're actually quite progressive now But the problem is No one Are responsible No one dares to Say it's okay If there's anything a bit sensitive No one Want to take You know take the responsibilities So that's why Sometimes also concerning The issue of investment In fact We can't do A lot of business The Special consideration So the amount of consideration I just want to The crowd in the mainland The audience will look better Everyone will smile more Okay No deliberate consideration For commercial Attraction Let's put it this way If I Even more How do you say English If I make it Demonize them Even more bossy More So And that will probably Even better Sells better in Taiwan But I wouldn't do that Okay Okay Okay If they just Look at the script There will be loads of trouble But because they saw the Product actually The concern For censorship Less So I don't know yet I don't know why So I will go to Taiwan And I will think about how How to let them review Let them review the whole film So as we said It is still focusing on Taiwan's market But after Taiwan's release Maybe he will You know send to To see how they What they said This 10 minutes is because They want to cancel the movie So I don't have What's so special about it It's just casually I just have a cup Of 10 minutes A trailer For promotion Ministry of culture Wanted to promote some sort of Taiwanese film And it is quite a good idea I suppose Okay One very famous Senior Director Li Xin I think most of you have heard of Li Xin actually advised Why don't you just show them the script And let them Change And send them From this particular base And give some opinion And pay them to do that And then return And then return The new script And Li Xin said Don't do it Why Like a propaganda film Eventually So didn't do that Actually the most important thing The communists in 1949 48 You know After the World War II 1945 1949 The civil war The communists They They won But they didn't want to talk about this They just thought They didn't want to talk about this Okay this is quite interesting Crunch Point Apparently from the review Or from the mainland side Apparently they didn't like the part Of the talking about the past Especially during the civil war Between 1940 The two old guys Grandpas Reminiscent about the past And on two sides Of the Chinese Ideologies And apparently The mainland side Felt It's not advisable to Really dwell on that They didn't want to talk about that part And because I think Grandpas is important Three generations Because you are solving the two cases It's impossible not to talk about that part Okay He felt that's very important to have A particular part To sort of anchor the whole story Because three generations from now The younger generation Of course, love affair But the grandpas story Contrast each other You can't not to mention it This is again when we talk about politics Sometimes I feel Quite open For example, I went to World Museum this time Kind of World War One The World War Two I think the British With the Germans Because the United States and Germany Will be solved soon Do you know what it means? I know The first grandpas But I think these two sides Chinese and Taiwanese I think it's quite difficult Of course Okay That between The allies And the Germans Reconcile Easily But not necessarily For them For the outside At least you reach A certain kind of constellation But for Wenren He felt that Cross-strait this kind of KMT and the CCP's Old conflict There's no Reconciliation in some way I mean ideologically Of course Cross-strait relations Will be the Major issue in the future For Taiwan and for China as well But To face up this issue He wants to deal with it At least in a more Ironic way Trying to lighten up But also make you see What the major issue is Of course The cultural difference And also the contrast Between cultural difference I think Is that okay? Another question Thanks very much I really enjoyed both the The trailer and the film Thanks very much I'd like to ask about Your role as a director As an artist Because films Have influence They have influence on society Maybe not in the same way That politics influence society But film and popular culture Will influence society Perhaps especially young people So what kind of responsibility Do you feel you have as a director To include or not include Things in your film When you're thinking about One the market Or whether you're thinking about A message that you want to portray To Society at large Can I Try and translate that? That's easy As a director You may say You have a responsibility Because films have influence One thing You as a director Can also influence society Then you will feel There's a market Or your own ideal Or A message that you want to portray To society How do you balance These different things In fact The film Is a very special place I've been thinking I'm a painter I'm a poet I'm a singer I think Films are too complicated Because In fact In fact, we all use The language The language Okay Film is a very Special industry And filmmakers Faced the issue You just mentioned I would rather be A painter or a poet Probably less complicated Okay Of course From a traditional mainstream And commercial And art film But the problem for him Is for all filmmakers If you need to make a living In this kind of industry It is very difficult to balance To reach Between the market and art Not only for living Sometimes You are very difficult To balance It is not just Making a living How to reach that balance Is very difficult Of course There are quite a lot of people Doing quite well Making commercial films Also some other group Of people doing quite well Making art films But how to Reach the balance and across The border is very difficult It is not very easy Of course the most successful Is I believe me It is very hard And so You usually make a lot of films In the end it becomes independent So you have to prepare The project By you And the sound is supported by It is not a normal Movie commercial No one would invest In that Perfect Angel Okay So if you want to Uphold Your ideal Or you want to do Make art films sometimes Eventually end up Is actually independently Made independent films It is not You can't operate Normally Films like this do you think Do I have a chance To be commercially successful You think so So I would say You are sort of responsible The direct responsibility The influence To be honest The influence Just can't tell So probably It is not the responsibility He is thinking about What I wanted to do And what is the right thing to do Of course I can tell you A lot of what I want to do I want to For me I have to make a good film That is a good Women Because we have Reception outside Can we have another Final question from Hong Jin And another student there But Hong Jin first Can you ask sure questions Otherwise we will be kicked out in 10 So okay Hong Jin please This is our student Hello I would like to ask you To be honest To be honest To be honest To be honest To be honest To be honest To be honest To be honest To be honest You are from Hong Jin Is there a specific model Or is it a way Because you just mentioned That you originally designed this role Is corruption Why would this part be interesting So we could just Kind of briefly translate it Because until today The gender issue In Taiwan is still a little bit conservative And that is 13 years ago So could you Just tell us Do you have any model or epiphany That why you have such Why you write this drama Like this way that gave the audience Such as the prize at the end About the so called a scandal I should say The correct thing I think it's too normal Did you hear that Well corruption Is now sort of normal So you need to shock Even though we Sort of widely accepting Homosexuality However Is still something Not totally Open And it's also because From reality We can observe that Compared to Corruption is sort of normal If you have a different Alternative Sexual Orientation That actually cause Really a necessary or quite Abnormal harm Really a necessary or quite Abnormal harm Okay If I'm making Our film I might just make Huang Yi Ye and Art I know I might Arrange The reporter be the Lover of Huang Ming Yan But it's just Just a thought This class has a question Is Especially That Is That But Is All That Is So So Is The That Is That Is That Is That Is Okay The structure of the The The structure of the film Is Seemingly inconsistent But at the end, seemingly very quickly, to draw it into a conclusion, and just use the monologue to explain the whole situation. Why? Because I always see that in the 1940s, in the 50s, the black film gives me the feeling that you see another dark side in the human mind. Okay. It's actually stylized based on, I think, film noir. And he said whenever he watched 1940s, 1950s film noir films, actually got this kind of contrast between the black and white actually sort of symbolized the darkness of life. And very sentimental music. It's like there's always a layer of fog in there. It's seemingly always quite misty, very foggy, almost misty sort of feeling. So at the beginning, he did intend to use that visual mistiness to create an indication or symbolize Taiwan's murky, murky politics. So he also built, because he likes realism and realist style, that's why he used quite a lot of real life election scenes. Okay. So eventually when the story lines developed, he realized that the contrast between the journalist's father's, sorry, the political situation during his father's period and the current situation is probably more important than just suspension. However, he will make the film more complex. Because politics is so complex, so dark, the truth is not clear. Okay. If it's a Hollywood film that probably makes it more fancy, the suspensions are much heightened, but it's not here. Okay. So story line is not important for me. I think this is the film that I really felt this is more closer to our film. And it's actually aesthetically more sophisticated. Actually, the important thing is that the reporter and Sally have a lot of stories, a lot of things. Ah, I'm disappointed. There were quite a lot of physical, you know, some sort of love-making things. Supposedly, well, it was filmed or shot, but it was not included in this version. That's the most important thing in the black film. The male protagonist is always a beautiful, mysterious woman. The female protagonist is confused. Yes. She was originally very clear about politics, but later she was not. So in all film-wide films, it is a pattern that the main male characters always being attracted by mysterious female characters didn't know what to do. And originally, he's pursuing politics that eventually forgot about politics. And confused. I don't want to go into that. So when I was doing the last version, I made this choice. In fact, the film has already changed to a big name. Oh. Okay. Okay. You talk about the big name first. Right. Right. So the reason why he cut all these things out because he felt he doesn't want to go down the rule of film-wide as such. He's changed the name. Yes. So it also changed the nature and changed the title. Yes. Because at the beginning, I was a super citizen. I was a citizen of the city of Taipei. The super citizen of Taipei was a country. A big citizen. Okay. And then the third step was called the citizen. You know? Yeah. It's universal. I'm talking about the death. Right. What to do with this? It's a big name. Okay. Yeah. So because... So this is the third step, right? The fourth step. The fourth step. It used to be the third step. Because no one knew this step. Right. No one... No one knew this step. So people used to say that Taiwan was a third step. Yeah. Super third step. Super third step. There's no third step. No, there's no third step. So this is actually the fourth of citizen theories. But never really listed us the last one, because no one really seen it. So that's why he changed the name to Da Xuan Ming, the big voter. Super voter. Super voter. Super voter. Yes. Super voter. OK, I think really we should call it a day, we run out of time, but thank you so much. It's fantastic.