All eyes instantly turned to Michael. Robert was a bit worried; if this wasn't handled well, it could definitely affect their financing plans.
Fontaine stared intently at Michael. Could this young Hollywood producer's understanding of film art match his own? If he refused, he would only leave a wrong impression of being argumentative. And what could he use to refute? The commercialism of Hollywood? Mansour and the Abu Dhabi Investment Bureau weren't short of money!
In Fontaine's eyes, Michael was already cornered.
Fontaine waited for Michael to rebut.
Michael seemed to have yet to hear Fontaine's previous words. He picked up a script in front of him and said, "Mr. Fontaine, this is your 'Arabian Life' script. I spent a few days reading it carefully. Are you planning to shoot this script in a realistic style?"
The question was leading, but the script's content clearly conveyed realism. Fontaine's criticism of 'The Secret Agent' also hinted at his style.
Fontaine also thought so. He first answered, "Yes, an excellent film must realistically reflect social issues." Then he asked, "How did my script end up with you?"
Michael smiled and looked at Mansour. Mansour said, "I asked Mr. Davenport to give some suggestions."
"Him?" Fontaine's displeasure was instantly visible, but considering Mansour's status as the investor, he swallowed his questioning words.
He found an explanation for himself: Mansour wasn't from the film industry and might not be meticulous about certain things.
Michael pressed on, "Does the film faithfully reflect the script's content?"
"Of course." Fontaine thought Michael was being absurd. Why write it if not to shoot it this way?
Michael calmly said, "In scenes five, nine, and eleven to fifteen, as well as the ending, all involving the female lead as a civilian and an ordinary person, they all depict social injustice, the hardships of ordinary life, and even misfortune due to faith and social issues."
He deliberately asked, "Is that correct, Director Fontaine?"
Fontaine said with some pride, "I am filming a realistic movie, and it must truthfully reflect current social issues."
Michael asked again, "Is the female lead's background in Abu Dhabi?"
Fontaine was a bit impatient. Did this guy understand movies? He answered, "Yes, it's in Abu Dhabi."
Everyone was a bit confused and didn't understand what Michael meant.
Michael continued, "And you plan to take this film to international film festivals?"
"The plan is also for the Cannes Film Festival, Berlin, and Venice to be possible." Fontaine was really getting angry now, "I don't understand the point of your questions."
Michael didn't respond to Fontaine but instead looked at Mansour and said thoughtfully, "Minister, Director Fontaine claims to be a brother of the Arabs, but in reality, he is no different from those Western filmmakers who slander Arabs. Oh, there's one difference; he does it more covertly."
Fontaine stared wide-eyed, in disbelief at Michael, "How can you slander me like that?"
"What do you mean?" Mansour was also slightly surprised: "I read the script too, and I didn't see anything like that."
"You're slandering directors and film art," Fontaine added.
Mansour glanced at him, and Fontaine fell silent.
"I need an explanation," Mansour said.
Robert looked at Michael worriedly. How could he say such things casually?
"If Director Fontaine can complete this film excellently and participate in the big three film festivals," Michael said calmly, "I have no doubt the film will win awards."
"Uh..." Fontaine was completely confused.
Was he praising himself in a roundabout way?
Michael unhurriedly said, "Every country has its good and not-so-good sides. The USA, the UK, Arabia, and even the well-welfare Northern Europe are all the same."
This was a simple truth that even middle school students understood. No one denied it.
"Western society has always viewed the Far East and the Middle East with coloured glasses," Michael continued. They ignore the good sides of these regions and desperately dig up and promote the not-so-good sides, never considering whether their own backyard is clean."
Still a politician, Mansour was hit right in the heart by these words, "You're very right. Please continue."
Michael smiled humbly, "This is especially evident in the cultural field. I'm not sure if you've noticed. Still, many films deliberately portraying their country's not-so-good sides always win awards at Western-dominated film festivals because Westerners like to see these. They enjoy seeing the so-called ignorant people in their imagination showing their supposed ugliness to the global audience."
Mansour seemed to understand what Michael was saying. He lacked an understanding of film but wasn't foolish.
Having travelled to the West for years, he had experienced Western prejudice and even slander against Arab countries firsthand.
Michael picked up the script again. "Why does Director Fontaine shoot in a realistic style? Why does he want to attend film festivals and be confident in winning awards?"
Before the French director could speak, he answered himself, "It's clear that this film exploits Arab tears to gain Western sympathy. Westerners like watching such films because they need an evil Arabian in the movies to enhance their democratic life."
Michael raised his voice suddenly, "Such a film has a great chance of winning awards!"
Fontaine argued, "My film is realistic! It has nothing to do with what you said!"
Michael ignored him, "Every country has good and bad sides. As far as I know, Abu Dhabi has been working hard to solve problems. Why do some people focus on the bad side and want to promote it through movies? If there are issues at home, they can be solved behind closed doors. Why publicize them? What's the motive?"
Mansour suddenly realized. He had previously felt that Fontaine's script had some issues but couldn't pinpoint them. After hearing Michael's words, he understood. It was about exposing Arab society's scars for so-called freedom and democracy advocates to see.
Fontaine was anxious. In his haste, he reverted to his native language, speaking a long string of French.
Unfortunately, no one present understood French.
Michael's words were even more cutting than Fontaine's, "To please the Western mainstream cultural world and win awards?" he coldly said, "Exaggerating the ugliest side of Arabs portrayed by Westerners, showing it to Westerners, catering to their psychology of vilifying Arabs to win awards..."
As he said this, he felt a bit disgusted with himself but suppressed it for the sake of financing.
How can you be a successful film producer if you can't lie convincingly?
Michael continued, "Why focus on the dark side and marginalized groups of society? Why not show Abu Dhabi's prosperity and the Arab people's kindness? Director Fontaine caters to the twisted minds of some Westerners, deliberately filming the country's backwardness. He only shows human ugliness and national backwardness, never proposing how to improve. He doesn't see the nation's efforts and sweat. This is not only meaningless to Arabs but also tarnishes the country's and compatriots' image internationally."
"Well said!" Salih agreed, "These people have malicious intentions!"
Robert suddenly laughed. Michael's move was brilliant. He had also read the script, which depicted the difficulties of ordinary people's lives, yet Michael had twisted the concept.
But thinking carefully, Michael's words were very reasonable. Whether it's the big three European film festivals or the Oscars for Best Foreign Language Film, they often did what Michael described.