John Ford rejected Victor's invitation, and for a very direct and tenable reason.

"Victor, I appreciate your kindness. I can't do this, at least, now. I never doubt your ability. On the contrary, I think that few people can compare to the talent you have in movies. You will definitely be able to make a fortune in Hollywood. But I am old. Victor, really, I am old. Hollywood is a fucking place. This place does not talk about favors, only value money. Don't look at my gloriousness today and has a little reputation. Once I have no value in use one day, they can make me get out of here. Griffith was so awesome back then, but what happened?"

"In Twentieth Century Fox, indeed, I'm bound to make the movies I want, but at least, I can still shoot them, which is lucky enough. If I come to you, first of all, I can't guarantee that my movies can make money for you, and even, it's very likely to add burden to you. Secondly, if you poached me, neither Fox nor Zanuk would spare you. You have already annoyed Meyer, and if you mess with them, you can't afford to leave."

"I'm not here now, and there are many benefits. At least I'm a damn spy, right?" John Ford smirked and said, "Fuck you well. When you get bigger, I will definitely come to you by myself. Then, let's talk about it."

John Ford patted Victor on the shoulder, left, walked to the door, and stopped: "By the way, pay attention to the newspaper. When I was watching movies in the evening, the Hollywood Review asked me to write an article. In addition, I heard that there are many people, among which you have made up your own."

After saying that, John Ford walked away with great strides.

Victor sat on the chair, tidied up his thoughts, and called Leo and others over.

"From today, any journalist media will refuse to interview."

"What? What are you doing?" Leo opened his eyes wide: "How many people want to beg others to come again?"

"It's just a tactic of trying to get." Victor smiled wickedly and said, "In addition, the most important thing is that I need to prepare for a bigger crisis."

"What crisis?" Leo said.

"A storm, Hollywood is targeting me." Victor sneered.

Victor slept for a while, and this time he slept very well and did not wake up until noon.

My stomach roared to the office and saw Leo and others gathered to read the newspaper.

"What's wrong?" Victor smiled when he saw a group of guys all looked angry.

"Look at it yourself! Damn!" Leo pushed a stack of newspapers over.

Victor took it over, looked at it, and frowned involuntarily.

It seems that my expectations are not wrong at all.

On this day, in newspapers in Los Angeles, "This Killer Not Too Cold" occupied a huge area, which was essentially different from the previous reports that were not worth four or six.

Among them, the most eye-catching one is "Hollywood Review".

This most authoritative film newspaper in Hollywood and even the entire United States is extremely authoritative, whether in the hearts of filmmakers or ordinary readers.

And the front page, the poster of "This Killer is Not Too Cold" is in the eye, with a line of super bold title - "A Dark Horse is Born!"

"Last night, the first movie of a newly established small company set off a movie viewing frenzy in the United States. No one can tell that many viewers went to the cinema based on the cunning lottery marketing or the movie itself, but this movie is indeed very good. Victor Ferro, a young man in his early twenties, made people feel a new look. This new look is not a new look in the general sense, but this movie is incompatible with any Hollywood movie now and even before. It has no similarity. It is simply an alien, a monster, but it is so attractive."

The Hollywood Review uses aliens and monsters to describe a movie, and this is really rare.

Next, the newspaper spent two pages introducing the entire movie, from investment, to legendary film companies, to Victor Ferro's own identity, experience, to the actors, stories of the movie, etc., in great detail, it seems that the reporters have put a lot of effort into it.

In the next three editions, the comments about the movie were published.

Moreover, there are many names on it that shocked Victor.

The first article is Charlie Chaplin's. Chaplin's article has a powder-filled name - "Movies, not everyone can shoot!"

"I have been filming for decades and have played many roles, and these roles have been widely praised by the audience. I think the greatest beauty and the most precious thing in the movie is to promote truth, goodness and beauty! This is the most beautiful thing in the world. And these things are completely unseen in "This Killer Not Too Cold"! Killer, bullets flying, bloody, drug trafficking, teenage girl pulling the trigger, and an unexplained fucking love between an old man and a little girl... These things actually appeared naked on the screen, and were actually praised enthusiastically! I really can't figure out how this movie passed the censorship! I really can't figure out what impact our young people and children will have if they see these contents! Not everyone can shoot movies! He requires that the filmmakers have at least a conscience! I don't see any conscience in Mr. Victor Ferro!"

Next, Chaplin used himself as a glorious sample to criticize Victor from a moral perspective, and simply scolded Victor as a moral scum.

Victor was so amused and laughed at Chaplin's article. His worldview and Chaplin's is completely different and he can't talk about it.

The second article is Alfred Hitchcock. This movie suspense event in later generations is now very popular in Hollywood. His articles are purely discussed from movies.

"The fundamentals of the movie are actually stories. There is nothing more important than stories. The story of Mr. Victor Ferro's movie is so simple that it can be explained in one sentence - a story of a cold-blooded killer who kills without blinking and is awakened by a little girl. In the process of the story, Mr. Ferro's ability to tell stories can only be said to have just passed the exam and the story is incoherent, and most of it is completed with scene-based fragments, which makes the whole movie very loose and not compact enough."

"Mr. Ferro's biggest failure is in the use of shots. Movies are the art of editing. This does not mean that you can edit and combine them after each shot is constructed. In Mr. Ferro's movies, many movies are simply purely empty shots, scenes and atmospheres are filled with these shots, and the narrative jumps are too great. It can be said that our Mr. Ferro is too young to understand at all."

To be fair, Hitchcock is a movie master who knows movies and is a very high-level movie master. But he has the limitations of his era. Judging Victor's film techniques with his vision and experience obviously has surpassed Hitchcock's view of understanding.

The third article is an old movie man, Sissie Dimil.
Chapter completed!