"Preach in the text." --Tang Tears"
The world is like a vanity fair.
When you go to school, you are better than your grades, your work is better than your performance, and your life is better than eating, wearing, living and traveling.
Ordinary people are more than work and income, business people are more than scale and brand, singers are more than awards and sales, and actors are box office and awards.
There are more than grandparents and parents.
And so on.
But most things are not decided by a single factor.
Poorly graded students are not necessarily talented, poor performers are not necessarily incompetent, and poor is not necessarily incompetent.
When this question is put into the film industry, the reason is actually the same.
For example, is the box office of a movie really determined entirely by the appeal of an actor?
That must not be, the decisive factors include the screenwriter, director, co-starring, supporting actors, editing, special effects and even publicity, schedule and competitors, etc., so how many points can the first lead actor occupy?
But today we will not talk about the box office.
Let's talk about the Emperor Awards.
The honor of the film emperor has attracted great attention.
But in fact, like the box office problem, it is not entirely determined by the ability of the actors themselves.
It will also involve factors such as directors, works, judges' preferences and timeliness.
The simplest problem is that you perform well but meet a better opponent, and in the other game you perform average but the opponent is worse.
Therefore, the Film Emperor Award is not the only yardstick to define acting ability.
Another more important factor is the director.
As we all know, the famous director's point to the actor and the addition to the work are decisive.
For example, the first film took Leung Ka Fai of the Academy Award.
In addition to his personal talent, director Li Hanxiang is indispensable, and Liang Jiahui once said very modestly in a later interview that he did not understand anything at that time, that is, to do it according to the director's teaching.
So, we try to strip away the nomenclature factors and see what happens.
The concept of famous directors, including top directors and the backbone of the industry, especially some directors who can be called film emperors and film queens "manufacturing machines", while other commercial film directors, who may produce one or two film emperors and film queens in their entire careers, are not included.
It will not be listed here, and will be discussed separately when talking about the awards.
Take the Three Golden Shadow Emperors as an example.
The results can be unexpected.
The first is the "strongest film emperor" Liang Chaowei, holding eight film emperor awards.
The award-winning works are "Chongqing Forest", "Spring Breaking", "Fancy Years", "Infernal Affairs", "2046" and "Color Ring", of which "Chongqing Forest" and "Infernal Affairs" are the double film emperors of the Golden Statue and the Golden Horse.
The corresponding directors are Wong Kar-wai, Liu Weiqiang and Ang Lee.
Wong Kar-wai and Ang Lee are undoubtedly the top director sequence, while Liu Weiqiang is a typical commercial film director, and his career has produced two film emperor awards in the "Infernal Affairs" series.
Therefore, Liang Chaowei only retained Liu Weiqiang's "Infernal Affairs".
Golden Horse, Golden Statue Double Material Shadow Emperor.
Zhou Runfa has five Film Emperor Trophies.
The corresponding works are "Waiting for dawn", "Autumn Fairy Tale", "Hero's True Colors", "Dragon and Tiger Storm" and "The Story of Ah Lang", there is no double film emperor, but there is a golden statue Lian zhuang film emperor record.
The corresponding directors are Liang Puzhi, Zhang Wanting, Wu Yusen, Lin Lingdong and Du Qifeng.
A pioneer of the New Wave, a representative of academic directors, the originator of violent aesthetics, a representative figure of Hong Kong genre films, and a film emperor and a post-film maker, he is also almost the best director in Hong Kong's commercial and artistic balance.
Five directors, all of them are on the list.
According to the above standards, these five film emperor awards will have to be shelved.
The next two actors from the five Film Emperor Awards spoke together.
Leung Ka Fai and Andy Lau, who are also classmates of the wireless artist training class, also formed a team to play the role of bodyguard dragon set for Chow Yun Fat that year.
Liang Jiahui's works are "Hanging Curtains and Listening to Politics", "Season of Love in Other Places", "92 Black Roses to Black Roses", "Dragon City Years" and "Cold War", a golden horse and four golden statue film emperors, corresponding to Li Hanxiang, Luo Zhuoyao, Liu Zhenwei, Du Qifeng and two newcomer directors, of which Liu Zhenwei and "Cold War" directors can stay.
Leung Ka Fai has two Golden Emperor Trophies left.
Andy Lau's works are "Dark War", "Big Guy", "Infernal Affairs 3" and "Sister Peach", and the directors are Du Qifeng, Liu Weiqiang and Xu Anhua, and there is no doubt that only "Infernal Affairs 3" is an Golden Film Emperor Award.
Then there are four actors with three Film Awards.
They are Jackie Chan, Aaron Kwok, Liu Qingyun and Zhang Jiahui, Jackie Chan has no Golden Shadow Emperor and the other three have no Golden Rooster Shadow Emperor.
Jackie Chan's three films are "Police Story 3 Super Police", "Major Crimes Unit" and "New Police Story", directed by Tang Jili, Huang Zhiqiang and Chen Musheng, all of whom are commercial film directors, so these three film awards can be retained.
Aaron Kwok won the award films for "Three Forks", "Father and Son" and "Treading Blood and Looking for Plums", corresponding to directors Chen Musheng, Tan Jiaming and Weng Ziguang, a commercial film director, a new wave celebrity and a new director, so take away "Father and Son", can hold the Golden Horse and the Golden Statue Emperor one each.
Liu Qingyun's situation is slightly more complicated.
Works include "I want to become famous", "Take The Life Gold" and "Eavesdropping 3", of which "Deadly Gold" is Du Qifeng, there is no doubt to exclude, the remaining Liu Guochang although he has not won any substantive awards, but the reputation and strength are strong, Mak Zhaohui and Liu Weiqiang co-directed "Infernal Affairs" to win two film emperors, and Liu Qingyun's career has produced three film emperors.
But can barely leave "Eavesdropping 3", an Academy Award.
Finally, There is Zhang Jiahui, whose works are "Witness" and "Guild Wars", the director is Lin Chaoxian, and there are four film emperor actors in his career, so the three film emperors in these two works are not listed.
Actors below the three Film Emperor Awards are not listed for the time being.
And if there is no case of famous directors, Jackie Chan won, Liang Chaowei, Liang Jiahui and Aaron Kwok second, Andy Lau and Liu Qingyun third, leaving Chow Yun Fat and Zhang Jiahui without awards.
Of course, this is only the result of reasoning under qualified conditions.
You movie emperors are still the best in the film industry.
And there are five other non-replicable results, and being a director yourself pushes yourself to the position of film emperor is even more valuable.
The five are, chronologically, Xu Guanwen (Modern Bodyguard), Hong Jinbao ("Beware of the Little Hand"), Lee Xiu-hyun ("Servant"), Zheng Zeshi ("Why Me"), and Stephen Chow (Shaolin Soccer).
Not getting the movie emperor or the number of movie emperors is very small, does not mean that the actor is very poor.
Back to the title and previous article.
Who is more noble than whom?
This question, of course, is not aimed at the actors, but is related to some fan remarks, which refute their award-only theory.
Always keep one point of view, whether it is box office or awards, only for reference.
Works don't lie.
It is the only truth.