"Preach in the text." --Tang Tears"
I once talked about a topic called "Actors have three kinds of regrets."
Related to director Wong Kar-wai.
For example, wong kar-wai who did not meet the peak period, Wong Kar-wai who met the peak period but failed to win the award, or won the award but soon parted ways, corresponding to the four heavenly kings, very interesting, all just corresponded.
And recently met some of Mr. Liang Chaowei's fans, which is very interesting.
They said that "A Generation of Grandmasters" is the ceiling of Aaron Kwok's works, and asked "Can Aaron Kwok play "Fancy Years"?" What's more, Wong Kar-wai can't look up to you Aaron Kwok.
Leaving aside the plausibility of these statements.
Just looking at the ego, prejudice and arrogance that pervades speech can make people laugh.
I have seen too many people, do not understand the work of an actor, but dare to open their mouths to deny others.
This is nothing more than shallow knowledge.
But because of these remarks, it raises a question of thinking.
That is, as the title suggests.
Does Aaron Kwok still need Wong Kar-wai now?
This sentence may also be arrogant.
After all, Wong Kar-wai is prominent, and ten films have produced five film emperors, three film queens, and even the international A-category film emperor award.
Does any actor want to work with Wong Kar-wai? Maybe there is, but there will not be many.
And Aaron Kwok once said when he was shortlisted for the Golden Horse Award for the third consecutive time with the movie "C+ Detective", "Ang Lee is a very good director, and I hope to have the opportunity to cooperate with him." "So for wong kar-wai and Ang Lee, there should be no actor who will refuse."
But not rejecting it is two different things than needing.
Before "C+ Detective", Aaron Kwok had cooperated with Du Qifeng and Tam Ka Ming, two famous directors in the Hong Kong film industry, and then cooperated with Gu Changwei, Chen Kaige and Yan Hao in Hong Kong.
More collaborations are coming from new directors.
The so-called "need for Wong Kar Wai" should be mainly viewed from the perspective of awards, works and acting ability.
Aaron Kwok has held two Golden Horse Film Emperors and one Golden Statue Film Emperor in his hands for more than ten years.
There are not many awards, but at least they are in the middle and up.
In terms of the number of three Golden Film Emperor Awards, only Four actors, Liang Chaowei, Liang Jiahui, Chow Yun Fat and Andy Lau, are in the front, and he is tied for third place with Liu Qingyun, Zhang Jiahui and Jackie Chan.
For them, awards should be a kind of random mentality.
So there is still a great desire for non-existence.
As far as the works are concerned, there are pure literary or niche classic films such as "Father and Son", "Favorite", "Centennial Floating City" and "Blood And Plum Hunting", as well as commercial masterpieces such as "The Mighty Wind and Clouds Dominate the World", "Cold War" and "Peerless".
Thickness and hardness are also sufficient.
Then the last thing left is the problem of acting improvement.
His pursuit of acting ability is indeed a level of fire.
But from the beginning of the literary niche films, to the "Favorite", "A Hundred Years of Floating City" period of the stunning leap forward, and then to "Treading Blood in Search of Plums" and "Taoist Down the Mountain" during the introverted and tension coexist, in fact, he has reached a certain extreme state, and then through "Breaking the Game" to break the last barrier, with "Peerless" to the peak.
After that, the performance of "Mai Luren" and "Secret Visitor" is described in eight words, washing away the lead and lifting heavy weights.
Peak, stability and creativity coexist, this is the current stage of Aaron Kwok's acting skills.
The most important of these, of course, is creativity.
Many people may not understand, what is the relationship between acting and creativity?
It may be clear to say, for example.
I have previously talked about five phenomenal films and actor performances in the history of Hong Kong cinema.
A truly stunning performance is by no means something that can be achieved just by following the description of the script.
Among them, there are Xiao Ma Ge of "The True Colors of Heroes", Chen Yongren of "Infernal Affairs", Ni Kun of "Infernal Affairs 2", Li Wenbin of "Cold War" and Li Wen of "Peerless", these five movies are more radiant because of the performances of these five actors.
This list should probably be added, such as Zhang Jiahui in "The Great Hunt".
If you can get the script comparison, you will be surprised that just a few lines of words and the performance on the big screen are so far away.
And those mediocre actors will lack this creativity, so when you can't find this kind of dazzling performance in any of an actor's works, it can almost be asserted that he is just an ordinary actor.
On the other hand, the fall of many actors begins with the loss of creativity.
They'll make any character look the same way.
In fact, the reason is also very old-fashioned, that is, the eight words that everyone knows, the flowing water is not corrupt, and the household center is not beetle.
And Aaron Kwok's creativity is still strong.
At least from his recent works, there is no trace of performance repetition at all.
From Zang Sir, Zhou Xiyu, Gao Mixiang to Li Qing, Bo Ge and Mr. Wang, the identity, personality, and temperament are completely different, and among the works to be screened are gangsters, engineers, overseas Chinese, rock singers and undercover policemen, and the movies being filmed are toothless thieves who play black humor.
This is the basis for the conclusion about creativity.
During the filming of "Sweeping Drugs 3" during the year, he once said that he was pursuing a new film role.
It shows that the state of mind is transforming and entering another level.
Or it can be understood as more focused and obsessive, but already detached.
Back to the topic, does he still need Wong Kar-wai?
The answer is yes and no.
If you meet Wong Kar-wai, it is possible to produce a super classic.
But even without Wong Kar-wai, he could go higher and higher.
This is dialectics.