The fourth season of China's most chatty show,"Round Table Pie," was launched, and Dou Wentao, an erotic host with a clear pretense of confusion, was seen drinking tea and chatting with his old friends.
After the suspension of "Threesomes", "Round Table Pie" has become an indispensable choice for relieving sorrows and improving literacy.
In each episode of the show, Dou Wentao and Liang Wendao spit out lotus flowers, adjusting the rhythm of the show to be exceptionally smooth, and also allowing guests to talk comfortably.
However, in Wang Jing's period, Dou Wentao and Liang Wendao were frustrated, not only could not keep up with Wang Jing's thinking, but also from time to time wang Jing was stunned and speechless.
The two men's knowledge and theories about the film were like elementary school students in front of Wang Jing, and they should have talked lightly and happily as usual, but they became embarrassed faces.
Although the process is bumpy, wang Jing's program quality in this issue is very high, full of dry goods and interesting materials for Hong Kong movies.
We have always thought that Chow Yun-fat is the star of "The True Colors of Heroes", his dashing US dollar cigarettes, handsome and stylish trench coats, for a long time theory is the object of imitation by a generation.
However, Wang Jing, who witnessed this classic, told everyone that in fact, Zhou Runfa was only making a cameo at that time, and the image of Xiao Ma Ge was not customized for him.
Only in the process of cameo, Wu Yusen felt that the part he played was extremely eye-catching, so he gradually increased his role, and even added to the starring role.
Fa Ge's state when acting in "The True Colors of Heroes" is also more casual, and even Dillon with the crew made him serious in a mountaintop chat.
His response was full of the Hong Kong essence of "being a person, the most important thing is to be happy", saying to Dillon: "Acting, relax a little", and then he won the Golden Emperor with the role of Mark in "Hero Nature".
Whoever is reasoned with this, if you are serious, you will lose.
When it comes to why she is not compatible with Zhou Xingchi, Wang Jing did not avoid it, and directly explained the reason in the program, because Zhou Xingchi wanted to be a director, which was different from her own ideas.
But he is probably the most admired person in the Hong Kong film circle, and he no longer pays attention to or steps back after other actors or directors have fallen out with Xingye.
Wang Jing's recognition of Stephen Chow's dedication and acting skills has simply reached the point of being a fan, and he believes that Stephen Chow's acting skills are very high, and in the field of comedy, no one will surpass him in the next thirty years.
Wang Jing, who is so clear about right and wrong, can't help but want people to understand his deeds.
As far as Wang Jing is concerned, in fact, he is the most powerful, the first is the screenwriter, the second is the producer, the third is the actor, and the fourth is the director.
He can shoot Stephen Chow's "Truant Veyron 3" during the day, Jackie Chan's "City Hunter" in the middle of the night, rotate every day and night, and direct seven movies in a year, supervise 5 movies, and participate in 3 movies.
At Christmas in 1990, Wang Jing, who wanted to rest, received an order from her boss and gave him ten words, "Trick expert, Zhou Xingchi, Andy Lau", which will be turned on next week and released in the new year.
Wang Jing asked if he could slow down, and the boss said it was difficult because he had already sold the film.
At this time, Wang Jing showed his strong screenwriting ability, shooting and writing on the set, not only can "Trick Expert" be released as scheduled, but the quality is still at the upper middle level.
At that time, his personal state and momentum can be regarded as the peak of his career, if you put aside the TV series, a single movie, Wang Jing has created at least 100 stories.
When he was the executive producer of "Ancient Puzzle Boy", in order to make Liu Weiqiang feel at ease with the filming of the film, he sold his shop and made more than six million when the crew's funds were tight.
"Infernal Affairs" also encountered financial difficulties during the filming, and the same Wang Jing stepped forward, knocked on the office of Huanya boss Lin Jianyue with the script, and painstakingly persuaded him to invest, and he also pulled some investment.
Finally, we were able to see the pinnacle of Hong Kong cinema after the millennium.
Wang Jing, who is the actor, is the most easily overlooked, in fact, when he was young, he also liked to play a small role in his own movies, and his pleasing appearance and unbiased expression made him brilliant.
As for why he does not act now, it is actually similar to the situation of Stephen Chow.
When a person reaches a certain age, he can't face his eyebrows and eyes like when he was young, and it is difficult to convince himself to be funny again, because making comedies is ten times more tiring than other types of movies.
When it comes to the evaluation of the king of his bad films, Wang Jingyun is light and breezy, and those people are jealous.
It seems to be true.
Of the more than two hundred films he directed, he said that none of them were particularly satisfactory to him, but he had hardly let investors lose money, and he was more competitive with commercial films.
But in literary films and good people's attributes, he is very generous.
He once gave Andy Lau six film contracts when his company was about to go bankrupt, allowing him to survive the most difficult period, and also waited for Du Qifeng's "Dark War".
When Hong Kong movies are gradually declining, other people with some skills are thinking of other ways out, only Wang Jing insists on Hong Kong, what films are picked up, dare not say that they make a lot of money, at least return to the cost.
It has fed many Hong Kong people who have not worked, and has also retained the seeds of Hong Kong movies.
Because he loves literary and art films, he has also filmed literary films, and after "Stupid Child" in 1999, Ye Dexian won back the Golden Horse Film, he lost a lot of money and never shot literary films again.
But this does not mean that he no longer pays attention to literary and art films, when Xu Anhua filmed "The Day and Night of Tin Shui Wai" and "The Night and Fog of Tin Shui Wai", no one invested, he paid for it.
The former reluctantly returned to the original, and the latter hit the water.
Today's Xu Anhua has long been not short of investment, but after she contacted Wang Jing, she found that he was a real producer and producer, who understood the script, knew acting, understood the market, and was a professional all-rounder.
Up to now, her recognition of Wang Jing's professional ability has not wavered.
Wang Jing mentioned in "Round Table Pie" why she invested in Xu Anhua's literary and art films, because this money is within his own ability to bear, if there is more he can not afford.
Not as noble as others say, he just wants to do something for literary films, but he has this ability, and he doesn't want to see good directors and good movies buried.
This "ghost talent" who came from the ups and downs of Hong Kong movies, in the face of the reputation of the outside world, calmly handled it, and treated criticism with calmness.
In "Round Table Pie", Wang Jing also talked about the collapse of Hong Kong films, which is the sentiment of a generation and the sadness of a generation.
In the 1960s, when Hong Kong cinema expanded dramatically around the world, a film critic in the New York Times sourly said that Hong Kong films were "all overheated and crazy."
But interestingly, after decades of development, this ridicule has become a symbol of the glory of Hong Kong cinema.
Only now, this fire no longer has the vitality of the sword, and it is difficult to show an arrogant posture again, and there is no more than one reason for the decline of Hong Kong films.
market.
Hong Kong movies have declined because the Taiwan market has collapsed, and many times Hong Kong movies can return their money as long as they get Taiwan's money, and other regions are pure profits.
Fattened sparrows can't fly, and the same is true of Hong Kong movies.
Their over-reliance on the Taiwanese market led them to frantically start filming without a bottom line, and eventually the Taiwanese market was too saturated, and Hong Kong films could not do anything about it.
Talent fracture.
The only Hong Kong actors who can be named are the older generation, Jackie Chan, Stephen Chow, Cheung Ka Fai, Leung Chao Wai, Leung Ka Fai, Andy Lau, Aaron Kwok, and Liu Qingyun.
The best resources are in the hands of these people, and the mainland audience recognizes these actors more than other actors of all generations.
In the Mesozoic Era, there were only Yu Wenle, Wu Yanzu, Gu Tianle, Xie Tingfeng, Chen Guanxi, and Lin Jiadong, but even these few seedlings were left.
Xie Tingfeng became a cook, Chen Guanxi still did not lift the ban, Yu Wenle world boy, resources are very abusive, Wu Yanzu resources are also abusive, Lin Jiadong won the film emperor or is nameless, only Gu Tianle left hand boss right hand actor, a grasp.
In the younger generation, in addition to Chen Weiting and Lin Feng, there are few actors who can probably be remembered if not Baidu, and their main positions are on TV.
Not to mention the actresses, the older generation is almost retired, and it has been difficult to find an actress like Wu Junru who is still active since the Middle Ages.
Although Hong Kong and Taiwan capital has been trying its best to promote new talents, such as the "Heavenly Court Banquet", in the case that the mainland market has been occupied by small flowers and small students in the mainland traffic, even if it is forcibly inserted in the talent show, it has little effect.
The talent of the green and yellow is broken, and it is difficult to rely on the accumulation of capital alone to become a climate.
The influx of imported films and the tastes of mainland audiences have changed.
In the era when the Internet was not so developed, pirated discs of Hong Kong movies were more likely to enter the mainland market than foreign movies, and a group of young people grew up in strange and bizarre Hong Kong movies.
With the gradual popularization of the Internet, pirated discs have no living space, people's way to see the world is no longer single, and many high-level or industrially produced films abroad are dazzling.
As the saying goes, "a long illness becomes a good doctor", after seeing more and having a world view, you begin to learn to screen, the taste is no longer single, and the satisfaction of Hong Kong movies for mainland audiences is gradually blurred.
All kinds of lights and wines can make people lose, and at the same time, it will also make people's appetites worse.
Once, I was shocked when you split a fork; now, when you add a fork to your lower back, I am very indifferent.
In fact, the bipolar state of "Journey to the West" can represent the impact of complexity and simplicity.
At first, it suffered box office failures, but at the beginning of the new century, it encountered the rapid development of the Internet, which spread like a virus in the mainland, and people regarded the lines and actions in it as a god.
However, under the continuous overdraft of people such as Liu Zhenwei and our places, the audience has become immune to such themes, and no matter how many "ten thousand years" can not squeeze out everyone's tears.
And I don't feel sorry for the abandonment of the "Journey to the West" category, because even if I lose you, I still have a wider forest, why bother with a crooked neck tree.
The pattern of Hong Kong filmmakers is too small.
The small pattern is because Hong Kong people have become stagnant, difficult, confused, and even arrogant in the progress of the times.
Hong Kong people have to adapt to the transformation of the center, the former Asian financial center is slowly replaced by Singapore, Hong Kong can not develop as before after the return to the mainland, the mainland economy has begun to rise, Hong Kong's competitiveness is no longer unique.
This is the fate of hong Kong, and it is also a change that they must accept.
The collision of ideas, culture and economy, from the former Hong Kong can see the world, to the current Hong Kong can only see Hong Kong, the change of vision should not be changed to narrow, but more inclusive and open.
Only by embracing the future can we have a future.
There is a line in "Anti-Corruption Storm 4": Going to jail is the only way out for young people in Hong Kong.
There is artistic rendering, but also the embodiment of reality, the older generation of Hong Kong people are pragmatic, hardworking, growing up with Hong Kong, a new generation of Hong Kong people, in the bustling metropolis, nostalgia for the past, impetuous, stressful.
This also confirms a sentence, from frugality to luxury, from luxury to frugality.
They are accustomed to eating and drinking, and they can't stand rough tea and light food, so they become irrational, they become angry, they become stubborn, and they become inflexible.
The same is true of Hong Kong films made up of more than 6 million Hong Kongers.
Their culture and ideas are difficult to resonate with the mainland, and they are accustomed to religious, political, sexual and shit-piss Hong Kong movies, coupled with islander ideas, so that their horizons are not broad enough.
The state of Hong Kong movies is not there, but it is not the same as Hong Kong movies are selling feelings and engaging in combinations, although Hong Kong movies have a huge audience in the mainland, but the story of "wolf coming" is OK once or twice, and it will not work a few more times.
Therefore, Hong Kong films must first change their view of making movies in the north, and they cannot do what they did in the Taiwan market at that time, just to circle money and then make films regardless of their disregard.
The mainland market is far larger than the capacity of the Taiwan market, and the movie-watching crowd is complex, the city classification is obvious, and there are many factors that need to be considered when making movies, and one trick to eat the world is obviously not feasible.
Secondly, under the mainland system, if Hong Kong films cannot keep up with the trend and blindly adhere to overturning rules and breaking taboos, the disobedience of water and soil will soon be revealed.
For example, Hong Kong directors who are still on the front line in the north, Wang Jing, Lin Chaoxian, Xu Ke, Zhou Xingchi, Jackie Chan, Chen Kexin and others.
Wang Jing's reputation is not good, but the film does make money, and he can't hold it after "Chasing the Dragon 2", and "Chasing the Dragon 3" does not know whether it can save the decline.
Xu Ke was addicted to special effects and could not extricate himself, his imagination no longer existed, and his box office and reputation had fallen; Zhou Xingchi was originally a good hand, but he only made movies for money, and his feelings were no longer trump cards.
The state and film quality of Jackie Chan in recent years are obvious to everyone, but he is still making action movies at this age, which is actually worthy of admiration.
Chen Kexin went north since the "Chinese Partner" hit, he has completely become a mainland director, "Dear", "Chinese Women's Volleyball Team", "Li Na", all of which are effective themes in the mainland.
Unfortunately, after the defeat of "Submission of Names", under the advice of Wu Junru, Chen Kexin focused on literary and art films and biopics, and no longer involved commercial films.
The remaining Lam Chao-yin is the hong Kong commercial filmmaker who has really gone north to succeed, and he has a thorough understanding of the trend and policy of the mainland and his empathy.
"Operation Mekong", "Operation Red Sea", and the next "Emergency Rescue", which is not acclaimed and popular, all have government endorsements, so that the film is not only politically correct but also sold by the audience.
In addition to retaining the professionalism of Hong Kong films, from the content to the appearance, it is completely the shadow of mainland films, and if lin Chaoxian is not emphasized as a Hong Kong director, most people will think that this is a mainland film.
These Lin Chaoxian-style films can hardly see the shadow and core of Hong Kong films on the surface, which is the most tacit understanding of integration with the market.
However, this kind of main theme film, in the hands of other Hong Kong filmmakers, will be helpless, because their pattern will automatically block this genre.
Sitting in a well and watching the sky is not terrible, but it is terrible to believe that the sky is really only as big as the wellhead.
Hong Kong movies are not dead, and they will not return to glory, but don't live in the past, lie on the old books and live their lives, otherwise they will one day sit on the mountain and eat the sky, which will be a heavy blow to Chinese movies.
With the professionalism of Hong Kong films, the literature and art of Taiwanese films, and the capacity of mainland films, Chinese films can form a flourishing world of controversy.
If there is only Zhang Yimou and Jiang Wen in the world, but there is no Hou Xiaoxian and Yang Dechang, as well as Wong Kar-wai and Wu Yusen, then how lonely Li An is abroad.
Once lonely, it will be invincible; once invincible, it is only one step away from decline.
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