I combed through the actors who have become popular in recent years, and found that they cannot be compared because the advantages and disadvantages are too obvious

Wen | Ling Fox Boguang

This "Tang Dynasty Strange Story" has been over for a long time, I don't know if you found it, the emperor in this drama is played by Hong Kong actor Law Jialiang, but he has very few roles in this film, and there is no accident or dubbing, Hong Kong and Taiwan's older generation of actors can only play small supporting roles in mainland film and television dramas, and young actors, are there still young actors?

In recent years, Hong Kong and Taiwan stars have become less and less popular in the mainland market, or because of a certain incident on the Internet again, and then netizens and viewers sighed and scolded the mainland traffic fresh meat, only to turn their heads and see that mainland stars are still dominated on the big and small screens has become the norm.

So, why are Hong Kong and Taiwan stars getting more and more popular now?

This most fundamental reason has been written before, and the mainstream media has long decided on it. The main thing is that the economic development of Hong Kong and Taiwan is not good, this industry has no money, without money, it cannot make good film and television dramas, and if it cannot make good film and television dramas, it cannot make money. This film and television industry that can't make money can't be upgraded successfully.

Modern and modern cultural industries have formed commercial industrialization, and it is difficult to make money in the market if the industry cannot occupy a high ground.

Without money, without good works, without a market, it will naturally not attract talents. Let's look at the decline of Hong Kong TVB, then the salary of excellent actors is 10,000 or 20,000, which is similar to the situation of white-collar workers, and the price of coming to the mainland has increased several times, then it is doomed to retain excellent talents.

Acting big network, being an Internet celebrity, one lives worse than the other? Why "traffic stars" can replace Hong Kong and Taiwan actors

Every time netizens see the news of Hong Kong and Taiwan stars, such as falling to acting in the Internet, or going to be an Internet celebrity, or how miserable and pitiful they are in their later years, they will turn their heads to scold mainland traffic stars, and even the entire mainland stars, this is blinded by childhood filters, or they don't understand the development of this industry at all.

Let's start from the simplest point in this industry. What is an actor? According to netizens who tout Hong Kong and Taiwan actors, it is a job, so since it is a job, what is the biggest feature of the job

——Actually, it's a job offer!

When the economy of Hong Kong and Taiwan was good, and the development of the entertainment industry in Hong Kong and Taiwan was at its peak, like when Hui Yinghong won the Academy Awards in Hong Kong movies, she said that there were 400 movies a year, plus the number of those that were not released would be more, what is behind this? In fact, it is opportunity, and actors have the opportunity to work.

1992 is known as the year of Stephen Chow, because this year Stephen Chow released seven movies, the box office last year's top fifteen grossing films accounted for seven, the top five were taken by Stephen Chow, "Death Judge" won the Asia-Pacific Film Festival actor, so this year is called "Stephen Chow year".

At the peak of Hong Kong films, there are also many opportunities for other actors, Maggie Cheung makes 12 movies a year, known as "Zhang Yidao", Zheng Yuling ran nine crews at the same time, so it is called "Zheng Jiu Group", and there are more examples of the same.

How many films are there in Hong Kong a year now? In 2019, a total of 326 films were released in Hong Kong, including 46 Hong Kong movies. Commercial blockbusters rely on the mainland market to express compromise, so Hong Kong local audiences do not like to watch, the top of the local box office rankings in Hong Kong and Taiwan are Hollywood blockbusters, and Korean blockbusters have better results than local films.

Some literary and artistic films are of good quality, but ordinary audiences around the world do not like to watch literary and artistic films, and they cannot withstand the industrial chain if they do not top the box office.

Hong Kong TV drama actors are the same, most of the actors of TVB did not experience professional actor learning, or briefly experienced actor training (wireless artist training began to act, their acting skills were groped in practice, the reason was that there were many job opportunities at that time).

Now there is no need to talk about it, if you pay a little attention to mainland film and television dramas, you will find it. Mainland actors have formed their own system, and the actors layer by layer are not bad. And because the job opportunities themselves are about to die, where can they leave it to Hong Kong and Taiwan.

Unbelief? Then let's read on.

Even if there are no "traffic stars"? There is no way for Hong Kong and Taiwan actors to compete with mainland actors

1. The acting skills of the old drama bones in the mainland are better, and thousands of people and faces are the norm, they just didn't have the opportunity before.

Here is an example for you, Ning Li has only been really popular for 5 years, yes, it is only 5 years. Because he became popular with Li Toyota in 2017's "Crime Without Evidence", but how strong this actor's acting skills are, I believe anyone who has seen him play knows it.

"Hello, Old Time", "Hidden Corner", "Silent Truth", "Yanyuntai", "Ebola Frontline", "Anti-Black Storm", "Opponent", "Police Honor" and so on, are really thousands of faces, can play any role, and play it well.

Every year, there are several such old drama bones in the mainland who become popular because of dramas, and the first two years were Hu Ming, who became popular in "Longling Labyrinth". "Uninvited Guest", "Journey", "Mountain and Sea Love", movies, TV series, peasants, eunuchs, villains, officials, soldiers, and even women He can play three points.

Do you still need to talk about such a popular old drama bone this year? Liu Dan, the pot aunt of "The Beginning". To be honest, she was a powerful actor who could only play small supporting roles before, and now once she has the opportunity, look at people's acting skills and strength.

Now the production mode that domestic dramas are good at is still the kind of popular young star protagonist + powerful mesozoic generation + old drama bone to accompany the drama. Once you encounter that kind of group portrait drama with top investment, a large number of powerful and old drama bones will appear in each play.

Here is a word that many people don't like to hear, there are few Hong Kong and Taiwan actors, many of them are tempered by the market, and the Hong Kong and Taiwan markets are popular in the model of fixed roles, what kind of raw horn, dan horn, clean horn, clown, Tsing Yi, flower face, wusheng, old student, knife and horse dan, traitorous corner, literary ugly and martial ugly and so on.

Of course, it is not bad to mix with top actors, such as the gold-medal green leaf statue of a thousand faces Rulai Liu Xun and so on.

But most Hong Kong and Taiwan actors are very routine, the older generation of academic acting skills in the mainland are really strong, like the old drama bones listed above such as Ning Li, Hu Ming, Liu Dan are really a lot, any role can be played well, and they do not have accent problems, temperament is more suitable for the mainland environment, a bunch of people are waiting for opportunities.

So why should the mainland market use Hong Kong and Taiwan actors who are not so suitable and may even explode?

2. The mainland Mesozoic actors are rising, their positioning is very rich, and their rise is getting faster and faster, which is also involutional.

Here is another example, Zhang Han's West Eighth District is not criticized for not being good, but this kind of handsome uncle actor in his forties is a bunch again, so I won't talk about Jin Dong here.

For example, Wang Yang, 44 years old, you must know that the real meaning of "Qing Yu Nian" is 2020, in recent years, "Elite Lawyer", "Dear Yourself", "Rebel", "The World", the future has "Hello Life" that can play the male protagonist, and the heroine is Reiza.

The other is Lin Yushen, in fact, the real meaning of the popular is Yang Xiao of "Relying on the Sky", he is also the kind of handsome uncle who can only play important roles in big resources, and the resources are almost the protagonist.

There are a lot of such powerful Mesozoic actors and actresses, and they are also with the increasing number of mainland dramas, they have more job opportunities, from supporting roles to important roles, and even finally begin to play the leading role.

Who has good acting skills between mainland actors and Hong Kong and Taiwan actors? Even "traffic stars" will upgrade

Finally, mainland actors are still the younger generation, that is, the generation of "traffic stars" after 2010, and their systemic problems are not only the problem of acting skills, but also the original sins of traffic stars, which are difficult to solve for a long time. But because the current domestic drama market is still expanding rather than declining. This growth in actor jobs, at least for now, still brings about two phenomena.

First, those powerful people are gradually becoming popular, similar to Tsing Yi will slowly get the opportunity of the protagonist.

For example, the most typical of the 2020 summer file I think is Guo Xiaoting, just imagine, if Guo Xiaoting in the Hong Kong and Taiwan markets grows up, she will definitely be angry, and then there is no such person.

As a result, this summer, a "Canglan Method" and a "Ice Rain and Fire" made her popular again, and it is possible to go further steadily, and young actors like Guo Xiaoting, even the kind of fledgling rookie actors, but there are not many actors who are steadily fighting.

For example, here is a name called Fan Shuaiqi, many people may still think that it is Fan Shiqi. And what about Officer Xiaoye in "The Beginning"? In the latest "Summer and Winter in a Nutshell", she is already between the second and third women.

Finally, I also listed an actress Wang Xiuzhu of "Ice Rain and Fire", this actress is actually 92 years old, which is obviously a beautiful and generous type. I missed her TV series before, saw this "Ice Rain and Fire", followed by the president in "Bottom Line".

Her acting skills can only be said to be decent, but with the opportunity to think about her future works now-

Now in the mainland film and television drama market, there are a lot of young actors like them who are beautiful, graduated from science classes, and can't get up and down, and they are rolled up to death. Maybe one day in the future, when you encounter a good work, you will go up, or slowly grind out and disappear.

The second is a young star who can play the leading role, but it is probably divided into two categories.

The first is that the audience is still a relatively recognized young actor, such as Zhao Jinmai, who grew up to be popular with "The Beginning", followed by "Young Pi 2" as the foundation, and Tan Jianci who became popular in "Crime Hunting Guide", "Are You Safe" is the blessing, and then Bu Guanjin of "Twenty Not Confused", which is also acclaimed.

Such young actors have a bunch of competition, and in the involution, everyone wants to take the position.

The other category is young stars whose acting skills have been criticized by the audience, such as Wang Yibo of "Ice Rain and Fire", Ou Hao of "Coward", Huang Jingyu of "Punishment", and Wei Chen in "Disappearing Child". This can't hold up many opportunities, can temper people, and the audience will gradually recognize.

For example, the above four young actors, have the latest works improved or regressed?

Finally, no matter how you look at it, it is not the turn of young actors in Hong Kong and Taiwan anyway, because there are no more opportunities in Hong Kong and Taiwan, let alone young actors. Ten big waves panning for sand here can still roll out a grain of gold, maybe more than one, there is not even sand over there now, how to play.

The young actors are gone, and the old actors are all old faces? The biggest crisis of Hong Kong and Taiwan entertainment is not only actors

Finally, the biggest crisis in the Hong Kong and Taiwan entertainment industry is that the money is gone, and if the actor is not followed from the perspective of talent, the next will basically be the creator. The actor can't be said to be completely youthful, but he is indeed more affected by appearance. And no matter how old the creator is, as long as the things he creates are not outdated, the market still buys up the capital and can still use you.

Now Hong Kong and Taiwan directors and creators are not good because of traditional culture, and there is no technical pursuit.

For example, the hottest domestic idol drama this summer vacation is "Canglan Method", its film and television industry has obvious breakthroughs in ancient puppets, the script only has bright spots, the actors are supported by industry and the script, otherwise how do you explain last year's "Yu Long" Wang Hedi was also scolded for the annual costume ugly man, not to mention the heroine Yu Shuxin.

Now with mainland costume dramas, the court drama "Chang'an Twelve O'clock" has become the standard, and the ancient puppet "Canglan Trick" will also become the standard. Hong Kong and Taiwan costume dramas, not to mention that Hong Kong and Taiwan can't be filmed, Hong Kong and Taiwan TV elites have come to the mainland market for more than 20 years to develop.

Along with the pursuit of traditional cultural aesthetics and film and television industry, the older generation of elites in Hong Kong and Taiwan died and retired. This TV series director Lin Yufen, Chen Jialin, Wu Jinyuan, Zheng Weiwen, Li Huizhu, etc. are almost fifty or sixty years old. Originally, cultural aesthetics and technical pursuits lagged behind the same generation of mainland TV drama directors, otherwise how could they lose the resources of mainland costume dramas?

As a result, now there is Lu Yang of "Fengqi Longxi", Li Muge of "East Palace" and "Siten", and a young director like Yi Zheng of "Canglan Method". I have always said that in the future, there will be two or a few more such aesthetics, and young directors from the mainland who are pursuing technology, and Hong Kong and Taiwan directors will even lose the field of ancient puppets (as far as I can observe about 10 mainstream directors of similar themes in the domestic market, they will be saturated).

At that time, don't say that Hong Kong and Taiwan actors have no chance, the good days of Hong Kong and Taiwan creators are still behind.