"Preach in the text." --Tang Tears"
No doubt.
Andy Lau and Aaron Kwok are the two most powerful actors in Hong Kong after the double Monday.
Many may disagree.
In particular, Zhen Zidan, Liang Chaowei and Gu Tianle fans who are also big coffee, even include Andy Lau film fans.
This topic refuses to be verbally contested, and it needs to be convincing with reason.
"Box office power, relying on the upper limit of commercial films"
Although I want to congratulate Zhen Zidan, with the movie "Fury , Serious Case", just topped the box office of Hong Kong films in the mainland, but there are cases of Chow Sing Chi beating action superstar Jackie Chan and gangster Chow Yun Fat with low-cost comedy, you should understand why Zhen Zidan is behind Liu Guo.
And Liang Chaowei and Gu Tianle have always been under Liu Guo and liu guo.
Aaron Kwok "holds three Hong Kong annual crowns, the overall box office champion in the history of a single film, a record-breaking, three films box office into the top 30 Chinese film box office", in the Hong Kong film market, this is the ceiling record after the double Monday, no one can shake.
This also includes Andy Lau. His achievements in the Hong Kong film market are, "one annual crown, the other two annual crowns are equal to Leung Chao-wai, only two films have entered the top 50 Chinese film box office, and there is no historical record breaking at the box office."
In terms of these big names, Aaron Kwok not only has the smallest number of films released, but also has the lowest proportion of commercial works.
But that didn't stop him from reaching the top with irrefutable box office results.
This actually shows that its extraordinary box office power.
Andy Lau, with "the highest number of times in history to enter the top ten box office charts", erased the gap between him and Aaron Kwok at the top box office.
So put the two side by side.
Gu Tianle is equivalent to a weakened version of Andy Lau, and so far "no annual crown has ever been the same as the mainland's billion box office".
Leung Chao-wai's performance in the Hong Kong film market has always been decent.
In terms of the situation of the mainland film market, "Aaron Kwok, Andy Lau and Zhen Zidan, one of whom holds three works that have grossed more than one billion box office as the main creators", is undoubtedly the most powerful actor camp.
Those who ignore the genre of the film and only compare the numbers are obviously brainless.
"Single-core and commercial box office"
Many people must call monoclonal antibody, believing that the single-core box office is the real appeal.
But at the same time, it ignores factors such as the theme of the film, the scale of investment, the schedule and the director's popularity, or it is purely a double standard.
So the truth is hidden, leaving only ripping off and making no sense.
For example, we randomly take a ten-year observation.
From 2004 to 2013, if you talk about single protagonists, "Andy Lau 9, Aaron Kwok 8, Zhen Zidan 9, Gu Tianle 3".
Andy Lau has six commercial action movies and two niche plots, with the highest "Storm" reaching 314 million. Aaron Kwok's three literary and artistic films, two suspenseful niche films and one commercial action, the highest "City Alert" 90.33 million. Zhen Zidan is an action movie, with the highest "Ip Man 2" 234 million, and Gu Tianle's "Great Inner Secret Agent Zero Zero Dog" 100 million.
Looking at another data, in the past ten years, Andy Lau has 22 works "niche literature and art accounting for 3", Aaron Kwok has 18 works "niche literature and art accounting for 10", Zhen Zidan has 21 all commercial films, Gu Tianle's 31 works "only one co-production with Aaron Kwok's "Judo Dragon and Tiger List" is a niche", the others are all commercial films, and the real single master, in fact, Gu Tianle has the least number of films with a single protagonist.
Therefore, from the above data, it can be seen that in terms of the box office of the so-called single-protagonist film, Aaron Kwok is indeed the last of the four, but another fact is that he only has one commercial film, and this comparison becomes boring. In other words, if Aaron Kwok takes over a large number of commercial productions, the box office will be a different scene.
This can be seen entirely at the box office of his other commercial films.
For example, "'Cold War' 254 million, 'Witnessed by the Whole People' 179 million, Journey to the West's Haunting of the Heavenly Palace 1.046 billion, Daoist Descending the Mountain 400 million, Journey to the West's Sun Wukong Three Dozen White Bone Essences 1.2 billion, Cold War II 678 million, Journey to the West's Daughter Country 720 million, Peerless 1.273 billion, and the latest Secret Visitor 215 million."
The box office of these commercial films is the key factor that determines the power of an actor.
Without these box office results, how can Weng Ziguang say, "Aaron Kwok's remuneration has always been the most expensive show among Hong Kong actors."?
Among the works to be screened, "When the Wind Rises Again", "Sweeping Drugs III.", and even "Cold War III" that is preparing to be filmed, all have the possibility of achieving box office records.
In particular, "Cold War III" has a chance to set another record in Hong Kong film history.
"Input-Output and Cost-Effective"
Actors' salaries are never set in stone.
When encountering a favorite script, Aaron Kwok has always been to reduce the film remuneration, while Andy Lau generally takes the film remuneration to invest.
Regarding investment and cost performance, in fact, taking the works of Lu Jianqing and Liang Lemin as an example, it can be said very clearly.
The first part of the "Cold War" series, "Invested 25 million Hong Kong dollars, Hong Kong box office 42.82 million, mainland 254 million", even if other regions are ignored, the total box office is more than ten times the investment cost. The second part, "Investment increased to HK$80 million, Hong Kong box office 66.82 million, Mainland 678 million", combined with the box office in other regions, the total box office can also reach ten times the investment cost.
The movie "Equator", "invested 200 million, Hong Kong box office 16.15 million, mainland 210 million", in stark contrast to "Cold War".
So some fans who like international anti-terrorism genre movies have been wondering, why didn't Equator make a second one? In addition to the reasons for the excessive layout of the scene, the return on investment ratio is also a very critical factor, although not all the popular movies will make sequels, but the word of mouth box office is not satisfactory for the film probability of no sequel to speak of, which is a problem in the business.
In addition, on the issue of film remuneration, in the early 1990s, Andy Lau's film remuneration was second only to that of Bi zhou Cheng Li Siren. But in the later stage, after Aaron Kwok won the annual championship from the hands of Bi Zhou Cheng with "The Majesty of the Wind and Clouds", the gap between the two's salaries was already very small, and Andy Lau may win slightly with his seniority, and then Aaron Kwok almost equaled when he was in the new century.
When Andy Lau launched the Asia Rising Star Director Programme in 2005, he said that "the remuneration of three films will be used as financial support, totaling HK$12.5 million."
In 2008, when Aaron Kwok made "Wind and Cloud II", the media reported that his salary was 6 million.
In a recent issue, it was reported that the film remuneration of both of them was 25 million.
In fact, in terms of these figures, the remuneration of Hong Kong actors is relatively floating in a relatively reasonable range, "commercial large productions get high film remuneration, ordinary small productions reduce prices, and even symbolically charge when they encounter favorite literary and art films."
Zhen Zidan is generally both a starring actor and an action designer, coupled with the advantages of an action actor, the film salary may be slightly higher than Guo Liu, which should be a reasonable situation.
Other actors (except for The Bi-Weekly Cheng Li) are unlikely to surpass the salaries of the two of them.
All the way, from the song world to the film world, they still show that they are still not finished.
A crossover from the music world, even after the Zhuang Golden Horse Film Emperor all the way retrograde, both commercial and literary, can be called the most capable Hong Kong actor in ten years.
Another decades of double-line long red, after experiencing the "horse pedal incident", is older and stronger, frequent outbreaks.
Andy Lau, with Aaron Kwok.
Or it can be said that the two most scrappy people in the Hong Kong entertainment industry.
There is no third person after that.
And the race is not over.
Wait for the legend.