In 2004, Nicholas Tse and Zhang Weijian beat up mainland actor Wang Bozhao in a fake scene during the filming of "Little Fish and Flowers Without Defects", and after the incident, Wang Bozhao sued Xie Tingfeng and Zhang Weijian to the court, demanding a claim of one million, and after the court trial, because Wang Bozhao's injuries were minor injuries, his compensation request was not supported, and Wang Bozhao lost the lawsuit.
This dispute, which originally belonged to the individual actors, evolved into a group contradiction between Hong Kong and mainland actors due to the deliberate favoritism of the director of the play, Wang Jing, to Xie and Zhang, and the two Local actors, which caused an uproar at the time, and the mainland actors jointly supported Wang Bozhao and demanded that Xie and Zhang apologize, and in the end, Xie zhang and Zhang personally went to the hospital to visit Wang Bozhao and took photos of the three people's joint solution.
At the time, the matter caused a very strong controversy between the two sides, and the two sides had their own opinions. Regardless of the cause, Zhang and Xie should not fake the real thing and beat people with their hands. Some people talk about Wang Bozhao's character, and whether his character is good or bad is a matter of Wang Bozhao's personal character, which has nothing to do with Xie and Zhang, and should not be a reason for them to play with the topic.
The cause of this matter has so far been controversial, some say that Wang Bozhao sat down because he saw an empty chair during his rest, and the result was that this chair was the chair of a certain assistant in Hong Kong, the other party was very unhappy, and then there was a quarrel, Xie and Zhang really beat Wang Bozhao by pretending to act. Another story is that Wang Bozhao flirted with the Female Makeup Artist of the Hong Kong side, and Xie and Zhang took revenge by acting and took revenge on the makeup artist. The two versions have been passed down from 2004 to today, and it does not matter what the truth is, what is important is that this matter has become the intensification point of the contradiction between Hong Kong and Taiwan actors and mainland actors, and it is also the first head-on contest between mainland actors and Hong Kong actors.
In the entertainment industry, Hong Kong and Taiwan actors look down on mainland actors, and film actors look down on TV actors, which is a recognized fact in the entertainment industry.
In the 1980s, the mainland film and television industry had just begun to take off, but because the mainland economy was backward and ideologically closed at that time, it was in a period of transition, and the film and television production in the mainland was in a period of exploration, while the film and television industry in Hong Kong and Taiwan at that time was already in a period of vigorous development, and the dramas introduced by Hong Kong and Taiwan were popular, and Hong Kong and Taiwan stars were also very popular.
In 1984, in order to reflect the theme of national unity between the two sides of the strait, the three places and the four seas, the Spring Festival Gala held by CCTV invited Zhang Mingmin, who was working in the electronics factory at that time, from Hong Kong, and Zhang Mingmin became popular all over the mainland with "My Chinese Heart", followed by a tape, which included "My Chinese Heart", "Ridge Upward", "Ballad of the Great Wall", "Hometown", "Hometown", "Wind of Hometown", "I Am Chinese", "A Cut of Plum", "We Have a Name Called China", "Send You a Handful of Dirt", "Winter Love", "The Great Wall", "The Great Wall", "The Great Wall". In many patriotic songs such as "Chinese Love", Zhang Mingmin suddenly became a well-known Hong Kong singer from an electronics factory worker. At this time, many Hong Kong and Taiwan artists regarded mainland performances as price drops.
At that time, many mainland actors went south to Hong Kong to develop, and they were discriminated against to varying degrees, which were all facts.
When Jet Li came to Hong Kong to shoot "North and South Shaolin" after becoming famous with "Shaolin Temple", his salary was far less than that of an ordinary Hong Kong dragon runner; when Liu Jialing first arrived at TVB, she was called Mainland Sister, which itself carried a certain taste of discrimination.
In 1998, when Zhou Jie filmed "Huan Zhu Gege", because of a kiss scene with Lin Xinru, Lin Xinru accused him of deliberately sticking out his tongue in the Taiwan media, and after the incident broke out, Zhou Jie's acting career was seriously hindered, Zhou Jie abandoned art and business in a huff, and many years later, when Lin Xinru mentioned this matter again, Zhou Jie asked Lin Xinru, if so, why didn't you say it at that time?
Similar things happen from time to time when mainland and Hong Kong and Taiwan actors cooperate, and the phenomenon of Hong Kong directors treating local artists and mainland artists differently has become the norm. The crew of mainland actors directed in Hong Kong not only have far less remuneration than Hong Kong artists, but also have a clear gap between food, accommodation and travel and Hong Kong artists.
Wang Bozhao and Zhang Weijian and Nicholas Tse incident is the outbreak of long-standing grievances between Hong Kong and Taiwan artists and mainland artists, but also a rebellion initiated by mainland actors who have been gathering momentum for a long time, since this incident, the sense of superiority of Hong Kong artists in the industry has gradually faded, and it has begun to decline, they want to come to the mainland to make money, the first thing to pass is Mandarin, and to learn simplified characters, understand simplified character scripts, and the aura of Hong Kong artists who were once on top has gradually dimmed.
The essence behind any inequity is actually mostly economic and profitable. At that time, the mainland economy was not yet developed, and the entertainment industry was not yet rising, but at that time, people's spiritual needs had surpassed the speed of reform and opening up in the same period, and they were rapidly moving closer to The culture of Hong Kong and Taiwan, and the lag of the mainland's entertainment industry made Hong Kong and Taiwan stars become fragrant and delicious, and also magnified the superiority of Hong Kong and Taiwan stars.
Under the tide of the market economy, everything is closer to capital, who has a high use value, who can share more profits and enjoy higher treatment, which is a phenomenon that cannot be avoided in the process of commodity economic development, all walks of life are like this, not to mention but see new people laughing, where smell the old people crying entertainment circle. Whoever can help capital make money, capital will be inclined to whom. From the 1980s to 2010, the market appeal of Hong Kong and Taiwan stars was obviously better than that of mainland actors, and the phenomenon of unequal pay for equal work by mainland actors was everywhere, so Hong Kong and Taiwan stars also had a strong sense of superiority, which would be unconsciously revealed from time to time, and at a certain moment, it would become a time bomb and trigger contradictions between the two groups.
In recent years, with the rapid development of the mainland economy, the mainland's film and television industry has skyrocketed and reached an unprecedented prosperity scene, while the Hong Kong film and television industry has begun to decline with the decline of hong Kong's economy, leaving no drama to shoot in Hong Kong, no money to earn, many Hong Kong and Taiwan artists such as Luo Jialiang, Tang Zhenzong and others have chosen to go north to the mainland entertainment circle to develop, from the beginning of the stars to the moon to the soil and water, many Hong Kong artists because they can not be well integrated into the mainland drama and choose to return to Hong Kong, since then the scenery is no longer, only a few people are still active on the screen, And in the mainland development of Hong Kong actors in the mainland to make achievements in the few, only Cai Shaofen, She Shiman, Zhong Hanliang, Chen Weiting and a few others are still active in the mainland, the early development of the mainland Luo Jialiang, Chen Haomin and other people now have few works, veteran artists in addition to Andy Lau, Aaron Kwok appeal is still the same, Jackie Chan, Chow Yun Fat, Leung Chao Wei gradually retired, Hong Kong film and television, only by Leung Ka Fai, Gu Tianle, Liu Qingyun and other people support, the glory of Hong Kong film and television has become history.
Show business is actually a corner of society, from some phenomena in the show business circle is not difficult to see the style of the whole society, not only in the past Hong Kong actors looked down on mainland actors, until now many Hong Kong actors still have a lingering sense of superiority in their hearts, Hong Kong people think that mainlanders have no quality, the mainland is backward, and even think that Hong Kong's economic recession is caused by the return to the motherland. They ignore the reasons why they do not seek innovation and do not know how to be flexible, and they will vent their resentment on the mainlanders who have been supporting Hong Kong behind their backs, and this contradiction cannot be reversed for a while and a half, and can only be changed through the education of the next generation.
A backward country will not only be despised by foreign forces, but even compatriots who are superior to their own economic environment will also reject or even discriminate against us. The factor behind the bullying of mainland actors is the backwardness of the mainland economy, and now with the rapid improvement of our social economy, the people have begun to raise their eyebrows, and mainland actors no longer need to look at the faces of Hong Kong directors.
Development is the last word, and it is not wrong to say anything