Recently, a piece of gossip has been quite discussed.
The well-known director Tsui Hark was photographed walking hand in hand with his girlfriend.
The woman is thirty years younger than Tsui Hark and is suspected to be pregnant.
But strangely, the focus of netizens is not Tsui Hark.
It is his ex-wife, Shi Nansheng.
The two lived married for 36 years and had no children.
When Shi Nansheng was sixty-three years old, the two divorced.
Now the gossip exploded, and passers-by sympathized with Shi Nansheng.
It was called Tsui Hark's life, but he was "tragically abandoned".
"Ascended by the junior", now "the evening scene is desolate".
Whether this marriage is "worth it" or not, others cannot make conclusions for the parties.
And the reason why so many voices of sympathy have emerged is in addition to the emotional motivation to fight grievances.
It is also because the public does not know much about Shi Nansheng.
In fact, Shi Nansheng is the behind-the-scenes hero of Hong Kong films and even Chinese-language films.
He has won the Lifetime Achievement Award from the International Film Festival.
She is one of the women Leslie Cheung admires the most.
Let Lin Qingxia and Wang Zuxian also become boastful in seconds, and praised them as "the most beautiful" and "most enterprising".
In addition to marriage, Shi Nansheng has too many stories worth paying attention to.
Today, Uncle Yu will come to talk about this "big sister" in the film industry -
Shi Nansheng
If you want to count the honors Shi Nansheng, each one deserves a special book:
Movie classics made by his hands are frequent.
Promoted and achieved the golden decade of Hong Kong films.
She actively opened up overseas markets and greatly enhanced the dual influence of Hong Kong films in economy and culture.
In the Hong Kong film industry, Shi Nansheng is the "big sister" who "calls the wind and rain".
Internationally, major heavyweight film awards have also been softened.
Given the significance of Hong Kong films to Chinese-language films.
Using "big heroine" to describe Shi Nansheng has lost weight.
But alas, compared to these tangible achievements.
What is more discussed by the public is her emotional life with Tsui Hark.
Indeed, the opportunity for Shi Nansheng to contact the film was Tsui Hark.
Before the two met, they sometimes met at The Peninsula Hong Kong.
At that time, Shi Nansheng's impression of Tsui Hark was:
"Wear jeans in winter, belt buckles big, fur jacket and hat, and when Mecca meets him: Tsui Hark! When to film with me! The two of them ran away and I said: They're like the underworld."
Later, the two met and fell in love through the introduction of friends.
Shi Nansheng entered the New Art City company where he works as Tsui Hark's girlfriend.
After coming into contact with other people in the company, Shi Nansheng also felt wonderful.
"The other six people are all choreographers, directors, and actors, and I am the only normal person."
There are seven core members of New Art City, nicknamed by the outside world as the "Seven Monsters of New Art City".
The company pursues collective creation and sets aside a separate "struggle room" for meetings.
Some people are good at stunt techniques, some are good at screenwriting, some are good at creative points, and some are good at pretending to sleep.
But the crowd has nothing but talent.
I don't understand the budget, I don't know the planning, I don't know what to shoot.
Shi Nansheng previously worked in production, publicity and administration in several major TV stations.
But he has never been exposed to the film industry, and this time because Tsui Hark entered the industry, he almost started from scratch.
If we say that Tsui Hark is the button that connects Shi Nansheng with the movie.
Then become bigger and stronger, and it has little to do with love.
Adhering to the principle of "if you dare to use me, I dare to do it".
Shi Nansheng began to establish the operation system of the new art city.
At that time, the company's accounts were chaotic, and the assistant director alone took a huge amount of cash to settle the bills every day.
Sometimes someone loses money and mispays the wrong account, because there is no way to find it, they have to bear the loss.
Shi Nansheng designed and established a signing system and implemented it, which greatly solved the accounting problem.
This system has been used by major film companies since the eighties.
In this regard, Shi Nansheng is a little proud and a little helpless:
"I don't believe in decades without a little room for improvement."
Before producing Hong Kong's record-breaking film series "Best Partner".
The directors of New Art City only have creativity, but no technical support.
Shi Nansheng "sat there all night on the phone" and contacted established European and American film production companies until someone was willing to cooperate.
You see, the way the big guy gets things done is also quite simple, the difference is the determination to do things.
"Best Partner"
Because of this determination, New Art City has repeatedly achieved great results.
Once trampled the two film industry giants of Shaw and Jiahe.
In addition, Shi Nansheng often explores the market water temperature, and vigorously supports the issuance and publicity.
The three words "New Art City" became a golden signboard for attracting customers under her.
Soon, Hong Kong would not be able to flourish Shi Nansheng's ambitions.
In 1982, when Schnansheng first arrived in Cannes, he saw endless films from all over the world.
All kinds of marketing methods, film dealers, filmmakers, people are dazzling.
But no matter where the film originates, the production level is very mature.
There was a day outside the sky that made Shi Nansheng's complacency disappear, and he suddenly felt that he was just "a grain of sand in the desert".
But because he saw a greater possibility, Shi Nansheng was very excited.
After returning to Hong Kong, she decided to learn production techniques first and distribution second.
Immerse yourself in all aspects of filmmaking to draw nourishment, and directly talk to global film companies, saying that they "can't buy it".
She also brought the "film pre-sale" method back to Hong Kong, which changed the way Hong Kong films operate commercially.
Bringing back considerable profits inward, it conveys huge influence outward.
This is the golden age of Hong Kong cinema and the golden age of Shi Nansheng.
But even the strong cannot go all the way.
The creative concepts of the seven people in New Art City gradually diverged, and the relationship between the hidden dangers of dividends buried by collective creation became more rigid.
Seeing character in a low place, Shi Nansheng did not want his old friends to become enemies and decided to leave.
Recalling the scene, Shi Nansheng said:
"They started talking and made a condition for me and Tsui Hark to stop being a film studio. We want to do it together and join the big family of New Art City together. Ah Xu's saying is, you have a big family, I want to build a pavilion in the garden, and that pavilion is mine. The big family has a big tea rice, or I don't want to eat a big tea rice and want to eat dim sum. At one stage, they and I were both stiff and felt that we did not want to join the big family. I was already working in Xinyi City, but they asked Ah Xu to tear down his pavilion and move into the mansion, which Ah Xu was unwilling to do. After so many things, I thought I might as well leave, lest things get more complicated, and everyone will always be friends."
——"The True Color of Entertainment, New Art City Struggle Years"
So Shi Nansheng accompanied Tsui Hark to build a pavilion that belonged entirely to him.
From Hong Kong to the Mainland, the two have worked together to forge a new business landscape.
To summarize this relationship with love is probably a narrowing.
In the friendship and love of that era, there was a heart of righteousness.
The two are in the same step because of their pursuit of extreme personalities, and because of their talents, they inspire mutual appreciation.
Through the storm of common struggle together, love has become the lightest adjective for this relationship.
At the same time, this battle is not only for Tsui Hark.
In 1987, Shi Nansheng left New Art City to devote himself to the creation of Tsui Hark's studio.
During this period, she increased her efforts to promote film talents in all aspects.
Only look at ability, not afraid to use new people.
It is precisely because of this righteousness that Shi Nansheng can always overcome dangers in his career.
During the filming of "The True Color of Heroes", Shi Nansheng helped a costume guide named Yu Jia'an enter the industry.
Twenty-four years later, when the filming of the "Di Renjie" series of films began, the crew was distressed that there was no one in the art.
Yu Jia'an took the initiative to contact Shi Nansheng and solved the urgent need:
"Miss Shi, when you took me into the industry, I heard now that you can't find anyone, if you want me to come, I will come immediately, how much the budget is, I will not bargain with you."
Shi Nansheng used his own chivalrous woman as a faction and received the same quack-like help.
At the same time, doing things with all his heart has also been rewarded by fate.
When Di Renjie's Babel Empire was filmed, Tsui Hark wanted to explore 3D visual effects.
Shi Nansheng went to South Korea to look for a special effects company, but the budget was so tight that he was "embarrassed to say".
Seeing that it was about to fail, but there was an unexpected turnaround.
Lee Yong-ki, Korea's top visual effects producer, is a fan of "The East is Undefeated" and "Wong Fei Hong".
He responded to Shi Nansheng by saying:
"I watched your movie that it affected my participation in the movie, and if you want, I will help you carry this time."
As a result, "Di Renjie's Heavenly Empire" finally took shape, helping Tsui Hark successfully open up a larger mainland market.
This happens again and again.
There is a rumor that when Shi Nansheng won the Golden Camera Award (recognizing individuals or institutions that have made special contributions to the film industry) at the Berlin Film Festival in 2017, he expressed his gratitude to his ex-husband Tsui Hark:
"I really want to thank Tsui Hark because he never really understood what I was talking about. I said, we don't have a budget anymore, he doesn't understand; I said, we can't finish this movie in this way, and he doesn't understand it.
It was because he could never understand me that I became a better producer than I ever imagined."
Such a state of competition with each other has long become a tacit understanding.
Even though he announced his divorce in 2014, Shi Nansheng is still the exclusive producer of Tsui Hark's films.
She didn't say a word of evil afterwards, which was quite decent.
In fact, Shi Nansheng rarely talks about emotional issues in public.
She doesn't like to talk about personal matters, and the few times she has responded are very generous.
In the face of Tsui Hark's endless scandals in his early years, she said:
"What I know is not the truth. What I don't know, I don't know."
In 1996, the media went viral and Shi Nansheng was forced to leave because he could not bear Tsui Hark's abuse.
The two have been in love for fifteen years and finally got a marriage document, to which she responded:
"Not out of promise, just out of love for Tsui Hark."
At any time, Shi Nansheng's elegant posture has never lost control, and only a few times "show the horse's feet".
At an Asian Film Awards ceremony, Shi Nansheng unexpectedly received public thanks from Tsui Hark.
She was visibly happy, and turned her back to hide her expression of loss of control.
In Lin Qingxia's book "Before the Mirror, Behind the Mirror" and "Inside the Window, Outside the Window".
Shi Nansheng is a beautiful woman with an aura that makes all actresses suddenly feel their own dull and insignificant.
In front of Tsui Hark, he had to worry about taking care of such trivial matters as wiping his hands before eating mangoes.
He will cry because he cannot celebrate his wedding anniversary with Tsui Hark, and he will be sad when he learns about Tsui Hark's emotional rumors, and convince himself to "treat him as family".
When he was in love, he even said:
"Tsui Hark is an artist, he needs sparks, and if one day there is a woman who can give him sparks and creative inspiration, I will be happy for Tsui Hark."
It seems that Shi Nansheng is indeed as Jin Yong said:
"She is a 100% infatuated woman who dedicates herself to the talent in her heart."
It is also because of this kind of evidence of love that is called by the bystanders.
Schinan became the poor woman in public opinion who achieved Tsui Hark and was tragically abandoned.
Search for Shi Nansheng on the Internet, and the most common thing that appears is this type of emotional text
But herein lies the irony.
When Shi Nansheng helped Tsui Hark start his career, some praised her loyalty and affection.
Her outstanding ability was regarded as a weapon for her husband to "fight the world", and her successful career became her rich dowry.
Once men's love disappears or transfers, women themselves are deprived of their own value, and even require reflection on their own bodies.
"Is it that Shi Nansheng is too powerful and makes Tsui Hark feel inferior?"
In such an evaluation system, the results of hard work made by strength are made even more pathetic by "not giving birth to children for Tsui Hark" to help her keep her husband.
If you don't regain your youth, then it will be completely "desolate at night".
In the final analysis, "getting the love of men" is the highest standard for judging the value of women's lives, and childbirth is regarded as the ultimate mission in women's lives.
This is contempt.
Among the many sayings that appreciate the love and marriage of the two, few people look at Shi Nansheng beyond the added value of society.
Perhaps she did get involved in the film industry because of Tsui Hark, but she personally loves movies as well.
Shi Nansheng's family was wealthy, and when he was seven or eight years old, he often went to the theater with his mother to watch movies, which created a childhood with light and shadow background.
The end of the marriage also did not affect her attitude towards film.
It is precisely because the movie is far more than just for her to "hold Tsui Hark".
It is even more ridiculous to limit their personal worth to the issue of married children.
Through the ups and downs of Hong Kong films and the rise of the mainland film market, Shi Nansheng has an accurate and profound understanding of the entire industry.
She has insight into many problems in the film market, which stems from the rapid process of commercialization of mainland films.
A large amount of capital flow, but there is no perfect film industry to undertake, it is inevitable to give birth to deformities.
She didn't stop at this.
On the one hand, it imitates the mature industrial production and management methods of foreign countries to help standardize Chinese film production.
On the one hand, bring more film professionals into the industry and inject new power into the industry.
She supports art films and purposefully enriches the genre of Chinese-language films.
It is not a market-oriented and cookie-cutter production of commercial films.
"Good movies, I don't make money."
At the same time, it uses its own influence to expand the radiation of Chinese films internationally.
Now seventy-one years old, he is still active behind the film as a producer.
Whether Shi Nansheng's marriage is worth it or not, no one can make a conclusion for the parties.
Loving people is not a shame, and there is no point to win or lose.
But most importantly, Shi Nansheng has created irreplaceable value in the field he loves.
All this deserves to be seen, it is worth telling.
It is worth throwing away the "pitiful" glasses.
See this respectable.
End of full text.
Assistant Editor: Bai Su