God forges blades every day and expects them to meet. Being able to meet the same kind that is full of fire is the happiness of the blade. It's like an apple that can be smashed on Newton's head. Of course, Apple also has a gravitational pull on that head, but no one pursues it.
Looking back at the history of world cinema, the master or famous director has a "royal actor", like a delicious meal and want to take two more bites, the guy who is handy will make it as logical next time.
Location of the film The Seventh Seal (1957), from left: Ingmar Bergman, Nils Pope Nils Poppe, Bibi Andersson, Max von Schodorff
[Ingmar Bergman and Max von Suddorf]
Co-productions: The Seventh Seal Det sjunde inseglet (1957), Face Ansiktet (1958), Virgin Spring Jungfrukällan (1960), Såsom i en Spegel in the Mirror (1961), Moment of the Jackal Vargtimmen (1968), Shame Skammen (1968)
Ingmar Bergman
As a film director, Ingmar Bergman has been in the film industry since 1940, his annual film production is one, and most of them have become internationally renowned films, it is very remarkable to do this, but Ingmar Bergman has to do more than this, Ingmar Bergman's films throughout his life are expressing their inner feelings, never deliberately trying to cater to the audience.
Stills from the film The Seventh Seal (1957), by Max von Sudov (right) and Bent Echerot Bengt Ekerot
However, because his thinking on deep questions has a philosophical universal significance, the direction of his thinking has gained the recognition of the audience. Many people have found through Ingmar Bergman's films that many of the things that are commonplace in life are originally full of contradictions.
Max von Sydow (1929-2020) was one of the greatest actors of the last century, and was once the royal male lead of the famous director Ingmar Bergman (1918-2007).
Stills from the film The Fountain of the Virgin (1960), Max von Sudov
The two have worked together 11 times, especially for his role as a knight in The Seventh Seal Det sjunde inseglet (1957).
In the film, the knight plays chess with the god of death, which has become a famous scene in the history of cinema.
In films such as Virgin Springs Jungfrukällan (1960) and Såsom i en Spegel in the Mirror (1961), Max von Sudov's performances were also extraordinary.
[Father and Friend - François Truffaut and Jean-Pierre Lyod]
Co-productions: Four Hundred Strikes Les Quatre cents coups (1959), Antoine et Colette (1962), L'amour à vingt ans (1962), Kissing Baisers volés (1968)
François Truffaut (left) and Jean-Pierre Lyod
In addition to the stories of François Truffaut (1932-1984) and Fanny Aldan Fanny Ardant, the dramatic collaboration between François Truffaut and Jean-Pierre Jean-Pierre Léaud is also indispensable.
In 1959, François Truffaut, who intended to make Four Hundred Hits Les quatre cents coups (1959), spotted Jean-Pierre Lyod, who was only 15 years old, in the crowd of auditions, and looked at Jean-Pierre Lyod, who looked a bit like his younger self, and François Truffaut knew that the character in his play was none other than him.
Image by Jean-Pierre Lyod in the film Four Hundred Strikes (1959).
Not only did the two co-produce "Four Hundred Down", François Truffaut made four films of his own upbringing, forming the semi-autobiographical "Antoine Duvané" series of films, in which he played Jean-Pierre Lyod.
It can be said that Jean-Pierre Lyod grew up with the help of François Truffaut, and these four films lasted for 20 years (1959-1979), and Jean-Pierre Lyod played his roles from small to large.
François Truffaut (right) and Jean-Pierre Lyod
And for François Truffaut, whether it is Antoine Douarne on the camera or Jean-Pierre Lyod in the camera, he is both his child and another self, pinning his lifelong desires and ideals.
In real life, the relationship between the two is even better, not only is it a master and apprentice, but also a father and son, and it is also the best friend.
Zhang Che and his beloved general Fu Sheng, who is also his own son Fu Sheng, take a group photo - among all the apprentices, only Fu Sheng dares to hug Zhang Che
Zhang Che and his beloved disciples
Always a pair of large sunglasses to cover most of the face, there is always a thick cigar rising smoke, this is Zhang Che (1923-2002), a martial arts myth, it is he who set off a wave of Jin Yong drama adaptation, becoming the grandmaster of a generation of martial arts movies.
Since 1964's "Tiger Hero Annihilation", Zhang Che has made hundreds of films in his decades of directing career, and has repeatedly directed the films adapted from Jin Yong's novels, "The Legend of the Eagle Shooter" (1977), "The Legend of the Flying Fox" (1980), "The Green Blood Sword" (1981), "The Condor Hero" (1982), "The Hero Of the Eagle" (1982), and so on.
The five generations of disciples of the Zhangjia class gathered
In 1967, his film "One-Armed Knife" debuted shaw's million-dollar box office, and Zhang Che also won the title of "million director".
Zhang Che has not only become one of the most influential directors in Hong Kong, he is also a high-quality lip gloss, smearing which red. He liked to use new talents, and successively discovered a large number of martial arts superstars, martial arts instructors and well-known directors, such as Wang Yu, Luo Lie, Dillon, Jiang Dawei, Chen Guantai, Chen Yimin, Li Xiuxian, Liu Jialiang and Wu Yusen, all of whom were his disciples.
In 1989, in order to commemorate the fortieth anniversary of Zhang Che's career in film, his proud disciples joined forces to create one of the most spectacular films in the history of Hong Kong cinema , "Righteous Courage and Courage". It's not called spectacular because of the epic scenes, but because of the unprecedented perfection of its star line-up.
Li Xiuxian, Jiang David, Chen Guantai Wuma, Ni Zhen, Tian You, Zhou Xingchi, Kwong Meiyun Cheng Kui'an, Huang Xia, Dong Dang, Yang Zelin and others all attended the scene. On-site director Wu Yusen, producer Xu Ke, photographer Er Dongsheng, composer Huang Xia, action directors Liu Jiarong, Yuan Bin, Dillon and Yue Hua are responsible for the deployment of actors.
Premiered in the 1989 film "Righteous Courage", from left: Li Xiuxian, Wu Ma, Chen Guantai, Zhang Che, Jiang David, Wu Yusen, Dillon
Its brilliance can be imagined, and this is also the thickest gift that Zhang Che's disciples have given to his old man.
On June 22, 2002, Zhang Che died of pneumonia in Hong Kong at the age of 79. His funeral has undoubtedly become a great gathering of well-known people in hong Kong's film industry, people mourn a generation of martial arts masters, and his departure ends a fairytale era of martial arts movies.
Martin Scorsese (right) with Robert De Niro
Martin Scorsese and Robert De Niro
Co-productions: "Mean Streets" (1973), "Taxi Driver Taxi Driver" (1976), "New York, New York, New York" (1977), "Raging Bull Raging Bull" (1980), "The King of Comedy" (1982), "Good Guy GoodFellas" (1990)
The pair was no stranger to the pair, and from the early 1970s to the mid-1990s, the alliance between Martin Scorsese and Robert De Niro of Robert De Niro seemed to have become a proper noun of the era. From "Mean Streets" (1973) to "Casino Glory" (1995), eight of Martin Scorsese's most outstanding works are closely associated with Robert De Niro's name.
Video by Robert De Niro in the film Taxi Driver (1976).
The two die-hards have a relationship dating back to 1973, when both Martin Scorsese and Robert De Niro were little-known people, and their acquaintance began with an audition.
Robert De Niro was introduced by a friend to audition for martin Scorsese's "Poor Streets" crew, which was supposed to be a relationship between enlistment and enlistment, but the two did not expect to see each other.
Location of the movie Taxi Driver (1976), from left: Paul Schrader, Martin Scorsese, Robert De Niro
The reason for the blame is that God gave them too many coincidences, both of them are of Italian descent, and they were both born in New York, grew up in Little Italy, the age difference is less than one year, and even the high school is only one street away.
Too much intersection between the opposite sex will become lovers, too much intersection between the same sex will become a dead party, Martin Scorsese and Robert De Niro meet and hate late, coupled with their like-mindedness in the movie, the cooperation between the two began, and it was impossible to receive.
Image of Robert De Niro in the film Angry Bull (1980).
Poor Streets was their first collaboration and a prelude to Taxi Driver Taxi Driver (1976). Martin Scorsese and Robert De Niro fulfilled their racial and cultural dreams in their own films, and Harvey Keitel and Joe Pesci were also their long-term collaborators, and this Italian"family-style" approach to production eventually led to Martin Scorsese's unique style of film noir.
The film New York, New York (1977) set, Martin Scorsese and Robert De Niro
Today, Martin Scorsese and Robert De Niro have arrived in the year of the flower armour, and after collaborating on "The Irishman the Irishman" (2019), and looking back on the time they have traveled together can indeed be said to be an unrepentant era, we still look forward to the next cooperation between the two masters, even if the Oscar judges are still as stingy as Ever for Martin Scorsese.
It is undeniable that in the choice of commercial projects, Martin Scorsese is currently and "funded" by Leonardo DiCaprio of Leonardo DiCaprio has gone recently.
Promotional photo for the movie This Killer Isn't Too Cold (1994), from left: Jean Renault, Natalie Portman, Luc Besson
Luc Besson and Jean Renault
Co-productions: Final Battle Le dernier Combat (1983), Subway Subway (1985), Le Grand Bleu (1988), Nikita Nikita (1990), This Killer Is Not Too Cold Léon (1994)
Some people say that Luc Besson made Jean Reno Reno, and some people say that Jean Renault made Luc Besson, but in fact, the conclusion of both propositions is the same, that is, to make a successful director and a good actor.
Images of Jean Renault and Natalie Portman in the film This Killer Is Not Too Cold (1994).
Jean Renault had a miserable childhood, losing his mother at an early age, which created his cold and stubborn personality.
In 1980, while performing in a film, Jean Renault met Luc Besson, who was then the assistant director of the film, and thus began a close and friendly cooperation between them.
The duo collaborated on three films, Le dernier Combat (1983), Subway Subway (1985), and Le Grand Bleu (1988). The young Luc Besson traveled around to make the film, and Jean Renault spent three months learning to play the tambourine in order to play the drummer of "Subway".
Promotional photo for the film "Blue Sea and Blue Sky" (1988), from top to bottom: Jean Renault, Jean-Marc Bal, Luc Besson, Rosanna Arquette
Jean Renault always presented the best professionalism in every one of his films, which laid a solid foundation for him to achieve an international reputation in the future.
Their collaborations are as much so that Jean Renault has become more and more trusting of Luc Besson, and Luc Besson's performance of Jean Renault has become more and more supportive.
In 1994, he tailored Léon (1994) for Jean Renault, and both men reached the peak of their careers, with which Jean Renault began his Hollywood film career and became one of the world's stars.
Jean Renault's image in the film This Killer Is Not Too Cold (1994).
Jean Renault himself understands that it is no accident that he has achieved what he has achieved today with his own efforts and acting talents, but everything must be thanked for the opportunity given to him by Luc Besson, who claims that Luc Besson is one of the most important people in his acting career.
【Parting Ways - Zhang Yimou and Gong Li】
Co-films: "Red Sorghum" (1988), "Ju Dou" (1990), "The Big Red Lantern Hangs High" (1991), "Qiu Ju Fights the Lawsuit" (1992), "Alive" (1994)
Because of the "Red Sorghum" cooperation, but also because of the "Red Sorghum" for 8 years. Zhang Yimou has been brilliant for 8 years, Gong Li has been brilliant for 8 years, Zhang Yimou has not been a heroine for 8 years, and it is difficult for Gong Li to make great achievements without playing Zhang Yimou's films.
From the current point of view, all the domestic directors and well-known actresses' couple files, such as Jia Zhangke and Zhao Tao, Wang Quan'an and Yu Nan, are not as good as these two works, film art has brought them together, and emotional entanglements have finally made them part ways.
Gong Li's image in the film Red Sorghum (1988).
The two of them from the origin of "Red Sorghum", by the "Ancient and Modern Wars Qin Figurines" (1989) set love, "The Big Red Lantern Hanging High" and "Ju Dou" are the best masterpieces of deep love, Zhang Yimou fully excavated the most essential things in Gong Li, so that her personality was fully publicized, whether it was in the camera or outside the camera he conquered Gong Li.
Gong Li's image in the movie Ju Dou (1990).
"Shake, Shake, Shake to Grandma's Bridge" (1995) became the final chapter of "Gong Zhang", Gong Li finally went away with hatred because of Zhang Yimou's extremely irresponsible "Why should I value that marriage book", walked out of the emotional world of the old man, and also walked out of his lens, breaking this nationally watched "marathon" love run and passing on others.
Gong Li and Kong Lin (right) in the film The Red Lantern Hangs High (1991).
Even if the later collaborations "The Golden Armor in the City" (2006) and "Homecoming" (2014) can attract a lot of attention in terms of topic and hype, it is still not as good as before.
For a man, career is all there is, and women don't think so. A woman's world exists for the man who loves her, and if there is no love, she can give up anything.
【Unusual "Friends"-Wang Jing and Qiu Shuzhen】
Co-films: "The Trickster Expert" (1991), "Naked Lamb" (1992), "Deer Ding Ji" (1992), "The Demon Sect Leader of the Dragon Slayer" (1993), "New Shaolin Five Ancestors" (1994), "God of Gamblers 2" (1994)
Since her debut, Qiu Shuzhen has always appeared in front of the world in a pure and lovely appearance, but she has never been able to become popular until she meets Wang Jing.
In 1991, Wang Jing supervised the production of a tertiary film "Naked Lamb", which starred Qiu Shuzhen and had a good reputation after being released on the market, and Qiu Shuzhen was nominated for best actress at the Hong Kong Film Awards that year.
So Wang Jing hit the iron while it was hot and launched a set of "Naked Lambs" series, which did not have any nutritious content that could be well watched, but it made Qiu Shuzhen's popularity soar.
The seamless cooperation between Qiu Shuzhen and Wang Jing is also recognized as a "friend" with an unusual relationship in the circle.
Wang Jing not only praised Qiu Shuzhen by name when predicting the trend of the film circle in 1994, but also took pains to borrow Zhou Xingchi's light belt to bring Qiu Shuzhen and starred in "Deer Dingji" and "Whole Trick Expert".
Image of Qiu Shuzhen in the film The Demon Sect Leader of the Dragon Slayer (1993).
Although qiu Shuzhen's films have exploded at the box office and she has become a sexy spokesperson, she has always been a stunning actress who is only one step away from the first-line actresses.
The relationship between Qiu Shuzhen and Wang Jing has become a topic of media frenzied pursuit, Wang Jing said in an interview with Li Wanhua: "I did experience a good and happy life with her, but it was not because of this relationship that I let me cooperate with her, the most important thing is that she has a certain acting talent, but I still have a selfish heart for her." ”
Ang Lee (right) and Lang Xiong
After breaking up with Wang Jing, Qiu Shuzhen faded out of the film world. In 1999, she married Shen Jiawei, the owner of a fashion store, in Japan, and Lin Xilei immediately became her successor.
【Father Trilogy - Ang Lee and Lang Xiong】
Co-films: Pusher (1991), Wedding Feast (1993), Diet Men and Women (1994), Crouching Tiger, Hidden Dragon (2000)
Ang Lee is best at putting big propositions such as traditional Chinese culture into a small matter of life. And Lang Xiong (1930-2002) is the kind of outstanding actor who can perform small people in waves. No matter how his character turns the river and the sea in his heart, his face is still calm and peaceful. Just a few subtle facial expressions and a few short lines are enough to reveal the heart of the character.
Lang Xiong's image in the film Pusher (1991).
The "Father Trilogy" that Ang Lee is famous for is almost tailor-made for Lang Xiong, whether it is the old hero of Tai Chi who shakes people to the ground in "Pushing Hand", the scheming boss who seeks children in "Wedding Feast", or the old sex wolf who beats Aijia's idea in "Eating Men and Women", Lang Xiong can interpret it accurately and without a trace, and the last two films have won him two Golden Horse Awards again, and a "father of Asia" reputation.
Images of Lang Xiong and Mitchell Lichtenstein (left) in the film The Wedding Feast (1993).
In him, Ang Lee concentrated on the image of the "Chinese father" he deliberately created, which was friendly, silent, and beared humiliation, but at the critical time, he showed a certain toughness and authority.
We can understand that this is the prototype of the ideal father in Ang Lee's mind, and he perfectly reproduces the image of a "traditional father". Therefore, it may be said that more than half of Ang Lee's reputation in the Chinese film circle is the credit of Lang Xiong. The elderly Lang Xiong can only play a supporting role in "Crouching Tiger, Hidden Dragon", but in Li Anxin, Lang Xiong is still his unchanging "father".
Lang Xiong's image in the film Eating Men and Women (1994).
In the early morning of May 2, 2002, Lang Xiong died of illness at the Age of 72 at The Zhenxing Hospital in Taipei. The last work he participated in was "The Legend of Tianmai" (2002) starring Yang Ziqiong. Li An, who had heard the news, wept bitterly in front of Lang Xiong's spirit, and he said in his eulogy: "Uncle Lang is gone, for me personally, it is a disappearance of an era. ”
【Heart with Spirit Rhinoceros - Wong Kar Wai and Leung Chao Wai】
Co-films: "The Legend of Ah Fei" (1990), "East Evil and West Poison" (1994), "Chongqing Forest" (1994), "Spring Breaks" (1997), "Fancy Years" (2000)
There are not many male actors who are favored by Wong Kar-wai, but almost all he looks up to is "personality": the debauchery of Zhang Guorong (1956-2003), the internal cold and external heat of Jin Chengwu, and of course, the sexy introvertedness of Liang Chaowei.
Liang Chaowei's image in the film Chongqing Forest (1994).
He has sexy eyes, always shooting out a melancholy sad and helpless look, looking over and seeing through your heart.
No wonder in Wong Kar-wai's "The Legend of Ah Fei", no one cares about the small characters with no name and no story who only appear for five minutes at the end of the film, but no one will forget the soul-catching eyes and his gestures.
It was also from then on that Leung Chao-wai became the longest-serving male actor to work with Wong Kar-wai.
Liang Chaowei's image in the film Spring Breaks (1997).
"Chongqing Forest" is like this, "East Evil and West Poison" is the same, and "Spring Break" makes men around the world release their tears for a reason.
In "Fancy Years", when the woman Zhou Muyun loved refused to leave with him, the most silent man finally chose the most silent way.
Wong Kar-wai is the man behind Leung Chao-wai, watching him get hurt or hurt himself again.
But Liang Chaowei knew that Wong Kar-wai knew him better than Liu Jialing. Since collaborating with Wong Kar-wai in 1991 in A Fei's Biography, Leung has appeared 6 times in only 8 "Wong's Works" (except for Carmen of Mong Kok and Fallen Angel).
Wong Kar-wai was the director who helped Leung the most, appearing at his lowest point. Liang Chaowei's performance has become the essence of Wang's films.
Liang Chaowei's image in the film A Generation of Grandmasters (2013).
Some people say that Liang Chaowei's brilliance was given by Wong Kar-wai, but if the success of art is really so easy, as long as a good director is 0K, then why does no one else raise an eyebrow because of Wong Kar-wai's movies? For example, Andy Lau, such as Dawn.
Wong Kar-wai: "Liang Chaowei can actually not have a mouth, and he can act just by relying on his eyes." ”
Liang Chaowei: "Filming with him feels like breaking through a stage and giving me a new way of acting, so in my acting career, he is a very important person." ”
From left: Zhang Guorong, Wong Kar-wai, Liang Chaowei, Du Kefeng
"Wong Kar-wai has never had the limitations of a script, allowing me to play freely. ...... Wong Kar-wai's plays have no script, you can't design how to act, only play by yourself, so there will be a lot of inspiration. It can be said that it was Wong Kar-wai who gave the actors the freedom to achieve my dream of cannes film emperors. ”
"Wong Kar-wai and I, two people who love movies, have worked together for so many years and established many tacit understandings. It's hard to meet someone who is so compatible in a lifetime, and that's the only reason we're making a film together. ”
Cai Mingming (right) and Li Kangsheng
【Lifelong Partner- Cai Mingming and Li Kangsheng】
Co-films: "Teenage Nak" (1992), "Long Live Love" (1994), "River" (1997), "Hole" (1998), "What Time Is Your Side" (2001), "Outing" (2013)
This is a rather rare pair, since Tsai Liang's directorial debut "Teenager Na Yao" in 1992, Li Kangsheng has become the iron number one in all the works of the emerging Taiwanese director, and there is still no exception.
In 1991, Li Kangsheng was discovered by Cai Liangming's unique insight by chance, and then he was invited to star in "Teenage Na Ya", and his acting skills began to be recognized by the outside world.
I believe that if I did not meet Cai Liangming, Li Kangsheng's seemingly weak appearance, and his unspoken personality should not be a very easy thing to enter the acting world and make a difference.
Stills from the movie "Long Live Love" (1994), Lee Kang Sang
In 1994, Li Kangsheng won the Best Actor Award at the Nantes Film Festival in France for "Long Live Love", and was also nominated for the Golden Horse Award for Best Actor, and in 1996, he was also nominated for the Best Actor Award at the Asia Pacific Film Festival.
Then, Cai Liangliang's "River", "Cave" and "A Few Sides of Your Side" are all indispensable by Li Kangsheng. The cooperation between the two of them seems to have reached the realm of godlike existence, and they have jointly established a film company of their own.
Stills from the movie "What Time Are You Over There" (2001), Lee Kang Sang
After "The Hole", Cai Liangming was silent for four years and then went all out to create a "What Time Is Your Side". Everything stems from the sudden death of Li Kangsheng's father, which makes Cai Liangming, who also lost his father, feel quite touched and therefore inspired his creative inspiration, so there is the advent of this "What Time Are You Over there".
It can be said that "What Time Is Over There" is an explosion of Cai Mingming's silence for four years, and it is also a gift he gave to himself and Li Kangsheng. At this point, we can understand from the subtitle at the end of the film: this film is dedicated to my father, and Xiaokang's father.
Stills from the movie "Outing" (2013), Lee Kang Sang
In 2013, "Outing" made Cai Liangming and Li Kangsheng win the Golden Horse Best Director and Best Actor respectively, and when it comes to Li Kangsheng, Cai Liangming even called him a "lifelong partner".
【Close Partner- Du Qifeng and Liu Qingyun】
Co-productions: "Tasteless Detective" (1995), "100,000 Fire Rush" (1997), "True Hero" (1998), "Goodbye Alang" (1999), "Dark War" (1999), "Dark War 2" (2001), "My Left Eye Saw the Ghost" (2002), "Detective" (2007), "Death Gold" (2011)
Du Qifeng (right) and Liu Qingyun
The impression Liu Qingyun left on everyone is always black, dark skin, thick eyebrows, stubborn eyes, and thick lips. When Du Qifeng needs him to smile, he can also grin sincerely like a child, but more often, we are always covered by the haze in his eyes.
He and Du Qifeng have always been very close filming partners, and Du Qifeng has tailored the drama and script for Liu Qingyun every year, so that Liu Qingyun has been nominated for the Hong Kong Film Awards almost every year.
Images of Liu Qingyun in the film Dark War (1999).
The viciousness and coldness of the confrontation with Liang Chaowei in "Dark Flower" (1998), the sometimes stupid and sometimes the gentle and gentle Kuan Shao in "Dark Flower" (1998), Liu Qingyun is like a hard and rough stone, even a little wooden when silent, sharp and unregulatable when paranoid.
Starting from the first cooperation of "Dumb Guy Baishou" - the director is Gu Dezhao, the producer is Du Qifeng, Liu Qingyun has become the symbol of Du Qifeng's films, just like Liang Chaowei for Wong Kar-wai, Chow Yun Fat for Wu Yusen.
Liu Qingyun's image in the movie "My Left Eye Sees a Ghost" (2002).
Liu Qingyun often incorporates the role of loyalty and indistinguishability into Du Qifeng's personal creation archetype, often through contrast, the character's good and evil personalities are shown in a film at the same time, which is perhaps what Du Qifeng admires most.
Du Qifeng has publicly said that Liu Qingyun is the best actor in Hong Kong. And Liu Qingyun also sighed: "My real eldest brother is Du Qifeng, without him there would be no Liu Qingyun today." ”
Scratching the Hollywood Glitz: Brian de Palma's suspenseful career
Hitchcock made sexual demands on Tibby Hedlund to be controlled and transformed by the blonde
Ghost talent director of the most neglected film, flexible use of "Sun Tzu's Art of War", had to serve
The transformation of the song and dance director, exposing the myth of Hollywood's inner workings, alluding to the big producers
Tough guys turning villains led to fan boycotts, and "yellow sand blew out to gold" but let father and son receive the award on the same stage