PS: Ask for a recommended ticket, ask for a monthly pass!

On June 10, "A Chinese Ghost Story" officially held its midnight show at the cinema of Princess Jin in Mong Kok.

In the back row of the theater, Wu Xiaozu, Jiang Zhiqiang, Luo Dong, Fei Cheng, Su Liyao, Liang Jiahui, Jiang Jiahua and other members of the 1024 series spontaneously came to cheer.

On the stage, Xu Laowei led Cheng Xiaodong, Zhang Guotong, Wang Zuyuan, Wu Ma and other cast and crew to be interviewed.

Looking at the center of the stage, with tall long hair and a pure and charming woman with a smile and a smile, Wu Xiaozu smiled slightly.

The world is stunning again!

In later generations, many people like to evaluate the ancient costumes of the little flowers, Liu Camel Toe Tianxian, Fat Di Butterfly Hip, Da Mi Mi, Jiang Qinqin, Nazha, Yaya, Tangtang, and Zhao Baozi are all on the list.

However, in terms of charm and beauty, Wu Xiaozu is still optimistic about his own Wang Xianxian.

The book is not too much to say.

The movie officially begins.

As soon as the scene opens, the sound of the wind, the sound of bells, and the eerie electronic soundtrack are the first to catch people's attention, and in the rustle, it reveals an eerie and demonic atmosphere.

The film critics at the scene lit up and pricked up their ears in unison.

Huang Zhan's electronic dubbing captured the hearts of film critics and audiences in an instant. Even Wu Xiaozu has to admire Mr. Huang Zhan's dubbing. It can be said that if there is no Huang Zhan, Xu Yi's movie will definitely lose a little aura.

A good soundtrack master is enough to sublimate a movie by three points. is just like Xu Yu's "Smiling Proud Jianghu" later.

This "A Chinese Ghost Story" is the kind of opening fifteen seconds, and you know that this must be a good movie. In this play, Xu Yu completed his self-redemption of the costume fairy drama after experiencing "The Swordsman of Xinshu Mountain".

Papier-mâché lanterns, dilapidated ancient temples, gloomy bamboo forests, and fallen leaves drifting in the sky.

In the ancient temple of green lanterns, the sound of reading was faintly in the ears, the wind was gusting outside the window, and the audience was instantly attracted by the picture into the world of a Chinese ghost story. Xu Yi's skills can be seen.

In the opening few seconds, Xu Yu did not live up to his identity as an American professional.

This "A Chinese Ghost Story" is dressed in a ghostly and supernatural coat, talking about the love between modern men and women, expressed in the beautiful Chinese style of ancient costumes, but the film structure is a real Hollywood commercial three-stage style.

The suspense and atmosphere created by the opening scene and the beautiful picture instantly made film critics want to compare it with Li Hanxiang's "A Chinese Ghost Story" in 1960. What amazed them was that Xu Yu used the romantic style of new martial arts to get rid of the Huangmei opera-style opera style.

The wind groans, the wind, the moon disappears, and the fog rises.

The tunes are accompanied, the flute is melodious, and the piano sound is quiet.

The lights are flickering, the moon is dark, and thunder and lightning are combined.

The smoke curled and the wind gusted, as if it were murmuring.

The ringing rings, the camera is slowly raised, and the bells are flickering.

Lanruo Temple first came into view, and the treasure hall made the audience fascinated and unable to extricate themselves.

The dubbing is accompanied by dim graphics, and the match is perfect.

In the flickering lights, wearing a linen robe, holding his hair and temples, sword eyebrows and starry eyes, outside the window, shadows are repeated, ghosts crying and howling, instantly creating a supernatural atmosphere of scholars in the ancient temple.

"Zi said Chengren, Meng said righteousness!"

On the screen, Wu Xiaozu was dressed in ancient costume, sitting on a straw mat, holding a brush in his slender hand, drawing slowly, and a line of exquisite small letters was written on the ancient book next to him, full of antiquity and elegance.

“(?) ！！！！”

Jiang Zhiqiang and Fei Cheng, who were beside Wu Xiaozu, looked at Wu Xiaozu on the screen in amazement, and looked back at Director Wu beside him.

"On that day's visit, I made a cameo appearance as the scholar at the beginning. Wu Xiaozu coughed dryly, looked at his handsome and compelling self on the screen, and explained lightly to the people next to him with a steady aura.

Pretend to be like the wind, always accompany me!

At that time, Wu Xiaozu's image made Xu Yi feel that he was dominating, and Wu Xiaozu had no choice but to give Xu Yu a lot of ideas in order to refuse the embarrassing situation of being dedicated to the dead body for the first time.

The opening ten seconds of footage is Wu Xiaozu's suggestion.

If it weren't really exciting, Xu Yi, who was dictatorial on the set, wouldn't have made changes.

Suddenly, the white gauze was light, and the scholar played by Wu Xiaozu raised his head, and the camera retreated......

Between the fog curtains, a long white dress is just like a fairy dancing, like a frightening flood, graceful like a dragon.

In an instant, the audience's eyes were fixed on the screen, and they couldn't bear to leave. Nie Xiaoqian, played by Wang Zuyuan, appeared in one appearance, and she was stunning in all directions, and there was nothing more beautiful in the world.

The long cyan hair danced in the air, and the white clothes shook like snow.

A few glances back, a few bows, a delicate body is light, the light yarn fades, the white lotus root sticks out, the jade onion is lightly pinched, and the slender fingers stir up the whole picture to shake.

"It's beautiful!"

At the same time, film critics and filmmakers couldn't help but sigh. I thought that Letty's Nie Xiaoqian was beautiful enough, so I knew that Wang Zuyuan's Nie Xiaoqian was really, and the tassel was difficult to extricate herself from in her mind.

Letty's version of Nie Xiaoqian, dressed in black and golden fork, is too dignified.

Under the loose and fluttering white long skirt of the light gauze flowing curtain, this is the real Nie Xiaoqian, the real ancient temple beauty.

Even if he saw it in his previous life, Wu Xiaozu had to marvel that Xi Zhongwen's art attainments were really geniuses. The shape of "A Chinese Ghost Story" has played the role of the ancestor of the mountain for future costume dramas.

In the future, the fairy spirit in the costume drama was inspired by this play.

On the screen, there is silence in the clear beauty, Wang Zuyuan's side face is full, green silk hangs sideburns, cheeks are dyed rouge, and he grabs the hand of the ancient temple scholar played by Wu Xiaozu and explores his AA-level scenic spot.

"Gollum—"

The male audience leaned forward and couldn't wait to take their place.

Wang Zu Amaranth has a ring of long legs, and a slender leg instantly makes the audience have a desire to lick the screen. There are small and delicate bells hanging from the white and tender ankles, which add a bit of grace and touch. At this moment, the whole delicate body sat horizontally on the scholar's lower abdomen, and the two slender jade hands, as if plucking lychees, parted the scholar's clothes, revealing the strong chest.

"Wow-"

The female audience swallowed their saliva in unison, and Jiang Jiahua looked at Wu Xiaozu teasingly, his eyes full of teasing.

Wang Xianxian, who was sitting at the head of the theater, couldn't help but look back for his lover.

On the same day, in order to shoot this scene, Wu Xiaozu almost burned himself with lust and was difficult to control, and Wang Zu, who was sitting on Wu Xiaozu's body, spread his wings on the top of the butterfly, and the jade clam foamed.

Therefore, there was a situation where Wang Zu Amaranth really kissed Wu Xiaozu's chest, and Wu Xiaozu's small bulge was lightly crushed by his teeth.

As the silver bell on the ankle was grabbed by the scholar's hand, the bell rang out, and the original beautiful and quiet music of the film suddenly changed, and the camera moved quickly.

In order to shoot this scene, the laying of the slide rail is really a test of the skills of the camera crew, and there is a strange sense of danger in the search, which not only requires the skills of the cameraman, but also the intention of the camera assistant.

In an excellent movie, every detail affects the imaging of the film.

Around the turn of the millennium, many people thought that the stick began to rise, but in fact, the movie of the stick at that time still had the common problem of not paying attention to details.

Therefore, many film masters think that stick movies have not done it: in the silence!

Of course, this can't erase the fact that Bangziguo has indeed learned the essence of Hong Kong films, and its movie masterpieces are indeed very exciting. The ability to tell stories is at least a few streets away from many domestic filmmakers.

Actually, aren't they playing the same stuff that we played in the '80s and '90s?

Where are the classic movie classics?

The lens is solid, and the picture, color, and scheduling are extraordinarily solid?

Wrong!

In terms of professionalism and solidity in the lens, many directors from professional classes among domestic filmmakers are not inferior to others. For example, Brother Kai, his film lens skills are definitely very deep, and his foundation is quite good. Counting his movies, you can say that "Wuji", "Taoist Priest Descending the Mountain", and "The Legend of the Cat Demon" are bad movies.

But you can't deny that the pictures, shots, and even the performances of the actors in his films far surpass those of many film directors. But on the contrary, he gave birth to weasels, and every year was not as good as a year.

These are not the classic things about classic movies, and if you look closely at many classic movies, the shots of many movies are not perfect. For example, in "The Godfather", some of his shots are very contrary to the rules of photography. However, the good thing about classic movies is that these shots may not be the best, but they are the most suitable!

This is exactly the case on the camera of "A Chinese Ghost Story".

Xu Yi's movies are imaginative, not only worthy of the story, characters and scenes, and fights, but also the lens is crucial.

If Liu Weiqiang's handheld lens is the first in Hong Kong, then Pan Hengsheng is one of the best in the pursuit of elegant art. Photographing women, in addition to Li Pingbin, Hong Kong and Taiwan videographers can shoot women so beautifully, it may be Pan Hengsheng.

You can feel the footage of Nie Xiaoqian played by Wang Zuyuan. Pan Hengsheng himself is a photographer who is particularly able to guess the intentions of art directors, and at the same time, he is also able to express this beauty through the lens.

…

Wu Xiaozu appeared for just a dozen seconds, which made the male audience envy to death. If it's Zhang Guoxuan, forget it, at least my brother's elegance has its own halo, and both men and women are killed. Although Wu Xiaozu is very handsome...... But apparently there is no such popularity.

Everyone looks at the screen, and there is a kind in their hearts: let go of the scream that hit the street and let me come!

Director Wu absolutely didn't know that in the first drama of his life, there were not a few fans, and black fans appeared in Hong Kong!

As the oil lamp goes out, it implies that the lamp is dead.

The expression of this imagery made the on-site film critics nod their heads secretly. Xu Yu has experienced the experiment of "New Shu Mountain Swordsman", and finally deformed his own unique sense of lens.

At this time, the red curtain rose into the sky, and four big black characters with a lot of spirit were displayed - A Chinese Ghost Story.

…

"The road of life,

Sweet dreams are like long roads,

The road is windy and frosty, and the wind and frost are dry.

In the red dust,

There are many directions for sweet dreams......"

In the winding path of green mountains and green waters, the male pig's foot Confucian shirt and Confucian hat played by his brother slowly got closer and closer with a book basket on his back, as if he was about to walk out of the screen.

With his deep and insightful singing, the whole movie shows his temperament.

Zhang Guoxuan's peerless beauty and slightly witty performance instantly showed the image of a little scholar in front of the audience.

In this one-man show, Zhang Guolu pinched it with his hands, and you didn't feel the slightest abruptness. This is not to prove how good Zhang Guolu's acting skills are in this scene, but that he gives spirituality to the characters.

Acting is such a thing, not the whole play requires you to devote yourself to the performance, more often you just need to complete the character. In later generations, when Zhou Gongzi acted, you will find that she actually exerts force in two or three places in a play, and those few paragraphs are actually the soul of the whole play, and the rest slides smoothly.

This is in line with the film's process. The actor acting does not need to be endowed with too much content.

The most important thing about the actor's acting skills is not to say what you are acting like, the most important thing is that you are not abrupt in the whole scene and do not affect the plot.