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Sha Tin, filming scene.

"Hah-"

Oily head, long trench coat, small legs, ground.

Green smoke curls and cigars in the mouth.

Jiang Zhiqiang stood on the periphery of the shooting site, staring seriously at the shooting in the venue.

It's a big guy posture.

If...... If he doesn't wear a trench coat.

This scene is about Tang San and Han Li's last moments, Liang Jiahui and Zhou Yanfa are both wearing black leather trench coats, standing coolly under a beam of light.

Two huge fans swept the wind, blowing the windbreakers of the two.

In order to create a sense of fate, Wu Xiaozu still chose to shoot out of season.

A trench coat with a black leather texture is always more ceremonial than a camisole, right?

Wu Xiaozu needs to create more sense of ritual for this movie, and with a sense of ceremony, he can better show that hint of fate.

The sense of ritual is often sensational in movies.

Six cameras surround the actors in the middle.

That's right!

Wu Xiaozu lost his family, and he definitely did not lose to Hou Xiaoyuan.

Two days ago, when I called, the waiter was unscrupulously showing his artistic talent in Wanwan.

It's just that these talents are a little more expensive. But money is hard to buy, and Deng Tycoon is happy. He was looking forward to his enhanced version.

Thinking about it, Director Hou will definitely give him a big surprise.

…

Zou Lin, the lighting director, and Yu Jia'an and Kuang Zhiliang, the two art directors, were sweating on their foreheads to direct the on-site lighting.

The alternation of dark light, superimposed shadows, and the combination of a slightly European-style stage play and Chinese-style restraint, the design of the whole scene can be said to have burned the countless brain cells of the crew.

Many people think that these staff members of the crew are just executors, just technical positions. But, a good movie, a classic movie, you can look behind the scenes, it must be very powerful.

Many people know that lighting can determine the beauty and ugliness of a character, but they don't know that art can determine the aesthetic tone of the entire movie.

Cinema is business, cinema is industry, cinema is technology, and cinema is also art.

Therefore, every type of work behind this art, in addition to professional and solid technology, also requires extraordinary creativity.

In later generations, Chinese movies or Hong Kong Island have produced many excellent action directors, which can be said to have influenced the world. In contrast, professionals in other types of work are lackluster.

Lao Mouzi's color science and boba studies are very well received in the international film industry, but that is his own personal talent, not the sharpness of a professional job.

Wu Xiaozu consciously cultivates professional talents, so the configuration of his crew is much more professional than other Hong Kong Island film crews.

Many people know that movies pay attention to the division of labor, but they don't know what the division of labor is. At most, one sentence: professional things are called professional people. Then may I ask, are you too successful as a director?

Why does a director's success often take longer than that of other industries? Forty years old can definitely be regarded as a proud young director.

Of course, the directors of cross-border or money-making movies in later generations are not among them. At best, they can be regarded as nominal directors.

Directors need talent, but they also need accumulation. A director may not be proficient in professional work, but he must not be ignorant. Why is it difficult for later generations of Chinese films to shoot excellent special effects movies?

Don't talk about the equipment gap!

The equipment of the special effects companies under China Film is more advanced than that of some Hollywood special effects companies! The professional and technical team is poor? Of course, this is one aspect.

But the most important thing is that the directors who hang special effects movies actually don't understand special effects themselves. In the previous life, Wu Xiaozu worked as a producer and editor at the Internet University, can you imagine that some directors don't even understand TM editing?

Wu Xiaozu has even seen a director who doesn't even understand the camera...... Of course, the director is a man who is sponsored. It's true.

Sometimes, Wu Xiaozu still admires Lao Mouzi. At least Lao Mouzi can be regarded as a filmmaker.

He did learn these things himself in order to make films.

Let's not mention how good or bad you learn...... This stupid bird flies first attitude is still commendable.

Filmed by Wu Xiaozu, he will inevitably not be able to shoot Wu Yusen's white dove feelings, but he gives this movie a rare tone of fateful duel.

Wu Xiaozu's violent aesthetics are destined to be different from Wu Yusen. After all, his teacher is not called Zhang Qu.

However, Wu Xiaozu has a new perspective of oriental aesthetics under his lens. Poetic violence is a completely new field.

In fact, this kind of poetry exists in the bones of the Chinese.

From , to all kinds of martial arts, it is poetic violence. The Oriental restrained way of showing violence, the lens and symbolism contained in it, are in the books of the ancestors.

Even, the barbaric war dance of the pre-Qin period was already a violent aesthetics.

The West's approach to violence is full of a straightforward sense of attack. The East, on the other hand, gives violence a more tactful sharpness.

This is also the reason why Chinese-language action movies shocked Hollywood. Young people always say that Hollywood's commercial action movies are wonderful. You see, the action concept of our action movies in the 70s and 80s, a Cheng Long can despise half of Hollywood.

It's just that Hollywood really develops movies as a business, and with the support of a strong economy and industry, it has completed the impact of cultural commerce.

Hong Kong Island Films, on the other hand, treat movies as a business, and they are the kind of way to fish with all their might. Even in later generations, the movies of Bangziguo are even more Hong Kong than Hong Kong films.

The on-site staff kept moving countless mirrors, and in order to shoot this scene, Wu Xiaozu used more than 300 mirrors.

It's still a show!

If NG, then five hundred mirrors or a thousand mirrors are fine.

The whole drama, the investment in the plane, the factory, and the set, is absolutely crazy.

Even Mecca in Xinyi City has a feeling of being pulled onto a thief ship by Wu Xiaozu. Every day, the crew reports.

A film with an investment of more than 13 million in 1987 was definitely a big production! However, this kind of big production will become more and more fierce after 1987.

The star's salary will be on the wire all the way to the heifer, and the cow B will go crazy with thunderbolt and lightning all the way.

Within two or three years, the production cost of big Hong Kong film productions will even reach more than 40 or 50 million.

Horror?

However, as long as you think about it, a certain Xingchi has helped the black-hearted boss make 300 million in 7 years, and you will know how natural this is.

You know, that boss only makes money from the production company, how much money does it make for distribution, etc., and how much does the other people make?

With a return of hundreds of millions of dollars for a blockbuster movie, you can understand why Hong Kong films are so crazy.

This scene was filmed intermittently from 3 p.m. to 11 p.m. at night.

When Wu Xiaozu shouted "finish", the whole crew was really tired and had no strength to cheer.

The finale banquet was canceled by Wu Xiaozu and was left as a "celebration banquet" to be held together. The staff hurried to rest, because they got up together during the day, and some of them had to rush to the next crew.

In the 80s and 90s, the Hong Kong Island film industry was not only crazy at the box office, but also crazy for the film crew. In order to make money, many people turn in a row.

The best way to rest may be to go to the casino or bone field for a crazy night with your salary, and then go to the set the next day without washing your face.

Causeway Bay, food stalls.

Wu Xiaozu smiled with a wine glass and watched Jiang Ershao blow water.

Jiang Ershao glanced up at the three long legs, snorted dissatisfiedly, and stood on the steps next to him.

Belch......

Another step.

"Azu, Fa Ge, Brother Hui, you don't know how sharp the ghost film market is. ”

Jiang Zhiqiang's hand swept in the air to learn the posture of a great man, "The Western film market is in a mess. It's no wonder that Boss Zou has always been obsessed with Hollywood.

I was in the UK during this time, and I happened to visit the Ghost Guy's Pine Forest Studios......

The studios and Shaw Brothers Cinema are sharp.

By the way, have you ever seen that one?

I had the opportunity to watch them shoot in the studio!

It's hard to imagine someone building a space base in a studio...... It's shocking.

If you have the chance, you must go to Hollywood to see it! Hollywood is really much ahead of us in filmmaking. Compared to others, we are really a grass platform team!"

"There will be opportunities. Maybe in the future, our own grass platform team will also be able to win the attention of those giants!"

Wu Xiaozu said a word in vain, and everyone only took him as a joke.

"Hehe......" Zhou Yan smiled and pinched the beer bottle and took a sip.

Hollywood?

It's too far away.

This was the first time Wu Xiaozu heard someone talk about Hollywood films, in 1987.

looked at Liang Jiahui and Zhou Yanfa.

"I really can't believe that I still have to live with you for half a month!" Liang Jiahui glanced at Wu Xiaozu and peeked at the spring-filled street girl on the street.

stared greedily a few times, and always felt that everyone was clear-eyed.

No way, in the second half of the month, he has to stay in the fan factory that was rebuilt before to shoot a "half indoor drama." ”