Zhang Fei does have a special love for martial arts novels, and as a transformational work, it is well thought out, and he can't afford to fail.

The reason why he chose "Hero" instead of the more fiery works of Jin Yong, Liang Yusheng and others is that he has his own calculations.

He is a director and a businessman. The director can think more about his own preferences, but the businessman cannot.

As a director, you should not only consider the artistic content of the film, but also the market value of the film.

To put it bluntly, Zhang Fei believes that "Hero" has more market value than other martial arts novels.

Then some people expressed doubts, isn't the sales of works such as "The Legend of the Condor Heroes" better, according to this, the market value is obviously higher than that of "Heroes".

Zhang Fei stood at a higher height, and he had great ambitions.

In China, he has won all the honors he can get, and if he wants to go further, he must aim at the international market and the overseas market, especially Hollywood, the commercial center of the film, where he is very coveted by the little golden man.

In the past, he thought that by virtue of acupuncture and digging deep into social hotspots, such films could gain popularity overseas, and it is true that Zhang Fei's films have won many international film awards, proving that the artistry of his films is not lost to anyone, but in Hollywood, it has always been impossible to enter.

worked hard for more than ten years, and finally had to admit that his set of reality movies couldn't knock on the door of Hollywood, so he decided to transform and switch to commercial films.

From his personal point of view, transformation is the need to break through bottlenecks. From the perspective of the external situation, commercial films will become the trend of the industry, and the market for art films will become smaller and smaller.

If you don't seize the opportunity to actively look for a way out now, you will be forced to go in the future, and you will fall into passivity.

"Hero" was favored by him based on these considerations.

The righteousness of "the world" expressed in "Hero" is similar to the ideas of "great power" and "peace" that are popular in the world today, which is also the core idea of Hollywood movies that have become popular all over the world.

The national is also the world, Zhang Fei hopes to export traditional Chinese culture to the outside world, and picks and chooses martial arts.

Chinese people yearn for the spirit of martial arts, this kind of psychology is the same for all nationalities, just like the admiration of Westerners for knights, RB people's reverence for warriors, hero movies are an immortal theme.

Zhang Fei is ambitious, and wants to show the image of Chinese chivalry to the people of the world through movies, make martial arts culture a consumer product in the international market, and let Chinese chivalry go abroad like American individualistic heroes.

To achieve this goal, it is necessary to integrate the martial arts culture conveyed by the film into the world culture by integrating multinational elements.

From this point of view, the novels of Liang Yusheng, Jin Yong, Gulong, Wen Ruian and others are not good, and the ideas they embody in the books are too national, and foreigners cannot understand or accept them.

From the very beginning, "Hero" was considered to be the non-mainstream in martial arts, which is very different from the popular traditional martial arts style, and it is a martial arts novel that is oriented to world peace and responds to the idea of a great power. It changed the chivalrous warrior in the traditional Chinese sense of "helping the poor and helping the weak" into a hero who "takes the world as his own responsibility".

Whether intentionally or unintentionally, Tang Shuang's "Hero" has put martial arts culture on the right track of history, giving martial arts culture greater social influence and legitimacy.

And legitimacy is the biggest shortcoming of martial arts novels, and it is also the biggest point that has been criticized by mainstream culture.

Zhang Fei knew that he had been recognized by Tang Shuang, and said: "If "Hero" wants to be made into a movie, the novel needs to be adapted. ”

Tang Shuang didn't give in: "Leave it to me!"

Zhang Fei looked at Tang Shuang with a smile, Tang Shuang had tested him just now, and now it was his turn to test Tang Shuang.

If Tang Shuang can't convince him, I'm sorry, screenwriter you can participate, but not the main writer, there is no right to decide.

After listening to Zhang Fei's words earlier, Tang Shuang has realized that the two of them tend to agree on the interpretation of "Hero", so it is not difficult to convince Zhang Fei.

Tang Shuang explained his original intention of creating "Hero", and Zhang Fei nodded again and again.

In the movie, the screenwriter must communicate with the director, the screenwriter expresses his thoughts through words, and the director then transforms these words into sound images.

The adaptation of the novel is special, it is a secondary creation on the basis of the existing one.

When the director was chosen, he first thought that this novel coincided with his thoughts, saving time and effort, and plug and play.

One of the most troublesome links is probably reaching an ideological agreement with the author of the novel, usually, the author obeys the director, and if it is difficult to reach an agreement, either give up the film, or kick the author out, give you a sum of money, and you don't care about anything.

What Zhang Fei was most worried about before he came was whether Tang Shuang could reach some kind of agreement with him in terms of understanding, and he didn't think about whether he could win the adaptation rights at all, because he believed that he had such a charm, and no novel author would refuse him, so when Tang Shuang said that he wanted to test him, he was very surprised.

Tang Shuang: "I have the same opinion as Director Zhang, the positioning of "Hero" should be an international blockbuster, and it should use the most straightforward way to convey Chinese martial arts culture. ”

And this novel, although it is a national tradition in terms of ideology, its core idea is in line with international standards, and there will be no obstacles in identity, and the only challenge is probably how to use the language of the film to express it. In this regard, Director Zhang is a master, so I won't say more. ”

Zhang Fei said with a smile: "Only when ideas collide can there be sparks, I also want to listen to the advice of the original creator, you might as well let it go and talk about it, just treat it as a chat." ”

Tang Shuang thought for a while and said: "I always think that martial arts culture not only has the uniqueness of the Chinese nation, but also has great extension and extensive expansion, as long as it is done well, it can be widely spread around the world." ”

Zhang Fei nodded, this was the same as his thoughts.

Tang Shuang continued: "Fiction is a written narrative, while film is a comprehensive expression of sound and light, and many elements that are difficult to express in words, movies can easily do, so I suggest that since it is done from the height of Chinese culture, then it is necessary to add the characteristics of Chinese culture." ”

For example, places of interest, customs, piano, chess, calligraphy and painting, such as the poplar forest in the frontier, Jiuzhaigou in Shudi, and the landscape in the southwest of the world, etc., create a strong visual impact, so that the audience can praise the chivalrous at the visual level and a deeper ideological level, and unconsciously accept Chinese culture. ”

"Westerners always look at problems and first withdraw from emotion and do it with 'pure reason', while we in China pay attention to feelings, I think that if our film wants to show the ancient Chinese culture, then our way of thinking should also be conveyed, and this feeling should be strengthened in the film. ”

Zhang Fei asked curiously, "How to strengthen?"

Tang Shuang: "You can make a fuss about color. ”

Zhang Fei: "Color?"

Tang Shuang: "Yes, color! Let color become the ideological and emotional identity of every fragment. ”

Zhang Fei: "Can you give an example?"

Tang Shuang: "For example, in the scene of Lincheng Library, you can use a warm red. ”

Zhang Fei: "Why red?"

Tang Shuang: "On the one hand, red embodies emotions such as love and hate, possessiveness, and jealousy, which is just in line with the emotional entanglement between Remnant Sword and Feixue; on the other hand, red represents blood, implying the sacrifice of the three hundred disciples of the library. ”