Hong Kong films have always been characterized by rapid shooting, to say how fast Hong Kong's filming speed is, in the 1960s, Hong Kong's Cantonese opera films had a record of "seven days fresh", and in the golden decade, this record was almost equaled, Wu Zhenyu's "9413", it took only 10 days, and he starred in "The Crazy Girl" , It only took 12 days, the reason why Hong Kong movies have to shoot quickly is mainly to catch up with the schedule, not only to catch up with the schedule of stars, but also to catch up with the release schedule of theaters. Pen | fun | pavilion www. ｂｉｑｕｇｅ。 ｉｎｆｏ

Compared with the new wave that emerged at the end of the 70s of the 20th century, Hong Kong films in the 80s focused too much on plot stacking and star packaging, so the film genre was one-way, let alone authorial. Some people think that the films of this period created stars, stifled the creation of directors and screenwriters, and put Hong Kong films on a poor decline, coupled with various factors such as the economic crisis in 87 and the inability to sell genuine film tapes, which caused Hong Kong in the late 80s to decline.

Because he understands Hong Kong films, Wang Zifan also has a sense of crisis, and in the mid-90s, the box office of Hong Kong films continued to decline, and Western films gradually rose. "Jurassic Park" first hit a box office of 60 million yuan in 93, and "Titanic" in 1998 climbed to the top with 110 million yuan, and this Hollywood A-level production that was screened for 195 days also occupied the top position in the "100 grossing films of this century", completely overpowering the "Best Partner" series, which was a prestige in the 80s.

There is also the problem of piracy that is the most headache for him, the reason for the fading of Hong Kong films in the 90s is the problem of piracy, and the rise of the video tape market in the 80s has greatly reduced the income of films, and in the late 90s, pirated VCDs have brought a heavy blow to the Hong Kong film market, many films have been pirated at midnight or after the premiere, and the customs and the police shirk each other's responsibilities, and then the Hong Kong government began to face up to this problem, and the customs gradually strengthened the sweep, so that the piracy VCD activities were slightly reined in.

Listening to the news of Zou Wenhuai and Lei Juekun's comeback, Wang Zifan's sense of crisis intensified, and he adjusted the allocation of DreamWorks resources in advance, it is undeniable that in the past, the share of films was distributed according to close relationships, and people close to him could get high investment to make blockbusters, such as Mecca and Xu Ke, while directors with average relationships can only take a small amount of shooting funds and start with low-cost films, just like Wang Jin.

Now Wang Zifan plans to allocate resources according to everyone's strengths, that is, to recognize reason and not recognize people, Hong Kong films are also divided into many themes, such as kung fu films, comedy films, fashion films, ghost films, etc., each company corresponds to a type, the implementation of such a plan is conducive to the control of the following branches, all the directors who are not professional within the branch are all incorporated by the head office, which limits the development potential of satellite companies and slowly evolves these satellite companies into a department of DreamWorks!

The first is kung fu films, the greatest achievement of Hong Kong films is to let the world know Chinese kung fu, before Li Xiaolong became famous, the Hong Kong film industry was about Dexing, Shi Jian and others starred in the "Wong Fei Hung" series of movies, this series of Guan Dexing filmed 99 films, qualified to enter the Guinness World Records.

And kung fu films are generally put together with martial arts films and fashion films, and the fact is also true, martial arts films and kung fu films went hand in hand in the 80s, although Cheng Long became famous with "Drunken Fist", but he had seen that kung fu films in the early Republic of China were declining, and he decisively decided to start filming the fashion action film "Food Truck", which was a turning point in Cheng Long's action movie career and a milestone in Hong Kong action movies.

Since "Food Truck" and "Police Story", fashion action films have dominated the film market and continue to lead the trend and become popular all over the world.

Fashion action movies are not only different from kung fu films in the early Republic of China in terms of the background of the times, but also have many innovations in shooting techniques, and the most significant feature is that the danger factor of action movies far exceeds that of kung fu movies. The fierce battles that take place in modern cities are indispensable for the participation of guns, planes, cars, and ships, and the scenes and actions are much more exciting than kung fu movies.

Therefore, Wang Zifan tends to hand over this theme to Hong Jinbao and Cheng Long's brothers

And comedy!

If kung fu movies are Hong Kong's biggest feature, then comedy is a traditional strength of the Hong Kong film industry, comedy is universal, there are few countries and regions that will not make comedy, this is the most popular genre of film audiences.

In Hong Kong, star resources are abundant, and the vast majority of movie stars have participated in the production of comedy films. Hong Kong films have developed for nearly a hundred years, and there are only two people who can be called the king of comedy, one is the civilian comedy king Xu Guanwen, and the other is the nonsensical comedy king Zhou Xingchi who Wang Zifan has been cultivating, and the highest comedy achievements of Hong Kong comedy films in the past 30 years are reflected in these two people.

In addition to the two kings, other stars will show their skills in comedy, sweaty classic comedy works, is the best crystallization of their sweat, comedy films such as "Half a Pound and Eight Taels", "Genius and Idiot", "Eight Star Annunciation", "Happy Family" and other ordinary comedies, as well as "Drunken Boxing", "Gambling Saint", "Wu Zhuangyuan Su Qier", "Kung Fu" and other types of comedy, the latter integrates kung fu films, gambling films and other elements, making the comedy more abundant. There are not only kung fu comedies, but also comedy ghost films, romantic comedies and other genres, and the genius creativity of Hong Kong filmmakers has provided a strong reserve resource for the prosperity of Hong Kong films in the 80s and 90s.

However, now that Xu Guanwen has retired, Zhou Xingchi has not yet risen, and the most popular comedy is Xinyicheng, and in this era, the concept of Xinyicheng comes from DreamWorks, and Wang Zifan naturally handed over the comedy to Xinyicheng.

After comedy, gangster films will also be a hit!

When it comes to gangster films, it is confused with police and gangster films, and the difference between them is that the police in gangster films are just a symbol, where there are soldiers, there are bandits, and there are black and white. Everything in the world is relative, and one thing must descend to another. The protagonist in the gangster film is a man in the underworld, and the story is also about the struggle for power and profit within the gang, or fighting for territory with rival gangs, and there are few films reflecting Hong Kong gangsters in the Shaw Brothers era, only "Hong Kong Strange Case: Dragon and Tiger Warrior", "Cheng Kee Teahouse", "Big Brother Cheng", "Angry Youth" and so on.

After the 80s, Hong Kong's gangster movies gradually surged up, the more famous ones are "The True Color of Heroes" directed by Ng and Sen, "Lame Hao" produced by Mak Dangxiong, "School Storm" by Lin Lingdong, "Impact! The Protégé of the Son of Heaven" directed by Luo Lie, "Crazy Boy" series and "O Ji Triad Files" directed by Liu Weiqiang, and "Dragon City Years" by Du Qifeng series and so on, these gangster movies almost reflect a history of the development of gangsters in Hong Kong, with exaggerated fiction elements accounting for a lot, and only a few events may be true. Cinema is just a form of expression, and Hong Kong is by no means as dangerous as it is portrayed in gangster films. In the early days, gangster films were only to attract audiences to the cinema, so there were mostly beautification elements.

The vast majority of police and gangster movies are action movies, with thrilling plots, and conflicts between police and gangsters constantly set off a climax for the plot. Police films have a long history in Hong Kong films, and many excellent works have been released in various periods of Hong Kong film development. Police films highlight the courage of the police, gangster films focus on portraying the ferocity of gangsters, look at Du Qifeng's "Big Event" and "Dragon City Years" will make the difference between the two clear at a glance.

In the 80s and 90s, when Hong Kong films were at their most glorious, police and gangster films also developed to a peak position, Wu Yousen's "Hot Hand Detective", "Bloody Heroes", Lin Lingdong's "Dragon and Tiger", Huang Zhiqiang's "Serious Crime Unit", and Liu Weiqiang's "Infernal Affairs" series are all classics of police and gangster films.

The police and bandit film emphasizes the duality, the battle of wits and courage between soldiers and thieves, the clarity of good and evil, and the distinction between black and white. Police movies mainly rely on hot action scenes to attract audiences, so they can also be called police and bandit action movies. A police film that simply uses a plot to prop up a movie like the "Infernal Affairs" series is rare in Hong Kong's film history in the past 20 years, which is an important reason why the "Infernal Affairs" series has caused such a big sensation in Hong Kong.

There are many directors who are good at shooting gangster films, but the only one who has a soft spot for police and gangster films is Li Yanxian, and Wang Zifan also appreciates this upright filmmaker, so he allocates police and gangster film resources to him, as for gangster films, Du Qifeng and Liu Weiqiang have not yet risen, and there is just a Mai Dangxiong next to him.

Whether it is a comedy, a kung fu film, a gangster film or a police film, they all belong to the category of commercial films, and the following are the most unpopular literary films!

Hong Kong is the capital of commercial films, and the heyday of literary films was before the 60s, after the rise of Shaw Brothers, a large number of commercial romance masterpieces and kung fu films became popular, and Hong Kong's literary films gradually declined.

In the years since Mr. Wang's rise, a new wave of new directors has been launched in Hong Kong to make films with artistic taste to counter the flood of commercial films that have flooded the market. Hong Kong literary films have finally ushered in the first spring. During that period, all the directors of the New Wave contributed their own literary and artistic masterpieces, such as Fang Yuping's "Father and Son Love" and "Half of the People", Seo Anhua's "Running to the Angry Sea", Yan Hao's "Like Water", Zhang Zhiliang's "Caged People", etc., all of which won the Best Film Award at the Hong Kong Film Awards, and have also become enduring literary Hong Kong films.

However, the highest achievement among Hong Kong literary film directors in the future is Wang Jiawei, who won the Best Director Award at the Cannes Film Festival, which is the highest international honor won by a Hong Kong director.

Wang Zifan didn't pay much attention to literary films, and he easily handed them over to Zhang Aijia, as for Wang Jiawei, Khan! Forget it, the pit king is not a wasted name, if he is in charge of the production of literary films, how much money he has is not enough to lose!