What's more, from Zhang Junyi's own conditions, he is now unable to even accompany a few women in his own house, after all, Xiangjiang and the United States stay on both sides, and occasionally have to go to other countries in Asia, how can he have the energy to take care of another child, in Zhang Junyi's view, it is quite irresponsible to adopt a child by just meeting the material living conditions of the child and not satisfying the care of family affection, not to mention, there are two buy one get two free little guys in his own family. Pen? Interesting? Pavilion wWw. ｂiquge。 ｉｎfo

In fact, in Zhang Junyi's heart, what is more recognized is that if she is adopted, it is better for the little girl to be adopted by a relatively ordinary family, at least she will get the best care in terms of family affection.

Zhang Junyi, who returned home, did not continue to go back to the study at night, nor did he do other excessive things, but just hugged his sister Zhi and whispered between the two, and then rested.

。。。。。。 Golden Section。。。。。。

As the days get closer and closer to the date of the meeting between the heads of state of the two countries, Zhang Junyi also feels that it is imperative to solve the screenwriting matter as soon as possible, after all, when the Xiangjiang stock market vibrates again, he will definitely not have time to deal with these miscellaneous matters, and when the affairs of Xiangjiang are dealt with, he will return to the United States non-stop, and he will have no energy to deal with these small things.

But this kind of thing, Zhang Junyi can't explain it and let others deal with it, after all, TV series and movies are related to the most fundamental existence of his Xiangjiang career.

In any case, Zhang Junyi knows that the entertainment media industry is his own foundation, no matter whether this industry is the most profitable in his own group, but the foundation must not be relaxed and ignored by himself, otherwise he will dig his own grave.

Moreover, he who has the memory of his previous life is the most able to handle this matter perfectly, after all, in his previous life, he knew that in Xiangjiang, a place with a big palm, who mixed well and who did not well.

In fact, regarding the selection of screenwriters, Zhang Junyi's first thought was not anything else, but about several directors who stood in the name of his film company, after all, they made a lot of self-written and self-directed movies that sold in Xiangjiang in their previous lives.

So in Zhang Junyi's mind, little by little, he sorted out some of the famous works of the veterans of his own film company in the next few years in his previous life, and Zhang Junyi was still ready to write a rough outline of these movies, and then hand it over to them, after all, returning things to their original owners is also a good choice for Zhang Junyi.

The first thing that came to Zhang Junyi's mind was Huang Baiming, after all, he had plagiarized his works a lot when he had just passed on the film company, so the first character that came to Zhang Junyi's mind was Huang Baiming.

In his previous life, Huang Baiming created "The Wrong Car" in 1983, which depicted the emotional tragedy between a veteran and his adopted daughter Ami, and after the film was released, it actually had a bumper harvest at the box office, setting the highest box office record for Taiwan Island films at that time; And won 11 nominations at the 20th Taiwan Golden Horse Awards, Best Work Award. In the same year, "Best Partner" won the Most Popular Chinese Film Award at the 2nd Hong Kong Film Awards.

Of course. "Best Partner" has been shamelessly plagiarized by Zhang Junyi himself a few years ago and has become Zhang Junyi's masterpiece, so Zhang Junyi can only say sorry to Huang Baiming in his heart for this movie! However, how true Zhang Junyi is in this apology, it depends on Zhang Junyi's own.

In 1984, he starred in "Happy Ghost" written by himself, and participated in "Dragon Tiger Gate" and "Fuse" directed by director Ye Weixin and starring Donnie Yen. In addition, he is also the producer of Xu Ke's "Seven Swords" and "Deep Sea Search".

Well, "Happy Ghost" was also made out early by Zhang Junyi a few years ago, but the two high-quality movies "Dragon Tiger Gate" and "Fuse" can still be returned to Huang Baiming.

As for "Seven Swords" and "Looking for People in the Deep Sea", hehe, Xu Ke won't think about it in this life, unless he can join his command, otherwise, Zhang Junyi doesn't want to be an enemy.

Speaking of which, in fact, Zhang Junyi is still more optimistic about Xu Ke's talent, after all, among the directors of Xiangjiang, he is the one who has the most contact with the mainland in the future, so for Xu Ke, Zhang Junyi instinctively has a good impression in his heart.

Because Zhang Junyi himself likes "Di Renjie's Divine Dragon King" and "Outwitting Tiger Mountain 3D" filmed in the 21st century in his previous life, so Xu Ke, one of the few directors in Xiangjiang who is the only one who is more famous in the mainland in later generations, knows more clearly whether it is personal experience or something else.

Xu Ke was born on February 15, 1950 in Saigon, Vietnam, and spent his childhood in Vietnam, and his ancestral home is Haifeng County, Shanwei City, Guangdong Province. Heung Kong film director, screenwriter, producer, actor.

In 1960, the young Xu Ke rented equipment to become a director, and his friends rented a video camera to shoot a magic show and broadcast it on campus.

After his family moved to Xiangjiang in 1966, Xu Ke and more than a dozen siblings enjoyed a normal childhood.

In 1969, he entered Southern Methodist University in Texas, USA, and after a year of suspension, he traveled around the United States before transferring to the University of Texas (Austin) to study radio, television, and film, where he co-produced a 45-minute documentary about Asian-Americans, "A Thousand Clocks and New Roads."

After graduating in 1975, he moved to New York and participated in a film about Chinatown, From Spikes to Spindles. Returning to Hong Kong in 1977, Xu Ke joined Television Broadcasts Co., Ltd., where he worked as a director and producer.

In 1978, he participated in the filming of the 9-episode TV series "Golden Knife Lover" adapted from Gu Long's novel.

In 1979, with the support of Wu Siyuan, he began his directorial career when he filmed his debut martial arts suspense film "Butterfly Change". The film is considered to be one of the representative works of the "New Wave" of Hong Kong cinema.

In 1980, he directed the filming of the second film "No Gate to Hell", and on December 4, he directed the filming of the cruel youth movie "The First Type of Danger" in Xiangjiang after being banned and re-filmed.

In July 1981, he directed the comedy "Ghost Horse Zhiduo Star", which won the Best Director Award at the 18th Golden Horse Awards in his previous life, and at the same time helped Xinyicheng defeat Shaw Brothers and Golden Harvest for the first time with a box office of more than 7 million Hong Kong dollars.

Of course, this is only the results in the previous life, in this life, because of Zhang Junyi's intervention, although "Ghost Horse Smart Stars" still achieved good box office results, but whether it is from the box office ranking or from the awards, there is nothing to do with "Ghost Horse Smart Stars".

And even the main personnel who formed the New Arts City Film Company in the previous life, because of Zhang Junyi's early prying of the corner in this life, are missing Huang Baiming and Mecca, the two main personnel who can attract money the most.

As for this year, although the movies "I Love Night Fragrance" and "The Legend of the Swordsmen of Xinshu Mountain" filmed by Xu Ke in his previous life were still released at the same time as scheduled in this life according to the development trajectory of his previous life, but the film "The Legend of the Swordsmen of Xinshu Mountain" also pit a lot of people like his previous life, and even after the movie was released, he almost didn't get angry with Zou Daheng, the boss of Golden Harvest who invested in this movie.

This is a fantasy martial arts movie "The Legend of the Swordsman of Shushan" compiled from the fantasy martial arts novel "The Legend of the Swordsman of Shushan", starring Yuan Biao, Zheng Shaoqiu, and Lin Qingfang, before the filming of the movie, Xu Ke can be said to have directed it with the purpose of showing his strength.

The story mainly tells the story of the Wuhu Chaohua era, Di Mingqi, who was originally a spy in the Xishu military camp, fled to the foot of Qilai Mountain because he angered the commander in the army, and accidentally entered the land of the Demon Sect, but fortunately the South China Sea sent a swordsman Ding Yin to rescue him. Ming Qi saw that Ding Yin's martial arts were strong, so he vigorously persuaded him to stand up to save the common people and avoid Li Min's misery, and decided to apprentice to his teacher and beg him to accept him as an apprentice, but the hero Ding Yin politely declined. Ding Yin's junior brother Xiaoru, the head of the Kunlun faction, and his apprentice Yizhen also came to the cave, and the four of them were defeated by the Demon Sect Protector, Xiaoru was seriously injured, and was possessed by the blood demon, Ding Yin was determined to take him to Yaochi Immortal Castle to heal. So, the four of them decided to go to Yaochi Immortal Fort to rescue Xiaoyu first, and then go to find the whereabouts of the Ziqing Twin Swords. The group came to the castle, but unexpectedly, the castle owner was in retreat and could not save people, but Ding Yin was the destined person who could make the ice flame in the castle not extinguished, so the castle owner was able to go out of the customs to rescue Xiaoru. Ding Yin and Di Mingqi came out of the cave first, but Ding Yin was accidentally injured by the blood demon. In order to avoid himself from causing a storm in the rivers and lakes, Ding Yin immediately asked Mingqi to immediately worship him as a teacher, and limited him to send him back to Yaochi Immortal Fort within three days. But the castle lord ran out of vitality because of saving Xiaoru, and he was no longer able to save Ding Yin, so he had to break the ice mirror and freeze the blood demon, but everyone was frozen by ice, only Yizhen, Di Mingqi and the female disciples in Yaochi Immortal Castle escaped, and the three decided to go to Tiandao Peak to find Li Yiqi's female hero and Ziqing's double sword, and go to the master's last wish to save the story of the people of the world.

In fact, in this era, if you want to shoot costume movies, you don't actually make big changes, basically although the movie won't make a lot of money, it is impossible to lose money.

But who would have thought that this is not a good return to the fantasy martial arts novel "The Legend of the Swordsman of Shushan", which is not good, is stunned because of Xu Ke's mentality that the sky is higher than the heart and the life is thinner than paper, and the pursuit of big production, big investment, and the purpose of big special effects. made a pretty good martial arts novel into a four-like.

Although this film set a record for Xiangjiang's first fantasy martial arts film that hired the American "Star Wars" stunt team to support stunt shots and Lin Qingfang's first martial arts work, but because the plot is a bit messy because there are too many characters and clues, many places are not clear, although the visual effects of the whole film are outstanding, and the art design and actor modeling are also extraordinary, but after the film was released, it was not paid attention to.

In the fifties and sixties, the New Wave movement of cinema began in France, and the neorealism movement in cinema began in Italy. In the following decades, Xiangjiang also ushered in a new wave of Xiangjiang films. This huge wave, which is not as revolutionary as France and Italy, is an improvement of Hong Kong cinema and has influenced many people in the Hong Kong film circle. Xu Ke is just one of them.

The attack of the new wave, with a bit of "avant-garde" flavor, also brought a novel film perspective to Xiangjiang filmmakers. "Danger of the First Type" (1980) and "Butterfly Change" (1979) are both formal innovations and the emancipation of the director's mind. In any era, avant-garde is a kind of "outbreak" and "ahead of its time", which is difficult to accept in mainstream culture, and it is not surprising that it failed at the box office. But from Zhang Junyi's point of view, these movies are still sharp, sharp, and compelling, although they are "swords going sideways". However, this is from the perspective of Zhang Junyi as a member of the film people, as for the perspective of investors, forget it, after all, investors take profit as the ultimate goal, but at the same time, these two films also show Xu Ke's good directing skills, camera movement, scenery, and lighting are too old and spicy, don't believe it, you look at it again, how many waste shots can there be in the multi-linear narrative story "The First Type of Danger", and how powerful the black and gray tone shown by the set lighting is.

Old Monster Xu's name comes from his unbridled and strange powers. The shadowless leg has to jump up and kick more than ten feet in a row against gravity, and the light work should be free to come and go, so that it is a dream, so that it is good-looking. Therefore, most of Xu Laowei's works prefer to cooperate with the freehand flow master Yuan Heping and the romantic Cheng Xiaodong.

Some things are often good, from Zhang Junyi's point of view, if this "The Legend of the Swordsman of Shushan", if Xu Ke waits a few years before filming, not to mention that it can reach the ultimate in real things, but the big sale is still proper, and there will definitely not be such an ending this year.

After all, Xu Ke is not 30 years old this year, and after getting the investment, he began to make scripts and special effects. Because he is too young, he dares to think and do; After all, it's too young, so it's easy to get started. investment, to meet a lot of his imaginative needs, many fantasy special effects have come into being, can you realize such a dream at such an age, what could be more exciting? So Tsui Hark was successfully carried away by the special effects, and the plot made infinite concessions for the special effects, pulling the plot idea into the abyss step by step.

likes special effects for the sake of special effects, and "Xinshu Mountain" sacrificed the plot for the sake of special effects.

Even Zhang Junyi compared "Xinshu Mountain" with Xu Ke's previous films "Butterfly Change" and "The First Kind of Danger", "Xinshu Mountain" is really not worth mentioning except for special effects, and in Zhang Junyi's opinion, the biggest failure of this movie is the editing of the merger of the two swords in the later stage, it is too rough, how can the climax of the movie be rotten like this? The martial arts editing in the early stage is very bright on the basis of special effects, and it can be like this in the later stage, which is equivalent to you masturbating on Lin Chiling's lower body for half an hour, but in the end you are given a face of Sister Feng, which directly scares you.

In addition, the plot is hurtful, although the theme is still slightly shown - unity. The seven-colored armies of various costumes and colors in the play fight against each other, which is also the theme of unity. But the plot is constantly weakened, this point of view is weak, too thin, this is a movie with a style greater than the plot, and it is inevitable that people will be criticized in this era.

Thinking of this, Zhang Junyi couldn't help but think of Ding Yin's conversation with the lord of Yaochi Castle - stay in Qingshan and settle the enmity once. is still the same sentence, if Xu Ke stays in the green mountains and shoots it later, the plot may be fuller, but the extreme imagination cannot be reproduced, and it will be difficult to resolve the enmity and hatred in the end. Therefore, in Zhang Junyi's view, when Xu Ke was the most crazy, it was enough to construct a non-existent time and space, which was extremely imaginative, gorgeous and unstoppable, and imaginative.