Lulu is very persistent, she knows what she wants, and works hard to do it, sometimes it makes people feel a little "cheap", but that is her ideal, just like Ah Fei. Pen ~ fun ~ Pavilion www.biquge.info face what she wants, she knows how to fight and scramble, and can put everything behind.

Chaozai is entangled between Ah Fei and Su Lizhen, like a man who knows how to live a stable life, and like an audience. He saw everything in his eyes, but he didn't want to break it so easily, and he didn't say what was in his heart until the end.

The crooked boy has no career, but he has a short, selfless love and deep friendship. It is this most inconspicuous person who gives a glimpse of his deepest understanding of love.

The whole "The True Story of A Fei" uses a lot of pen and ink to depict Xu Zai's sexiness, and the director's photography and editing make every shot like a pair of admiring eyes, reflecting a rare sexy man in Chinese movies. The setting of the plot of Xu Zai's "looking for his mother" seems to have become a ritual metaphor, which happens to be a profound portrayal of this theme.

In Zhang Junyi's view, Wang Jiawei's film shows people a new vision, MTV-style lens language, peculiar camera trajectory, unconventional composition proportions, heavy and gray colors, and post-modern dialogue, all of which have deeply influenced Xiangjiang films and achieved Wang Jiawei's unique film style.

And according to Zhang Junyi's understanding in his previous life, this "The True Story of A Fei" first had an original idea, and then Wang was stunned to write the script while filming, which shows how demonic Wang Jiawei was at that time.

The movie "The True Story of A Fei" not only achieved the height of Wang Jiawei's drama, but also thoroughly practiced the acting skills of Liang Chaowei and Liu Dehua in his previous life.

When Liu Dehua filmed "The True Story of A Fei", unlike some actors' hotel carnivals, he even decompressed by buying vegetables and cooking.

Wang Jiawei's "The True Story of A Fei" filmed in his previous life can be said to have achieved a great success, and at the same time, it is also a representative work of the king of sunglasses to the top of literary films, for the entire Xiangjiang people, "The True Story of A Fei" has a more far-reaching significance. It is a spiritual journey about the sense of belonging and drift of the people of Hong Kong.

"There is a kind of bird without feet in this world, it flies and flies in the sky all its life, and when it is tired of flying, it sleeps in the wind, this kind of bird can only go down to the earth once in its life, and that time is when it dies. ”

Although this film is only the second film directed by Wang Jiawei, if there is still some inheritance of the previous Xiangjiang stage films in his debut film "Mong Kok Carmen", this "The True Story of A Fei" gets rid of these and completely becomes the famous work of the king of sunglasses. Loneliness is the word that the King of Sunglasses tells us, how heavy this word is, only in his lonely world of light and shadow, the quiet hours can we deeply understand. Xu Zai is lonely, his loneliness has formed his unruly character, he constantly plays with women's feelings, and finally turns his head away without looking at his mother. The bohemian Ah Fei maneuvered among several women, and he finally died on a beautiful screen due to his cynicism.

In his previous life, Zhang Junyi watched "The True Story of A Fei" for no less than four or five times, through repeated watching, coupled with the memory of the director and professor in his head, Zhang Junyi knew that in fact, in this movie, the king of sunglasses unconventionally disrupted the narrative, he scattered love to tell the story, and once again reproduced his unscripted characteristic movie. Especially the emotional entanglement in this movie, Xu Zai teased Lizhen, broke up after succeeding, met Lulu, and seduced again. But these two girls are still abandoned by him, Lulu, who is abandoned by Xu Zai, is the object of his friend's crooked crush, and Lizhen, who is abandoned, is the object of Chaozai's crush. As much as Lizhen and Lulu crave his love, he can't give them a home. This is the inner world of a group of arrogant and rebellious young people, and the six protagonists chase after me in several entangled relationships between men and women, each suffering the tricks of fate. From the beginning, the king of sunglasses has no outline, no inherent story framework, and at the beginning, he directly intercepted Xu Zai's purchase of soda as an introduction, and in the end, he made Liang Chaowei, who had never appeared in the previous time period, comb his hair and appear inexplicably, and it ended immediately. Perhaps, the king of sunglasses' enthusiasm for clips and his preference for details completely overshadows other things. And this has formed his distinctive and distinctive cinematic charm. Specific to the film, Xu Zai played by Zhang Guorong is the only protagonist, and his charm overshadows everyone, such a role may only be played by his brother at that time so brilliantly.

The movie "The True Story of A Fei" only has characters, and there is no complete story. This is also where Zhang Junyi admires Wang Jiawei, the king of sunglasses controls the actors, and through excellent art design and very stylish photography, he directly cuts into the inner world of the characters, so that the audience can clearly feel the atmosphere of the environment and the passion of the characters. At the same time, individualism pushes the film to a new height, and individualism in art films is a manifestation of the personality traits of the king of sunglasses, and it is also a manifestation of Zhang Guorong's personality.

Zhang Junyi couldn't say whether he hated or loved Ah Fei, and when his profligate behavior came back again and again, Zhang Junyi hated him; especially when he walked away in front of his biological mother's villa without looking back, he said: On April 12, 1961, I finally came to my mother's house, but he refused to see me, and the workers said that she was no longer there, and when I left the house, I knew that there were a pair of eyes looking at me behind me, but I would not look back, I just wanted to see her, to know what was wrong with her, and since she would not give me this chance, I would definitely not give her this chance. "There is no job, a playboy, a lazy eater, a character who plays with women, but through Wang Jiawei's hands, Zhang Junyi likes him. For bohemianism, performances about game life, Ah Fei is a classic on the big screen.

Xu Zai, the lonely and rebellious prodigal son is so incisive and exquisite in "The True Story of A Fei", the metaphor of the footless bird reflects the inner depth of the characters at a deeper level, and the images constructed by the king of sunglasses with broken lenses and language, the inner image of the individual characters is about to come out, and the bond formed with emotion is an exploration of the fate of life.

This is a movie with real existence connotation, even if Zhang Junyi couldn't understand it when he was young, he felt that the plot was scattered, pretentious, and inexplicable, and when Zhang Junyi watched it again many years later, he found that this was a movie with real taste.

Because when you are young, whether it is love or life, it is just an ignorant concept. Regarding love, we always feel that the prince will love the princess, the princess will not fall in love with the scum, and the scum will be unlucky in the end; So I couldn't understand the story of the king of sunglasses at that time, to put it bluntly, it was a lack of experience and social precipitation.

It wasn't until the end of youth and the heart became desolate that I found that those messy plots, inexplicable logic, bloody and helpless stories were really the truth of life. The so-called "meaning" is a lie of society, which makes people forget the present in order to live a step-by-step life in order to see the future without seeing the margin.

So, who really lives in "meaning"?

All the characters in "The True Story of A Fei" are down-to-earth, forbearing, calm, temperamental, chic, and dissolute, but no matter what kind of characters they are, they seem to be struggling in the red dust, trapped by all kinds of "ego", and very far from "meaning".

At that time, after Zhang Junyi understood this movie, he really wanted to ask, King of Sunglasses, what kind of eyes do you have behind your sunglasses?

After filming "The True Story of A Fei", in his previous life, the king of sunglasses began to get out of control, and in 1994 directed the film "East Evil and West Poison", which is a subversive martial arts film. In 1997, he directed the film "Happy Spring", which won the Best Director Award at the 50th Cannes Film Festival, and was the first director of Hong Kong to win this award.

In 2001, he was awarded the Bronze Bauhinia Star by the Hong Kong Government. In 2004, he filmed the film "2046", which won many awards such as the European Film Award and the New York Film Critics Association Award, and on May 21, 2006, he was awarded the Knight of the Legion of Honor by the French government in Cannes, France, and served as the chairman of the jury of the 59th Cannes International Film Festival in the same year. In 2013, he directed the film "The Grandmaster", which won the Best Director at the 33rd Hong Kong Film Awards, and served as the chairman of the jury of the 63rd Berlin International Film Festival.

So Zhang Junyi then wrote Wang Jiawei's name on the paper, and added two horizontal bars under the name!

Of course, neither Xu Ke nor Wang Jiawei are pure screenwriters, so Zhang Junyi must find a few pure screenwriters to fill his film company, only in this way can Zhang Junyi absolutely let go in the future!

In fact, if you want to say that screenwriters and directors have always been screenwriters first, but the film circle in Xiangjiang is definitely a strange place, to put it bluntly, it is a special case in the film circle, of course, I am afraid that this is also related to the starting point of these people who make movies in Xiangjiang, originally, the screenwriter is the most important behind-the-scenes staff in a movie in addition to the director, but the shooting of Xiangjiang movies often begins with an idea of the director or producer, the screenwriter is just a writer hired by them, and some movies even write scripts while shooting, in Xiangjiang The director is only the executor of the script It is a unique thing, there are countless directors who are thunderous, but there are only a handful of famous screenwriters。

To be honest, if you want to find a few talented directors in Xiangjiang, Zhang Junyi can say a few without even practicing, but if you want to find a few pure screenwriters who can endure loneliness, of course, the screenwriter Zhang Junyi here refers to the screenwriter who can enter Zhang Junyi's eyes, which is really worrying for Zhang Junyi.

However, it is not impossible to find any of them, and after thinking about it for a long time, Zhang Junyi wrote a few names on the paper: Xiao Ruoyuan, Wen Jun, Du Guowei, Anxi, Huang Bingyao, Luo Qirui, Zhang Wanting and Wei Jiahui.

Of course, some of these people are not famous yet, but some of them are already quite famous, so when the time comes, they can dig up a few, which is the success of the day!

Of course, among these people, Xiao Ruoyuan is an exception, because Xiao Ruoyuan himself is an employee of his own subsidiary, but he is just a general under President Huang of Li's TV station, if he wants to pull him out alone, Zhang Junyi has to find a chance to have a good chat with Mr. Huang of the TV station.

In the late 70s, Xiao Ruoyuan created about 20 sets of 800 episodes of TV series, winning the reputation of "screenwriter saint" and "Xiao Caizi". In the 80s, the two turned to the film industry together, and "Moon, Stars, Sun" written by Xiao Ruoyuan won the Golden Horse Award for Best Actress, "Lame Hao" won the Academy Award for Best Film and Best Screenplay Award, "Lame Hao", "Ghost Bride" and "Childe Amorous" were all top ten grossing films that year. Since 1992, Xiao Ruoyuan has become the executive producer of Yongsheng Company, and has produced a series of films starring Zhou Xingxing, including "The Legend of Deer and Ding", "Wu Zhuangyuan Su Qi'er", "Tang Bohu Dots Autumn Fragrance" and "Truant Weilong 3 Dragons Celebrate the Year of the Rooster".

As for Wen Jun, Zhang Junyi's deepest memory of him is this series of movies "Crazy Boy" and "Fengyun", but that's enough, just this series of movies is enough for Wen Jun to be busy in recent years. Of course, although Zhang Junyi has handed over the "Crazy Boy" series to the Xiang brothers in advance, it is only the first five, and the next two will still need to be written by Wen Jun at that time, not to mention that in addition to "Crazy Boy", isn't there also a series of "Black Troublemaker"!

Like Li Bihua, Du Guowei is a famous screenwriter who adapted his original book into a movie, but Li Bihua's original work is a novel, and Du Guowei's is a stage play, since "I Have a Date with Spring" became the biggest myth of Xiangjiang movies in his previous life, Du Guowei's stage plays have been made into movies, including "Love in the World", "Hudumen", "Nanhai Thirteen Lang" and so on, among which "I Have a Date with Spring" and "Nanhai Thirteen Lang" made him win the Best Screenplay Award at the Academy Awards twice, "Hudumen" and " "The Thirteen Langs of the South Sea" won the Best Actress and Best Actor awards at the Golden Horse Awards. He expressed the bitterness of the screenwriting industry in "The Thirteen Langs of the South China Sea", before and after becoming famous with these nostalgic literary and popular films, Du Guowei also had a lot of achievements in the field of commercial entertainment films, "Dao Ma Dan", "Invincible Lucky Star", "The House of the Rich" and "Nine Star Annunciation" are all top ten grossing films in the previous life.

As for Anxi in her previous life, she was a representative of Xiangjiang female screenwriters, and she was also a relatively strong screenwriter, and the director was not allowed to tamper with her script at will, this confidence came from Anxi's "Sweet Honey" and "Man Forty" won the Academy Award for Best Screenplay twice, these two famous romance films highlight Anxi's style of writing delicate feelings, and the emotions in her pen exist in the reality that can be touched, without terminal illness and pathos from ordinary life. In addition to literary films, Anxi also created action films such as "Glass Bottle", "Spy Maze" and "Three Forks", but the adaptation of "Jade Guanyin" was an unsuccessful experience. After 2008, Anxi personally directed "Intimacy" and "Full Moon Hennessy" and were both nominated for the Academy Award for Best Screenplay, and the reason why she tried the directing style is because in this way, no director will change her script.