For Wu Yusen's talent, Zhang Junyi is still confident that he can take on the task of shooting the series of films "Rush Hour", in this era, Zhang Junyi estimates that among Chinese directors, if anyone can successfully become a member of the Hollywood director circle, this Wu Yusen can have such ability. Pen ~ fun ~ pavilion www.biquge.info

Well, except for Wu Yusen and Zhang Junyi, if you want to pull out the general among the dwarfs, it is estimated that there is no one, don't believe it, look at Wu Yusen's achievements in his previous life.

In 1993, he officially went to Hollywood in the United States to develop; in April, he won the Best Editing Award at the 12th Hong Kong Film Awards for the action film "Hot Hand Detective", and in the same year, he directed his first film in Hollywood "The Ultimate Target", which exceeded 30 million US dollars at the annual box office in the United States, which not only enabled Wu Yusen to successfully enter the mainstream Hollywood commercial film market, but also won him a contract for the shooting of the next film.

In 1996, he served as the director of the gunfight action film "Broken Arrow", Wu Yusen not only designed the action scenes for the film, but also shot according to the routine of a Hollywood film for the first time, the film grossed more than $70 million in the global market and won the Best Action Scene Award at the 5th MTV Movie Awards.

In 1997, Wu Yusen began to shoot the Hollywood action film "Changing Face", in which he maintained his personal style while integrating elements of mainstream Hollywood films, the film won the box office champion in July after its release in the United States, and was selected as one of the "Top Ten Best Films of the Year" by Time Magazine in the United States, and Li Jian won the Golden Circle Award of the National Chinese American American Art Foundation for this film.

In 1998, he won the Best Director Award at the 24th American Film and Television Saturn Awards for the action film "Changing Face". In May 2000, the action-adventure film "Mission Impossible 2" was released in the United States, which continued its violent aesthetic film style and won the Best Action Scene Award at the 10th MTV Movie Awards, and won the global box office of the year with a box office of $545 million.

In May 2002, he left his handprint at the Chinese Theatre in Hollywood, becoming the first Chinese director to receive this honor, and in the same year, he shot the action war film "Wind Whisperer", which was also his first war-themed film, which grossed more than $33 million in three weeks of release in the United States.

Of course, in the Hollywood scene, Wu Yusen has drawn an unsatisfactory end here, after all, although in his personal experience, the box office of "Wind Whisperer" exceeded $33 million in three weeks of release seems to be a remarkable achievement, but the peak of a movie's attendance is actually the first three weeks, but "Wind Whisperer" The production cost is as high as 111.5 million US dollars, so the investment of hundreds of millions of dollars in exchange for less than 50 million box office results, this Hollywood blockbuster can be described as a big fight.

What did Wu Yusen, who ended in failure, bring to the producer MGM? It's simple--- bankrupt!

Who would dare to use such a director in Hollywood?

So of course, Wu Yusen could only return to Xiangjiang in the end.

If you want to say that the ultimate reason for the failure of the movie "Wind Whisperer", in fact, Wu Yusen's heart is too big, big-budget movies are not made casually or anyone can shoot them, for Mi Meigao, high risk means high reward, but there is another sentence behind this sentence, they forgot, that is, high risk also means that it is worthless.

Although Wu Yusen has achieved a certain degree of success in the past few years, people are self-aware and must always be self-alert while enjoying success.

In Zhang Junyi's view, Wu Yusen at that time was indeed a little unable to recognize himself under the halo of success, Wu Yusen at that time actually did not have such a great ability to control, not every director can succeed in big productions, and it is not just a few big-name actors to get together, and this film can get a high box office.

Although Zhang Junyi has been plagiarizing the successful movies of his previous life to create his undefeated golden body, whether it is the memory of a certain director in his mind or his continuous self-summary in plagiarism, anyway, it is not realistic for Zhang Junyi to say that he can write a blockbuster movie casually, but it is still possible to judge whether a movie is a hit on the street.

If you want to say what is the main element of the success of a movie, in fact, shooting a movie that the audience likes to watch is actually telling a story well from beginning to end.

In fact, the discussion of such an issue as the necessary elements of a film's success has been studied and debated by filmmakers in every country, after all, this is a matter of opinion. Everyone has different opinions, but in fact, they are much the same.

In Zhang Junyi's view, the first thing the movie focuses on is what kind of story this movie tells, and then decides whether to watch this movie. After all, the most attractive thing about a movie is the story, that is, the arrangement of the story, to see if he tells a story well, no matter how good the story is put in the hands of a director who can't tell a story in the language of film, the excitement will definitely be greatly reduced. A good story must have a certain emotional expression and ideology, so that the movie will not be empty. The rest is that the cinematography, editing, the use of lenses, and the music should maintain a certain degree of excitement, plus the performance of the actors, that's pretty much it...

To put it simply, a good story is a good book. Because whether it's your graphics, characters, or soundtrack effects, you should go along with the story. As for your cast, soundtrack, special effects, it's all up to the production team you choose. A good play: People ask you how this play is? Can you tell me about the plot, the actors, and even the soundtrack... No matter how magnificent and beautiful he is, no matter how huge the cast is, people ask you how this play is? You can only say, ah, who is doing a good job, or what kind of special effects bunker is there? Why? Because you can't connect the whole play, you can only leave fragments.

Or take "Windrunner" as an example, although the film tells a story about friendship and responsibility, most of the film is immersed in the world of gunpowder and killing, but the depiction of the relationship between the friendship of friends and the responsibility of soldiers is extremely stingy, although there are several parts of the film with such a little dialogue and description, but they all seem so weak and empty, another failure of the film is James? Horner's music for the film lacks new musical elements, but repeats the usual musical style of European films of the same genre, heavy, gloomy, desperate, and then hopeful, so that the whole score seems rather banal and boring.

This is the biggest reason for Wu Yusen's failure, because Wu Yusen's control is not enough, so the whole film was finally made by him into a four-like.

The story of the movie was not told well, but blindly pursued big scenes and big productions, and the final result was that the audience didn't buy it, and the movie could only end up hitting the streets.

Well, I have to say that the excuse that Wu Yusen was kicked out of Hollywood in the end cannot but be unreasonable, after all, a first-line director in Hollywood still has the privilege of failure, as long as his next film is successful, then for this director, his career will not be affected.

But this kind of director is limited to American first-line directors, and this is the privilege of Hollywood's first-line directors to fail.

People can't complain, after all, who calls the most successful film circle in the United States, if the Chinese film circle becomes the world's most influential film circle, then such a failure privilege will also belong to the Chinese.

Therefore, if you want to maintain success in Hollywood, you still have to be vigilant at all times, and in layman's terms, you must always know that you know how many bowls of dry rice you can eat.

Hehe, thinking of this, Zhang Junyi knew that his thoughts had gone astray, after all, he was not the savior of Chinese movies now, there was no need to study such a lofty topic, let's go back to my own problems!

In fact, there is another main reason why Zhang Junyi chose Wu Yusen, that is, Zhang Junyi planned to let Wu Yusen hand over the "Mission Impossible" series to him after filming "Rush Hour".

After all, this is based on the TV series of the same name that aired on CBS TV in the United States from 1968 to 1973, and the story revolves around the "Impossible Mission Intelligence Agency (IMF)" in the United States. The agents of the intelligence agency are all extraordinary, and they are also good at using disguise techniques to make the target confess information without knowing it, Zhang Junyi clearly remembers that there was no shortage of money at the box office in the United States at that time, so since the series of movies that can make money Zhang Junyi has no reason not to plagiarize it in advance.

In fact, Wu Yusen has traveled to film circles around the world for decades, traveled to many places, shot a variety of film genres, and won many awards. But if you want to say that he is the most successful, in layman's terms, it is what he is best at, and Zhang Junyi personally believes that it is the "hero film" genre he created.

Based on the successful movies made by Wu Yusen for many years in his previous life, Zhang Junyi clearly knows that Wu Yusen pioneered the use of film methods such as slow motion, music, and composition in gunfight action movies, so that the fierce and cruel violent scenes can obtain aesthetic effects, which has a far-reaching impact on the development of world action movies.

Therefore, Zhang Junyi summed up Wu Yusen, a well-known director in his previous life, with a few keywords, that is, [keywords]: Wu Yusen's popular drama, violent aesthetics, male affection!

Specifically, they are: 1. The narrative construction of popular dramas, 2. The violent picture of romantic love, and 3. The male love of thieves and Taoists.

And these three characteristics are exactly in line with the necessary elements of the success of Hollywood films, and the cultural characteristic of the United States is that it likes individual heroism, so in the years before "The Wind Whisperer", Wu Yusen succeeded.

"Popular drama" has the following characteristics, such as great joy and sorrow, exaggerated performance and clear distinction between good and evil, high dramatization of right and wrong, black and white, praise and disapproval, not suitable for showing ordinary events in daily life, in order to move people with emotion, the protagonist often goes through hardships, and the good and evil sides have to decide whether to win or lose in the ending. It can be said that Wu Yusen's films have these characteristics of "popular dramas". In the film, he skillfully uses the technique of "popular drama" to weave stories, construct plots and shape characters, stitching together the male sentiment and visual spectacle that he is good at.

Stories, that is, events that are narrated, are born with certain ideas and emotions. The story shows the 'what' the narrative says, and the plot is about the 'how' and 'what'.

When it comes to Hollywood, when choosing scripts, Wu Yusen will still prefer those themes that are not common in reality, such as "The Ultimate Target" that hunts the living, "Broken Arrow" with a nuclear bomb explosion, and once he has the right to be a free director, John Woo skillfully plays the "popular drama" story of the police and the underworld in "Changing Face".

In terms of choosing "how to tell" and "which" plots, John Woo still follows the principle of exaggerated and sensational popular dramas, intercepting details that can quickly mobilize the audience's emotions, especially the combination of joy and sorrow.

The ultimate goal of all stories and plots is to create characters, and in Wu Yusen's films, he is good at creating a relationship model between the two heroes that begins with confrontation and ends with each other. To add to the drama of this relationship pattern, Wu Yusen often sets the identities of the two heroes as a policeman and a bandit.

Because of his personal experience since childhood, Wu Yusen lost his father since he was a child, his family was poor, he lived in a slum, he was often blackmailed by gang members, and he was used to bloodshed and violence.

Wu Yusen likes to show violent scenes very much in his films, but he neither shows the original bloody violence, nor does he show the juggling actions, but adopts various film techniques such as slow motion, editing, and composition to express violence, so that the violent scenes eliminate the tragedy and horror, present a romantic beauty, and become a "meaningful form" that can be savored.

In Wu Yusen's films, he relies on the post-colonial situation of the intersection of Chinese and Western cultures in Hong Kong, and often places the end scenes of the shootout in a quiet church, so that violence, guns, and gore are juxtaposed with the statue of the Virgin, candles, and white doves, giving the gunfight scene a metaphysical meaning.

In the Bible, churches are supposed to be temples of God, sacred places, and loud noises are forbidden, but in Wu Yusen's films, they are used as places for violent settlement of disputes.

Just like the exaggeration of slow motion, Wu Yusen is in such a seemingly incongruous space to resolve his contradictions. Just like the finale shootout of the Hollywood film "Changing Face" he filmed, it also happened in the church, and the cunning bandit was finally killed.

In short, in his films, Wu Yusen not only cleverly borrows sacred objects such as churches, doves, and icons, but also puts a coat of defamiliarization and aestheticization on violence, and makes them a symbol of the triumph of good over evil.