There is another important reason why Zhang Junyi is optimistic about Wu Yusen, that is, his idea of making movies is closest to the feelings of American Hollywood. Pen % fun % Pavilion www.biquge.info

The interpretation of friendship between men is the theme that Wu Yusen's films have always focused on. Although Zhang Junyi didn't know that this idea just happened to have Wu Yusen had the idea of going to Hollywood from the beginning, anyway, the friendship between men is quite popular with the audience in Hollywood.

In movies, moral characters generally appear in pairs like twin brothers, reflecting each other and referencing each other. In terms of identity, both may be underworld figures, or one is a gangster, and the other is a policeman, but what they have in common is that both of them are very righteous. To give a very classic example, why was the "Fast and Furious" series so successful in his previous life, before knowing that Zhang Junyi crossed over, he still clearly remembered that "Fast and Furious 7" swept the global box office after its release, and won the top of the box office list in the same period in various countries.

In fact, you want to say how innovative and connotative the plot of the "Fast and Furious" series is? No, the whole plot is basically family and friends, family and love.

Young people in Los Angeles are passionate about street racing, and here, as long as you have the speed, you have it all. Newly recruited police officer Brian acts as an undercover agent to crack the recent recurrent biker carjackings, infiltrating the biker gang and gathering evidence in an effort to bring the culprits to justice. Brian quickly won the admiration and trust of Dominic, the boss of the biker party, and soon fell in love with Dominic's sister Mia. However, Vince, the biker's second-in-command, is hostile to Brian, who has always had a crush on Mia, and Brian's arrival threatens his second-in-command.

At this time, the members of the biker party began to suspect that they had hidden spies inside, and Brian's life began to be difficult. And the longer he was in contact with Dominic, the deeper their friendship grew, and Brian began to be torn between a rock and a hard place.

Until the end of the story, it was the police who let the underworld boss go for the sake of brotherhood.

In the exhilarating hip-hop music, another Los Angeles after nightfall is shown, with very different rules from the real world. Here, car culture is as sacred as religion, and no one cares who you are or where you come from. As long as you have lightning speed, you're the big guy here.

The investment of $38 million is only a fraction of the production cost of Hollywood's action movies, which often cost hundreds of millions of dollars. The cast was all new faces, Vin Diesel was a big guy and Paul Walker was smiling with a green face. However, the film grossed $200 million at the global box office.

Exciting action and car chase scenes, cliché but appetizing plots, and dynamic character relationships.

The film first warms up the audience with the exciting scene of a group of snitch driving over the goods, and then uses the boiling underground drag racing race to make a big shot, Brian jumps between the speeding trucks and sedans has mobilized the audience's nerves, and at the end, the two of them pounce on the rampaging locomotive side by side and make people pinch a cold sweat.

The setting of "two male leads" makes the film full of sparks of Bromance, Brian and Dominic have completely different positions, but they cherish each other. They don't need eye contact, they don't need to talk for a long time, as long as they sit in the car and race for a game, all feelings and grievances can be resolved, this is the realm of drivers.

In this movie, the bond between people and cars is fully embodied. When you're in this steel machine, fasten your seatbelts, hold on to the steering wheel, and it's your world. The car is not only a piece of armor for self-defense, but also a weapon to subdue the enemy. It can carry you to sin, gain wealth and worship, and it can also allow you to find salvation in the midst of fatal impacts and tumbling.

The popularity of this series is probably second only to Star Wars and the Marvel Universe, and 8 movies have been released in 16 years, not only have the two leading actors become A-listers, but also big-name actors continue to join. 16 years ago, the production cost was 38 million, and 16 years later, the producer boldly threw out a budget of 250 million US dollars; 16 years ago, the protagonist worked hard to catch the thief who stole the DVD player, either as an employee in an auto repair shop or was bullied in Chinatown; 16 years later, he had to fight against an all-powerful international hacker group, seize classified weapons in Berlin, and provoke a fighting nation at a Russian military base.

So not every movie has to have a connotation. There are also profound literary films, and there are also incomparably brain-burning science fiction.

It does not explore the good and evil of human nature, nor the beauty and ugliness of society, but tells about the common things around us, such as friends, such as family. We sometimes ignore the subtle and beautiful things around us when we talk about those tall personalities in our leisure time, so that some people turn their noses up at what is within reach.

"We don't have friends, we're family. This sentence speaks to another theme, which is friends. Friends and family are actually the same, this is called friends, there is an old saying, distant relatives are not as good as close neighbors, but in "Fast and Furious", friends are forever, whether you are Han who died in Tokyo, or Brian who is next to them is an indispensable relative in their lives, Han died and brought him back thousands of miles away, and Brian "never said goodbye". And funny b and hackers will be friends with Dominic no matter what, which tells us a truth, true friends are family.

So why "Fast and Furious" can sweep the world, because in this series of movies, what is expressed has always been interspersed with brotherhood, which is the biggest reason why it can be successful.

For example, Song Zihao and Xiaoma in "The True Color of Heroes", Xiaozhuang and Li Ying in "Bloody Heroes", Yuan Haoyun and Jiang Lang in "Spicy Detective", and Ah B and Ah Le in "Bloody Street". They may clash with each other at first, but eventually they will all fight each other with all sincerity, killing each other together, willing to trade their lives for each other's safety. Obviously, in Wu Yusen's films, it is not the profession that represents the external identity that governs the essence of individual interaction, but the inner identity of whether there is affection and righteousness. Therefore, in the movie, they may be both bandits, but they have a bad relationship with each other, such as Xiao Zhuang and Wang Hai in "Bloody Heroes", and Li Ying, as a police officer, "believes in justice, but no one understands him", until he meets Xiao Zhuang, a killer with love and righteousness, and Xiao Zhuang becomes a good friend. It can be said that morality is the key to the soul communion between men. Individuals with different occupations and images are shaped as one person because they both have a sense of justice.

At the same time, in order to emphasize the love between men, Wu Yusen did not hesitate to repeatedly squeeze the space of female characters in his films and exiled them to the background. While men are laughing and building friendships, women are rarely present. And those morally oriented male figures are either single, alone, or have girlfriends, but they do not present any ambiguous pictures of male and female emotions on the screen. In essence, their affection is rejecting women, as if they are afraid that the proximity of women will take and dissolve their affection, and their affection is only for men who are similar to themselves. In the final analysis, this is a narrow view of righteousness that originated from traditional culture, "brothers are like siblings, and wives are like clothes", and it is inconsistent with the fact that the status of women in modern society has increased and they are increasingly becoming an important part of society and the family. Therefore, Wu Yusen, who left Hollywood and filmed "Red Cliff" in the mainland, has begun to pay attention to women's emotions while still expressing the relationship between men, which greatly improves the role of female characters.

Of course, the flaws are not hidden, and the current era always has the limitations of this era, so for Zhang Junyi, Wu Yusen's film theme and style have a very strong autobiographical color. He constructed the male myth of the modern world, told the story of how the sentient and righteous characters faced loyalty and betrayal, created classic characters, and created the "violent aesthetics" of action movies.

Of course, Zhang Junyi is not denying his other directors, it can only be said that Zhang Junyi does not think they have the style to adapt to Hollywood.

Wang Jing has a lot of labels, gambling films, erotic films, crystal girls, etc., and one of the things they have in common is entertainment. In the 90s, when stars of the 90s such as Zhou Yunfa, Andy Lau and Zhou Xingxing frolicked in Wang Jing's comedies, this was actually a pinnacle of entertainment in Hong Kong films. Although this is an era of bad movies, and it is almost impossible to meet a popular movie in a year or two, Zhang Junyi cannot deny that Wang Jing is still a good director. It's just that his success model is limited to Asia, or more directly, to Xiangjiang, the mainland and Taiwan.

Wang Jing's impression of Zhang Junyi reminded him of those characters in martial arts novels who are both good and evil, and even closer to "evil", such as Huang Yaoshi, or the boss of "Happy Forest" in Gu Long's novels: respect the rules of money, the rules of the rivers and lakes, and can do the best anywhere, but only willing to do the best in the field they like.

Zhang Junyi does not deny that in fact, if he can become friends with such a director, Wang Jing can definitely be ranked first, but the public is public, private and private, after all, Wang Jing is good at making vulgar, pornographic, market, and commercial, not Hollywood blockbusters, and it will be difficult for him if you let Wang Jing break into Hollywood.

As for Du Qifeng, in Zhang Junyi's view, Du Qifeng is one of the few directors in Xiangjiang who is serious about making movies. His creations are consistent, and the general one is black, violent, moving, and fatalistic. In addition to his noir philosophy, simplicity and aesthetic approach to violent interpretations, he is above all because his films have always been able to give the viewer a sense of masculinity beyond the visual.

Du Qifeng is a director with a clear cinematic style and a preference for film noir. The works he collaborated with Wei Jiahui are all classics. Wei Jiahui's works that do not cooperate with Du Qifeng are very chaotic, which shows that Du Qifeng has strict control.

Through the filming of many films, Du Qifeng has formed his unique Du style: delicate and tense action scenes, exquisitely designed but natural story bridges, sophisticated and orthodox flavor, and vivid images of strange peaks. His films are pure and varied, tough and delicate, and the 100 films directed by Du Qifeng in his previous life had a hundred "Made in Hong Kong" labels.

But it is precisely because Du Qifeng's low-key Du style has many shadows of his master Wang Tianlin, so it can be said that success is also Xiao He and defeat Xiao He, Du Qifeng's most successful thing is that he has achieved an explicit reality in the depiction of the mentality of Xiangjiang people in a realistic state, but it is precisely because of this that Du Qifeng's directing style is limited to Asia.

As for the last two people, Huang Baiming and Mecca, in their previous lives, whether they were screenwriters, actors, The director, producer and investor, has made remarkable achievements in every field, but there is an important limitation in front of the success of this series, that is, Xiangjiang-style comedy films, precisely, in the United States, comedy movies can only be regarded as niche films and have no great prospects, so Zhang Junyi cannot put Huang Baiming and Mecca in Hollywood to take risks, because there is a high probability that they will end in failure, if this causes the two to collapse, it will be more than worth the loss.

So after Zhang Junyi thought about it, Wu Yusen, the future big-name directors under his hands, is most likely to break out in Hollywood.

Thinking of this, Zhang Junyi made a final decision in his heart: It's you, Wu Yusen! I gave you the opportunity, and I will try my best to pave the road ahead, and whether it will be a dragon or a worm depends on your luck and your hard work.

。。。。。。 Golden Section。。。。。。

After planning "Rush Hour" and the follow-up matters, Zhang Junyi didn't continue to think, looked up at the time, and found that the time was not early, and finally returned to Xiangjiang, Zhang Junyi couldn't put all his time on work, anyway, his woman still had to take some time to accompany him, especially his future wife - Zhao Yazhi!

In the evening, after Zhao Yazhi came back from work, the two first had dinner at home casually, and then headed to Causeway Bay arm in arm.

When he arrived in Causeway Bay, Zhang Junyi became a poor "coolie", with large bags and small bags hanging on his body, and more than a dozen shopping bags in his hands.

"My dear, do you want to empty the entire Causeway Bay?" Zhang Junyi said depressedly at this time.

Regarding Zhang Junyi's depressed expression, Zhao Yazhi didn't even pay attention to it, and walked towards the front in a leisurely manner, Zhang Junyi could only sigh helplessly, shaking his head and keeping up.

Of course, at this time, Zhang Junyi's state is just pretending to be on the surface, after all, the bodyguards who follow behind are all ready-made free labor, even so, Zhang Junyi has the posture to ask them to help.

After all, this is just a small love affair between Zhang Junyi and Zhao Yazhi, and it would be meaningless to count the bodyguards.

Even though the current Xiangjiang is still uncertain about the ownership of the issue, which leads to some fluctuations in people's hearts, in Causeway Bay, there are still people coming and going, and the atmosphere of ordinary people has not been affected much at all, and from time to time there are children running around happily on the streets, frolicking and chasing each other.