Not to mention Jun Ji-hyun, who faced Zheng Xunzhuo's questioning, Lu Deshuang, who had just left the hotel, was also in trouble.

There was a car accident!

But rest assured, it was not the car that Lu Deshuang was sitting in that had a car accident, but that there were two cars on the road in front of him that collided together, one of which was even knocked to the ground, maybe at night, there were no vehicles passing by on the highway, and naturally there were no people.

Lu Deshuang first passed by the car that crashed into the road guardrail, and found that a woman with long hair was falling on the steering wheel, so he ordered the two to smash the window to save people, and he took Gao Jie and several people to run to the overturned car, lay down, and observe the situation in the car.

Fortunately, the glass god horse has all been shattered, Lu Deshuang clearly saw the situation in the car, there was only one man, his forehead was full of blood, tilted his head, and fell there, fortunately he was tied to a seat belt, otherwise with this impact, he would definitely fly out.

"Sir, sir, are you alright?"

It seemed that seeing Lu Deshuang's arrival, the man who obviously had diǎn consciousness reluctantly wanted to reach out, but unfortunately he just lifted it up in the end, and was stimulated by the ensuing pain, but he reluctantly begged Lu Deshuang for help: "Help me!" ”

"President, I've already called the police and called the emergency number, let's wait for a professional to come."

The driver sent by Jiang Junxian to drive for Lu Deshuang had just finished making a phone call, and when he saw that Lu Deshuang wanted to pull the car door and was about to rescue the people in the car, he hurriedly stepped forward to stop him, because he was afraid that because of the improper rescue of people, Lu Deshuang would be responsible.

Lu Deshuang naturally understood the driver's thoughts, but time waited for no one, and the people in the car were not in a good condition, the blood was flowing, and he didn't care about those extranatal factors, so he ordered Gao Jie and a few people to start saving people, and the man in the car was lucky, his legs were not pressed, and after smashing the car door, he easily dragged the person out.

"Thank you!"

The man's condition is not bad, except for a few broken ribs on his body, there are also some skin injuries, as for whether there are internal injuries, I don't know, anyway, after a burst of emergency treatment by Gao Jie, the man's condition is not bad, and the wound on his face has stopped.

"You're Kang Di-gyu! ¤↖dǐng¤↖diǎn¤↖小¤語↖,.¢.±os_(); ”

Surprise, really surprise.

Do you know?

When Gao Jie cleaned the wound on the man's face and bandaged it temporarily, the face that appeared in front of Lu Deshuang's eyes was very familiar, and even before Lu Deshuang was sure whether he was wrong, the driver looked at Jiang Digui who fell to the ground in amazement, and couldn't help but exclaim.

Who is Kang Digyu, it is estimated that no one knows it, this is a great man who rewrote the history of Korean films.

Before 1999, South Koreans did not go to the cinema and did not watch their own movies.

But since the release of a film called "Life and Death", everything has changed, and the person who changed history is the person named Kang Digui - a big man in the Korean film industry, and anyone who writes the history of Korean film development cannot bypass him.

Kang Dikyu was born in 1962 and graduated from high school before studying film at Chung-Ang University in South Korea. After graduating, he naturally became an assistant director, and after entering the film industry, he wrote 5 film scripts, and his debut film "Ginkgo Bed" was very popular in Korea, accumulating experience for further commercial exploration.

Although Kang Dikyu has only directed three films, each of them has set a milestone in the history of Korean cinema.

His debut film in 1996, "Ginkgo Biloba Bed", Korea's first bank loan film, set the highest box office record in South Korea that year with $1.6 million, and was the box office champion of Korean films that year.

The masterpiece "Life and Death Spy" in 1999 ushered in a new era of Korean blockbusters, creating a box office of 35 million US dollars, and is known as the originator of Korean blockbusters.

In 2004, the masterpiece "Tai Chi Flag Flying" hit a box office miracle of $56 million in South Korea and entered the global market.

Kang's commercial films clearly draw abundant nutrients from Hollywood genre films, and the smoothness of his narrative and the exquisite attention to detail are enough to make people admire his mastery. But the real reason for the film's success is his keen grasp of Korean social enthusiasm and people's psychology, which is a cultural trait that distinguishes it from Hollywood's aerial audio-visual enjoyment.

His films can put aside the political shell and pay attention to the trauma of the partition of North Korea under the refraction of individual emotional fate, making people reflect on the historical significance of the Korean War and the shortcomings of the Cold War between the North and the South, which is the warm human core presented by the commercial packaging of Jiang Digui's films.

Kang Dikyu has an unparalleled influence in the Korean film industry, known as South Korea's Jang Yimou, and was the initiator of the "bald head movement" of Korean filmmakers in 1999, and was the first person to shave his head.

The skinhead movement originated on April 7, 1998, when the vice president of the Motion Picture Association of America for the Asia-Pacific region visited the Ministry of Culture, Tourism and the Ministry of Commerce, Industry and Energy: "If the South Korean government eases the current screen quota system, the United States will invest about $500 million to build 10-screen movie theaters in 20 cities in South Korea." ”

On November 26, Kang Di-gyu and others were invited by the Ministry of Culture and Tourism to participate in a "closed meeting", and the Ministry of Culture and Tourism admitted that it had proposed to the United States a plan to reduce the screen quota system, and said that the United States demanded that the screen quota system be completely abolished in the future.

The abolition of this system will undoubtedly pose a final challenge to the survival of Korean filmmakers. The "screen quota system" that has been implemented since the 70s is a warning line for the survival of Korean local films, and since the 90s, Hollywood films have accounted for 70% of the Korean film market, and the share of local films is only 20%.

Jiang Digui has personal worries, at this time he is preparing to shoot "Life and Death", and if the "screen quota system" is canceled, the impact on his film will be immeasurable.

After getting the news that the government decided not to protect the domestic film market, in a fit of anger, Kang Di-gyu shaved his head, Kim Ki-duk also shaved his head, the older generation of director Lin Han-taek also shaved, and even female director Lim Soon-li...... More than 150 directors, actors, and playwrights shaved their heads and gathered at the town hall, while others shaved their hair on the spot.

The government was forced to compromise and decided to maintain the quota system, and for the first time, Korean filmmakers saw their own cohesion, which Kang said was one of the reasons for the subsequent rapid rise of Korean cinema. He believes that a big production like "Tai Chi Flag Flying" may not be affected, but small films, if there is no quota system, there is no chance of being released in cinemas. But those artistic, delicate little films are an indispensable part of the film industry.

After the victory of the protest, Kang Dikyu's "blockbuster" "Life and Death" was released in late 1999, which finally changed the viewing habits of Korean audiences, who had always loved Hollywood blockbusters and had little interest in domestic films. The film created the myth of Korean commercial films, with more than 6 million people in South Korea with a population of only 48 million, and the domestic box office reached 36 billion won (about 30 million US dollars), far exceeding; Titanic; The box office in South Korea has opened up a new situation in Korean films.

After 1999, the development of Korean films can be described by a common saying "advancing by leaps and bounds": Lee Chang-dong, Lim Han-taek, Kim Ki-duk and many other directors have won awards at international film festivals; The market share of Hollywood blockbusters fell to one-third, while local films rose to one-half; There has been a fundamental shift in the audience's movie-watching habits.

ps: Thank you ╰☆╮~ Manbu's monthly pass support! Thank you 1007 book friends for your two monthly passes! Thank you for the monthly pass support of Brother Qianhebo! (To be continued.) )