With a few wives at home, Kang Jianfei didn't have much of the heart to run out. During the Spring Festival, except for occasionally going out to meet Zhong Chuhong, Zhou Huimin and other women, Kang Jianfei has always stayed at No. 4 Repulse Bay as a "virtuous husband and father".

Lin Qingxia, Lin Fengjiao, Zhao Yazhi and Pan Yingzi were combined by him in pairs, trying various embarrassing postures, and sometimes the pregnant Ye Zipei also carefully joined in.

Anyway, everyone has "met frankly" countless times, and several women have no shame in front of each other, and finally they were pulled into bed by Kang Jianfei at the same time in broad daylight, and they just blushed and accompanied him without shame and absurdity.

The Xinhua News Agency now controls more than a dozen media outlets, and Hong Kong's leftist newspapers such as Ta Kung Pao, Xin Pao, and Wen Wei Po, although nominally not part of Xinhua News Agency, are now under the direct leadership of the Hong Kong branch.

Ye Zishan's article on Kang Jianfei was first published in "Wen Wei Po", which quickly attracted the attention of film industry insiders.

Especially now that "Notes on Tomb Robbery" is being screened, Kang Jianfei, as the director of this film and the boss of Hong Kong's largest entertainment group today, what he said is enough to attract everyone's attention.

Kang Jianfei poured cold water on the prosperous Hong Kong films in an exclusive interview, pointing out the imperfection of the Hong Kong film industry system and the hidden danger of the overall quality decline of Hong Kong films. The former point is that the problem of imperfect industrial system cannot be solved by one person, which requires the joint efforts of the industry, but the latter point resonates with many people.

In the past, due to the monopoly of the market by cinema companies, you may not be able to release the movie if you shoot it, so the directors attach great importance to the quality of the film, and the production cycle of Hong Kong films from the 70s to the early to mid-80s is basically between 3 months and half a year. (Shaw Brothers' films are an exception, because Shaw Brothers films do not worry about local and overseas distribution, so the production cycle is relatively shorter)

But now it's different. The first is the increase in cinema companies, and the director cinema can no longer monopolize the box office market, but all movies with good quality will have a chance to be released. Even if it can't be screened in regular theaters. You can also make money through underground cinemas, videotapes and overseas filmmakers, and you don't have to worry about selling Hong Kong films anyway.

Since you can make money by making a bad movie casually. So under the premise of profit-seeking, investors will naturally choose to make films quickly to accelerate the return of funds, and directors are also happy to make more movies in a short period of time to get remuneration and dividends. In this way, the average production cycle of Hong Kong films has been shortened by two months from more than three months - these two months include the time for pre-production and post-production.

Kang Jianfei can make a good movie in half a month, because he already has all the shots in his head. Those directors don't have Kang Jianfei's "ability", and in order to shorten the production cycle, the directors can only not even prepare for the storyboard. And when the actors' performances are not in place, they have to get by, and the things that are filmed can only be described as miserable.

Fortunately, now the discipline of well-known directors has not faded away, and even Wang Jing, a fast gunner, still maintains the final bottom line. The most chaotic are those directors who have a slight reputation, and their films can occasionally be released in the off-season, and most of the time they can only go through the channels of underground theaters and videotapes, and because of the cheap price, they are bought in bulk by small film dealers in Southeast Asia, and then screened in the name of Hong Kong films in Nanyang countries. Yan zhòng has influenced the reputation of Hong Kong films in the local area.

This phenomenon has caused many people in the industry to worry and dissatisfied, and even many people advocate reducing the number of theaters, believing that there are too many theaters that cause the flood of junk movies. Kang Jianfei asked this question in an exclusive interview. It immediately resonated with a large number of peers, each of whom expressed their opinions in the media.

The Spring Festival has not yet passed, and well-known producers and directors have already quarreled on TV and newspapers.

At the same time, "Notes on Tomb Robbery" was released in Singapore, South Korea, Taiwan, Thailand and other places, and the box office began to be popular all the way. Due to the competition of Hollywood blockbusters in Japan, "Tomb Robbery Notes" was not scheduled for the Spring Festival, so we could only wait for the next good schedule.

There is no doubt that "Notes on Tomb Robbery" quickly became popular locally, and its influence is no less than that of "Terminator 2". These areas all belong to the Confucian cultural circle. Not to mention that there are many Chinese, like South Korea, even the history books are in Chinese. Accept "Tomb Robbery Notes" without the slightest cultural barrier.

With the strong position of Hong Kong films in Nanyang, when "Notes on Tomb Robbery" was released. Even more sensational than Terminator 2.

Thailand's largest circulation "Thai Daily" called "Notes on Tomb Robbery" "an incomparable adventure movie." Paddy Wiji, the father of Thai action movies in his sixties (the one who married a 38-year-old wife at the age of 83), immediately announced that he was preparing an adventure movie, which is about an action-adventure film about Western colonizers smuggling Buddha heads in Thailand and Thai folk righteous people protecting Buddha heads.

Paddy Weiji said in a follow-up interview: "Hong Kong's "Tomb Robbery Notes" directed by Kang Jianfei gave me a lot of inspiration, why can't there be a Thai "Indiana Jones" and "Tomb Robbery Notes"? We in Thailand have a long history and culture of legends, as well as Muay Thai, which is not part of Chinese kung fu, and this qiē can be combined to create an excellent adventure action movie."

Follow the trend, to put it bluntly, follow the trend!

This is true in Hong Kong, Thailand, and South Korea.

After Kang Jianfei's "Notes on Tomb Robbery" was a hit, it did not help to promote computer special effects, but caused a round of follow-up.

Following "My Sassy Girlfriend", the movie starring Oh Jin Woo once again dominated the Korean film market, and Oh Jin Woo's fame in South Korea continued to soar. However, the Korean audience doesn't seem to like Zhang Meng's beauty, she has not received universal popularity in South Korea, Wang Guxian, Li Saifeng, Guan Zhilin and other soft and delicate actresses are more popular in South Korea.

However, the heroine's problem did not affect the box office of "Tomb Robbery Notes" in South Korea in the slightest, although it failed to break it. [,！ "My Sassy Girlfriend" set a viewing record, but "Tomb Robbery Notes" still ranked second in the Korean box office list over the years.

There are always some inexplicable angry young people in South Korea, seeing that the top two box office lists in South Korea over the years are occupied by Kang Jianfei, a foreigner's film, they actually went to protest to the South Korean government, demanding that the quota of Hong Kong films be reduced to protect the development of Korean local films.

A Korean filmmaker who buys Western films to make money is already dissatisfied with the dumping of Hong Kong films in South Korea, and this time he also used the topic to coax and raise the boycott of Hong Kong films to a patriotic height.

You don't need a Hong Kong film company to do PR. South Korea has a group of filmmakers who make money from Hong Kong films, and these people are often more wealthy, so they immediately manipulated public opinion to start a war of words.

Kang Jianfei became a "cultural invader" in the mouth of some South Koreans, and in the following years, his name was taken up by the angry youth of South Korea from time to time to protest. But it's probably a black feeling. When Kang Jianfei was interviewed by the Korean media in order to promote his movie, he said that he liked the country of South Korea very much, and after he popped out a lame Korean greeting, many Korean angry young people suddenly turned black and praised Kang Jianfei as a very aesthetic director.

As an internationally famous director, Kang Jianfei's films often make money in the Korean market. Naturally, it will cause dissatisfaction among the angry young slings. And when he praised the country of South Korea, the vanity of the shy green hanging silk was greatly satisfied - Director Kangda likes South Korea so much, which shows that our country is very good and great.

Anyway, Kang Jianfei made money anyway.

Not only did it turn to the box office of the movie, but the newly established Oriental Publishing House has assembled and published the first part of "Notes on Tomb Robbery" in Hong Kong, and at the same time contacted publishers in South Korea, Thailand, Taiwan, Singapore and other places to discuss the matter.

Although Kang Jianfei often crosses the river and demolishes bridges, his basic credit is still there, and "Notes on Tomb Robbery" is still serialized in Ma Chengkun's "Oriental Daily", and has not been transferred to "Daily Daily". But the publication of the collection has nothing to do with Ma Chengkun.

Speaking of "Daily Daily", I have to mention Huang Yulang. After he sold a number of his media to Kang Jianfei, he finally had a key working capital. Although his lawsuit is still not over, and the bank will not provide him with a loan for the time being, the entire Yulang International has finally come back to life.

Ma Rongcheng, who left Yulang International, also formed Tianxia Publishing Company with his friends, and began to serialize the "Fengyun" series of comics after the Spring Festival, which once again aroused the popularity of Hong Kong comic fans.

The reason why Ma Rongcheng left Yulang International was not because he saw Huang Yulang entangled in lawsuits and jumped ship. After all, the copyright of Ma Rongcheng's famous work "Chinese Hero" is in the hands of Huang Yulang, and after leaving Yulang International, Ma Rongcheng must start all over again.

Ma Rongcheng's departure from Yulang International was forced. He was threatened with no more cartoons for Huang Yulang in April last year, and was later ambushed. Both hands were almost chopped off, and it took half a year to recuperate.

After this horrific incident. How dare Ma Rongcheng stay in Yulang International?

The reason why Huang Yulang took the initiative to sell "Tiantian Daily" to Kang Jianfei instead of selling it to a buyer who had always wanted to buy it was because he suspected that Ma Rongcheng was cut down by those people.

Ma Rongcheng is Huang Yulang's cash cow, the other party used violent means to force Ma Rongcheng away, how can this not make Huang Yulang angry and jealous?

Anyway, Ma Rongcheng, who left Yulang International, began to create a comic called "Fengyun", which shined during this year's Spring Festival.

……

"Brother Fei, next week, my mother's 55th birthday, celebrating her birthday in Canada," He Chaoqiong handed Kang Jianfei, who had returned from morning exercise, a towel and asked tentatively, "Why don't you go with you?"

Kang Jianfei said with a smile: "Canada is so far away, what am I going to do?" If she celebrates her birthday in Hong Kong or Macau, I will definitely go to congratulate her old man."

He Chaoqiong's face was a little gloomy, since her mother Lan Qiongying designed to announce the marriage news of the two last time and exposed the two of them having a son to reporters, the relationship between Kang Jianfei and Lan Qiongying has been very stiff.

Fortunately, Lan Qiongying immigrated to Canada last year, and she has rarely returned to Hong Kong recently, so nothing unpleasant has happened again.

As for Lan Qiongying's immigration to Canada, she actually went there to help He Gambling King take care of his business. Since it was determined that Macau was going to return, He Gambling King has been making two-sided plans, secretly contacting the mainland while secretly transferring property and investing in Canada, and he can run away at any time if he is not right.

Lan Qiongying's father has already immigrated to Canada, and he also has many relatives there, so he naturally becomes the best person to take care of his business in Canada.

Kang Jianfei is happy and quiet, after this mother-in-law immigrated to Canada, she never nagged in front of him anymore, which made his married life with He Chaoqiong much more harmonious.

Originally, He Chaoqiong wanted to adjust the relationship between her mother and husband, but seeing Kang Jianfei's reaction, she still temporarily dismissed this idea. Although Kang Jianfei was smiling when he spoke just now, his attitude of refusal was obvious, and he didn't want to congratulate his mother-in-law on her birthday at all.

"After the Lantern Festival, I will send Xiaoxin to kindergarten." While eating breakfast, He Chaoqiong said.

Kang Jianfei nodded and said, "Xiaoxin will be 4 years old soon, it's time to go to kindergarten to study, it's good to get to know more friends."

He Chaoqiong said with some resentment: "I've been bored in the past few years, and when Xiaoxin goes to kindergarten, I also want to find something to do."

"What are you going to do?" Kang Jianfei asked.

"I don't know," He Chaoqiong was a little confused, "My dad asked me to go back and help him do things, but I haven't thought about it yet. ]"

Kang Jianfei's machismo psychology began to troublesome again, his own woman, if she wants to do things, she also helps herself, what kind of reason is it to go back to her parents' house to help her father-in-law do things?

"Why don't you come to Oriental Media Group, work in the middle level for two years, and then slowly take over." Kang Jianfei said.

He Chaoqiong has been at home with her children for a few years, and she has long been bored and panicked, but she doesn't know what to do for a while. When she heard Kang Jianfei say this, she agreed: "Okay, I'll try it first."

"Surely you can." Kang Jianfei held He Chaoqiong's hand and said.

He Chaoqiong's business talent is naturally undoubted, and the diploma of St. Clair University in the United States is not enough to say anything, and her watch in the mall in another time and space is really dazzling.

At the beginning, He Chaoqiong still grew up under the wing of the gambling king's father, but she was only in her 40s, and her net worth had already surpassed that of her father He gambling king, and it was not counting her shares in the Shun Tak Group and Australian and Tibetan stocks (the latter two groups are He Gambling King's properties).

When Kang Jianfei crossed, He Chaoqiong was already the richest woman in Hong Kong, and she was also one of the shareholders of TVB.

Of course, at this time, He Chaoqiong did not have much business experience, and she had to go through practical work to be trained, and Kang Jianfei let her enter Oriental Media, which was also optimistic about her potential ability.

As for the fire in the backyard in the future, the big and small wives will divide the family property or something, it will have to happen after Kang Jianfei died. Kang Jianfei Judging from his understanding of He Chaoqiong, this young lady is not a temper that is not eaten by spurs, if she is allowed to fight for property, she will definitely choose to give up, and then rely on her own ability to earn it back. (To be continued) R752