I remember in my previous life, Levy saw a lot of analysis of the American version of Infernal Affairs and the Hong Kong version of Infernal Affairs, and many people attributed the differences between the two movies to the differences between Chinese and American cultures, so the movies shot are different.

However, Levy has also been thinking about this question: it is true that there are differences between Eastern and Western cultures, but the difference is really so great that foreigners can't understand movies with styles like Infernal Affairs? Movies made by foreigners, Chinese don't know how to appreciate them?

Levy felt that this was not necessarily the case. To say that Americans don't know how to appreciate movies like Infernal Affairs is to underestimate Americans: Infernal Affairs' shooting techniques are actually more similar to spy films, and how many suspense-based spy films have Americans shot? I'm afraid that there are not a lot of them at all, and it can even be said that many American movies are doing better than China in this regard. And to say that China doesn't know how to appreciate American gangster films, it is even more nonsense: a movie like The Godfather, in the eyes of any filmmaker, will feel that this is an unparalleled work, and the influence of cultural background can be said to be very small.

It is actually very irresponsible to say that there is a clash of cultures and different styles: the same can be said for films from different countries, the same can be said for films from different regions, and even the same can be said for films of different people in different periods: the word culture is too general, covering too many things, and it has become a big basket into which everything can be filled. Blaming cultural differences for the problem of bad movies is quite a bit of a hooliganism.

If Americans like to be simple and rude, then don't Hong Kong movies like it? There is Infernal Affairs in Hong Kong, but there are also Troubled Boys. Whether it's a shootout or a knife slash, is Hong Kong bad? Speaking of which, the aesthetics of violence in John Woo's films are also worshiped and learned by Europeans and Americans, who dares to say that there is no market for simplicity and rudeness in China?

And to say that the Chinese like introverted culture - the godfather film. But Americans are recognized as the most classic movie, and that movie, isn't it slow-paced? From the performance, to the lines, to the soundtrack, the connotation, in any aspect, what movie dares to claim to be comparable to the godfather? Even if it is a work that depicts undercover agents, the TV series "The Line of Fire" is also written about undercover agents. What kind of praise did it get? With these things, who dares to say that if the movie is bad, it's all about the style?

Seeing the different styles of films, it comes down to cultural differences without saying a word, in Levy's view, in fact, he still doesn't look at movies: good movies need to express the common denominator of human nature, not the culture of local regions. Every culture has differences, but every culture has commonalities. This commonality is the humanity of all human beings, and how to shoot these is the focus of the movie.

Human nature is common, and Americans scold the streets. The Chinese also scolded the streets, the Americans fought, and the Chinese fought. Americans love to watch muscle fighting, don't Chinese love kung fu movies? None of these things are the biggest problem with the difference. The biggest problem, in fact, is one thing: the shooting positioning of the movie.

Scorsese doesn't position the film well: he has achieved fame in his life, and if a movie is good or bad, it is unlikely that it will affect his name. For him. It's a small pity that he didn't win the Oscar, so he just needs to shoot something to cater to an Oscar judge. His mentality of quick success ruined the movie - actually. This movie could have been made better.

In fact, Americans don't know how to make this movie, and the American version of the original movie was translated as 'departed', which means not only the dead, but also the lost, and even the struggling. This translation is not at all that people say that a lost name is a dead person, but that it is a story of two people who are struggling. The meaning of the name Infernal Affairs, which translates to the lost person, is actually better for the struggling person, and the Americans are also aware of it.

It's just that when Scorsese made the movie, he didn't pay too much attention to reflecting the feelings of the characters. The script wasn't good enough, and he didn't give the two actors enough scenes to show his mood, so it can be said that the handling was a bit of a failure - but this is also the inevitable reason why he wants to win the award.

It's not so much a clash of cultures that led to the poor performance of the American version of Infernal Affairs, but rather the insistence on changing a suspenseful, psychological warfare-based movie into an old-fashioned ping-pong gangster movie that ruined the movie. Movies have a style problem, forcibly distorting the style of a movie, and the movie will naturally change its taste.

After all, it had to be a Scorsesese-esque film for a character as famous as Scorsese for many years to win an award - Scorsese's films had to be faster-paced, and, given Scorsese's penchant for portraying gangster life, Nicholson had to have more shots in the film to fit his conventions. And foul-mouthed, violent, simple and rude, these are also his characteristics, and they have to be shown, plus one of the problems of American films, it is necessary to divide the shots to women. These must come down, and the screenwriting level is not high, so he is more writing the story of a gangster film, and he doesn't want to dig deep into the struggles of the two people.

And Levy always has some malice to speculate on others: Scorsese made this movie, after all, to win an Oscar. For this award, he needs to show his directorial talent, not the actor's superb acting skills. If you dig deep into the inner world of two people, he can't do it, but in that case, the actor's performance will become the focus, and it is easy to dominate the crowd, making people remember the actor's performance, not the director's level. So, Scorsese would rather spend a week filming a mouse crawling than give more shots of the excited little plum, and his goal is to deepen the theme of his story rather than give the two protagonists more depth. If the actor is overly highlighted, it will be difficult for him to do it, anyway, the mouse will not win the Oscar, so it is better to pat the mouse.

Moreover, even if these things are not considered, only the movie itself, if you think about it carefully, Levy also feels that it is difficult for Scorsese to make the theme of the original film - the theme of Infernal Affairs, from beginning to end is a person's confusion and helplessness, and Scorsese has made a film all his life, and his favorite theme is to fight against fate and have endless fun with the sky, these two themes are fundamentally incompatible, so that a person who is extremely fighting and has been fighting against fate all his life, ran to shoot a movie that reflected helplessness and confusion, this is simply Zhang Fei's embroidery, it's no wonder that he can play well.

From beginning to end, this can be said to be Scorsese's utilitarian work, but the director's level is too high, even if it is utilitarian, it can be convincing.

And it's a pity to shoot such a good subject matter. If you don't engage in those changes in style in response to the judges, that is, to shoot a movie that you want, the main selling point is the suspense in the movie, the struggle of the characters, and the duel between police and bandits, can you make a good movie?

That's why Levy wanted to make this film: he wanted a movie that showed the flavor of the original, rather than an adaptation of a messy story. What he wanted to show was the struggle between the police and the bandits in the undercover role, rather than filming a simple gangster story like Scorsese.

In fact, there is no need to doubt this question at all: there are many such movies in the United States, where are there fewer good movies?

It's not a clash of cultures, it's just a matter of style. It's all about culture and stuff, it's all the work of boring people, and Levy is a director, and he only knows that different shooting techniques can make the same story different. Since he wanted to make this movie, he had to make a different movie.

Only by dividing the perspective between the police and the bandit at the same time can the characteristics of everyone in the story be revealed, and the good use of the two-male model can create a more depressing and tense background. The rhythm is slowed down and the gold content of the actors' performances is increased, so that the audience can have time to think, instead of watching the table tennis fights along the way, the movie can be made with greater depth, and in some places, when used to express profound scenes, it can also have more shock. Pay more attention to the lines, the front and back are related, and the deep meanings are linked to each other, and the movie itself can make a bigger difference......

What Levy wanted to see was a better film, and he wanted to make a film like that.

In order to make the original style of the film stronger, he would find the original authors in Hong Kong and let them start writing the script of the film - it stands to reason that they just had an idea now, and Levy did not write it himself, but Levy was worried that it would make the script lose a lot of flavor, and he would not be able to control it well, so it would be meaningless. Anyway, it's not difficult to buy a script from them now, not only to be able to shoot it yourself, but also to let them be so happy?

As for saying Martin. Scorsese won an Oscar for the film, and without it, Scorsese might not have won the award - Levy didn't bother to care. Martin. Scorsese has been currying favor with the Oscars since the New York gangsters, and with his status in the rivers and lakes, as long as a similar movie is filmed, he will always be able to win awards.

Moreover, he even felt that if Martin. If Scorsese doesn't win an award, it's not necessarily a bad thing -- one of Hollywood's four famous directors, a veteran director for more than 30 years, the first accomplished Hollywood director among living directors, and even many Oscar winners among his disciples -- if such a person doesn't win the best director in his lifetime, he wins the Lifetime Achievement Award first, then it can be regarded as a wonderful irony of the Hollywood awards system.

That kind of scene might be interesting. (To be continued......)