Chapter 295 Becoming a Benchmark Figure

"Hong Kong cinema is extremely secular and stereotyped today? Lu Yan's remarks are inevitably a bit of a partial generalization. Today's Hong Kong movies are in the stage of vigorous development, compared to before. Nowadays, the total box office of Hong Kong movies is increasing year by year. And the genre of movie themes is also expanding infinitely.

Although Lu Yan advertises himself as a ghost talent in the film industry, many types of movies have been created again and again. Although there are a lot of movies that follow the trend and are shoddy, good filmmakers are still working hard to ......"

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Regarding Lu Yan's remarks on the current situation of Hong Kong films, it is not only some veteran filmmakers who stand up to refute or support it. Even Tsui Hark and Huang Baiming have also made their own remarks on this matter.

But no matter from any point of view, with Lu Yan's age and such a tone, it is inevitable that such words will once again be labeled as an 'unruly', arrogant and arrogant person.

Perhaps for Lu Yan, such remarks have long been commonplace for him. He is still busy with "The Saint of Gambling" and the filming of "Rock and Roll Youth".

After those remarks, it was difficult for reporters to ask anything from Lu Yan's mouth.

And Lu Yan seems to have no more expression after answering once

Maybe Lu Yan thought that these words had provoked many filmmakers to be indignant and shut up? Journalists rightfully began to use their imaginations, after all, this time the matter was too big.

The front pages of many entertainment media will always be full of things about some filmmakers refuting Lu Yan's remarks. Even Wang Jing and Cheng Xiaodong, members of Dongcheng Image, were asked by reporters if they had any thoughts on this matter.

The members of the Dongcheng Imaging Company did not particularly avoid these things. Although the remarks were different, they all stood by Lu Yan's side.

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Hong Kong has always been known as the 'land of bullets', but it is this 'land of bullets' that has always had one of the largest film kingdoms in the world. The number of films produced is more than that of almost all Western countries. The number of films exported is second only to the United States. Hong Kong films dominate the East Asian market and crush the film industry adjacent to Taiwan.

There have also been Hong Kong films that have caused a niche boom after they were released to the West, and the scale is unprecedented. The cost of making a film is usually not far from that of Germany or France, but we don't have the funding that European films rely on to survive. There are movies in Hong Kong because millions of people want to watch them.

American Hollywood movies swallow the global market, and in some countries, even cover 90% of the box office. However, during the same period, only a small number of Hollywood films released in Hong Kong were popular, and sometimes less than 30% of the box office was shared. Global blockbusters landing in Hong Kong often end dismally. For example, "Raiders of the Lost Ark" lost to "Scary", "Eighteen Martial Arts" and "Running to the Angry Sea", and only ranked 16th at the original box office.

How did the Land of Bullets make the movie so good? The factors may be related to history and culture, but the more important reason lies in the film itself. Hong Kong films can meet the needs of the audience and are constantly introduced to the market, not only with fresh taste, but also with vivid and exciting performances. Hong Kong films can be called the world's most vibrant and imaginative popular films since the 70s. Movie fans have their own interests, and mine has the following two. In the first episode of Hu Jinquan's "Chivalrous Girl" (1971), the chivalrous and chivalrous girl confronted the master of Dongchang in the bamboo forest in the first scene. It was no ordinary fight scene, they were twenty feet above the ground, somersaulting and spinning in mid-air, occasionally hand-to-hand. The chivalrous woman leaped forward, like a spider interspersed between the bamboo forests, waiting for the opportunity to swoop and kill the prey by surprise. In addition to the trapeze-like stunts, the shooting and editing of this martial arts scene dared to use opaque techniques, although the composition of each picture was carefully designed, but the footage became fleeting after editing, and the master's excellent martial arts can only be glimpsed one or two, and its infectious power is calculated accurately, I believe Eisenstein and Kurosawa will also admire the five bodies to the ground.

And the box office of films such as Lu Yan's "True Colors of Heroes" and "God of Gamblers" seems to defend the box office dignity of Hong Kong films. Perhaps Lu Yan's words were a little radical at the beginning, but it is the emergence of such batches of young filmmakers like Lu Yan that has better promoted the development of our Hong Kong films.

Hong Kong movies may be sensational and indulgent, but also noisy and ignorant, bloody and grotesque; However, Hong Kong films have also dared to break the rules, with skillful techniques and frank and direct appeals to emotion, which have won the hearts of audiences around the world. The New York Times film critic complained about an early imported kung fu film: "It's all overdone, it's all crazy"; The insults of that year are still fresh in our memory. Those insolent and entertaining works are in fact full of outstanding creativity and ingenuity, and are Hong Kong's most significant contribution to global culture. The best Hong Kong film is not only a commodity to entertain the public, but also full of gratifying artistic skills. In addition to the mass production of films, how can we talk about artistry? To answer this question, we must first admit that although commercial compromise is inevitable in mass entertainment, true artistry will also exist. It must also be agreed that popular cinema has its own unique aesthetic, that is, a set of practices that shape its form and effect. Before the 70s, Hong Kong films were only distributed to Asian and Western Chinatowns. Westerners know these movies through a series of exaggerated martial arts fights and kung fu movies with revenge as the main line. Bruce Lee's films are known all over the world, and it has led to the belief that Hong Kong will only produce this type of film. But the local market has since gotten tired of watching kung fu movies, and other trends have emerged in Hong Kong, such as the Cantonese dialect comedy of former TV star Hui Guanwen. Jackie Chan soon became a comedy kung fu film and became one of Asia's leading superstars. By the early 80s, Hong Kong films were mostly produced in Cantonese, and a new generation of directors began to appear. They have either stayed abroad or have been trained by television stations, and they are not confined to domestic traditions like the old school. Instead of taking the kung fu route, these young filmmakers have turned to gangster films, monster martial arts films and modern realistic stories, many of which have returned to film festivals and overseas film festivals, such as Ann Hui's Running to the Angry Sea.

While this "New Wave" did not reverse the mass-produced nature of Hong Kong's film industry (many young directors eventually went into the mainstream), its dynamism reshaped Hong Kong cinema into a modern and unique form of local popular culture. However, it is worth noting that Hong Kong films after the 'new (wave) tide are in a safe state again. And this time, the person who led the 'reform' appeared, and everyone had already been closely focused on him - Lu Yan

This young man has a magical power, perhaps because he was with the director of the new (wave) tide Tsui Hark, so he had a great influence on him. Coupled with the new art city at that time, it can be said that it supported the joint attack of Golden Harvest and Shaw Brothers. Talent is abundant...... It is precisely because of this that Lu Yan is also a mathemat-ghost director, which may be how he got it

From the alternative rise of "The True Color of Heroes" to "A Chinese Ghost Story", "God of Gamblers", "Rouge Buckle" and other movies with very different styles. Lu Yan has proven himself very well.

Perhaps he has come to his senses and began to look far ahead for the goal of Hong Kong films

Many reporters said that this director Lu was unruly, arrogant and arrogant...... But from the moment he began to enter everyone's eyes, he seemed to keep telling reporters: What you said is wrong

This time, I believe that Lu Yan will carry the banner of Hong Kong film 'reform' and bring forth the new, which seems to be his favorite

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"Film Fortnightly" is as supportive of Lu Yan as always. From the beginning when Lu Yan's film style began to change, they had already begun to make predictions that Lui's films would promote the development of the Hong Kong film market.

And this time, Lu Yan directly expressed his dissatisfaction with the current situation of the Hong Kong film industry to the media, but it was very much in line with their ideas.

Even, they did everything to start building momentum for this director Lu Da. In order to promote Hong Kong films to go further.

"Yan Zai, you, you, you can really create a topic" Liu Weiqiang came back from the filming site of "Yuan Zhenxia and Wesley", and came to Lu Yan's office to talk about this matter: "There are still many reporters who have interviewed me and Wang Jing today......

"Oh?" Lu Yan responded calmly, put this issue of "Film Fortnightly" on the table with a slight smile and said, "Am I telling the truth?"

"Tell the truth, but you ...... Should I be tactful?"

Hearing Liu Weiqiang's words, Lu Yan smiled even more happily and said: "Everyone has made me a benchmark, and I still have to do my best."

glanced at "Film Fortnightly", and the cover character of this issue is Lu Yan again.

"Don't think that our Hong Kong films have started to open up the Asian market now, and Hollywood blockbusters are difficult to enter. In fact, the momentum continues. Our Hong Kong films will gradually decline"

"Aren't you too alarmist?" Hearing Lu Yan's words, Liu Weiqiang suddenly couldn't imagine: "Although at the box office, we have a big gap with European and American movies. But I think we've got the initiative firmly in the Asian market......"

It's too early to say anything. However, Lu Yan has already begun to prepare for danger and said: "Be prepared for danger in times of peace, we must not only be the leading company of Hong Kong films, but also enter the European and American markets for Hong Kong films." Or, at the very least, to be on par with Hollywood movies. On our turf, we have the final say."

[Dedication]