But Zhou Min is too handsome and elegant, lacking the temperament of ruthlessness and decisiveness, he can play the little people in the black/Taoist with affection and righteousness, but to show the gloomy and contradictory character of the black/Taoist godfather, obviously this role is not suitable for him. Pen ~ fun ~ pavilion www.biquge.info

Then Lin Mu thought of Huang Qiusheng, the smell of 'black/Taoist brother' on this Hong Kong/Hong Kong actor is very strong, and he can interpret the arrogant and domineering Hong Kong/Hong Kong black/Taoist leader in detail. But Huang Qiusheng's expressiveness is too strong, but it doesn't meet the requirements of Lin Mu. In Lin Mu's opinion, those real underworld/dao bosses will never let you see that he is JR underworld Jun at a glance. Such characters are very restrained, they are like a poisonous snake, and they will only show their true colors when they launch a fatal blow. Huang Qiusheng was a little more domineering, but a little less restrained, Lin Mu thought about his file for a long time, and finally decided to give up.

Xiang/Hong Kong couldn't find a suitable actor, and Lin Mu finally targeted the mainland of China. In fact, in the place where the script was created, he once thought of a person, a mainland actor who left a deep impression on him, and this person was Jiang Wen. Because Lin Mu always felt that Jiang Wen had a taste of both good and evil, and this was exactly the character state that the protagonist of the film wanted to show.

Lin Mu's understanding of Jiang Wen is still stuck in "Hibiscus Feed" and "Pekingese in New York"0 "If you love him, send him to New York, because it is heaven; If you hate him. Send him to New York, because it's hell. This classic and familiar narration is the introduction of Jiang Wen's mouth, and in the year, Jiang Wen starred in the TV series "Beijinger in New York" became the most popular TV series of the year, and Jiang Wen's acting talent was once again affirmed.

Regarding Jiang Wen, Lin Mu only has a preliminary understanding of him through his film and television works, and he knows that Jiang Wen is a talented person with a strong personality. Jiang Wen deliberately perfectly combines real life with his artworks, which is also his Yan Feikui style of dealing with people, he is very serious and delicate in both things and people.

But because of his personality and temperament, many people in the industry often find it difficult to cooperate. But from his works, Lin Mu feels that Jiang Wen's attitude is sincere and his emotions are strong, and it is precisely because he himself has such a subjective mentality that many film and television works from his hands have left a deep impression on people, and also brought people a rich and beautiful inner experience.

Lin Mu believes that the reason why many Chinese/Chinese film and television works lack intrinsic value and lack the power to influence people spiritually is not because there are no vivid plots and scenes, but because they lack such strong emotions and sincere attitudes.

With Lin Mu's status in Hollywood today, he doesn't have to travel far to the mainland to discuss cooperation with Jiang Wen in person. But in order to show his sincerity, Lin Mu still decided to make a trip. Of course, it is not entirely for Jiang 'Wen, the Hengdian Film and Television Base jointly invested by Paramount and Beiying is about to start, and Lin Mu can just accept the invitation of the Chinese side as a representative of Paramount and participate in the celebration ceremony. With this trip, Lin Mu, the nominal director, can also go to southern Fujian to visit the crew of "Warcraft: Phantom of the Dragon" who is filming on location there.

The first stop on the trip to the Woods Continent was Beijing. But in the capital of this ancient country, the first person he saw was neither Han Sanping of Beiying. Nor is it an official of the relevant government departments of China/China, but

Jiang Wen who has read the script. Although I know that Lin Mu has come all the way from the United States to the mainland. It's not entirely for himself, but Lin Mu's attitude of being in a high position and still bowing down sincerely still moved Jiang Wen very much. In the young Paramount chairman, Jiang Wen obviously felt a different temperament.

"I invited Mr. Jiang over this time, mainly to discuss the issue of the script." Lin Mu said straight to the point: "I think Mr. Jiang should have read that script before, right?" ”

Jiang Wen nodded, Lin Mu's script was praised by a big director like Francis Ford Kind Bora, and the night he received the script, he read the script of nearly 60,000 words in one go, and he couldn't sleep all night. After receiving the script, he repeatedly watched the trilogy of the "Godfather" series. I have a comprehensive understanding of the directing style of Francis, Ford, Coppola.

"The script is very attractive, so I really hope to play the role in it" Jiang Wen also told Lin Mu his attitude directly.

"I know that Mr. Jiang is not only a great actor, but also a director with a lot of ideas. So I'd like to hear how you understand the character in the script. Mr. Jiang can speak freely, but of course what I would like to hear most is about the shortcomings in the characterization of this film. ”

"Mr. Lin is too modest, to be able to write the script to your extent, I think any revisions are redundant!" With Jiang Wen's character and heart, it was indeed not easy for him to say such a flattering word, and Lin Mu became one of the few people who enjoyed this umbrella honor.

But Lin Mu was not complacent because of Jiang Wen's rare praise, his biggest advantage is that he can have a clear understanding of himself at any time. "Although Mr. Jiang is not an American, I think Mr. Jiang should be no stranger to the life of Chinese Americans, right?"

Pekingese in New York is a classic survival story about Pekingese struggling and struggling in New York. The collision of Eastern and Western cultures causes not only pain, helplessness and hesitation. In the decomposition and reorganization of the family, in the occurrence and development of extramarital affairs, in the education of immigrant children and the conflict of ideas between the two generations, this group of Northern Marines with the American Dream has undergone tremendous changes in their careers and emotions.

This TV series reflects the differences between Eastern and Western cultures. The panoramic depiction of Beijingers' living conditions in New York caused a sensation as early as ten years ago, and became a classic work that depicts the career and emotional journey of the first batch of Chinese/Chinese people who went to the genre to pan for gold. As the leading actor of the play, Jiang Wen wants to play such a role well. It is necessary to have a detailed understanding of the life of Chinese people in the United States, so Lin Mu will ask this.

"Before that, I made a detailed understanding of the history of the Chinese in the United States through some channels, and I also seriously analyzed the historical background of the United States in the 60s and 70s." Jiang Wen is actually a little modest when he says this, in order to be able to "get this servant", he has consulted a lot of information about this aspect, and in terms of the overall grasp of this history, Lou Wen can even be compared with Lin Mu.

"The film focuses on the dramatic conflict of swallowing, which revolves around the eternal topic of good and evil, and examines it from the perspective of human nature. Overall, I don't think this character has been influenced much by Chinese/Chinese culture, and although he is Chinese, he is an American way of upbringing, so I know what I need to do. But I still have a small question. Will Chinese/Chinese kung fu appear in this film? The reason why Jiang Wen has such doubts is because Hollywood directors are now very keen to add Chinese/Chinese kung fu elements to their films to attract audiences. And the initiator of the trend sat opposite him.

"If you were a director, what would you do?" Lin Mu did not directly answer Jiang Wen's question. Because he wanted to hear Jiang Wen's opinion.

"From the perspective of the whole script, this is a very realistic work, and I think the most attractive thing about the script is its realism and the depth of thought. Chinese/Chinese kung fu Hua 'Li' is expressive, and kung fu is exaggerated by many movies. Adding this film would ruin the realism of the whole film, and it will not be worth the cost to do so. Jiang Wen's comment seems to have forgotten that his current identity is just an actor. The connotation of Chinese/Chinese culture cannot be expressed in one or two kung fu films.

There are not many Chinese filmmakers who can have such a clear understanding of kung fu movies as Jiang Wen. Especially in kung fu movies, it is in the limelight. And when he gradually became a banner for Chinese films to the world, he said such a thing, which had to make Lin Mu look at Lou Wen differently. "Mr. Jiang can rest assured that in this film. Our producers and directors have the same ideas as you. ”

After finalizing the cooperation with Jiang Wen. The stone hanging in the heart of the forest tree has fallen.

Jiang Wen's temper is notoriously difficult to cooperate, and this time the fairy is so cooperative, most of it is due to the script. What's more, Lin Mu came in person this time, full of sincerity. Even Jiang Wen, who is a little stupid and arrogant, can give Lin Mu, the young chairman of Pala Qin, a little face.

The Chinese government attaches great importance to Lin Mu's visit to China. This can be seen from Han Sanping's extremely enthusiastic attitude towards Lin Yi's ministers. But Lin Mu still wants to get too close to the Chinese government at this time. At the government level, he was shallow and had a good grasp of proportion, neither brushing the enthusiasm of the host, nor showing a very close relationship.

Because of Lin Mu's special status as a Chinese-American, he was received by the chairman of the Central Committee of the Chinese People's Political Consultative Conference (CPPCC) in Beijing. Under the flashing lights of Chinese and foreign journalists. There was nothing real about the talks. On behalf of the Chinese government, the Chairman of the Chinese People's Political Consultative Conference (CPPCC) welcomed the move of forestry to invest in the mainland and emphasized the importance of China-US cooperation. And Lin Mu also knew the role he should play in this meeting. He expressed his joy at the economic development of the Chinese mainland and was optimistic about China's future economic development. He expressed the hope that in the future, China and the United States will be able to carry out cooperation in deeper fields.

Lin Mu's trip to China was planned for a week, and Zhuang stayed in Beijing for three days. He went to Shanghai again for a while, and then went straight to southern Fujian. When Lin Mu arrived at the filming site, the crew was filming the rivalry between Cheng Long and Li Lianjie in the bamboo forest. The panda Ah Qi and the spirit monkey Wukong played by the two started a fierce confrontation in order to compete for the belonging of the dragon girl's feelings. This is a simple martial arts scene, only to the end, and the two of them fought without a win, and they both transformed in a hurry, and then \' Dragon Girl appeared to stop this battle between the two.

The two kung fu superstars have a multi-minute battle in the film, in order to design these actions, Yuan Heping, who has just rushed over from the crew of "Detective Plane 3", racked his brains, and many classic moves in Hong Kong/Hong Kong martial arts movies are vividly displayed in this battle. Cheng Long's classic drunken boxing, Li Anlianjie's Shaolin boxing routine. were all integrated into the fight by Yuan Heping.

The whole fight scene is designed to be full of antiquity. Yuan Heping seems to be intent on adding a sense of nostalgia to this pinnacle showdown. This reminded Lin Mu of a discussion with Jiang Wen on the future of Chinese/Chinese films when he was in Beijing, which involved the future development of kung fu films. At the dinner table that night, he mentioned this issue to Yuan Heping, Cheng Long, and Li Anlianjie, who were present.

"The kung fu element is like a condiment, and people were very interested in it at first because they had never tasted it. But without a good main ingredient, no matter how exquisite the condiment is, it will not help. It replaces the nutritional value of the main dish. With the improvement of people's tastes, when this condiment can not meet people's needs, without the support of the main dish, how will it continue? ”

Lin Mu's analogy is very appropriate, but what is most concerning is the meaning behind his words. Yuan Heyu, Cheng Long and Li Anlianjie all started with kung fu, and their hearts were a little heavy in the face of such a topic. Nearly two hands. The decay of kung fu movies in the Chinese-language film market is obvious. Although the success of kung fu movies in Hollywood, its essence lies in the fact that Hollywood directors know very well that kung fu movie elements are just a dose of commercial films and box office "condiments", without real core connotation, and talking about success is simply a fool's dream.

"Kung Fu" is actually the name of Westerners, and Chinese/Chinese people prefer to talk about "martial arts", but Westerners don't care about that. In their eyes, if there are still film studios in China, "Kung Fu" is the only theme. In fact, Lin Mu is always worried that Westerners will be like Hong Kong and mainland audiences, tired of those costume films, bamboo forests, waterfalls, and indiscriminate bridges and movements.

Yuan Heping's experience can prove that he was tired of making kung fu movies at the beginning of the last century, so he switched to illusion movies. After that, he switched to fashion action movies. In the early 9o's, Qing 'kung fu films became mainstream. After the Hong Kong/Hong Kong martial arts films ebbed, he went to Hollywood to continue directing the kung fu movie "Pirates of the Caribbean", and his status has also changed from a main dish to a condiment. Regarding the decline of kung fu movies, Yuan Heping is also deeply touched by self-sacrifice. (To be continued.) )

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