This is, of course, a big problem, and it has to be figured out first.

At the beginning of the idea of filming "Foshan Xing", Su Changqing considered this, and was quite optimistic about the trial at that time.

Hong Kong men and women who have been infected with the virus insist on going north, firmly believing that as long as they cross the border and return to their hometown in Foshan, they will be able to escape.

Ninety-seven is coming, this can be regarded as a theme of heart to the motherland, right?

However, whether it is to the motherland or not is not Su Changqing's final say.

The current review is actually not as strict as imagined, as long as the plot outline is taken to the eye, the theme is not a big problem, you can start filming, shoot out the retrial content, if there is a plot that does not meet the requirements and is deleted.

After many years, the system was changed, the pre-shooting filing was canceled, and it was changed to review after the shooting, so you have to be more careful, if the subject is not up to par, you can't find the grave if you cry directly.

Because there was no grading system, violence and gore were never a problem before the new century, and even after 20 years, it was possible to tear devils with hands, beat people with machine guns, cut off heads with big knives, and hide mines in the crotch of trousers...... This doesn't count in the crotch, in short, all kinds of abuse and killing are very slippery.

A few years ago, there was a wave of public opinion clamoring for the release of Level 3, when a "Widow's Village" was filmed to sell dog meat on the head of a sheep, known as the first Level 3, and it could also be released, causing a wave of movie-watching.

But some problems are elusive, and if you say yes today, you may not be able to do it tomorrow.

is also about to be ninety-seven, putting aside the heart to the motherland, the bloody zombie film can't be regarded as a gift, right?

In addition, at present, there is no railway between Hong Kong and the mainland, and the Beijing-Kowloon Railway is under intense construction.

What kind of operation is this, the red flag and firecrackers are opened to traffic in unison, but in the blink of an eye, the zombie train is going to Foshan, which is too unlucky, right?

You claim that it is an entertainment film without any other meaning, and I am afraid that no one will believe it.

In fact, "Train to Busan" is originally full of political metaphors, which outsiders may not be aware of, but Koreans can understand it at a glance.

First of all, the title of the film is very interesting, which directly translates to "going to Busan", which is completely the title of the film, and it is not at all clear that the theme is a disaster zombie film.

The whole film doesn't have much to do with Busan, and the train destination of Busan never arrived, so it seems unnecessary to put such a place name in the title as a call.

However, the place of Busan has a different meaning for Koreans, and it is associated with disaster in their historical memory.

When they see the title, they will probably immediately associate war and flight, because they were chased in droves to Busan during the civil war, and corpses were scattered all the way.

There is a port where you can escape from the peninsula, a national tragedy.

This is also the reason for the large number of military zombies in the film.

changed the poster of the male protagonist's father holding his daughter in blood in "Train to Busan" to "Chongqing Trip", and the domestic audience may immediately realize that the war is coming, and the hunt is coming.

Disaster movies are indeed easy to associate with others, and they delude themselves into thinking that others won't think too much.

Su Changqing is very serious about this issue: "Of course, it is best to pass the test, there is no need to overhaul the script, and there is a backup plan if it really doesn't work." ”

If the script is overhauled, it will be another story, without metaphor, the core has changed, and no one can guarantee that the plot will still be popular.

We can't be overconfident in this matter, and we should send the outline for review first, and the procedures that should be followed first.

Everyone can interject in the screenwriting situation, Liu Yufei thought for a while: "If the setting is not good in Hong Kong, and it is even more difficult to change it to the mainland, do you want to make a joint venture to shoot a story that happens abroad?"

This is of course a way out, and last year's "Princess's Decision" relied on Sino-French joint ventures to make money.

If you cooperate with Europe and the United States, then the script will definitely have to be changed, the train may not be able to go from anywhere, and the actors may have to be replaced by white people, and most of the heroines who promised Liu Bei will break their promises.

The core of the story must be changed, "Train to Busan" is an escape film, there is not much resistance in the whole film, all the way to escape, and in the end even the male protagonist died, leaving only a pregnant woman who fled to the cordon with his daughter.

Except for a very few funny zombie films, it is absolutely heroic to save the world, this kind of theme of running for their lives can resonate with East Asians for historical reasons, and Westerners may not accept it, because many times they are zombies, and it is difficult for the perpetrator to understand the victim's thinking.

It is not interesting to cooperate with South Korea, in the 90s, many people watched movies from the north, who watched movies from South Korea, at that time their influence was not as good as mainland films.

The level of Dongyingren's films is relatively high, and the market is also mature, which is worthy of cooperation.

And they have a tradition of making disaster movies, sinking Kyushu Island, Hokkaido, and the four major islands at every turn.

The three of them walked along the road to a place where it was easy to take a taxi, and Su Changqing said his thoughts: "You can cooperate with the little devils, but if you don't work with them, then we will lose our dominance, and we might as well sell the script." ”

This is also true, most of the Sino-Japanese co-productions are to produce a script, and whether or not Su Changqing can be directed is a question, which is equivalent to selling the script.

"If the current point in time is not approved, we can push forward the time background of the story, and it will be fine before liberation. ”

"Before liberation?" Mu Mu and Liu Yufei both understood: "So the film is still the plot of Hong Kong fleeing the mainland, but it happened in the past four years, and it has nothing to do with the present." ”

"And at that time, Hong Kong was occupied by the Japanese army, and your Sino-Japanese cooperation was to cooperate with the Japanese army and let the Japanese army be a zombie?"

Su Changqing laughed: "It's not a grievance against them, who let them come here, don't look at the fact that there are no trains in Hong Kong and the mainland now, but there were at that time, the Kowloon-Canton Railway from Kowloon Hung Hom to Guangzhou was opened at the end of the Qing Dynasty, and the Japanese army had been operating for 30 years when it entered Hong Kong, and it was only stopped in 49 years." ”

Liu Yufei: "That's right, we have learned history and memorized the general strike of railway workers in the province and Hong Kong, which has a lot to do with this railway. ”

This girl doesn't know much about history, but she has only heard of the general strike of workers in Guangdong and Hong Kong, and the general strike of workers of the Jinghan Railway, so she is afraid that she will be confused.

As a metaphorical escape film, it is important to let the attentive audience understand what is being said, and the unintentional audience also feels that the movie is good-looking, the era is not necessarily the key factor, and everyone can feel the connotation even after changing the era.

Let the Japanese army get involved, it is still acceptable in the nineties, after all, the divine drama has not yet appeared, and it will be vulgar after twenty years.

And Su Changqing didn't intend to be ugly, he really shot the well-equipped and mighty Japanese army, and respected the enemy and himself.

The point is that in this way, it is difficult to find fault with the censorship, especially after suggesting that the Japanese army is related to the virus, whether the censors want to shield the imperial army.

"But then your film can't be released on RB. ”

This is not necessarily, in the 70s, the RB film industry was very left, and he also made a lot of films about the Japanese army becoming ghosts.

For example, in Akira Kurosawa's "Dream", a team of Japanese souls who do not know that they are dead return to their hometown with neat steps and meet their surviving comrades in the tunnel.

And at this point in time, the films made by directors like Su Changqing, the little devils also understand that they are lying guns.

The next day, Su Changqing wrote an outline and asked people to submit it for review.

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During the recommendation period, if you like it, you will continue to recommend the ticket, and do not stop......