Hong Kong Entertainment: The King of Kung Fu

As Yang Ye spoke, he took everyone to visit the three major scenes of the underground palace: Ghost Gate, Naihe Bridge, and Red Spider Lily.

Everyone was impressed by Yang Ye's brilliant ideas.

But everyone discovered that these scenes were not actually complete. They often only had a portion of the props, and the rest of the space was empty with a blue curtain hanging behind it.

As for the reason, Yang Ye explained: “If we want to build all the details of the ancient tomb, the workload will be too large and unnecessary.

If we shoot everything in a realistic way, the only light source in the tomb would be a flashlight, which would not only make us tired but also unbearable for the audience.

So I chose to shoot with a blue screen, and then used the latest computer technology to add some special effects such as green water and fluorescence in the background to create a fantasy feeling. "

Hong Jingbao asked: "I heard from Aaron that Hollywood often uses green screens for filming. Why do we use blue screens for our movie?"

Yang Ye explained: "Which screen to use depends on the needs. Green is bright and has a strong contrast with other colors, which is more conducive to post-production.

But blue has the greatest contrast with human skin color, so blue screen is more suitable for night scenes. We are shooting in an underground palace, so it is more convenient to use a blue screen.

In addition, since Europeans have blue eyes, they prefer to use green screens, because using blue screens will easily scratch out the eyeballs!"

In fact, in the later period, with the maturity of digital technology and cutout technology, green screen basically dominated the market, but there is no need to tell them this.

After Yang Ye said this, everyone immediately understood.

According to the setting of this movie, the protagonists spend most of the time in the tomb.

Under normal circumstances, the underground palace should be pitch black, which would not solve the problem of light source.

If you only rely on flashlights or torches for lighting, it will be fine for a short time.

After a long time, the audience will feel depressed and it will become unbearable.

But if the tomb is made bright by lights, it will seem fake to the audience.

Then, by using a computer to create some special background effects, the problem of light source can be solved.

Not only will the audience not feel it is fake, they will even find it magical and will be attracted to it unconsciously.

Talent!
However, in this case, the number of special effects shots in the movie will become extremely large, more than ten times that of "Terminator 2".

This is the first time that such a large-scale green screen shooting has been used in Chinese-language films. Yang Ye is opening up a new era for Chinese-language films!

The 2 special effects shots in "Terminator 35" cost one million US dollars. Wouldn't "Mojin: The Last Dragon" have cost tens of millions of US dollars?
Who can afford this?
Yang Ye explained: "It doesn't take that much. The special effects of Mojin: The Last Dragon are mainly background rendering, which is simpler than Terminator 2.

However, since there are so many special effects shots, it would cost at least five or six million dollars. With today's computer technology, if you want to avoid mistakes, you can only spend time on it.

It is estimated that these special effects shots will take a year to produce, plus the prop production in the early stage and the actual shooting process, the overall production time will be more than two years. This is the longest movie I have ever made since my debut."

After hearing this, Chen Long suddenly thought of a question. He said, "So, won't the production cycle of future movies become longer and longer?"

Yang Ye said: "I'm afraid so! Moreover, as computer special effects become more and more mature, Hong Kong movies are actually on the edge of a very dangerous situation. If we are not careful, we will be doomed!"

Xu Ke raised his eyebrows and asked, "Where did you get this from?"

Yang Ye said: “Because Hollywood has the North American market as a backing, they can continue to invest in the research and development of film technology. In the future, their investment in an A-level production will be more than 100 million US dollars.

The local market in Hong Kong is too small. The box office revenue of a movie may not even cover the special effects budget. How can we compete with them?"

John Woo said: "But the bulk of our profits come from overseas markets!"

Yang Ye shook his head and said, "The overseas market is the most unstable. Others can reject our films with just a random policy.

Shaw Brothers and Dianmao used to be the kings of Malaysia, but what about now? Sir Run Run Shaw has just quit, not only shutting down his film studio, but also his cinemas! "

When everyone thought about it, it was indeed the case. When Vietnam was discriminating against the Chinese ten years ago, Hong Kong films could not be sold. It was only in the past two years that they slowly recovered.

Because Yang Ye went to the mainland to make a movie, Baiyang Company was banned as a whole in Taiwan. If Yang Ye's influence had not been strong enough, Baiyang Company would not have been able to make up for its losses in Taiwan by relying on other markets, and it would have been finished long ago.

A long time ago, there was a man named Ye Zhiming who opened a Colorful Film Company. Every movie he produced was a big hit, and he was ambitious to set up his own cinema chain. However, because he chose to cooperate with the Shuangnan Cinema Chain, Taiwan slapped him in the face.

Jackie Chan said thoughtfully: "Then how should we break the deadlock?"

Yang Ye said: "Let me tell you the truth first, you are all the best commercial film directors in Hong Kong. Even if Hong Kong films die suddenly, you will still have a share of the profits. At worst, you can go to Hollywood, but it will be difficult for others.

I think, as part of the Hong Kong film industry, we still have the responsibility to shoulder this heavy responsibility."

Yang Ye's words were not boasting. These four people did go to Hollywood to make their living. Among them, Hong Jingbao and Xu Ke failed, while Chen Long and John Woo successfully established themselves.

These four people were indeed the strongest commercial film directors during the golden age of Hong Kong films. Chen Long and Hong Jingbao were both innovators of action movies.

Chen Long created the humorous kung fu school, and Hong Jingbao also created supernatural kung fu films, although his influence was much smaller than Chen Long's.

Xu Kesheng's wild imagination has injected all kinds of new elements into martial arts films.

John Woo's violent aesthetics represents the highest achievement of Hong Kong commercial films.

These four people are all masters who have developed their own styles.

As for other people of his generation, such as Wang Jing, he was just a tailor who pieced things together.

Stephen Chow, Johnnie To, Andrew Lau and others rose to prominence as directors relatively late and were not well-known during the golden age.

Ann Hui, Wong Kar-wai, Kwan King-pang and others focus on art films and are not included in the discussion.

Yang Ye said: "How to make Hong Kong movies continue to flourish? The answer is actually very simple. Four words...Look north to China!"

"Looking north to China?" several people repeated in unison.

“It’s a market with a population of more than one billion and huge potential.

And for some unknown reason, computer technology is developing extremely rapidly, not inferior to that of the United States.

A few years ago, it was because I saw this that I embraced the mainland even though I was banned in Taiwan.

If it weren’t for the mainland’s computer technology, do you think I could have made “Terminator 2”?
With the market and the technology, these are the capital to compete with Hollywood.

What the mainland lacks is that it started too late and lacks corresponding film talents.

We are both film talents, so isn’t this a natural fit?”

When everyone heard this, they realized that this was the truth.

In fact, they couldn't understand why Yang Ye fell out with Taiwan.

If it weren’t for Baiyang’s strong overseas distribution capabilities.

Moreover, just as Yang Ye was banned, he got the ticket to enter the mainland market right after.

I'm afraid these people will all leave.

It was not until now that everyone understood that Yang Ye’s choice of the mainland had such a profound meaning.

They couldn't help but sigh that Yang Ye had a very long-term vision!

Wu Yusen asked with some doubt: "How can you be sure that the mainland can become a stable market for us?"

Yang Ye said: "Because Hong Kong will return to the motherland in 1997, then Hong Kong movies will be Chinese movies. Isn't it natural for Chinese movies to be released in China?"

Ah, this... everyone thought about it and realized that there was nothing wrong with it!

Yang Ye continued: "Of course, if we want to get a share of this huge market, we must plan ahead and make arrangements in advance.

The most important point is to use our resources and experience to help the mainland develop the film industry.

Simply put, it is investing in the mainland's cultural industry. This is no different from Hong Kong and Taiwan businessmen investing in the mainland's physical industry. You may think that there are too many restrictions on going to the mainland now, so why don't we wait until after 1997 to go?
This is the difference between providing timely assistance and adding icing on the cake. If you go there in 1997, the opportunity will be gone.

It is precisely because the mainland is now eager for talents that it will accommodate us, and we can take the opportunity to broaden the path.

If we wait for the mainland to open up, then whatever they say will be the final word.

That’s why I repeatedly use mainland actors in my movies and even built a film and television city in Shenzhen.”

At this point, all the things that Yang Ye had done in the past few years that the four of them couldn’t understand were explained.

Yang Ye explained it so clearly to the four of them because it was impossible for Yang Ye to finish filming the entire movie by himself.

For example, for the "Ghost Blows Out the Light" series, Yang Ye cannot continue filming it. After he finishes filming "Mojin: The Lost Tomb", he will hand over the rest to others.

For now, there are only four people in Hong Kong who are capable of making top-level commercial films.

There is not one in Taiwan, Xie Jin in mainland China is already old, and the only young generation has Zhang Yimou for now.

Among these four people, Chen Long and Xu Ke are needless to say. They have been active in the Chinese film industry for fifty years and have produced works worth mentioning in every period.

Chen Long is a master of kung fu movies, while Xu Ke is a master of all genres and has tried all kinds of subjects, with both lows and highs.

Hong Jingbao's peak was relatively short-lived, and he never recovered in the 1990s.

However, after he has worked with Fatty Wang and become familiar with the production process of special effects movies, he may not be unable to serve as the director of "Ghost Blows Out the Light".

John Woo has experienced many ups and downs. He has won box office titles in Hong Kong, Hollywood, and mainland China, and even won the global annual championship.

But when it failed, it was a huge failure. It ruined MGM in Hollywood and it ruined Pony.com in China.

Yang Ye was essentially painting a big pie for the four of them using the future mainland market.

If they really wanted to get a piece of the pie, their best option was to follow Yang Ye into the car.

In this way, everyone is bound together by common interests.

Among these four people, Chen Long is the most enthusiastic.

Since Baiyang Company signed an agreement with the mainland, Chen Long's films have begun to be released in the mainland market one after another.

His films are deeply loved by mainland audiences because they are humorous, thrilling and suitable for all ages.

Jackie Chan's film studio participates in the profit sharing. Every one of his films released in mainland China will bring the studio several million RMB in revenue.

Baiyang Company paid this money directly to Chen Long Studio in US dollars according to the official exchange rate.

Based on today's exchange rate, every time a movie is released in mainland China, Chen Long will earn about one million US dollars in net profit, which is simply making a fortune.

Therefore, Chen Long not only agreed with Yang Ye's decision to enter the mainland with both hands, but also with both feet.

As for the lost Taiwan market…what is that?
……

After showing the four directors around the studio and making promises to them, Yang Ye continued to prepare for "Mojin: The Lost Tomb".

Now the protagonists are all here, but we are still missing the villains.

The number one villain in "Mojin: The Lost Tomb" is called Ying Caihong. Sister Hong is a very typical character, very characteristic of this era.

When the original version of "Mojin: The Last Dragon" was released, young audiences might not have felt anything.

However, in the time and space where Yang Ye is now, if "The Mojin" were released in this era, the impact would be much stronger.

In the late 80s, the world was flooded with various qigong masters and special ability masters.

From the government to the underworld, these people are very active.

All of a sudden, countries like crazy started investing huge amounts of money in researching various special ability phenomena.

These masters can also appear on TV openly and cheat openly, causing countless people to lose their fortunes.

As reflected in the movies, we can see that there were many such plots in Hong Kong movies at that time.

For example, Stephen Chow's "God of Gamblers", Chow Yun-fat's "God of Gamblers 2" and "Citibank Shaolin".

The special power battle at the beginning of Stephen Chow's "God of Gamblers" is simply the Marvel hero battle in later generations, except that the special effects are a little simple.

Ying Caihong in "The Ghouls" is known as the supreme master. He was born in a rural area of ​​Sichuan, China, and is a fake overseas Chinese.

It is said that he was born with one eye black and one yellow, and could see ghosts and gods, which was considered unlucky by the villagers.

Later, she was taken to Tokyo and adopted by a wealthy Japanese businessman. After the businessman died, Ying Caihong disappeared and it was rumored that she was seriously ill and hospitalized.

He suddenly appeared a few years later, claiming that he had achieved enlightenment through cultivation in the Himalayas and could save all living beings. He returned to Hong Kong and established the Global Spiritual Cultivation Society, specifically recruiting wealthy and famous people as disciples, at a high fee.

This is a typical cult leader. In fact, she has no magical powers, only the drugs hidden in the ring and a large amount of inherited money.

She was seriously ill and would not live long, so she went to the goddess' tomb to look for the red spider lily in order to save her life.

In an era when all countries treat these masters as guests of honor, Yang Ye suddenly and openly said in a movie that such people are liars. He is very brave.

For a role like this, we need to find a respected veteran actor with superb acting skills to play it.

One is to balance the power between the protagonist and the villain, and the other is to bring a very unique aura.

Liu Xiaoqing in the original version was very suitable for the role and performed very well.

Liu Xiaoqing is now 38 years old and her acting skills are at their peak, so she is actually very suitable for the role.

But she was the top actress in mainland China in the 1980s, and it was a bit bullying for her to come to Hong Kong and play a villain.

Besides, she was filming Dream of Red Mansions and it was difficult to coordinate her schedule, so Yang Ye let it go.

Unfortunately, it is hard to find such actresses in Hong Kong and Taiwan nowadays.

After thinking about it, Yang Ye felt that Zheng Peipei could give it a try.

Although Cheng Pei-pei has always played the role of a female knight, she always looks righteous.

But her acting range is actually very wide. She can play the funny Madam Hua in "A Chinese Odyssey: Part One" and the vicious blue-eyed fox in "Crouching Tiger, Hidden Dragon".

Playing the role of a cult leader should be no problem.

Having made up his mind, Yang Ye asked Zheng Peipei out.

After reading the script, Cheng Pei-pei found it quite interesting. She thought about it seriously for a long time and said, "I have never played a role like this before."

Indeed, she rarely plays villains, and most of the time she plays positive characters.

Yang Ye began to deceive. He said, "There has never been a role like this in Chinese films. It's very special. Although you play a villain, you have a lot of scenes, and your role in the movie is also very crucial..."

After much deception, Cheng Pei-pei finally decided to play the role because she had never played such a role before and wanted to give it a challenge.

As for the two men around Sister Hong, one is an American named Mark. You can just pick one. There are many foreigners in Hong Kong movies, such as He Guorong who specializes in playing foreign police superintendents.

One is the Japanese chick Yoko. This role can be played by Michiko Nishiwaki. After all, she has slept with Yang Ye before, so she should be taken care of when there is a chance.

Finally, Yang Ye dragged Johnnie To over and made him the executive director.

With all the staff in place, Yang Ye finally announced the start of filming of "Mojin: The Lost Tomb"! (End of this chapter)