Hong Kong Entertainment: The King of Kung Fu

Although the hostages were rescued, the criminals were not caught, so it’s not over yet.

The police believed that he would go to the transaction location to get the money, so they ambushed the Flying Tigers nearby.

However, Luo Lie had already dug a hole at the bottom of the trash can where the money was placed.

He also used this opportunity to divert the police's attention, kidnapped Guan Zhilin, and planted a bomb on her.

Luo Lie took Guan Zhilin and fled to the subway. Yang Ye chased after them and the final battle began.

The two of them actually dueled on the roof of a speeding subway car, leaving the audience dumbfounded. Is it possible to play like this?
Of course Luo Lie couldn't beat Yang Ye, but Luo Lie had the remote control of the bomb in his hand.

He said in a mean way that if you fight back again, I will throw this away and blow your Thirteenth Aunt to death.

Yang Ye had no choice but to lie down and get beaten. Luo Lie beat Yang Ye and mocked him: "You loser, you want to fight me? You think you are so smart?"

The audience was so angry that they were about to die. At this time, Yang Ye suddenly saw the indicator light on the top of the tunnel.

The thing was installed very low, just above the carriage, and he almost bumped into it when he was climbing into the carriage.

So he grabbed the remote control with one hand and pushed Luo Lie's head up with the other hand.

The subway rushed past, and with "click", Luo Lie's head was gone!
Yang Ye had said before that he would twist Luo Lie's head off, and now he has done what he said, and the audience applauded.

The villain is dead, it’s time to end it, and here comes another big scene.

Due to the previous gunfight in the subway, the subway is now out of control and cannot stop, and the road section ahead is under repair.

Guan Zhilin was handcuffed by Luo Lie and leaned against the subway handrail. Yang Ye didn't have the key and couldn't unlock her hands at all. She could only wait to die.

At the last moment, Yang Ye accelerated the subway and made it go off the track.

Afterwards, he protected Rosamund Kwan, and the two of them held onto the subway handrail together.

The big scene came, a subway rushed out, sparks and lightning all the way, rushed out of the subway station that had not yet been built, and rushed onto the road.

……

As soon as the movie was over, many people did not have time to applaud, but left their seats and went to the bathroom.

The whole movie is full of events that keep people dizzy. From the beginning to the end, it is almost all climaxes, and there are no boring moments in the whole movie.

When watching the performance, some female audience members were so nervous that they grabbed their companions tightly, leaving bruises on their arms.

In fact, this movie is not without bugs. There are many nonsense parts in it that cannot stand scrutiny.

For example, how could a bus possibly fly over there?

The coincidence that I realized there was a camera in the bus was too much of a coincidence.

How did you get to the top of the subway?

In the end, the entire carriage rushed out of the subway station, but the two people were not injured?

But none of that matters.

The whole movie is thrilling and the tense atmosphere is created very well. The audience is deeply attracted and has no time to think about the so-called bugs.

Yang Ye once said that if a commercial film wants to be a box office hit, it must do two things: first, the script must be strong, and second, it must create a spectacle.

The film he is presenting now, "Speed", is a masterpiece.

I won't talk about the script, it's thrilling and full of emotions.

Although there are no fancy special effects, the results are still thrilling and exciting, and many people's palms are sweating after watching it.

In the subsequent interview session, many people were convinced.

Those who complained about the box office failure and made all kinds of excuses have now shut up.

After filming this movie, Chen Musheng also learned a lot from Yang Ye, such as how to use the camera to create a tense and exciting atmosphere. He hoped to learn a few more tricks from Yang Ye, so Yang Ye made him the deputy director of "The Matrix".

Actually, Yang Ye originally wanted to make a movie similar to "Speed" so that he could continue filming. Suddenly, he remembered that the important prop in that movie was the mobile phone, and the current mobile phones were too simple and lacked many functions. He had to give up and think about it later.

……

The day after the premiere of Speed, Yang Ye flew to Beijing with the Hollywood delegation for the final negotiations.

Although Yang Ye is a member of the Motion Picture Association of America (MPAA), in this negotiation, he is actually more like a middleman, responsible for communicating with both parties.

Hollywood believes that mainland China is a market with huge potential. If they want to come in, they naturally have to show some sincerity.

It’s impossible that just because you say you want to come in, I will open the market and let you make money.

Yang Ye’s suggestion to MPAA is to launch a “China-US Film Talent Exchange Program” to invite some film directors from mainland China to study in Hollywood and help cultivate talents for the Chinese film industry.

This suggestion was not something Yang Ye came up with out of thin air, but existed in the original time and space.

In 2012, China agreed to further open up the market, increasing the number of films it imports each year to 34 and raising the profit-sharing ratio to 25%.

In return, the MPAA launched a "China-US Film Talent Exchange Program", which was first initiated by Paramount, and invites Chinese film talents to Hollywood every year to observe, learn and exchange ideas.

Paramount selected company executives and Hollywood's experienced film directors, producers and other first-line filmmakers to participate.

People like Wu Ersan, Wu Jing, Chen Sicheng, Guo Fan, etc. were among the first few groups of people who went to Paramount to study and exchange.

After returning from Hollywood, they respectively produced "Mojin: The Lost Legend", "Wolf Warrior 2", "Detective Chinatown ", "The Wandering Earth"... Some of them learned well, while others learned in vain. Xiao Yang also went there, and after coming back he wanted to make a special effects blockbuster, but ended up making "The Weather Forecast", which was a complete flop.

After Paramount, several major companies including Warner, Sony, Disney, and Universal have also launched various types of training and exchange programs including animation production, high-concept film/IP development, screenwriting, artist management, as well as production and corporate management, with a total number of 200 people.

These people are the backbone of the Chinese film industry. The few years when the exchange program was launched was a time when Chinese films developed rapidly and box office records were constantly being refreshed.

Of course, Hollywood also made a lot of money. In those years, the box office of Hollywood blockbusters in China soared, and "Avengers 4" even raked in more than billion yuan at the box office.

Unfortunately, this win-win situation only lasted for five years. The sweater war began, followed by the epidemic, and communication was abruptly interrupted.

As Hollywood became mired in the political correctness of LGBT, its own strength was greatly reduced.

The communication between the two parties ended in vain.

The MPAA didn’t care at all about this kind of learning exchange. They could have done it in 2013, let alone 1993. They agreed immediately.

……

As for China Film Group, after allowing Hong Kong films to enter the country, the company was originally thriving.

However, with the popularization of video halls in the past two years, especially after the invention of VCD, piracy has become rampant.

The film market is different from the music market. Pirated tapes and CDs have actually promoted the prosperity of the mainland record industry to a certain extent.

Because many genuine channels cannot reach the dense distribution points, they have to rely on piracy to fill the gap.

The existence of piracy allows popular songs to be widely sung, helps to increase singers' fame, and boosts album sales and commercial performance prices.

In the 1990s when genuine and pirated products coexisted, there were more than a hundred record companies in Guangzhou. Several trainloads of records were shipped to all parts of the country every day, making a lot of money.

But the same cannot be said for movies. There is not much box office in remote areas, and developed areas are invaded by piracy, causing heavy losses.

Minister Tian Congming met with Yang Ye alone and asked him why he came as a lobbyist this time.

Yang Ye said frankly that he was also a member of the MPAA and had to come.

On the other hand, Yang Ye also introduced the situation of the world film industry to Tian Congming.

Hollywood is now undergoing industrial upgrading, and the emergence of "Jurassic Park" means that Hollywood's high-concept movies have officially taken shape.

This kind of high-concept movie attracted people to go to the cinema to watch it. Despite the emergence of new media such as video and television, American theaters were not affected at all. Instead, they became better and better.

If the films of various countries and regions want to compete, they must upgrade, otherwise their own film markets will be completely eaten up by Hollywood blockbusters.

Tian Congming asked: "If that's the case, why do we still want to show Hollywood blockbusters?"

Yang Ye thought, of course it's to make money. But he still said seriously:

“This is the same principle as reform and opening up, inviting overseas capital to come in and invest and set up factories and recruit our workers.

Although they made our money and occupied our market, our workers learned skills and businessmen accumulated capital.

The same goes for cultural undertakings. Only when Hollywood can make money will people be willing to invest.

They will also recruit and train talents for us. This is...market in exchange for technology."

"So you're suggesting that Hollywood set up a US-China film talent exchange program?"

"Yes!"

Tian Congming frowned and thought for a while, then asked, "You said that movies from all over the world will be eaten up by Hollywood, so will Hong Kong movies be eaten up as well?"

Yang Ye said: "Hong Kong films only have a temporary advantage in Asia, but as Hollywood continues to advance, they will undoubtedly lose.

Because most Hong Kong films are produced in a workshop mode, they have no advantage over Hollywood's industrial blockbusters. "

Tian Congming asked again: "Is there no way to remedy this?"

Yang Ye shook his head: "There is no need to save it, Hong Kong films will eventually become part of Chinese films.

If Hong Kong films continue to maintain their strong position, they will have no way to integrate.

Only after being defeated by Hollywood and losing overseas markets, these people will come to the mainland to look for new markets.

By then, technology and funds will be transferred in to train talents for the mainland film industry.”

Tian Congming asked curiously, "You are a Hong Kong filmmaker, why don't you consider the local area at all?"

"It is for the sake of the local community that I say this. After all, active integration and passive joining are two different things."

Yang Ye's words were also the reason why he allowed the relationship between Taiwan's eight major film producers and the Hong Kong film industry to break down and refused to intervene.

Although he later met with the eight major film producers in Taiwan, he did not do anything to reconcile the conflict between the two sides.

Instead, it has made the eight major film studios more cautious in their investments, making it difficult for Hong Kong films to get investment from Taiwanese businessmen.

"I understand!"

A few days after Tian Congming returned, he reached a five-year agreement with the MPAA.

The main content of the agreement is to introduce 20 Hollywood films every year, with a profit sharing ratio of 15%.

The first blockbuster movie to be introduced was confirmed to be "Jurassic Park". (End of this chapter)