My Hong Kong Island Filmmaker

Chapter 212 "A Chinese Ghost Story"

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Looking up at the sky, it was dark and gloomy, such a cool and hazy scene.It is clear that the sky is blue and waiting for misty rain... I am waiting for you in the wind and rain.

The eaves of the blue tiles, the rain forms beads.

The bamboo chair swayed slightly, and the old god Wu Xiaozu was shaking his head and shaking his head. He was dressed in purple smoke and light gauze, his eyebrows turned lightly, and the self-pitying, charming and charming Wang Zuzhen was lying beside him.

His lips nibbled on Wang Zuzhuan's self-prepared plum.

"Ahem..." Xu Hark stretched his dry and thin neck and coughed lightly, with a clear expression and said: This is too much!
"Ten Mile Pinghu is full of green sky, and the jade hairpin secretly cherishes the new year. If the rain cover can protect each other, I will only envy mandarin ducks and not immortals."

Wu Xiaozu turned his head and smiled at Tsui Hark with a smile, "This scene at this time is just like this scene. I am really looking forward to your "A Chinese Ghost Story" now."

That's right.

Wu Jinxiang Award for Best Director came to visit "A Chinese Ghost Story".

Seeing that Tsui Hark was on the verge of breaking out, Wu Xiaozu also gave up teasing.He glanced at the busy art director not far away.This gentle white-faced scholar is called Xi Zhongwen.

He glanced at the two main cameramen again.One is Huang Yongheng and the other is Pan Hengsheng.The two did a great job shooting this kind of costume drama.

"Azu, it's hard to wait until you, the best director of the Academy Award, come to guide... I must give some advice..."

Tsui Hark put on a jerky smile, and stared at Wu Xiaozu with bright eyes, "How about... how about playing a cameo role? I specially arranged a rival scene between you and Xianxian, why not?"

Tsui Hark smiled kindly, and glanced lovingly at Wang Zuchen, whose eyes lit up, and his smile became brighter and brighter.

"Why don't I give some advice..." Wu Xiaozu smiled stiffly.

"It just so happens that I don't like changing scripts very much. I'm sorry, Azu."

Tsui Hark continued to laugh apologetically, and the ghost waved to Cheng Xiaodong who was waiting beside him, and said, "Xiaodong, why don't you quickly change Director Wu's costume and give it a try?"

"..."

Wu Xiaozu watched the fat and white Cheng Xiaodong walking over with his clothes in his hands, the corners of his mouth twitched.

He seemed to understand.

Tsui Hark just wants to have his first time in this rush!

His heart can be punished!
"What do you think? Xiaoxian?" Tsui Hark looked at Wang Zuzhen with a more sincere smile.

"..."

Wu Xiaozu looked at Tsui Hark who was smiling brightly, the corners of his mouth twitched uncontrollably, his face darkened.This guy is too treacherous.Thinking with his little head, he could guess Wang Zuzhen's answer.

"Really? That's great! Brother Zu, this is the first time we're acting together... I really haven't seen you in ancient costume..." Wang Zuzhen blinked her beautiful eyes, looking forward to it with joy.

……

On the filming site of "A Chinese Ghost Story", the entire crew was silently staring at the man with sword eyebrows and star eyes in a daze.

A long gown of coarse linen, cotton shoes with thousand layers of soles on the feet, a bun on the head, and a wooden stick inserted casually.

Gently flicking the gown, stepping lightly, every move attracts the attention of the scene, Yuan Ting and Yue Zhi.

The white-faced and gentle Xi Zhongwen looked at the expressions of everyone in the venue with satisfaction. He never expected Wu Xiaozu to change into an ancient costume and look like a chivalrous man.The instrument is magnificent and the jade tree is facing the wind.There is chivalry and sharpness hidden between the brows.The whole body exudes the spirit of a master who is calm and relaxed.

Looking at Wu Xiaozu, Tsui Hark looked helpless.

What a fart!Those who know know that this is the story of Ning Caichen and Nie Xiaoqian, but those who don't know think this is the protagonist in front of them.

"Many people lack chivalry, but the director Wu in front of him is born with chivalry. His gestures have the demeanor of a northern opera. This appearance..."

A thin middle-aged man with sagging eyebrows and triangular eyes smiled and commented on Tsui Hark, "This director Wu is not simple."

"It's so sharp." The elder brother, who was wearing a white lining, also sighed in agreement.

Then he turned his eyes back to the shivering civet cat in the cage beside him, one man and one beast looked at each other.afraid of each other.

In his previous life, Wu Xiaozu was a tutor at a college of media art. Although he came from the director department, he met a lot of whores who acted...cough...actors.There is no shortage of skills to learn from each other.His bitch acting foundation is also very deep.

Mainland performances are very particular about basic skills. In this regard, opera has given a lot of support to the performance theory of the Mainland.Many actors, especially stage actors, have more or less studied the postures of Peking Opera and other operas.

How could Wu Xiaozu, who often directs bitch acting, not understand these professional postures?
It's not that he can't act, it's just that he doesn't want to "act" in the works he directed.He thinks that he does not have the ability to "enter the drama" and "out of the drama" in an instant.

Tsui Hark stared at Wu Ma and understood the other party's words.

The appearance of this guy in front of him is completely the appearance of a knight. How can he look like a victim murdered by the tree demon's grandmother?
Tsui Hark agrees with Wu Ma's vision.

This guy is from a family of opera, and he is one of the few experts on Hong Kong Island who really understands the style of northern opera.The Yan Chixia he plays can be three parts chivalrous, three parts heroic, three parts lazy and one part humorous.

Hong Kong Island opera has a profound influence on the film industry. Seven Little Fortunes integrated the figures on the stage of opera into the bridge of the movie, forming similar juggling movements similar to Cheng Long, Sammo Hung and others.

These actions seem simple, but there are indeed many real things in them.For example, Cheng Long, although he is a wusheng boy, but he is not shallow in Baihequan, and he is also very accomplished in Gangjuliu, boxing, and aikido.If you look closely at his figure in the early years, you can tell that he was very strong and strong.

Of course, boxing is afraid of the young.

But in any case, the action scenes in the Hong Kong circle at the moment are indeed deeply influenced by their group.

On the contrary, the northern stage figure is rare in Hong Kong films, and the only one who can be regarded as the best should be Yu Rongguang.

Wu Ma is not counted in essence, because he is not an action actor.

The set of "A Chinese Ghost Story" has no fairy spirit, but a miasma.

This may be the wonder of light and shadow.

Movie shooting, especially the shooting of costume dramas, is not as chivalrous and bookish as it is seen in movies.

The scenes also need to be dismantled and shot shot by shot, and the ancient costumes and modern costumes fly together on the scene.

Compared with directors of the older generation, Tsui Hark's films have never simply told ancient stories, and he has never really regarded himself as the spokesperson of "martial arts".

When you watch the movie, you will find that Tsui Hark's movies rarely have "heroes".After filming "Swordsman", he and director Hu Jinquan parted ways. After all, there was also a reason for the conflict of film concepts.

This kind of conflict is not superior or inferior, it can only be said that the personal style is different.

Tsui Hark's films often use ancient environments to package the core of the times, and tell modern stories through ancient times.

Whether it is "A Chinese Ghost Story" or "Huang Feihong", including some films of later generations, it is the core of the story that fits the modern point of view.

Tsui Hark finally mustered up the courage to talk about the ancient "Xia", and then "Seven Swords Under Tianshan" hit the street.

Looking at the chaotic shooting scene, poor-quality props and crude environment, Wu Xiaozu aroused a lot of interest in this "indigenous method of steelmaking" special effects.

When he came to visit the class, he also had the idea of ​​stealing a little bit from Old Freak Xu in his heart.For example, "A Chinese Ghost Story" uses stop-motion animation to create a battle between humans and ghosts. There is nothing technically novel, but it is so appropriate in the hands of Mr. Xu. Mr. Xu uses stories to make you forget the weakness of technology magic.

"Makeup artist... corpse makeup..."

Tsui Hark held back for a long time, and with a wave of his hand, he directly pulled Wu Xiaozu to the "Dead Dragon Set".No way, Wu Xiaozu can't stand up and grab the show, right?
At the moment when Wu Xiaozu was lying on the sampan pretending to be a dead body inexplicably, Hou Xiaochen's aggrieved expression suddenly flashed in his mind.

It really is:
Heaven is good for reincarnation, who will the heaven forgive!

At this moment, Director Wu wanted to cry but had no tears.

Wu Xiaozu didn't know that Fei Cheng's double lights were getting brighter and brighter on the road of plagiarism and blowing water.What's more, he didn't know that he was galloping on another mountain peak with two lights fighting each other again.

As the saying goes:
One hand inside and out, but no legs.

What kind of saplings are planted to receive what kind of fruit, what kind of seeds are sown to bloom what kind of flowers.

By the way, this track is called "Red Lantern".

(End of this chapter)