China Entertainment special effects started in 1997

After the incident, many filmmakers supported Jiang Heng.

For example, Zhou Xingxing, who has been isolated by Hong Kong filmmakers, made a rare public statement to the media, detailing Jiang Heng's huge contribution to Hong Kong films and Chinese films, and calling on everyone to support Jiang Heng and his new film.

Zhou Xingxing also called to enlighten and persuade Jiang Heng, saying that some people in Xiangjiang just relied on their old age and neglected their old age.

In 1992, among the fifteen top-grossing films in Hong Kong, Zhou Xingxing accounted for seven, and the top five were all taken by his films. However, he was still suppressed and looked down upon. He has been running for the Academy Awards several times, and it was only in 2001 that he was recognized by the Academy Awards for "Shaolin Soccer".

Even so, many people still don't recognize him.

Li Lianjie also called and complained. When he was in the Hong Kong entertainment industry, he was suppressed even more severely and had experienced death threats. However, he did not dare to speak out because the other party was too powerful, so now he became a little bit arrogant.

In the end, I advised Jiang Heng that with his current reputation and status, he was more valued by the country than the outdated film and television circles in Xiangjiang. He should take action when it is time to take action without giving them face.

Cheng Long also called, but he was a peacemaker and felt that everyone was from the Xiangjiang family and should be harmonious to make money.

Jiang Heng didn't think too much and felt that his reply at that time was indeed not tactful enough. If they wanted a salary of 100 million, it would be their fault if they couldn't afford it.

I thought that if I didn't respond, the matter would be over, but it ended up getting worse.

At the preparatory press conference for the crew of "Red Cliff", producer Zhang Jiazhen said that the total investment in the film is US$80 million, which is converted into more than 600 million yuan, and will be the highest-invested film in a Chinese-language film.

As for the box office, it will also break existing records.

When asked what he thought of Jiang Heng and his new film, Zhang Jiazhen said that he is just a commercial film director who is good at special effects. Apart from the good-looking special effects, the films he makes have no redeeming qualities.

Mainland audiences just saw it because it was new, so they all went to see it. In a few years, the talent will be exhausted and the true colors will be exposed...

Such naming of names immediately aroused the excitement of reporters from the Hong Kong media. After recording these words, they added some embellishments and changed them, and a fiercely written article was released.

The title is also eye-catching, "Big producer Zhang Jiazhen blasts Jiang Heng, counting down the 'seven deadly sins'!"

Zhang Jiazhen really deserves the title of "big producer". After studying film production at New York University, he returned to Hong Kong and served as the production manager of Jiahe Films. Later, he joined McDonald's Film Company, Deborah Film Company, etc. Film, Xu Ke Film Studio, began to cooperate with Wu Yusen in 1990, during which he also served as Zhou Runfa's manager.

In 1994, he formed a Hollywood film production company in partnership with Wu Yusen, and participated in the production of such well-known films as "Broken Arrow", "Face/Off", "The Killer", and "Anna and the King".

Later, he formed a film company with Wu Yusen and participated in the production of films such as "Wind Talker", "Bulletproof Monk" and "Memory Crack".

It can be said that the relationship between Zhang Jiazhen and Wu Yusen is similar to that between Zhang Weiping and Zhang Yimou, they are old partners.

Zhang Jiazhen's attack on Jiang Heng in front of the media was basically equivalent to Wu Yusen's attack on him.

It is tolerable, but what is unbearable!

Just as "Journey to the West: Pingdingshan" is about to be released, there are already many media promotions and interviews. Jiang Heng officially responded in an interview with "Southern Weekend".

"I used to like Mr. Wu Yusen's "A Better Tomorrow". Really, I was very moved when I watched it when I was young. After that, I didn't watch the films too much. I felt they were all the same way. But times are changing. , the audience’s preferences are also changing, and we, as filmmakers, should also make corresponding changes in order to adapt to the new era.

The reason why Xiangjiang's movies declined is because it has filmed all those themes to the end, and there is nothing new.

An audience member who is seventeen or eighteen years old and in his early twenties walks into the cinema and watches some scenes involving peeing and peeing, and watching the battle of wits between police and criminals. He finds it very novel and interesting. But when he walked to the cinema when he was thirty years old, he found a similar movie, and he must have even thought about buying a ticket!

Xiangjiang movies have been stagnant for too long, like an old man who is stuck in his ways and cannot notice the changes in the outside world.

For example, South Korea, which used to be the back garden of the Hong Kong Film Market, produced a very good film "Memories of Murder". Being able to produce such a film shows that Korean films are about to rise...! "

At this point in the conversation, the reporter from "Southern Weekend" couldn't help but ask, "'Memories of Murder', what kind of film is it? Is it really that good? Will it be introduced to the mainland for public release?"

Jiang Hengxiao: "This is hard to say! Let's talk about the topic just now. I think a very important reason for the decline of Xiangjiang Cinema is that new directors have no chance and can't make their mark. Resources are given to people like Mr. Wu Yusen. It’s the great director.”

"Don't you like the movie "Red Cliff"?"

Jiang Heng smiled and nodded, "I don't think Mr. Wu Yusen can film it well. The Three Kingdoms is a period of history that Chinese people are most familiar with, but in Xiangjiang, people understand the Three Kingdoms more from the 'morality of the rivers and lakes' rather than the overall historical pattern."

When the reporter heard this, he was very excited. To put it this way, he directly said that Wu Yusen was good at shooting "Red Cliff"!

"Is it a big problem to shoot like this?"

Jiang Heng nodded, "Of course, the Three Kingdoms' struggle for hegemony is not a fight between street gangsters. If it doesn't have the sense of history, it won't be recognized by the mainland audience at least if it's not mentioned elsewhere!"

"Then if Director Wu Yusen accepts your suggestion, this film will do well. It will be a blockbuster with an investment of 600 million!"

Jiang Heng smiled and didn't comment.

It would be strange if Wu Yusen would listen to advice!

Directors are all stubborn and self-reliant.

Originally, the film "Red Cliff" was co-produced by two places, and many of the producers and screenwriters came from the mainland.

Such as Han Sanping of China Film, Yu Dong of Bonanza, Hu Xiaofeng, Feng Xiaogang's exclusive producer, and the famous screenwriter Lu Wei.

Especially this Lu Wei, he is not an ordinary person. He was the screenwriter of films such as "Farewell My Concubine" and "To Live".

With so many mainland filmmakers, can they not see that the style of "Red Cliff" is not right?

Of course they can see it, but on the one hand, they are superstitious about Wu Yusen's ability as an international director, and on the other hand, the filming of the film is indeed the director's responsibility, so they made such a movie.

So Jiang Heng felt that the probability of Wu Yusen listening to advice was close to zero.

After the interview, the reporter of "Southern Weekend" went back and rushed out the manuscript overnight, writing a very sharp article.

Once published, it caused a huge sensation.

Jiang Heng’s meaning in the article is very clear, Wu Yusen is old, outdated, and can no longer adapt to the times.

Readers find this kind of sharp article very stimulating, and at the same time they are curious about the Korean movie "Memories of Murder" mentioned by Jiang Heng.

What kind of movie is it that Director Jiang Heng can praise and think is very good? Can it be seen in the mainland?