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"It's better for one of me to die than for them all to be thrown into the street!"

Chao Pi, played by Louis Koo, fell in the machete and a pool of blood, with light and shadow hitting his face. In a close-up shot, with blue veins on his neck exposed, he shouted at Chen Haonan, Bao Pi and Da Tian Er, who was crying, "Treat me as a brother, let's go!" !”

"Let's go!!!"

With a cry of pain, the nest skin played by Louis Koo was printed with blood on the screen. Scenes of montage flashbacks flashed on the screen. The picture was very light, blending with the real time of the movie.

The brothers were laughing and joking.

The daily love between him and his girlfriend.

Everyone took off their pants and peed into the sea to see who could ejaculate further.

The brothers let themselves go together and shouted "Thirty years to the east of Hedong, thirty years to the west of Hexi".

Eventually, everything disappears from the frame. The camera slows down and the nest skin slowly falls towards the ground. The medium shot is pushed to a close-up.

One pair of eyes looked at the road ahead, and then the camera slowly pulled back. There was no resentment on the face, only smile and joy.

The character played by Louis Koo is more existential and more tragic than in his previous life. He slowly fell into a pool of blood and fell straight backwards.

The long shot and slow motion turn the scene into a silent cry. The change from sound to sound is to make this emotion gather in people's throats. The lower and more depressed it is, the more it touches people's hearts.

The scene of Luo Dong and Feicheng screaming in pain slowly appeared, but there was no sound.

Both Luo Dong and Fei Cheng performed the grief of losing their brothers exceptionally well.

Chen Haonan's veins were exposed, his eyes were painful and self-reproaching. His foreskin and nose were dripping with mucus. He was so sad that the audience was sobbing.

Looking at the screen in front of them, many film workers were very moved.

"What are the names of the two actors? They acted so sharply! The eyes were filled with pain. It was as if brothers had really died, which made people feel the same."

Huang Zhanba chewed his tongue and said, "Young and Dangerous is a drama with good casting. It's very vulgar, but it's very flavorful."

Needless to say, Leung Gai-fai played the handsome Kun. The previous scene in the crying brother Ba Guan was so sinister that it gave people goosebumps. But thinking about Liang Gai-fai's interpretation of Lin Guoyun, I can only say It's as it should be.

But the performances of the two unknown actors can actually make people feel heartbroken. This is a surprise!

Huang Zhan was pleasantly surprised. Filmmakers like Li Hanxiang, Tsui Hark, and Makka were equally shocked.

They also know how to shoot brotherly love, and the final scene where Brother Ma and Brother Hao generously die in "A Better Tomorrow" was equally exciting.

But the scene in front of me is more real and full of life. It is really as heartbreaking as if a brother fell in a pool of blood.

Surprise?

Sitting in the theater, Luo Dong and Su Liyao were silent, and even Feicheng, who always talked a lot, was much more deep-tempered.

In this scene, what others are watching is a story. What they are watching is their own memories.

In reality, they really experienced separation and death.

In 1977, Abiao was crushed into dregs and fed to the sharks on the high seas.

In 1978, Little Brother, Ah Jin, and Fei Zai rode on a firework rocket, and their flesh and blood were mutilated, and their intestines could not be stuffed back.

In 1979, Ming Tsai was chased and stabbed more than 30 times. He staggered away, bleeding all the way. In the end, he could not hold on until they came over, and he died with his eyes open.

The rivers and lakes are like pots of porridge, and there are still ditches after crossing the hurdle.

They are not acting, they are pretending to be themselves.

Having a life is the foundation for a good actor. Luo Dong and Fei Cheng may not be considered good actors. But in "Young and Dangerous", they are playing the role of their young selves.

That's why their performances are so touching.

"Bang--"

Chaopi finally fell into a pool of blood, looking at the sky. Under the subjective lens, the sky was dark, and seagulls were passing by in the air. The vibration frequency of flapping wings broke the silent scene. The sound of waves on both sides was beating against the rocks, and the camera was getting closer and closer. The further away, countless young and Dangerous boys chased after him with knives, and Laofi refused to close his eyes.

The sad and low cello sounds along with the piano, and the camera keeps zooming out and rising...

Finally, a large overhead freeze-frame long-range shot was presented to the audience. Among the crowd of young and Dangerous boys who were chasing after him, Louis Koo, who was lying in a pool of blood, stood out.

The composition of the whole picture has a sense of imperfect beauty.

"The Birth of a Prefix" also has a prologue to death, and Wu Xiaozu used the inspiration from "Night Patrol".

For this picture, Wu Xiaozu also drew on the "expressionism" of the oil painting school. Expressionism emphasizes the subjective emotions and self-feelings of the painting. This method is more suitable for the theme of the moment when put into the film.

"Grief" and "brotherhood" were sublimated in an instant.

The lens here is not 35MM film, but 24MM film, which makes this lens slightly flawed.

This slightly distorted image can undoubtedly mobilize people's inner negative emotions and give people the most realistic inner feelings.

Among Chinese filmmakers, Wang Jiawei and Lao Mouzi like to use styles similar to symbolism and expressionism to interpret films.

In Hong Kong in the 1980s, the previous director who liked to adopt this method was Hu Jinquan.

Wu Xiaozu sublimated this interpretation.

The scene in front of me was a very vulgar brotherly love, but it was also the most heart-breaking.

The vulgar things are actually the content that is truly close to the audience. This kind of brotherhood is often more visually impactful than the seemingly high-end postmodernism.

Wu Xiaozu liked the words of later generations Han Er very much.

A filmmaker with a good aesthetic will not make bad movies.

Aesthetics, in a narrow sense, means a correct understanding of colors, characters, and stories. But in a broader sense... that is not something that filmmakers should consider.

The remnants of the New Wave stared blankly at the group of "paintings" in front of them.

Several people swallowed.

This picture is so romantic to the extreme. Aesthetics of violence? They feel that praising Wu Yusen is equivalent to spanking Wu Xiaozu.

In "The Birth of a Prefix", the image of blood atomizing, colorful colors, and birds flying at sunset had already made Wu Yusen's so-called "aesthetics of violence" go back to his stomach and continue to brew.

Who would have known that now, this casual and deliberately sensational story of "imitation of others" would be so beautifully shot.

"Deliberately sensational..."

After holding it in for a long time, Yan Hao spit out a sentence of criticism. Immediately, Yu Yunkan and others found the topic and began to lash out collectively.

They couldn't admit that Wu Xiaozu was ahead of them. At least in terms of the application of aesthetics and images, the cars they drove were mostly for going to kindergarten, while the cars Wu Xiaozu drove were for going to university.

Wang Zuran hugged Wu Xiaozu's waist and leaned into Director Wu's arms, with tears in her eyes. She raised her head slightly and looked at the handsome face that she had never tired of looking at, and her tongue trembled with sweetness.

Lin Qingxia? Gao Lihong? Who else is bound by Zhou Huimin?

I, the king of immortals, only have one woman's crotch ejaculated, but ten thousand women will not do it!

Who can ride a horse across the body, only I, the Great Immortal, am the King?

Thinking of this, Wang Xianxian straightened her chest and rubbed Wu Xiaozu's arms with the bean buns as in the books. She rubbed them again and again until the red beans on the red bean stuffed bean buns hurt.

"..." In order to match the evening dress, she went into battle in a vacuum.

…

"The story of this play is really vulgar."

Tsui Hark stared at the screen, looking at it seriously. He didn't wait for Shi Nansheng next to him to say anything, and then said, "But the rhythm of the movie, the shots, and the colors are really sharp. This drama also talks about societies and underworld, but it is different from "One Word" "The Birth" is completely different.

That drama had destiny, choice, and responsibility. But it lacked passion and love. This drama is just the opposite. It doesn’t have much connotation at all. Neither the story nor the plot has a trace of the previous one. It lacks the author’s film. exploration.”

"Isn't it so new wave?" Shi Nansheng asked with a low smile, "You mean it's very vulgar?"

"Vulgar? It's so vulgar! It's a purely commercial film. It's more vulgar than me."

Tsui Hark laughed at himself and said sternly, "But look at these young people and these students, they are really passionate about it. It's a very vulgar subject matter, but Wu Xiaozu is able to make pictures with passion."

Looking at Shi Nansheng who was slightly surprised, Tsui Hark raised the corner of his mouth, "But to be able to film a very vulgar story with such passion, Wu Xiaozu has made a lot of breakthroughs." As he said that, he raised his eyes and looked not far away. of Wu Xiaozu.

His eyes were startled.

Wang Xianxian rubbed against Wu Xiaozu's side softly and enchantingly, turning into a thousand soft fingers. She put her legs on Wu Xiaozu's legs, and her whole figure looked like a clinging fairy.

"Hey? Is that Xiaoxian?" Tsui Hark asked.

"Well..." Shi Nansheng's best friend flashed through his mind.

"Look at her enchanting and artificial charm, does she look like Nie Xiaoqian?"

Tsui Hark looked at the "coquettish" Wang Zulan with great interest, "It turns out that Xiaoxian can still be so enchanting..."

In the previous life, Wang Xianxian took the initiative to ask for help, changed clothes and begged for mercy, and almost had his legs amputated!

I'm much luckier in this life! I was sassing at my man when I was taken by Tsui Hark.

Therefore, it is not a bad thing for a woman to be flirty. It just depends on whether you have to go out to do your hair - if you don't do your hair late at night and you are flirting with your man, is that considered coquettish?

This is clearly called love!

…

Halfway through the movie, the story of "Young and Dangerous" was linked one by one, attracting the attention of the young people in the scene. Everyone wanted to be transformed into Chen Haonan, Pheasant.

Seeing the excitement of countless students staring at the movie screen with their buttocks raised, Jiang Zhiqiang, Zhang Jiazhen and others breathed a sigh of relief.

This drama obviously touches the hearts of young people. Their publicity strategy will then focus on bombing this group of young people, fearing that it will not make a good box office.

This kind of scene also made countless filmmakers with dirty minds breathe a sigh of relief.

This story is really vulgar!

When they saw that this story was not another "The Birth of a Prefix", they were relieved!

Let Wu Xiaozu come up with "The Birth of a Prefix", which is the first to establish a sect, and then the "prefix" will really be born in the film industry!

Who would want to see a twenty-two or thirty-year-old young director who has created his own film style? How will these remnants of the new wave face Wu Xiaozu in the future?

Having a glassy heart is the most typical state in the entertainment industry. Not seeing the good of others is also the most common attitude.

There is often a saying in the entertainment industry, "When I see you having a bad day, I can't help but give you a thumbs up!"
Chapter completed!