At the 2022 Busan International Film Festival , the famous Hong Kong director Chen Kexin announced that his pan-Asian film and television production company, Changin&39; Pictures, has been officially established, and announced that five of the new plays account for one-fourth of the total number of new plays. department. In addition to Thailand, South Korea and Japan, the producers of the first batch of episodes also include Hong Kong and Taiwan in China. At present, Jackie Chan , Donnie Yen and Zhang Ziyi have joined.
Five dramas have their own highlights, and the producers are gearing up.
"ONE: High School Hero" and "Class 2 Li Xishu" are both adapted from Korean web comics, produced by two Korean companies respectively, and both belong to campus themes. One is based on 's campus bullying , and the other is about campus. Same-sex love. The
drama version of "Ghost" is the sequel to the film version of 's "Ghost" produced by Chen Kexin . It brings together three powerful directors from Thailand.
Donnie Yen starred in the fantasy action drama "The Loser, The Hidden Master", which tells the story of an Asian-American who discovers that a Hong Kong martial artist inherits his bloodline through supernatural means. Donnie Yen is also the show's producer and martial arts instructor. Among the five dramas
, the most watched one is naturally directed by Chen Kexin and starring Zhang Ziyi in "The Case of Killing the Husband in the Sauce Garden". The play was adapted from a real event that happened in Shanghai in 1944. It was originally planned to be made into a movie. As a result, Chen Kexin considered that the 4-hour length of the film was very difficult to pass the review, so she put it on hold temporarily, so this restart will be based on the episode's length. form presented.
Chen Kexin revealed in an interview at the Busan Film Festival that the drama version of "The Case of Killing a Husband in the Sauce Garden" will start filming next year. At that time, we will see Zhang Ziyi's wonderful performance in the streaming drama series, and also through various different performances before and after the characters. , to see the changes in Chinese society.
In addition, it is worth mentioning that Zeng Guoxiang , an apprentice taught by Chen Kexin, also participated in directing the drama version of the Chinese sci-fi big IP "Three-Body Problem" produced by Netflix . It can be seen that the Hong Kong director with a keen sense of smell saw it again. The new trend has found a bigger stage for Chinese dramas.
That's right, as a Hong Kong film market that could compete with Hollywood and in the 1980s and 1990s, and dominated the Asian film industry, the generation of filmmakers that have been cultivated all have extremely keen market insights, and some people even have an unforgettable experience. The original national sense of responsibility.
This generation of filmmakers, whether they are producers, directors, martial artists, or actors, there are always people who can find new opportunities one step ahead of others like the earliest birds, and every time a new model is launched, it is amazing. Refreshing.
In the 1990s, in the face of the uncommercialized mainland film market, Hong Kong filmmakers took the lead in testing several co-productions, all of which caused great repercussions, such as " New Dragon Inn " and "Farewell My Concubine". works of this period.
When it comes to co-production, Hong Kong movies have always been without mainland elements. The earliest "Burning the Old Summer Palace" and " Shaolin Temple " are actually co-productions in a sense.
In the mid-to-late 1990s, Hong Kong films gradually encountered bottlenecks, and because of the attack of SARS and , the Hong Kong film market lost its former vitality.
A timely rain just came. In 2003, the mainland and Hong Kong government officially signed CEPA, which stipulated that Hong Kong and mainland co-productions are no longer subject to quota restrictions, and the same treatment as mainland films, which means that the road to the north has been unimpeded, and co-production films are no longer subject to quota restrictions. The era of prosperity is coming.
ten times the salary in Hong Kong, relatively easier work intensity, and not like Hong Kong z1The working environment of has attracted a large number of talented people from the Hong Kong film industry to pour into the mainland market. The era of co-production has come, such as "Ip Man" series, " Mei Lanfang ", " Tangshan Earthquake " , "Kung Fu", "Let the Bullets Fly" and other well-received classics, further confirmed the correctness and necessity of the mainland market opening its doors to Hong Kong filmmakers.
Chen Kexin was a member of the Beishang army at that time and one of the most successful Hong Kong filmmakers in Beishang.
Among Hong Kong filmmakers, Chen Kexin belongs to the category of global take-all, and the internationalization route has already been fully paved. In fact, Chen Kexin's earliest internationalization characteristics were doomed from his birth.
Chen Kexin was born in Hong Kong in 1962. His parents are Thai Chinese. When he was twelve years old, his father's career was blocked, so his family moved back to Thailand. After studying at an international school in Thailand for six years, Chen unfortunately flew to the United States, stayed for three years, and finally returned to the birthplace of Hong Kong. It is precisely because he has mastered multiple languages that Chen Kexin is more likely to accept new things of internationalization.
Before Hong Kong returned to , Chen Kexin already had famous masterpieces, such as " golden branches and jade leaves ", such as " sweet honey ".
"Sweet Honey" did not meet Chen Kexin's expectations at the box office when it premiered in Hong Kong. Chen Kexin once thought that the film was a failure from a commercial point of view. However, after visiting many Asian countries, he found that he far underestimated "Sweet Honey". The influence of "Honey" in Asia, Hong Kong's box office is too unconvincing.
This gave him the idea of going out of Hong Kong to make films.
Two years after the release of "Sweet Honey", Chen Kexin went to the United States again. This time he went to direct the Hollywood film "Love Letter". During the filming in the United States, he experienced the impregnable film distribution system in the United States. At this time, another idea emerged, Connect the film markets of Asian countries.
At that time, the film industry in Thailand and South Korea both embarked on the road of reform, and even showed their edge. Although Hong Kong films are showing a decline, their influence is still there. Hong Kong, established the film company Applause Pictures.
later had "Darkness", "Late Mother" and "Spring Die" cooperating with filmmakers from Thailand, South Korea, Japan and Singapore, and " Homecoming of Three Watches" cooperating with cutting-edge directors from South Korea and Thailand. ", the second "Three Shift 2: Dumplings" even invited directors from China, Japan and South Korea, including Chen Guo and . It can be seen that at that time, Chen Kexin was already doing his best to throw the olive branch to the film talents of Asian countries. Although the works above
have won many international awards, they have not caused any splash in the commercial field, and it was not until the development of the north that Chen Kexin really found a platform to show his strength. The great success of
's first work "If Love" after going north has won a good start for Chen Kexin. Since then, he has continued to make excellent works, such as "", "October Siege", " China Partner ", " Dear " and " won the championship ", these authentic mainland stories are all from the hands of this international director, who is the producer of " July and Ansheng ", "Youth of You" , "Like You" also achieved a breakthrough in genre film theme and creativity, each of which was widely acclaimed.
From this, it can be seen that the experience in many countries and the accumulation and tempering of filming in Hong Kong not only gave Chen Kexin an international vision, but also enabled him to successfully grasp the pain points of the local film market every time and grasp it firmly. The audience's psychology, if we want to gather together the star-studded Asian film and television people, at presentFrom the point of view, Chen Kexin is indeed the most suitable promoter.
The pan-Asian production model was initiated by filmmaker Chen Kexin earlier than anyone else. Now that he has set up a new company, switched to TV dramas, and picked up this model again, Chen Kexin is obviously more confident than anyone else.
The Korean drama " Squid Game " produced by Netflix earlier made a sensation all over the world, and it strengthened Chen Kexin's determination. He saw that not only English dramas can be loved by people around the world, but now Korean dramas have done it, and Chinese dramas in the future The same can be done. So shooting " Chinese dramas that people all over the world watch" has become his current focus.
The arrival of the streaming media era not only gives more film and television talents the opportunity to be seen by the world, but also brings opportunities for local cultural promotion. Of course, the ultimate goal of streaming media giants like Netflix is to explore more markets , see greater business opportunities. In short, this may bring a win-win result for filmmakers, regions, producers, and audiences.
Although there are various barriers between mainland China and foreign streaming media, in recent years, mainland dramas have also been exported, but the domestic thunder is loud and the foreign rain is small, which is always the unspeakable pain of the internationalization of mainland dramas.
Chen Kexin's new move, although not new to him, will undoubtedly bring new opportunities to film and television and the market in China and even the whole of Asia, especially those mainland film and television talents who have no chance to show their true level , as well as the audience who are not able to see the other side of mainland film and television and are angry with them, perhaps because of Chen Kexin, they will see more possibilities for Chinese dramas.
Every time a Hong Kong filmmaker takes a historic step, it usually brings a revolution and creates a new situation that everyone likes. In the end, more than one side benefits, including the market activity of a region and the level of the film industry.
So, can the pan-Asian film and television production model make Chinese dramas humiliated and accepted by Western audiences? Can Chinese dramas reshuffle the global market and divide the world with English dramas, Korean dramas? The "Sauce Garden Killing Husband Case", which took the lead, may be the answer. Whether
is a good start or a bad apprenticeship, let's wait for the episode to go live!
