905 Movie Network Special Article Since 2009, Yang Zhenglong, who was in his early twenties, often traveled between Hong Kong and Beijing with his father. He witnessed with his own eyes a series of Emperor's films cooperating with the mainland and saw the impact of Emperor's movies. The power gradually expanded, and the entire Chinese film industry was booming.
From his childhood exposure, he gradually summarized his understanding of film creation. It is these observations that allow him to understand the strengths of each filmmaker and draw on each other's strengths, ultimately converging into a work that satisfies the audience. For example, Nicholas Tse, who has known Yang Zhenglong for most of his life, is gradually emerging and will bring more surprises to the audience.
Today, Yang Zhenglong has multiple identities. He is a member of the National Committee of the Chinese People's Political Consultative Conference, chairman of the Hong Kong Youth Federation, and vice chairman of the Beijing Youth Federation. As a "post-85s" Hong Kong youth, he continues to think about the youth cultural exchanges between Hong Kong and the mainland, and Movies are an excellent language that connects the shared memories and emotions of audiences in both places.
"China Film Report" "Lan Yu Living Room" special planning-Emperor Film House ends this issue. Film channel host Lan Yu talks to Emperor Group Vice Chairman Yang Zhenglong, hoping that Emperor Film and Chinese films will take off together.
Lan Yu: I am very happy to come to Hong Kong and be able to chat with Mr. Yang about Emperor's movies and the future development of Hong Kong movies. When did you really start working on Emperor Film?
Yang Zhenglong: I have been following my father since I was a child. I heard a lot about the company's investment. Then I officially joined in 2009 and found that our group is a complex and film is a very important sector. From that time to today, I followed my father to understand the development of movies.
Lan Yu: I heard that your first job was as your father’s assistant?
Yang Zhenglong: is.
Lan Yu: At that time, which mainland filmmakers did you and your father get to know?
Yang Zhenglong: I started working as my father’s assistant in about 2009. At that time, I often went to Beijing and went to China Film and Television. At that time, we were filming the "Founding of the Republic Trilogy" and "Let the Bullets Fly" and other different categories of movies, with Jiang Wen, Ge You, Feng Xiaogang, etc. all have in-depth knowledge. In recent years, I have also collaborated with the great director Zhang Yimou on "Above the Cliff", and I still have a deep feeling.
Lan Yu: Emperor has always adhered to the strategy of Hong Kong-style experience plus mainland localization, constantly expanding its influence in the film and television industry, and has participated in the production of films such as "The Wandering Earth 2", "Changjin Lake" and "Changjin". A series of films such as "Water Gate Bridge" and "Operation Red Sea" have achieved both box office and word-of-mouth success. So does the Emperor have any unique vision and standards in selecting film projects?
Yang Zhenglong: These are also some of the works that we are proud of. Every movie must reflect positive energy, be marketable, and tell the story well. Whether you go to the cinema or watch it at home, you just want to feel it. See something, learn something, and feel the same way. According to the situation at that time and the overall environment of the world, we will choose the best theme. For example, the theme "The Wandering Earth" is very good. It embodies the important idea of a community with a shared future for mankind.
Lan Yu: In addition to these new mainstream blockbusters, we have also noticed that Emperor Movies has made a lot of breakthroughs in genres. Is there any new layout for the diversification of genres in the future?
Yang Zhenglong: we definitely insist on diversification and keep trying. In addition to the traditional big names, we also cooperate with some new people. We hope to combine the ideas of young people and the new generation. They are closest to the market. This is also the goal of our entertainment company Emperor. Purpose: Diversity.
Lan Yu: Emperor Movies also has a very eye-catching result in 2021, that is, "Rage: Serious Case", which achieved a box office result of 1.326 billion yuan in the mainland, and also set a box office record for Hong Kong films in the mainland.Does "Rage: Serious Case" have any new explorations and thoughts on the development of Hong Kong films?
Yang Zhenglong: "Wrath: Serious Case" is first of all a posthumous work by director (Chen Musheng), and we have completed the last part. The subject matter is really good, and it reflects the great advantages of Hong Kong films. Donnie Yen and Nicholas Tse also performed very well. Well, I hope we can make more attempts in the future to promote more Hong Kong movies.
Lan Yu: Hong Kong movies are one of the most important parts of Chinese movies, and carry the feelings and memories in the hearts of countless movie fans. But we also know that Hong Kong movies are also facing some real problems. So how will Hong Kong movies go in the future, and what contribution will Emperor make?
Yang Zhenglong: I think the whole market is actually getting bigger. There are many emerging film products in different regions, which is a good thing from the perspective of the overall situation. Of course, Hong Kong did have an "Oriental Hollywood" in the 1980s and 1990s. Later, the technology and actors developed in this advantage were developed in different places. I think it is very good. In the future, we will definitely draw on each other's strengths and join forces to extract everyone's strengths and make everyone progress.
"Customs Front" I hope to be released this year. In addition to Nicholas Tse, there are also Jacky Cheung, Carrie Lam, and Ng Chun-yu. The fighting scenes in it are still very shocking. "New Police Story 2" is currently in preparation, and we have seen many very innovative and shocking scenes. I hope the audience will look forward to it.
Lan Yu: This is Nicholas Tse’s first time as a director. What kind of potential do you think he has as a director?
Yang Zhenglong: Speaking of Ting Fung, I have known him for most of my life. My father watched him be born. When he was 16 years old, he signed a contract with Emperor. From a singer to an actor, he later invested a lot. He has different businesses and has listed his own business. He is an entrepreneurial young man. He is a very serious person who puts a lot of energy into his work. I hope that in these movies, whether it is the role of action director or director, he can fully demonstrate his talent.
Lan Yu: Everyone is looking forward to the next new film list of Emperor Film, which of course also heralds the future development and changes of Hong Kong movies. So "Goldfinger" is undoubtedly a very important and bold exploration and attempt. It is currently the highest-invested film in Hong Kong. It is also the first collaboration between Tony Leung and Andy Lau after 20 years, and it also adds financial elements. So what useful exploration and thinking does it bring to the future development of Hong Kong films?
Yang Zhenglong: The movie has made many bold attempts. Although Andy Lau, Tony Leung, and director Zhuang Wenqiang are collaborating again, they are not limited to the previous cooperation model, whether it is from the movie screen, the entire theme to how to tell the story. They have absorbed many new storytelling techniques from American Hollywood, and also reflected Hong Kong's sentiments. In the future, I think Hong Kong films should be bolder and bolder to try different themes and find different room for improvement.
Lan Yu: You have multiple identities. You are a member of the National Committee of the Chinese People's Political Consultative Conference, the chairman of the Hong Kong Youth Federation, and the vice chairman of the Beijing Youth Federation. So what do you think of the film in terms of cultural exchanges between the mainland and Hong Kong youth? Important role?
Yang Zhenglong: movies are a very good communication language. We have brought some college students majoring in performing arts from Hong Kong to the Beijing Film Academy for exchanges through many film sharing sessions, different exchange groups, and through film and culture and art channels. , and also let children from mainland performing arts academies go to Hong Kong to experience it.
After I became the chairman of the Hong Kong Youth Federation two years ago, I had a feeling. I found that some young people have not really devoted themselves to social work. Sometimes they don’t have a clear feeling about many things. They just see an artist in the movie. The brilliance and brilliance, or seeing him radiating on the concert stage, but actually they all put a lot of hard work into it.
Lan Yu: What I just mentioned is also a theme that many senior Hong Kong artists have recently mentioned when they were doing roadshows in some movies. Everyone saw that they were able to achieve such outstanding results because they believed in themselves. They have high requirements and strict standards, and they are really working hard on their career. I think it is precisely because there are such a group of filmmakers in Hong Kong that they have been able to create the glory of Hong Kong movies. Therefore, in the future, it is also necessary to reserve more such talents.
Yang Zhenglong: itself, our Emperor, is also a complex. From the 1990s, artists such as Nicholas Tse, Joey Yung, Twins, Hacken Lee, etc., through their different pasts and different ways of telling stories, hope to use them in the movie. The entire cultural section brings everyone's strengths to the fore, gathering the best directors and actors to brainstorm stories about China and Hong Kong, and also exudes the confidence and heritage of our Chinese culture.
