My singer girlfriend is super fierce

Chapter 1511 "Chasing the Dragon" Trailer

Ye Zhi Qiu's initial plan for entering the Japanese film market is to start with live-action films.

Although audiences there are more receptive to animated films, even a powerhouse like Disney struggles to gain traction when it comes to domestic productions.

Overall, the film market ecosystem in this country is quite peculiar, and it's not so easy to reap the rewards; a long-term plan is needed.

Aside from Japan and South Korea, Ye Zhi Qiu will continue to focus on the North American market in overseas markets next year.

Currently, he has one TV series and three movies in production, scheduled to be released next year.

The TV series is HBO's "Game of Thrones," and the movies are "Twilight" and the "Harry Potter" series, both collaborations with Warner Bros. and Universal Pictures.

The details of the collaborations on these projects differed somewhat. Although I could get almost the best treatment and profit sharing in the industry, they were all within the framework of Hollywood "producers".

Although Ye Zhi Qiu, as the screenwriter, retained a large portion of the power, the final control of the film ultimately rested with the other party.

Ultimately, if the series is a box office hit, Ye Zhi Qiu earns a lot, and the producer will only earn even more. But there's nothing that can be done about it unless you can break out of this framework and become the producer yourself to make the lion's share of the profits.

With the success of his previous works, including his Emmy Awards, the time is almost ripe. Ye Zhi Qiu plans to direct his own films next year and have them released in North America.

Ye Zhi Qiu's "global plan" is to conquer the Asian market, mainly Japan and South Korea, and then add the world's largest market, North America.

The sole purpose of this "global plan" is to make money! To make a fortune!

Ye Zhi Qiu was well aware that art knows no borders, but those who create art have nationalities, so it was impossible for him to truly integrate into a market with a completely different cultural background.

In China, he can make commercial films, or he can make art films with a contemporary theme like "Hello! Mr. Tree" regardless of box office success or failure.

This approach doesn't work in overseas markets. Just like with music, if you sing "Shuidiao Getou" in China, the audience can understand and appreciate it because of cultural resonance.

You expect that group of viewers outside, who practice "happy education" and can't even do basic arithmetic, to understand the sentiment of "The moon of today is not the moon of old, yet the moon of today once shone on the people of old"? That's just absurd...

It would be better if Ye Zhi Qiu himself ripped off his shirt, revealing his eight-pack abs, and shouted "We will rock you" at the top of his lungs, with the audience roaring along. That would have been much more explosive and direct.

As for the European market, although it is equally large, it is too fragmented and there are significant differences in style between different countries, so there is no need to force it.

Aside from movies, he just needs to maintain a pace of at least one new album per year in the music industry to keep the hype going. Universal Music, however, hopes that Ye Zhi Qiu will hold another global tour next year, but Ye Zhi Qiu refused without hesitation.

My main focus is on film and television, so I don't have much time to travel around the world. It's okay to drive in a few major cities.

However, with the New Year's Day approaching, Huahai TV in China planned to hold a New Year's Eve gala and invited him to perform on stage, which Ye Zhi Qiu did not refuse.

After all, Huahai TV is an old partner, and it's right on our doorstep, so it won't cause any problems.

......

Time continued to pass, and it came to December 10th.

The Hong Kong biographical crime film "Chasing the Dragon," scheduled for release on New Year's Day, has officially released its first trailer.

This film is directed by Lai Ka-ming, president of the Hong Kong Film and Television Association, and stars two Hong Kong film emperors, Leung Yiu-tung and Lam Chi-keung, along with a host of well-known supporting actors, making for a truly luxurious cast.

In addition, previous media reports indicated that this was a large-scale production with an investment of over 100 million yuan, which was quite impressive and had already whetted the appetite of Hong Kong audiences.

Therefore, the trailer immediately generated considerable buzz upon its release.

Nighttime in Mong Kok, Hong Kong.

After finishing get off work, 35-year-old Tang Zhihao squeezed into the subway to go home.

It was rush hour, and the subway was crowded. Tang Zhihao habitually walked to a corner in the connecting area between carriages, took out his earphones, put them in, and casually opened a video app.

On the homepage, you'll see a very eye-catching promotional cover. The picture shows two men standing side by side, each holding an incense stick and making the same gesture of offering incense.

Tang Zhihao recognized them at first glance: the two were film emperor Liang Yaodong and Lin Ziqiang.

Above the two people's heads, directly above the screen, are the two large, flamboyant characters: "Chasing the Dragon".

Tang Zhihao had heard about this film, after all, Hong Kong entertainment newspapers had already published a lot of related reports before filming started, so it was hard not to see them.

However, Tang Zhihao showed little interest in the film, or rather, he had little interest in Hong Kong-produced films at present.

Tang Zhihao also grew up watching Hong Kong movies, including kung fu films, gangster movies, and God of Gamblers movies. These Hong Kong movies left him with many wonderful childhood memories.

But rationally speaking, it is also a fact that Hong Kong cinema is in decline.

For more than a decade, newspapers have been constantly reporting on this issue, and even now they are still chanting the slogan of "revitalizing Hong Kong cinema," with various analyses and countermeasures emerging one after another.

Tang Zhihao, on the contrary, felt that there was no special reason for the decline of Hong Kong films; it was simply because they were no longer good.

In the 70s-90s, Hong Kong's film and television industry was more developed than that of the mainland, and audiences naturally liked the films produced there. However, as the mainland economy developed, this gap was quickly closed and even surpassed by a wide margin.

I work in the trade sector and frequently travel to various cities in mainland China, where I've witnessed many changes.

Hong Kong films used to have the economic advantage and easier access to the international market, which allowed them to succeed. Now that this advantage is gone, isn't it normal for them to decline?

Take martial arts films for example. Hong Kong films can only shoot on a few small hills when filming locally. Mainland film crews, on the other hand, have to choose from locations with an altitude of over 1,000 meters. How can you compare them?

The audience isn't stupid; they know perfectly well which one to choose to watch.

Therefore, Tang Zhihao has serious doubts about what good films Hong Kong can produce now.

Despite his doubts, he was bored on the bus anyway, so he clicked on the trailer.

The film opens with a panoramic view of Victoria Harbour, a symbol of Hong Kong, with a few words appearing on the screen.

Hong Kong, 1960.

Then, the scene changes, and four young people stand on the ship's railing, looking out with smiles on their faces and hopeful eyes.

Among them, a young man held a cigarette butt that was almost gone but he refused to throw away, and he took a deep drag on it.

Then, a man's Cantonese narration began.

"My name is Wu Shih-hao, and I'm from Chaozhou. I came to Hong Kong around this time. It took me four days to eat my first meal with my brothers, but I wasn't scared. I remember my father telling me that."

"Life and death are preordained, wealth and honor are determined by Heaven."

As the narration begins, the film's visuals constantly change, showing scene after scene of gang warfare.

And when the last sentence was uttered, the wild and untamed spirit of Hong Kong in the 60s instantly came to life.

Before he knew it, Tang Zhihao's interest had been completely captured.

This movie seems interesting.