John Woo, the 50th anniversary of his career as a film: Movies cannot be eager for quick success and instant benefits. Audiences still need emotions

John Woo found that many people now live in a state of eagerness for quick success and instant benefits, but many people still maintain their pursuit of beauty.

Original title: But because the chivalrous man studied in

the big hotel and hidden interview room, director John Woo came in in a wheelchair. On the 24th, his new film "The Hunt" will be released in China.

When "The Hunt" premiered in Malaysia a few days ago, he twisted his waist. A 71-year-old man has broken muscles and bones, but it is common but difficult to endure. His eye diseases have also become serious. It is said that he stayed up late while filming "The Hunt" and shed tears when he saw the light. The light in the interview room was on and shot straight into his eyes. The assistant came over to help with eye drops. Asked if he wanted to take a break, he waved his hand and said,"Let's start." The man in front of me is really like the most ordinary old man around-his hair is gray, but because it is thin and short, it doesn't look so white; his temples are covered with age spots, deep and shallow, and I don't know which one came from which age; there is a round mole on the bridge of his nose, showing the stubbornness and heroic spirit in his bones; but his suit is crisp, and his black matt lace leather shoes are spiritual and restrained-yes, he is really a tough old man.

This year marks John Woo's 50th anniversary of his career as a film maker. He is a master in the hearts of China audiences, and the most critical film critics are no exception. In China, such a consistent evaluation of a director is extremely rare.

The director's biggest function is to explore the complexity and beauty of human nature

. During this period of time, a restored version of "The True Character of Heroes" filmed by John Woo 30 years ago is being released nationwide. "" The True Character of Heroes "is indeed my most emotional movie. I am very grateful to the National Art Film Screening Alliance for helping me organize a commemorative event to commemorate my 50th anniversary of my career in film. They suggested showing "The True Character of Heroes" so that young audiences can have an understanding of me and the style created by "The True Character of Heroes" back then. As a result, there are really many young viewers who like to watch it, and I am very grateful." Wu Yusen said.

When talking about John Woo's films, most people will start with "The True Character of Heroes"-that was the beginning of the "aesthetic of violence". "The aesthetics of violence" was not what John Woo said himself. As the film critics talked about it, everyone became accustomed to it. He agreed with these four words. In his view, the so-called "violence aesthetics" means both action and romance, and pursuing the root cause is an exploration of the complexity and beauty of human nature.

"I like things with aesthetic beauty. When I made movies, I always felt that no matter what kind of play it was, what time and what background the story was, it must be made into a beautiful story. I think the biggest function of a director is how to make the subjects photographed very beautiful. When I was filming, I was very influenced by musical and musical films."

John Woo loves to use the image of pigeons. "The Bloody Two Heroes" released in 1989 is the work he is most satisfied with. In this movie, John Woo created two characters who are both upright and evil for the first time. The most intense gunfight between the two was completed in the church. How to show their inner kindness and justice? John Woo thought for a long time and used a montage to achieve the ultimate poetic expression-after the professional killer Xiaozhuang played by Chow Yun-fat was shot, a white dove slowly flew across the face of the statue of the Virgin; after the police detective Li Ying played by Li Xiuxian was shot, the white dove flapped its wings and flew over the white candle. Even now, when talking about the creation that seemed to be helped by God, John Woo still couldn't hide his excitement. Since then, pigeons have become the most common guest actor in his films and his metaphor for romance.

He didn't mind having viewers tease him about his "dove" complex. In the new film "The Hunt," Masaharu Fukuyama plays Captain Yamura, who drives into the loft and a flock of white pigeons fly out, one saving Du Qiu's life and the other saving Yamura's life. It's like saying,"Hey, I'm back," in the most familiar way to the audience, and he says it's playing with the audience.

Using Western techniques and integrating into the spirit of the East

In the 1990s, John Woo, who was developing very smoothly in Hong Kong, suddenly went to Hollywood.

"Hollywood producers like my" The True Character of Heroes "and" The Blood "very much and invited me to make movies." At that time, in the United States, movies were highly stylized. Action films were for audiences who loved action films, and art films were for audiences who were artistic films. "They think my movies are different. Intense action movies will also have deep feelings and a sense of humor. Every element is in the movie and won't make people feel stiff, so they hope to bring my style over and change their movies." Woo feels that this is both a challenge and an opportunity to learn."I really want to learn different systems and new technologies, and try to work with a completely unfamiliar team."

At the beginning, Woo was not acclimatized. In Hong Kong, directors are the only ones who have a say, but in the United States, popular stars have a lot of rights. On the other hand, he thought that Americans were familiar with his style, so he made an American action movie using the method of Hong Kong films."But when the audience saw slow motion, they thought it was an advertisement and would laugh; when they saw the bloody footage, they thought it was too bloody, so they left."

Later, John Woo stopped filming to study American society and culture. "If you want to make an American film, or a film that is acceptable to both Eastern and Western audiences, or must you first understand each other's culture and life? What do they aspire to? Love what? We must understand each other deeply and find something that is of mutual interest."

"Use Western techniques and integrate into the spirit of the East." This is what John Woo's master told him. He tried to slowly add his own style into the film, and by the time he filmed "Face Changing", he had completely incorporated his style into it. "Broken Sword","Face Changing","Mission Impossible 2"... For a time, he became the most internationally renowned director in the Chinese film industry.

Then, John Woo suddenly turned back and returned to China to film "Red Cliff" and "Taiping Wheel". "One year, I met several producer friends at the Cannes Film Festival. I very much hoped that I could return to China and make some films to help domestic films open up the international market. I would love to do that. Since I've been shooting in Hollywood for so many years, I should give something back to China." Wu Yusen said.

"When filming 'Red Cliff', I brought a group of Hollywood talents back and filmed it in a Hollywood way so that all young people could participate. Because at that time, I also expected that the next target of American films would be China. Wouldn't it be great if we had the opportunity to familiarize some young people with Hollywood production methods? In addition, I also want others to know that China also has the ability to make blockbusters like Hollywood."

Historical themes, ultra-large production, high-level special effects... John Woo has created many "firsts" in China films, but these two films have also attracted complex comments on his directing career. John Woo said he didn't mind. "" Red Cliff "was not filmed based on the novel" The Romance of the Three Kingdoms ", but based on real history. The main consideration was to open up the international market."

Movies cannot be eager for quick success. Audiences still need emotions

. John Woo has his own understanding of the relationship between the creator and the audience. "Objectivity comments are certainly good. But now some viewers choose whether to watch it based on the rating of the movie. I think this is a bad phenomenon. And when scoring becomes an authority, I hope everyone can think about it. Although some movies are not good enough in some aspects, they also have a viewable side. They should be recommended in another way, otherwise the audience will miss some good movies."

Facing today's Chinese film industry, John Woo often thinks of Xiao Zhuang's words in "The Bloody Two":"We are no longer suitable for this world because we are too nostalgic." He missed the scene of his first meeting with director Tsui Hark decades ago. He drank beer and chatted about movies in the top-floor bar of a Hong Kong hotel, watched the afterglow of the sunset shine on the sea, and vowed to change the face of Hong Kong films. "We are all like people in the Jianghu, and we all have chivalry." Decades have passed, and the lives of the two have been ups and downs, and it has become uncertain whether people still need movies with feelings.

"This era makes people feel a little emotional. Some people overestimate or underestimate the audience. They feel that today's audience no longer needs emotions. I don't agree so much. They felt that there was no need to explain so much in the movie. It was enough to shoot one scene for each scene, and there was no need to shoot so many shots. But I think making movies is like writing poetry. You write a poem,'Lower your head and think of your hometown', you can't just write the word' low 'and stop writing it later. When talking about homesickness, the artistic conception expressed must be complete. The same is true for making movies. It takes at least seven shots to express yourself clearly. If you say you can shoot one, the movie will become more and more simple and there will be no emotion."

There is also a phenomenon of swarming together to make quick money. "When a movie sells for money, everyone goes to shoot this subject, following the same model and the same editing method. Young people need feelings, and the audience also needs feelings. If they don't think of it, you can guide them and bring them into a different spiritual world." John Woo found that many people now live in a state of eagerness for quick success and instant benefits, but many people still maintain their pursuit of beauty. "Is this kind of movie eager for quick success and instant benefit a unilateral pursuit of some producers or investors, or is it a real demand of the audience? I'm a little confused. So I still have to go deeper into contact with young people."

Editor: Mary