By 1982, Li Changsheng had done several things.
One of those things is starting to sell off your own properties en masse.
Because he already knew he fell with the Iron Maiden in 1982,
It will be that Xiangjiang's housing prices will plummet sharply, including Xiangjiang's stock price will also plummet.
In this case, if you continue to hold the real estate, you will only lose money.
Now sell all these real estate "607", hold cash, wait for the decline to a certain level, and then take them back.
On the other hand, Li Changsheng is planning to make a joint venture film between the two places, "Burning the Old Summer Palace", which reflects the crimes of the English colonists.
So it turns out that the film of that time and space was directed by Li Hanxiang, the great director of Xiangjiang,
This time and space Li Changsheng is still planning to invite him to direct,
In this movie, the male lead is still Liang Jiahui, and the female lead is still Liu Xiaoqing.
The difference is that this movie will have his dark investment.
After more than 30 years of development, starting from the 1940s when filmmakers moved southward, Xiangjiang Films is far from the state it was in when it started.
The production process and aesthetic taste have formed unique local characteristics, which are basically equivalent to two systems with the domestic film industry.
Therefore, sufficient cooperation and exchanges between the two are even more important. By chance, such a heavy responsibility fell on Li Hanxiang.
Li Hanxiang is one of the Hong Kong directors of that generation who has the best grasp of art and business as a whole. He also loves traditional culture and has studied Qing history intensively.
Although I have been making Fengyue movies for ten years, I was forced to make a living and killed chickens with knives.
It turned out that in that time and space, he was 57 years old this year, and his creativity was not exhausted, and the world changed again. Seeing that the mainland provided him with an extremely favorable environment, his enthusiasm for creation was high.
The times chose him, and he also seized the opportunity to create the most important works in the later period of his career, "Burning the Old Summer Palace" and "Listening to the Government Behind the Curtain".
Xiangjiang has many precedents of cooperation between the two places and female filming before, but whether it is the well-received "Running into the Raging Sea", or the sensational "Shaolin Temple", and even Du Qifeng's debut work "Death of Gold in the Clear Water and Cold Mountain", they are all the same. Works dominated by leftist corporations.
As a great director in the free world, Li Hanxiang's cooperation with Heinai this time is the first time to break through the limitation of form, and the significance is extraordinary...
For this purpose, he established the New Kunlun Company, with funds sponsored by Aomen Fushen. The mainland provided film sets and filming locations, actors were selected from both places, and the production team mainly came from Xiangjiang.
Such all-round and multi-level cooperation established a successful template and inspired subsequent large-scale co-productions.
Until 2003, Xiangjiang filmmakers came out in full force, and its pioneer was Li Hanxiang's trip to the north this time.
Da Lu Fang showed the greatest sincerity and generously opened up many real locations including the Forbidden City for shooting,
All kinds of palaces and pavilions and precious cultural relics are eye-opening, and a magnificent landscape has been built in Chengde.
Li Hanxiang did his homework, rewrote the script himself, and repeatedly consulted Qing history experts. Every detail of was carefully studied, and he strived for perfection.
Even if there is room for criticism, no one could have done better at that time.
He seems to have become the old gourmet in his romantic movies. He can't hide his greedy and admiring eyes when facing the stunning beauties. He repeatedly pays homage to the magnificent inner garden of the palace with a long lens of wide field of view, and reproduces all kinds of tragic characters here with full of sympathy. His words and deeds are daily life, and the hidden pain behind the camera reflects the love in his chest. .
