Strategically, one had to look down on the enemy, and tactically, one had to pay attention to the enemy.
Although LuChen has strong confidence in "A Chinese Ghost Story", which he led, he will never underestimate any opponent, especially a highly competitive film of the same type like "Painted Skin".
"The Painted Skin" was a heavy investment by Huaguan Pictures into Xiangjiang. This film adaptation of "Strange Tales from a Chinese Studio" claimed to have a total investment of more than 100 million yuan, a strong cast, and a large number of popular stars from both sides of the Taiwan Strait. It was also said that the post-production special effects were signed to Xiangjiang's New Visual Imaging.
New Visual Imaging was a famous film and television post-production special effects company in Xiangjiang. Its founder had worked in a large special effects company in Hollywood for ten years and had accumulated rich experience. He returned to Xiangjiang to start a business and recruited a large number of professional talents. He participated in the production of many blockbusters in Xiangjiang and the mainland, and had a good reputation in the industry.
The director of "The Painted Skin", Ding Tai, had won two Best Director awards at the Xiangjiang Film Awards.
Huaguan Pictures and Star Art Entertainment had teamed up and made such a big move. They had invested so much in "The Painted Skin", so Cui Xingxian naturally could not allow himself to fail. He was determined to get the green passage.
He had mobilized a large number of people to make a movie in Xiangjiang. Of course, it was not just for Xiangjiang's film support policy, but also to expand the film market in Xiangjiang, and at the same time to Taiwan and Southeast Asia.
This was an important part of Huaguan Pictures' plan to go south.
Under such circumstances, Lu Chen's "A Chinese Ghost Story" had naturally become a rather conspicuous stumbling block. If Lu Chen was just an unknown newcomer, Cui Xingxian would not care at all. He could directly crush him with his work.
However, Lu Chen was now a hot star in the country. The great success of his two TV series made him a well-known existence in the film and television industry. Cui Xingxian could not ignore him.
Most importantly, LuChen's second TV series, "Full House of Romance", once defeated a strong opponent with a weak one, and made Xiangnan Satellite TV almost lose face. (TN: Romantic House)
When "Full of Romance" first aired, Shonan TV's annual drama "Sea of Love" was competing with it in terms of viewership ratings. As a result, the latter was forced to change its broadcast time to avoid the spotlight.
With such a vivid example in the past, Cui Xingxian naturally regarded Lu Chen as the number one threat. Even if A Chinese Ghost Story was Big and weaker than The Painted Skin in terms of investment and cast, he did not dare to let his guard down.
If he repeated the mistakes of "Sea of Love", Cui Xingxian would be in big trouble. The TV could still change the broadcast time, but it was impossible to change the movie when it was released. It would be a crushing defeat!
It was precisely because Cui Xingxian valued Lu Chen, coupled with personal emotional factors, that the incident of Hong Hua harassing "A Chinese Ghost Story" happened.
Although Cui Xingxian's claws had been cut off cleanly, he obviously would not let it go. If he couldn't do it in the dark, then he would do it openly. Now, Hua Guan Pictures and Star Art Entertainment had recognized "A Chinese Ghost Story" as their number one opponent and had arranged a corresponding publicity plan.
This was the root cause of Jiang Wei's provocation towards Lu Chen.
Ye Xuan had a little understanding of such complicated internal affairs, but he had no intention of getting involved. He cleverly changed the topic and chatted with Lu Chen about the theme of this salon.
Since its inception, the Bell Tower Music Salon had been successfully held hundreds of times. Almost all the big shots in the Hong Kong pop music world had participated in it, so it had a great influence in the industry.
According to the convention, every music salon had a topic for discussion. The topic could be very broad or very focused, such as the development trend of Chinese pop music or the style evolution of Cantonese love songs.
A free and relaxed discussion atmosphere was the characteristic of the Bell Tower Music Salon.
And the theme of today's music salon was a little big — the past, present and future of Hong Kong pop music!
To be honest, such a big topic was enough to write a thick collection of essays. As the founder of Chinese pop music, Hong Kong pop music had too many things to say.
Of course, Ye Xuan knew that this topic was too big and he couldn't explain it clearly in a short time, so he didn't talk about the past and future of Hong Kong pop music. He only talked about the present, indicating that he wanted to hear Lu Chen's opinion.
Even outsiders could see the dilemma that Hong Kong's pop music industry was facing. However, it was undoubtedly very difficult to break out of the trap.
As the saying goes, the onlookers are confused. Perhaps an excellent musician from the mainland like Lu Chen might be able to give some useful advice.
Perhaps it was because this topic had piqued the interest of the guests in the salon. Soon, many people gathered around. Some were serious out of good intentions, while others were not so kind and were ready to nitpick.
Although most of the people present had met Lu Chen for the first time, they basically knew where Lu Chen came from.
This young artist from the mainland had been in the limelight in Hong Kong recently.
In the face of all kinds of gazes from around, Lu Chen was a little speechless.
Ye Xuan had given him a big topic. If he really talked about it, he wouldn't be able to finish it even after a few days and nights.
Hong Kong pop music started in the middle and late 1970s. Japanese songs began to be popular in the Hong Kong music industry. Like the economic status of Hong Kong, it entered a period of rapid rise. It was common for popular singers to release two or three songs a year.
Due to the lack of local composers, "Japanese songs and Cantonese lyrics" became a trend, and there were also a number of singing stars who became famous by covering songs until the 1980s.
In the 1980s, Hong Kong was innocent and bright, and had a beautiful fantasy of the future. The times were rumbling forward, and everything was not worth mentioning.
In the middle and late 1980s, people in Hong Kong began to emphasize "emotional consumption". Everyone pursued a unique personal style and tried to get rid of single consumption to show personal taste.
This social trend of thought brought new demands, including pop music. Covers of "Japanese songs and Cantonese lyrics" could no longer meet the appreciation needs of the majority of fans. Record companies began to pay attention to original works and recruited a large number of professional songwriters.
As a result, Hong Kong pop music entered a new period of development. Good songs and classics emerged one after another, and a large number of them were imported to the mainland, which had a huge impact on the mainland pop music.
The 1980s and 1990s were the golden age of Hong Kong pop music. The Heavenly King and Queen of the singing industry each led the coquettish, songwriters emerged one after another, and hundreds of flowers competed for beauty.
However, in the new century, Hong Kong pop music gradually could not keep up with the times. The Heavenly King and Queen gradually aged, and the songwriters lacked inspiration. The new generation of singers and artists learned from Japanese and Korean stars and embarked on the path of idols.
History seemed to be reincarnating. In the current Hong Kong pop music world, imitation and plagiarism became the trend. However, the imitation and cover targets increased from Japan to Europe, America, Japan and South Korea. Singers no longer relied on selling albums to make money.
It was mainstream for celebrities and singers to sell their looks and looks. This was where the interests of the major entertainment media companies lay, so how could they abandon this good way to make money?
As for the Hong Kong pop music world, who cared about life and death!
There was a dilemma, and it was difficult to break it. The current situation of Hong Kong's pop music world had many similarities with that of the Mainland. How could Lu Chen have the ability to break the predicament with bold words?
But if he did not say anything, or only said something in general, he would be looked down upon.
After thinking about it, Lu Chen decided to say something.
You've already exceeded your reading limit for today. If you want to read more, please log in.
Login
Select text and click 'Report' to let us know about any bad translation.
