Dong Shengyi admitted some time ago that Louis Koo was the only actor in Hong Kong.

You can also count the index. There are really no famous actors under 40 in Hong Kong.

Nicholas Tse used to be one of them, but now he has nothing to do and is addicted to cooking. He hasn't asked the market for his works for many years.

In fact, it is not that there are really no young actors in Hong Kong, but that there are too few young actors. There are really no young actors who can support a movie box office.

People who often watch movies know that Chow Yun Fat, Andy Lau, Aaron Kwok and other 60-year-old men are basically in charge of the Hong Kong film circle at present. Stephen Chow has retired from the actor circle and devoted himself to directing, but the speed is too slow and needs to wait.

They are now popular, not because their acting skills have improved, but because of the popularity and image accumulated in the golden age of Hong Kong movies twenty or thirty years ago. Once they have nothing to eat, or are old, it is entirely foreseeable that they will be abandoned by capital.

In the golden age of Hong Kong films, more than 400 films can be made in a year. But there are no professional schools related to performance in Hong Kong. This is a very strange phenomenon.

Many Hong Kong actors we are familiar with are trained in wireless actors' classes for half a year, and then they begin to run dragon circles on the set and grind them out step by step.

Without professional training and theoretical support, you may not even pass the basic lines. Many people will become stars, and no one will settle down to learn the knowledge of acting.

Actors who can become famous are either really talented, such as Stephen Chow, Tony Leung Ka Fai and Tony Leung Chiu Wai, or they come out step by step by bad movies or small roles. Like Andy Lau.

They caught up with the good times. So many movies are being made, so many roles let them practice their hands and improve their acting skills. They can start from passers-by, and it will take years or even decades to become film emperors.

Nowadays, the scenery of Hong Kong movies is no longer beautiful, and the output has plummeted, with less than 30 films a year. Where are there so many opportunities for young actors to practice their hands and improve their acting skills?

Without professionally trained reserve talents and an environment for cultivating practical talents, how can young actors stand out?

The second reason is that Hong Kong films are no longer favored by capital.

No matter how good Hong Kong movies are, there are only 7.6 million people in Hong Kong. Except for those who didn't go to kindergarten and nursing homes, the audience of Hong Kong movies is really very small.

In the past, the high box office of Hong Kong films did not refer to the local box office, but to the total box office of Taiwan Province Province, Southeast Asia and other places. In the past, investment in Hong Kong films mainly came from Taiwan Province Province.

Jing Wong said in an interview that since Stephen Chow filmed Jigong, Taiwanese capital stopped investing in Hong Kong films, and Hong Kong films began to decline.

With the development of the mainland film market, a large number of mainland actors and directors have grown up, and their film box office is getting higher and higher. Because of the huge population in the mainland, since 2000, mainland films have lagged far behind Hong Kong films.

Without capital investment, it means that the film industry has less output, fewer opportunities and lower income. How to attract young people?

Therefore, Hong Kong actors and directors with vision and brains have long gone north. Those who came early, even those who used to be dirty eighteen-line actors in Hong Kong, and even those who have lived for many years, have much higher incomes than Hong Kong.

A few days ago, it was reported that Hengdian had become a nursing home for Hong Kong's washed-up actors. Huang Yishan, Liang Xiaolong, Huang Yifei ... have long since stopped filming in Hong Kong, and now they are filming in the mainland.

Of course, there are Andy Lau, Louis Koo and others who devote themselves to shooting pure Hong Kong films and stick to the last dignity of Hong Kong films. But it's really useless. All investors come from the mainland, the distribution comes from mainland companies, and the box office mainly comes from the mainland.

Such persistence will not last long, and it doesn't make much sense. There will be no Hong Kong movies, mainland movies, only China movies. Jackie Chan saw this many years ago.

Under such circumstances, how can there be excellent actors in Hong Kong? Even if there is, it is rare, and it will not help the overall situation of Hong Kong movies.

When Hong Kong movies are brilliant, it is common for a slightly famous actor to catch up with several studios to make movies one day. What's the quality of that movie? What is a performance like that?

There were many excellent young actors at that time. Once the competition comes, the audience will not be fooled, and the requirements will become higher. Such actors will inevitably be eliminated.

By the way, Jackie Chan once said that mainland actors and directors can have billions of box office in the mainland, but their works can't go out, they are not recognized abroad and there is no market.

For example, Jason Wu's "Wolf Warriors 2" has a domestic box office of nearly 6 billion, and no one has surpassed it so far, but the foreign box office is really miserable.

When Jing Wong made a movie, Boyi must be a Hong Kong actor, because he also knew that mainland actors had no box office appeal abroad.

China movies have a long way to go.

Film is an art, which comes from life and is higher than life. If you don't shoot this, you won't pass the trial. This film shoots so-called positive energy every day, and it is estimated that fewer and fewer people like to watch it.

I was born in 1980s and almost grew up watching Hong Kong movies. Our idols at that time were: Chow Yun Fat, Wan Ziliang, Leslie Cheung, Anita Mui, Tommy Tam, Vivian Chow, Andy Lau, Maggie Cheung, Zhong Chuhong and Wen Bixia.

It is no exaggeration to say that Hong Kong movies have left an indelible mark on the minds of the post-80s generation!

Many people, like me, can cite many classic films from Hong Kong. For example: prison storm, hero's true colors, traveling all over the world, Jackie Chan's action movies, Tony Leung Chiu Wai's cool movies, Stephen Chow's nonsense, Ekin Cheng's young and dangerous people and so on. It can be said that Hong Kong movies recorded our childhood and spent a wonderful youth time with us.

I analyze two questions realistically: First, why are Hong Kong movies so classic? Secondly, why did Hong Kong films decline after the 20th century?

When I was a child, everyone liked to watch Hong Kong movies and imitate the characters and costumes in the movies. For a time, Hong Kong movies became one of our "mainstream cultures".

Then why are Hong Kong movies so popular?

1, 1978, when we carried out the reform, domestic modern films were almost blank, except for a few model operas.

At that time, Hong Kong movies made us feel refreshed, as if we had seen another world. For example, with the popularity of Huo Yuanjia and Shanghai, it is found that besides positive energy, there can be love, vendetta and some scenes that have not been seen before.

Hong Kong movies in the 1980s opened a window for us to see different cultures, more human things, more modern lifestyles and so on.

2. Because Hong Kong adopted another mode, the censorship of films was much looser. To tell the truth, if the film is restricted, cut or bound, it will be ugly.

Hong Kong movies are larger in scale, with deeper exposed problems and more sensitive themes, which is also an important reason why people like to watch Hong Kong movies.

Hong Kong film industry is not limited to talents, so there are many talents. After all, a good movie must have good actors and directors. Hong Kong has never lacked good actors and directors before.

At that time, Hong Kong turned some civilians into stars through various means such as the selection of Hong Kong sisters, wireless film and television training courses and talent exploration. For example, Chow Yun Fat used to work, Andy Lau was in a radio and television class, and Mi Xueer, monique, Rice and Cherie Chung were both Hong Kong sisters. In a word, Hong Kong film industry has never lacked stars before.

The classic reasons of Hong Kong movies in 1980s and 1990s are nothing more than that: Hong Kong movies opened the door for us because we didn't have much to watch before; Hong Kong movies are closer to life, more realistic and more sensitive.

Only by maintaining the true colors can we make a better film!

It is a fact that Hong Kong movies have declined. Today, Hong Kong entertainment circles still have the support of people over 50 years old, such as Louis Koo, Andy Lau and Chow Yun Fat.

It seems that there are no big-name Hong Kong stars after Nicholas Tse, and it seems too much to say that the entertainment circle in Hong Kong is dead.

This is especially true for movies. I think there seems to be no classic Hong Kong movie since the movie Infernal Affairs.

Let me analyze: Why do Hong Kong films go into decline?

1. There is an undeniable fact: the censorship mechanism of Hong Kong films is different now. Art is art. If there are too many restrictions and rules, it will lose its original charm.

In Chinese mainland, we don't appreciate Hong Kong films very much. At that time, we were "just released", so we were "stunned" by Hong Kong movies. Now that the network is liberalized and the channels are diversified, we can get in touch with more movies, such as Hollywood blockbusters, Japanese movies, Korean movies and so on.

3. Now that the mainland economy has gone up, the movie box office has also gone up, and the actor's pay is different. Under such circumstances, many Hong Kong actors and directors will go inland, and there will be no market for Hong Kong films!

In fact, Asa is only one year older than Tang Yan, but she thinks they are not from the same era. Huang Xiaoming is six years older than Nicholas Tse, but he thinks that Nicholas Tse is an era ahead of him, so young actors in Hong Kong have disappeared with the decline of entertainment circles in Hong Kong and Taiwan.

Nicholas Tse is the last generation and the last golden age of Hong Kong entertainment circle. Since then, the stars of entertainment circles in Hong Kong and Taiwan have turned to the mainland for development. Their local movies are from Andy Lau and Tony Leung Chiu Wai.

Aaron Kwok still enjoys being an idol at this age. Andy Lau is no longer young, but he is more dedicated than today's young people. Since the popularity of tvb, it has been popular for a whole era, leading for half a century. Later, when they filmed less frequently, Nick Cheung and others became active on the screen.

There are really no young actors in Hong Kong. Those who can be called famous are the top people in the entertainment circle of Hong Kong and Taiwan. Unfortunately, they are no longer young. Jackson Wang, William Chan and G.E.M. Hong are the only Hong Kong artists who are not actors.

Tony Leung Chiu Wai and Andy Lau are still fighting so hard, and they are still playing the leading roles in Hong Kong movies. It can be seen that Hong Kong is really a young actor without a successor.

Tan Chun said in A Dream of Red Mansions that "if a big family comes in from the outside and can't be killed for a while, it must commit suicide from home before it can be defeated". The same is true for an industry. The decline of the industry must be the result of the combined action of internal and external factors.

Due to historical factors, Hong Kong's cultural atmosphere has always been relatively relaxed, including not only pop songs, fantasy science fiction and so on. , including martial arts films and kung fu films unique to Hong Kong. The martial arts master Jin Yong came out in such an environment.

Martial arts films were the most popular film and television types among actors at that time, and a large number of first-line actors lined up to make their mark in martial arts films. Excellent acting escorted the martial arts films at that time, making martial arts an unavoidable topic in the development of Hong Kong film and television.

After that, Hong Kong film and television culture fed back to the mainland, and the entertainment and appreciation were more than enough to satisfy the audience at that time. A high starting point is a double-edged sword. While harvesting a large number of fans, it also led to the fact that the Hong Kong film industry at that time did not actively explore and change.

With the influx of western Hollywood movies, the audience's appreciation types have changed, while Hong Kong movies, both creators and performers, have not made a big breakthrough, so that they have gradually declined.

When is this dividing line? Maybe Jason Wu can tell us.

Nowadays, Jason Wu, a popular young man, went south to Hong Kong 20 years ago to seek his dream. However, compared with his previous journey, the Hong Kong film and television circle 20 years ago was slightly weak and could not provide enough space for newcomers. After staying in Jason Wu, he returned to the mainland.

At the same time, Jackie Chan, Jet Li and others have gradually turned to Hollywood to find a way out. What's more, after Lan Jieying disappeared from the screen, life became poor. Unable to make a living due to mental illness and other reasons, he became the first artist to apply for financial assistance from the Hong Kong government.

Yuan Wah, a Hong Kong gold medal martial arts coach, followed the crowd to the mainland to "make money". It can be seen from various phenomena that the Hong Kong market can't support the huge cultural industry, and the focus of film investors has shifted to the mainland, resulting in a large number of brain drain, which naturally makes Hong Kong films more difficult.

It is a bit extreme to say that the decline of Hong Kong movies is only a lack of young actors. Although film actors are an important link in the production chain of film industrialization, the prosperity and decline can not only depend on actors, but good actors are only the result of prosperity. In the same way, the decline of Hong Kong movies is not entirely due to the lack of young actors, but the result of a variety of factors.

It is not the decline of Hong Kong films, but the decline of the whole film and television drama industry.

Why do you say that?

It's actually quite simple.

The rise of traffic stars has affected not only the Hong Kong film industry, but also the mainland film industry.

The arrival of fresh meat has accelerated the commercialization of movies, but our current film and television industry is in a stable stage, which has caused the problem of dating.

New actors are all running for traffic, and old actors with acting skills are limited by age. As a result, the film quality is getting worse and worse.

Many restrictions are actually the most important. Hong Kong movies in the 1990s are known as Oriental Hollywood. Why do they have this title? It was because Hong Kong films at that time were free to play, and the scale and humanity could be comparable to Hollywood.

But now Hong Kong films can only abide by the rules of radio and television.

This means that the opportunity to recreate movies like Young Dangerous or some horror movies has been fundamentally destroyed.

Therefore, the impression given to the audience is that "Hong Kong movies" are getting more and more boring.

No, Hong Kong movies have always been exported by young actors, but when most young actors are invited to shoot low-paid and high-quality roles, they will choose to focus on those mainland movie roles with high pay and low quality. Coupled with the retirement of the older generation of actors, the inertia of Hong Kong films itself is increasingly exposed. Now, when we talk about Hong Kong movies, what do we think of? Boys think of martial arts movies, gangster movies, and girls think of Wong Kar-wai. But it's just a pity that when it comes to today's Hong Kong movies, none of them can be forgotten for a long time. It can only be said that Hong Kong movies have not declined, but have just stood still and even been slowly left behind.

Objectively speaking, this is a two-sided topic. The decline of Hong Kong movies refers to movies, and the decline of Hong Kong actors refers to actors. Are they really causal? It can't be said that it has nothing to do with this, but the decline of Hong Kong movies is really not dominated by actors.

First, the environment at that time was dominated by the return to China, and Hong Kong films were integrated into the opportunity of development with the Mainland at that time. Therefore, from the formation of the film system at that time, the emergence of heroes since the house of flying daggers and the emergence of mainland blockbusters are essentially Hong Kong actors, Hong Kong directors, Hong Kong action directors, photography, art, music and so on. All China films or China films that have gradually moved northward are not completely retrogressive or declining.

Secondly, if we think that Hong Kong is a local film, what exactly do we mean when we talk about Hong Kong films? Gangster, Gangster or Third-rate If these negative things can represent the characteristics of Hong Kong movies, I am afraid that this format itself is unhealthy, and it is only a matter of time before it declines. The Hong Kong film circle itself will also be replaced. Many directors and actors in the industry know that the assembly line and industrialization are imperfect and chaotic, both in the production process and in the topic planning.

Third, of course, after the reunification, Hong Kong filmmakers who actually pursue interests will definitely face various kinds of industry restructuring. They ruined themselves and went to the mainland for greater capital. For example, Zhang Zhiliang came to the mainland to film his wish, Chen Desen filmed bodyguards and assassins, and Chen Kexin filmed warlords. These are all impossible for Hong Kong circles in the past. However, after that, Chen Kexin and Tsui Hark, including Lin Chaoxian, have changed, and they have become some mouthpiece tools for mainland films. They voluntarily gave up the original good things of Hong Kong films and completely lost their own characteristics. If not, it is purely for making money, including director Dong Chengyi who is here today to talk about the performances and feelings in variety shows. Isn't that funny?

Fourth, if we talk about the fault of actors, we all know that half of Hong Kong actors are in TVB, and more than half? Except for stars, supporting actors, green leaves and walk-on, almost all actors think it is two-thirds or three-quarters. If you add ATV, it is no exaggeration to say that nine times out of ten the actors are from them. Similarly, new faces are among them, but it is still a mechanism reason. In fact, new actors appear every few years. However, due to the drama series, there are not many, but it can't be said that there are no new actors and potential, just mainly in the TV circle, no movies. However, the mainland team will not easily find new Hong Kong people unfamiliar to the mainland public unless they become famous. Then I'd rather give them to old faces who have passed away, even if they are on the 345 th line, so that most people will feel that there are no actors in Hong Kong.

So the problem with Hong Kong movies today is that they gave up voluntarily. Although they miss them all the time, no one really insists. The severity of mainland film and television creation has always been the mainland itself. Although this is a problem, who says that Hong Kong films must challenge the release bottom line? So technically, it's not a big problem, is it

Compared with the 1990s, Hong Kong movies are indeed going downhill. At that time, Stephen Chow, Andy Lau, Leslie Cheung, Anita Mui and other superstars rooted in the Hong Kong film circle gave birth to countless classic films, but now it seems that the glory is gone forever, and no young Hong Kong actors under the age of 30 are involved in the mainland.

There is no doubt that Hong Kong films have declined, or are temporarily in the ice age. However, there are still young actors in Hong Kong, but these young actors have not become popular in the Mainland. They are not popular for a reason. In recent years, there hasn't been a very popular film in Hong Kong. This year's New Year movie "Integrity" seems to be the epitome of Hong Kong films in China film circle in recent years. The theme was single, the actors were aging, and the box office was badly beaten by popular fried chicken such as The Wandering Earth.

In addition, the quality of mainland films has improved in recent years. Nowadays, information spreads so fast that it is impossible to hide the quality of movies.

If there is no change in Hong Kong movies, I'm afraid this trough will never pass.

The decline of Hong Kong's film industry is directly related to the aging and lack of actors, but it is not the fundamental reason. The fundamental reason lies in the lack of ideas and the disconnection from the times, which makes Hong Kong films unable to find the direction of progress.

In the colonial era of Hong Kong, film artists adhered to the correct three views, especially expressed and sublimated the theme of patriotism and the spirit of the times, and created many well-known film and television works. For example, Huo Yuanjia, Zhen Chen and Hushan, for example, Jason Wu Hero in Jet Li, Fang Shiyu series and Huang Feihong series, the protagonists are either fighting against the decadent feudal court or fighting against the powers that oppress China. There are also many stories that reflect the struggles of little people and their inner growth and struggles, such as A-lang's story, king of comedy and so on.

But later, the ideological content became narrower and shallower, and even moved closer to the darkness that pleases human nature. If "The True Color of Heroes" is still promoting the friendship between men, it has already begun to slide down, showing off violence and showing off the vanity brought by violence. The positive thoughts in the series "God of Gambling" are basically invisible. It seems that it is only the satisfaction of intrigue and revenge between people, but it has taught mainland audiences many gambling methods. The "Young and Dangerous" series is even more pernicious, with "big brothers, little brothers, girls, Kai Zi and cops" flooding the ears of campus teenagers. It's a movie of Master Xing. After a Chinese Odyssey, ideology gradually deteriorated, and entertainment gradually became the main body. As for ghost films, trick films and infernal affairs series, there is basically no ideological content.

As readers can imagine, 1997 has been 24 years since Hongkong returned to China. Has the Hong Kong film industry produced a resounding film that reflects the life of Hong Kong society and people after the return of Hong Kong? No, not at all. This is out of touch with the times.

Under the instigation and organization of overseas anti-China forces, the trend of Hong Kong independence came into being, and Huang Qiusheng, Du Wenze and others simply stood on the opposite side of patriotism. Although most artists in Hong Kong have repeatedly stood up against Hong Kong independence and chaos, no one has taken up the weapon of film to tell a weighty story of reunification. Really sad and speechless!