The plot is like a scroll, slowly unfolding, the story is told, the characters appear in time, and wonderful pictures emerge one after another.

Xu Fengnian held the Xu Long Elephant as a paintbrush, and the picture feels very conflicting. At first glance, it seems that the brother does not regard his younger brother as a human being. However, he did not know that the Xu Long Elephant was really a normal person, and there were only these close relatives.

Xu Xiao, Xu Zhihu, Xu Weixiong.

Ginger mud, sweet potatoes, blue birds.

The white fox face and two swords walked into the city. As soon as the era of the two-dimensional world arrived, there was a beauty like a 2-dimensional world, like a mellow fragrance that came into the film.

Various outfits that conform to the character's characteristics can highlight the actor's advantages. Each character has such distinct characteristics. Although the aesthetic standards of the East and the West are different, it is undeniable that in this film, there is no ranking on the rouge list, and the beauty of a female character is not completely highlighted by its facial features. Oriental audiences are easy to say, and these actors are very beautiful. What is presented to Western audiences is a temperament that blends between characters and actors.

Xu Zhihu's charm, Xu Weixiong's coldness, the white fox's face is gorgeous and confident, the sweet potato's lazy and sexy, the blue bird's beautiful and aloofness, the ginger mud's soft outside and strong inside

There are also clothing and accessories. Oriental charm is appreciated by the world. This combines almost all the advantages of female styling in ancient China and presents characters in a way that conforms to the aesthetic views of contemporary people. It will give you a dazzling attraction. In Western movies, at most, the beach, in addition to the pictures of various women's styles, it seems that there is only the bed left.

The difference here is that each style makes Western filmmakers amazed. How much manpower and financial resources do a character need to be prepared, how much material and financial resources do it need to be maintained to film the character? How much does Yang Yichen need to invest in a commercial blockbuster that needs to be made into a series of movies?

I saw the details, the sincerity, the grand scene, and the capital of the big production. At the same time, as the plot unfolds, as the roles appear, and with the intersection between these characters and Xu Fengnian, not only Chinese audiences, but also Western audiences also understood the story and the role of Xu Fengnian.

There is nothing profound, very simple, and I don’t deliberately show off oriental culture. I just tell a good story and present a good character. In post-production in translation, Yang Yichen found 30 experts to translate subtitles carefully.

Ten professional film translators, ten professor-level Chinese and English teachers each have five, and ten scholars who study each other's culture each have five, through various methods, we ensure that the translation can accurately express the meaning while also allowing Western audiences to understand.

Yang Yichen is never afraid of trouble for every detail that can be improved. During the filming process, he specially made twenty people, just to find the shortcomings of details over and over again. A successful blockbuster may have advantages in subject matter and topics, but if you do not have these advantages and want to become a masterpiece, you must ensure that the scope you can control is not a small gap.

The things presented in the character Xu Fengnian are acceptable to both the East and the West. The East is a playboy who wakes up and strives to be strong; the West is a high-quality man who lives and dies. When the family and most people want him to be a level hero, he has the potential to become a level hero.

Yang Yichen played well. At first, everyone thought that the role of Xu Fengnian might be the most uncharacteristic among many characters, because he was the protagonist, and he had a lot of space to allow him to squander until everyone fell in love with him. As a result, he saw the contact with the White Fox Face, listened to the story in the Chao Pavilion, read the back box Lao Huang, looked at the mountain hawthorn, saw Yu Youwei, met a cow riding group, met a group of great power players, bullied a little clay man, and the prince studied knife hard.

One by one, one by one, one by one, all kinds of people, all kinds of things in the world, but these are centered on Xu Fengnian. Facing the expression of each person and every thing, the novel is presented in various forms and falls into film and television dramas. If the novel presentation method is followed, the audience will feel that the character Xu Fengnian is mentally inconsistent and uncontrollable, and is a completely contradictory complex. Walking into this yard is frivolous, walking out of this yard and walking into the pavilion is solemn, and walking to Wudang is a great responsibility for this person. With the plot of the movie, you will only see Xu Fengnian jumping up and down and changing faces.

Yang Yichen used a steady approach to let everyone slowly see the various highlights of the character Xu Fengnian in the details, and used every thing and everyone's contact to enrich the character Xu Fengnian. But overall, everyone saw Xu Fengnian, not Xu Fengnian, who changed his face, but more was Xu Fengnian, who changed his face, and less made the whole character's dull stereotypes change in order to promote the plot.

There is only one line in the middle. Only by standing on this line without any bias can Xu Fengnian become the focus among many distinctive characters in the event, rather than the plot promoter on the side, allowing everyone to add a lot of color and connotation to the character Xu Fengnian bit by bit with the plot and the life events of the characters.

Filmmakers, professional film critics, and senior film audiences, after watching for twenty minutes, they all saw the excellence of Xu Fengnian. It is really because Yang Yichen has unparalleled acting skills. This role is not difficult to act, but it is too difficult to act well. For ordinary actors, it depends entirely on big scenes, fine special effects, wonderful stories, and distinctive characteristics. A pure commercial blockbuster with various supporting roles that can make people remember at a glance. If Yang Yichen's Xu Fengnian, this role is no longer the male protagonist in a commercial blockbuster, but a male lead who can add a stronger feeling to the film. The movies that everyone sees are not simply interpreted on the surface.

It is very difficult to carry the second movie, but the scenes of Qingcheng Mountain, Baiyi Guanyin, and even Wang Chudong can be deleted and have no impact on the main plot. In a world, the sword fairy Li Chungang ended with a piece of the end of two thousand cavalry. Many scenes that Yang Yichen expected to film cannot be carried in the first movie.

Someone suggested that Yang Yichen divide the scenes of the young phoenix leaving Beiliang into upper and lower parts, but he refused. He would rather cut out some scenes that were exciting but not top-notch, or force Xu Fengnian's first world into a movie without affecting the completeness of the main line. He wanted to make a good start for this series of movies, and also let all viewers around the world see what a blockbuster is, a story is a story. Isn't it said that commercial blockbusters rely on special effects to accumulate the main story and simple characters appear cleanly? Then I will let everyone have a lot of stories with the main line. Are you watching it real? Is it still a blockbuster?

However, there was the battle of Xiangfan, Xu Xiao entered Beijing, the battle of Xuanyuan, the battle of Emperor Wu, and Li Chungang bid farewell to Jianghu in two battles.

The battle was magnificent, one by one, and the other was exciting, making people excited. Chinese audiences grew up watching martial arts novels and martial arts TV series. But today they saw a different temple and a different world, a great spring and autumn, and a world where talents from the country were born.

Western audiences may not understand the culture of the East, or they may not understand what martial arts is or what martial arts is. What they can understand is stories, power and scheming, fighting wits and courage. There are all these things in the West, and there is no need to be specifically understood. If someone wants to intercept it, then do it. After doing it, I will fight back; I want to make a plan, and the south and the north will echo into a stable regime; warriors should challenge the strong, and fierce people should face the cruel opponents.

The character Xu Fengnian has a cowboy spirit, which is very important to Western audiences. I learned swords late and had weak skills, but I use war to support the war and grow up all the way. No matter what kind of opponent I meet, I am brave enough to fight with him, the spirit of China's sword-breaking and the spirit of Western cowboys.

The plot is stable in the big picture, without cultural differences, and there are no shortage of various exciting points in the small things. Revenge for everyone and drag the humiliating person, regardless of your identity, everyone is so happy to watch. After the bull rider finally goes down the mountain, the protagonist's wonderful part is divided, but the wonderful part is precisely the capital that makes this film even more awesome, just like the Confucian Saint of Xuanyuan in Jiangdong invited his ancestors to die. The level of excitement is no less than that of Xu Fengnian's story.

Xu Fengnian's cold heart did not reflect love in this first part. Hong Xixiang and Xu Zhihu, who were riding a bull, staged a love scene for audiences all over the world that was not inferior to those tragic myths of the East and the West.

"I don't know your rules. As for your kingly law, no matter how big it is, it is not as great as the sword behind me."

On this day, Wudang Hong Xixiang and Xu Zhihu went out of the city and entered the city, but no one could stop him.

On this day, the whole world knows the woman who loves to wear red clothes, named Xu Zhihu.

"If I told you to wait for me for three hundred years, would you be willing to wait?"

"You have been waiting for me for seven hundred years, and you have been waiting for you for three hundred years. Of course you can."

"I am a scattered man named Lu Dongxuan five hundred years ago, and Qixuan frame of Longhu Mountain fifty years ago. Now, Hongxie Xiang in Wudang has cultivated merits for seven hundred years."

"I swear to practice for another three hundred years for the enlightenment of heaven and earth."

"I just want the world to open a line and let Xu Zhihu ascend."

"Please ask Xu Zhi to ascend to the sky by a tiger and a crane."

There was a crane wearing a red dress and riding into the sky gate.

A Taoist priest threw his sword and solved the problem.

After thousands of years of practice, I just want to see you again.

Before the finale of this first part, the story of Hong Xixiang and Xu Zhihu was used as a small ending, which made up for the fact that there were enough female characters but not how to enrich the emotional scenes. The love of these two people earned tears from the world, and there were not many scenes, and there were very few rival scenes and emotional scenes about the two. But just a little bit of ink in the plot was to make this couple, with a kind of fairy-like love, with a sad but never tragic result, the world was separated, but everyone believed that this was just a separation of three hundred years. Three hundred years later, even if the heaven and earth were blocked, it would definitely not be able to stop Hong Xixiang from finding Xu Zhihu.

Su Youpeng and Qiu Shuzhen were sitting behind Yang Yichen. As actors, they felt deeply when filming. Today, they really saw the film. Many women at the scene had shed tears for the plot that ended in small numbers.
Chapter completed!