The two places seem to have the same fate at different times. Language is the root of a person's thinking. The lost language represents the inhibition of the phone database local culture. How to talk about the "lost" language? In this way, the story of "Emperor's Dianji" sprang out of their minds. Interestingly, not only did the two places have the same predicament, for Wang Zhaoqian and Yu Zhenqiu, the other's language was not completely unfamiliar. Yu Zhenqiu mentioned that he watched Taiwanese movies when he was young, such as "The Dowry, A Bullock Cart" and "Love in the Wind and Dust".
Wang Zhaoqian also laughed and said that he knew one third of Cantonese, because like many Taiwanese, they watched it when they were young. Chow Yun-fat and Stephen Chow of Channel 4 grew up. Therefore, as soon as they discussed the co-system, they raised the standard to a high and challenging level: after deciding to focus on the film (the film is the most local), screenwriters Guo Yongkang and Xu Zhengping wrote the works of the Huangdu Theater and the TV series respectively. Ji Guan, Wang Zhaoqian directed the Hong Kong part, and Yu Zhenqiu directed the Taiwan part.
The plot trend is one sad and one happy, and the musical style challenges Nakashi's lyricism and the style of Cantonese films in the 1990s. Language, plot, and music are all very different. The challenge is that the actors of the two places have received different drama education systems, and their performance methods and interpretations are different. But the two directors enjoyed it. "To deeply exchange culture, we need to explore from different angles." Yu Zhenqiu and Wang Zhaoqian almost said the same thing. 0_fSzyXpbErGIYfPhv Photo Credit: © Ma Yuchen Although he is not familiar with Taiwanese, Yu Zhenqiu thinks that he can feel