Reminder: This article is a graphic and textual guide to the "Top of Movies". For video programs, please click on the video box at the end of the article The program of the second season of 'Top of the Movies' unconsciously shifted to the director and actors. With a hundred year history of film, there are only so many genres, and the protagonist is still the director and actor. Therefore, it's also good to talk about the genres sparingly, and don't accidentally finish it. This issue takes advantage of the release of "Di Renjie's Four Heavenly Kings" to talk with the old and young people about Tsui Hark. Tsui Hark was born in 1950 and is already 68 years old. He is still fighting on the front line, and he is in the technical field, not making literary films. He has a lot of "hard work", which is really not easy to think about. Generally speaking, Tsui Hark is tied to the label of "swordsman". The first works of my generation that came into contact with him were "Wong Fei-hung" and "New Dragon Gate Inn", which were in the era of video discs. I bought them at home and reviewed them from time to time. Hong Kong really, if I didn't do this program, I wouldn't have seen some of Tsui Hark's early works, such as "The First Type of Danger", "Butterfly Change", "Hell Without a Door", and "Shanghai Night", all of which were shot with great style. At that time, you would never have thought that Tsui Hark would become famous for his martial arts, and even think he would take the path of literature and art. Tsui Hark is a very complicated director. In his works, there are such hard and pure characters as Wong Fei-hung and Zhou Huai'an, and there are also such soft characters as Xiao Qing and Xiao Qian. The men and women in his eyes are all romantic in an ideal way. Many directors hope that their works become a mirror of reality, but Tsui Hark is the opposite. Since the so-called "Chaos Trilogy", he has been addicted to the world he has built, basically not realistic. This may explain why Tsui Hark is so obsessed with technology, because his imagined stories can only be restored with special effects. So since the 1983 film 'New Shushan Swordsman', he has been actively exploring new technologies. He doesn't have one locally, so he goes to Hollywood to borrow and learn, gradually realizing his fairy world in his mind. A few days ago, a classmate asked me why Tsui Hark has been so obsessed with technology lately, and I said he has been deeply obsessed with it since more than thirty years ago. But technology is a double-edged sword. In recent years, some people have criticized Tsui Hark's movies for not having enough special effects, which is indeed a problem. I think if he had the current technical ability more than 20 years ago, "Green Snake" would have been made by him for more than two hours, adding more grand special effects, but the story may not be so exciting. Tsui Hark is like a person who is addicted to alcohol. In the past, the conditions were poor, and he could only drink a bottle of good wine in a month. Now, if he manages it every day, he can't stop it. Anyway, Tsui Hark is talking about the name of a Chinese language movie that you can never get past. In this episode, my focus is still on the works directed by him. Because he is too versatile, he has also produced countless works, so I won't go into detail. Otherwise, the program would have to last for at least an hour or two, and I really can't sustain it. On the show, there seems to be no comprehensive inventory of Tsui Hark's works on the market yet. You see, my brother accidentally filled a national gap. Mainstream The Professor Wolfwalkers Sling Blade