In recent years, I have seen a saying on many platforms that the proliferation of co-produced films and co-produced dramas has led to the decline of Hong Kong films and dramas, and the Hong Kong industry has lost its charm. But what I want to say is that this statement is very pr

In recent years, I have seen a saying on many platforms that the proliferation of co-produced films and co-produced dramas has led to the decline of Hong Kong films and dramas, and the Hong Kong industry has lost its charm. But what I want to say is that this statement is very problematic.

In fact, the large-scale migration of Hong Kong film and television workers to the north and the popularity of co-productions/co-productions only happened after Hong Kong films/Hong Kong dramas shrank severely in Taiwan/overseas markets, and they were unable to compete with Hollywood movies and other Western films in their hometown. , especially after 2003, going north was regarded as the only way to save the industry.

In other words, Hong Kong movies/dramas declined first, and then co-production dramas/co-productions became popular. How can we reverse the cause?

Some people may say that because there are so many constraints on co-productions of dramas and films, it becomes less and less Hong Kong-like, and bad money drives out good money. Then they can get rid of this constraint and not make co-productions, but only make so-called genuine works with a Hong Kong flavor, and learn from Sir Du. That would be great, right? why not?

In other words, they can regain the lost overseas markets. However, if I can't take it back, I won't take it back. I choose to continue my life with co-productions/dramas. So, how can you blame this model for ruining Hong Kong films/dramas? can not be like this.

Of course, I am not saying that there is no impact at all, but since there was a movie that won the Academy Award a few years ago, it means that you can make it, but you just can’t get the funds to co-produce the film. If you have the courage/feeling Shooting those works can regain the overseas market, then you don't need the funds and market at all.

Among Hong Kong filmmakers, I admire Louis Koo the most. He has made many co-production films, most of which are bad films. But with these so-called bad films, he has won a lot of box office, and then divided the film remuneration/share into Switching to so-called non-co-productions with a Hong Kong flavor, his contribution to the Hong Kong film industry is greater than that of Sir Du.

However, many of Louis Koo's movies have done well at the box office in the mainland, largely due to the blessing of his emotions, and he is a person who is enthusiastic about public welfare. No matter what the quality is, everyone is willing to support him. To be honest, he is over 50 years old, how long can he still be at full attendance? How much more money can be made to support the Hong Kong film and television industry? Those younger than him can't handle the box office in the mainland. In addition, the post-80s and 90s generation are completely taking over the main consumer status of the post-00s generation. Do we still expect the latter generation who do not have that kind of sentiment to pay for it? Stop being funny.