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Open Thread Open Thread 08/31/2020 (Mon) 21:01:08 No.34
[JW01 ~ 08/24/2019] There aren't many people here, but this bunker needs more content. Post something interesting that doesn't fit into other threads.
Edited last time by 11811 on 10/04/2021 (Mon) 15:32:03.
>>2249 Oh yeah, snahp. Do you have any invites for that?
>>2250 No, mate. I think they only give out a couple to higher rank Uploaders and Donors. I believe/hope I'd be promoted to the higher rank within the next couple months. I'll let you know here when.
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>>2252 Okay, thank you
>>2249 Sorry, nope.
How /comfy/ is Sweet Tooth? Trailers from netflix never show the true quality of the shows and i don't want to pirate a whole season to just watch one episode.
'Out of the Past', 1947, Jacques Tourneur, or 'The Third Man', Carol Reed, 1939? 'Lost in Translation', Sofia Coppola, 2003, or 'Millennium Mambo', Hou Hsiao-hsien, 2001? You tell me.
>>2258 I like both Out of the Past and The Third Man, but I'm giving the latter the edge because it's more distinct. Millennium Mambo is definitely way better than Lost in Translation
>>2246 Can i try? 10 in no particular order, just ones that stayed on my mind for one reason or another: Il Grande Silenzio Days of Heaven Aguirre Chimes at Midnight Andrei Rublev The Color of Pomegranates Legend of the Mountain Throne of Blood The Human Condition Battles Without Honor and Humanity sinahemomi -@- gmail (.) com >>2258 The Third Man i would say the same as >>2259, it has a more particular style of cinematography like the heavy use of german angles and a more refined noir sense, along with still decent narrative. I don't recall Lost in Translation that much as i saw it long ago but Millennium Mambo is much superior in terms of camera work, all natural shot by one of the best in his field with club fancy lightings making a prominent appearance... the story itself is not that much interesting due to the viewer feeling not that much sympathy towards the shallow protag girl but still that kinda can be said too with Lost yet it's not a snore either due to its ambiguous nature towards some characters (suspected triad boss, suspected pusherman, suspected pimp, random jap dude who got laid with something above his league). I think with these the main difference is that Hou filmed Mambo as an exercise towards the viewer being a "realistic witness" (characters being usually always at non-personal distances, introspection sequences being only about the lass and her pink thinking rather than logical skills like a dreamy girl would recall something) while Lost in Translation is more towards a normal narrative a movie would do but with more monologues.
>>2246 I actually asked on the KG IRC to be invited and offered to translate films in 3 different languages, but no one responded :( Here's 10 of my favorites. Gertrud Scattered Clouds The Quiet Man Demons Heroic Purgatory Nostos Tie Xi Qu Khrustalyov, My Car! The Unchanging Sea Bound for the Fields... Amd my email: joeksdi -@- gmail (.) com
>>2279 There's also the Drama Obamanesque, a term a couple of us used time ago to refer to most oscar/prize bait americans did post-2007 about the highly fantasized struggles of afro-americans. You can also go back in time and look at the original meaning of Blockbuster and its standards, a genre/form of working which was what killed the New Hollywood era of almost or full-on auteur workflow many directors had in the 70's.
>>2279 Indiana Jones will pass the baton to some wommyn soon
>>2279 What is 'Burger King Kids Club'? Is it some euphemism for autistic kid?
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>>2282 A group assembled solely for its diversity
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>>2283 >5 Aryan kids >1 nigger >1 chink You call that d*versity?
>>2285 for 1995 yes
>>90 >Szürkület was restored by the Hungarian National Film Fund >>94 >Good news: I've reached out to them and they are gonna launch a VOD site soon with all the restored films. If you're still around, what happened? There's still no upgrade for Szürkület. It's interesting to compare that film to It Happened in Broad Daylight which was an earlier adaptation of the same story. That film is less moody and ambiguous than Szürkület. It includes additional story elements like the detective living at a gas station as a ploy to catch the murderer.
Anons we're dying out, need some plan.
>>2299 It's getting very tricky, honestly i've seen many places losing numbers or simply not interacting as before. I think everywhere not the big sites is suffering, centralization made the activity-addicts stick with anything in terms of quality and the small sites do need some activity to maintain themselves. Hell, even ZOGbook lost tons of numbers in favor of WA and IG, which abruptly focused on chat and stories rather than its original photography-oriented gig. The only option i can think of after trying some tactics is just plain shilling in other sites, the advantages are still on this site but most everyone prefer going to the numbers, after all most everyone likes the feedback but perhaps the problem is most people are becoming more passive. I don't know anymore, i stopped coming as constantly because i got into the waveslaving to feed myself after getting my gibs canned due to the pandemic.
>>2292 They're probably in the process of selecting a distribution company to release it on physical media or even a theatrical run. Kino Lorber recently announced a Miklos Jancso boxset so I believe there are a few companies trying to acquire rights to them.
>>2292 The VOD site is up, seems like they add new and old films regularly. Szürkület is not uploaded there yet. https://filmio.hu
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Senses of Cinema World Poll 2021 https://www.sensesofcinema.com/category/world-poll/ Here's an extensive roundup of new releases and new discoveries from the previous year. Thankfully this "poll" is not a democratic ranking of films (a.k.a. a useless popularity contest). Instead it's a 8-part collection of thoughts from numerous writers, programmers, academics, film groups, etc. >I’m fed up with distant work, online meetings and virtual festivals. I was never happier than visiting the live edition of Le Giornate del Cinema Muto, although in Pordenone I was mostly distant working at my hotel room. There has never been such turbulence in the film world, and it was so exhausting that in 2021 I missed most films I wanted to see and had little energy to write. >Do millennials dream of heterosexual romantic love?
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>>2301 >Kino Lorber recently announced a Miklos Jancso boxset so I believe there are a few companies trying to acquire rights to them. I'm certainly looking forward to that. Right now the web-sourced HD transfer of The Red and the White is kind of muddy so I hope there's improvement with the blurays.
>>2299 Maybe we need a fun posting thread for pph?
>>2299 >>2300 >>2342 Sorry, I've always wanted to interact more on this site but I keep falling down the open manhole. I'll make sure to interact more specially in regards to restorations and retrieving rarities and the like, two become four, four become eight, etc...
>>2342 Like what?
>>2344 I used to make edit threads years ago back on 8chfilm where we shared fun ideas, I made a cut of Requiem exclusively showing the Mrs Goldfarb plotline and American Graffiti where R. Dreyfuss goes insane. Edit threads could be good for interaction, Have You Seen My Movie? does that in an interesting way https://ww.imdb.com/title/tt6112836 , there are some crazy ones out there too... A madman or woman edited an insane amount of films and synched them to a Wu Tang Clan song, I've never seen anything like it https://youtu.be/H-8N3BEoyHk
>>2342 More like shitposting, lol
>>2345 >Direct link. >Age restricted. Better l8nk: https://yewtu.be/watch?v=H-8N3BEoyHk
Crimean film director Oleg Sentsov is geared up to defend Ukraine against the Russian invasion. (This video is a little propagandistic as I don't think Russian casualty rates are in the thousands.) https://twitter.com/EuromaidanPress/status/1498448662204198914 In 2015 Sentsov was sentenced to 20 years in prison by the Russian government on terrorism charges. Western institutions championed his criminal case and honored him with several awards. He was released in 2019 as part of a prisoner swap. Sentsov's new film Rhino stars Serhii Filimonov, the Kiev leader of the Azov Battalion's National Corps. Many such cases! https://www.belltower.news/rhino-from-ukrainian-neo-nazi-to-international-filmstar-126819/
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>>2367 Get this propaganda shit outta here.
>>2370 I for one think it's valid to post about it, if anything it really proves to the usual first world urbasodomite that the govs and human rights associations are more prone to financing overt propaganda than the real ministries of propaganda. >Western institutions championed his criminal case and honored him with several awards >released in 2019 as part of a prisoner swap >Sentsov's new project Rhino stars Kiev leader of the Azov Battalion's National Corps >Same Azov Battalion that was attacked by soyboys but always pushed by jewish media despite being "nazi" The cognitive dissonance regarding this can and will confuse many uninitiated to the point of them finding the "nazi" Azov Battalion is fully sponsored by a jewish entrepreneur who bases many of his operations in Israel. Then they will find out the founder of modern Neo-Nazism, based in the U.S., was also a jew who got canned for being a pedo and made the organization to snitch and be a fed informant. Strong propaganda serves both ways, to indoctrinate the weak and make aware the not that weak or merely the contrarians.
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>>2370 I'm not bashing the director. I never heard of him before, but knowing his story makes him more interesting.
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Oh snap, curse has stroke again and a couple of days after watching a movie its famous main actor died, last time it was Von Sydow or Chan Sing. Zhengquan Wang, better known as Jimmy Wang Yu, was probably the most famous chinaman actor in the west, or even in his home turf until Bruce Lee broke the scene in 1971, or shortly before in some other regions with Lieh Lo, but still that is from 1967 to 1971 aka the first years of Hong Kong breaking the international scene. Trained actor but untrained action stunt (although supposedly a prolific bar brawler and successful trained swimmer) he somehow made his fame via action movies from the famous Hong Kong action director Chang Cheh, notably due to his resolute, solemn characters that are hard to dislike due to their unpretentious nature but who are, in context, somewhat sluggish compared to other stars who were untrained actors but well-trained stuntmen. Despite losing some steam in terms of fame he stood out from the vast majority due to his seemingly good business savviness/connections, acting as a producer (sometimes even writer and director) to his own projects that were sold with the intent of distributing overseas and having good criteria in selecting quality specialists from time to time, most of these in his homeland of Taiwan which was the origin base of many 70's kung fu stuntmen and actors, some of his picked people even went on to become stars on their own years later. This because he realized, sans studio sets, he could make any movie he wanted as he found the movies they made were too basic in terms of planning and that the specialists usually made the bulk of the contribution, when he started to do his own thing (aka messing with the direction) the studio attempted to strong arm him and he resisted, the result was chaotic and he was essentially expelled from the island and exiled to Taiwan where he bagged more money than before and lived to tell it, unlike Lee who crossed not one but two studios and got his head stomped to the ground while being written-off as a stroke some year or two later. These specialists made him look physically way better than he really was due to good set planning, notably in the ending sequence of Master of the Flying Guillotine (One-Armed Boxer pt. II), but these projects were depending on the producing and distributing company and as they could be big, like said movie, they could also be very low-budget and quickly done like Tiger & Crane Fists which went on to become what is better known in the west as Kung Pow, with Steve its silly producer/director/writer/voiceover/protagonist digitally replacing Wang Yu's original character. In some way his work can be compared to George Lazenby's, a man not really trained for his surroundings but with the wits and guts to stand out, such comparison even made a coincidental encounter when they both decided to collaborate and create a Hong-Kong/Australian action movie early in the Aussie's own cinema wave with The Man from Hong Kong, an aussie Dirty Harry-esque product about a chinaman tackling an australian crime kingpin. But surely this fella's career will be always defined by his portrayal of the eponymous One-Armed Swordsman, the movie that cemented the all-encompassing one-man army kung fu sub-genre and considered one of the most important works of Hong Kong alongside A Touch of Zen despite, in my opinion, not being as close in terms of quality or acting but certainly a fun venture with said protagonist being hard to dislike even if still being not really a charismatic figure. Lee himself barely scrapped off his fame due to months previously Yu acting in The Chinese Boxer, one of the first "modern" (full color, set designed) famous movies focusing on unarmed hand-to-hand combat, which was surpassed later by Lieh Lo's King Boxer (or known better in the west as The Five Fingers of Death). In my opinion, the movie that can define the guy's acting career is the movie he was doing at the very same time he did OAS, 1967's The Assassin, a pretty basic, traditional and predictive item that still was executed practically without flaws other than not explaining how the guy pulled a supernatural move in the end without the viewers knowing it previously and which in latter years has been subject to renewed cult status (for the second time) in the Hong Kong youth due to its unapologetic message about chopping and butchering higher authorities who do not hesitate to sell their own people. Jimmy Wang Yu could've probably been famous even if he didn't act in One-Armed Swordsman due to The Assassin being released shortly after, if not then perhaps due to his brash moves he could've still been cast for The Chinese Boxer but due to his enterprising and networking nature he probably could've been famous anyways even if he didn't act as a protagonist at all. With his demise we now might hear even more classic chinese whisper legends regarding his antics, if he really did pay the triads aka producers money to have them stop pushing Jackie Chan around which in turn made him finally switch studios and become an established actor, if he won a drinking contest against Lazenby (a first for an asian to beat an anglo-saxon) if he knocked Oliver Reed out in a brawl or simply smashed his nose bloody, if the Coffin Drinking Tale was true, if he married a girl and killed his husband who was a director at the time as revenge for him kicking her around all the time, if he killed a dude in a Thailand bar brawl from a palm strike, if his rich family bought him a spot in the studio, if his links to the port authority triads made him that spot, if he really stole hundreds of documents and burned them all before going to Taiwan which led to a contract crisis in the studio which in turn led to many actors roaming free to join Golden Harvest or call it quits due to many of these being "forced contracts", if he banged Brigitte Lin who was deemed the unbangable one and, usually what many mention, is if he really was one of the unarmed henchmen in Taiwan's famed Bamboo Union which also made him easily recruit trained street urchins as stuntmen (many who have later admitted to having been gang members) and export them to Hong Kong who somewhat purged them in the 80's when the studios switched to a more cantonese-focused market with more businessmen/bureaucracy involved. Certainly the man's life is stuff for books and now somewhat with his death the stuff of legends, at least in the east asian underworld.
>>2367 I've been meaning to watch Rhino for a while, is there a copy with english subs around?
>>2451 Fuck. I've downloaded so many movies from that blog and visit it atleast once a week. KG-bro, please come back; you were my only access to кино.
>>2453 Not the KG Lord but i do have some access there, did you need anything? haven't checked the request thread due to time laziness
>>2454 Thanks bro. For me, the blog was like a catalog to browse; it's the stream of his collection that made the blog very valuable. I don't really have anything specific to request (at the moment). I usually just go on the blog, see the recent posts and if the movies sound interesting, download and watch. I'll be sure to mention (you) when i do have a request.
Coincidence has once again struck me, this time somewhat inverse. In the last two days i've seen a couple of movies using the same actress, who rarely acted in her own time, doing outrageous roles for its time and genre along with them being widely distributed but i guess that's a story for another day. Due to mainstream Hong Kong cinema from certain eras (50's to late 70's, even to mid 80's) rarely had any semblance of thoughtful cinematography by the big studios it is notable when one finds constant glimpses in a single work, let alone two in a row because i pick movies at random from a big folder (Shaw Brothers torrent of 150+ items shame they are all the censored versions) and due to said actress doing the same things romantic taboo roles and punching a hole into a lover's stomach i suspected they were done by the same guy and indeed they were, a man who i could say was somewhat of a pioneer along with the giant King Ho: Chuen Yor (or Chu Yuan / Yuan Chu) was the son of an established chinaman opera actor (and later cinema star) but the jr. decided to go straight and study a real job, he did some drafting and studied chemistry until he got an opportunity to script doc some small fry productions, he seemed successful at this and it seemed too he was destined to go balls deep into it. In relatively short time he made billing credits a single year he took into "collaborative director" which sometimes means the real guy but giving main billing to someone else again, that's another oriental story and years after doing constant well performing low-budget films he was grabbed by the big studio in HK and given relatively free reign, he didn't miss these chances and made himself a name not only in portraying controversial subjects for asian audiences, and with mainstream distribution, but because he also did it with relatively well-packed narratives and some decently-thought scenes. Again my standards have dropped dramatically in these last years, SB productions are almost soap operas at times, but one usually can recognize when someone is clearly heads and shoulders above other artists; his silly but very effective enhancements of the tired old sets, dynamic backgrounds or objects as visual stimulants and meta-enticing placements of cameras are probably inspired by japanese masters but it doesn't take away him doing it with small budgets. Later in his career, and after having befriending many people plus his father's own acting tips, he took a shot at it and acted in some films usually starring his pal Jackie Chan (for some reason he didn't want to appear in Bruce Lee ones earlier). His main era of work, 1971 to late 80's, show tons of numbers and names but the few i've seen unknowingly from him (chinese names in credits are easy to forget sometimes) he wasn't that much of a improvised like others were, good or bad, his background as engineer i suspect plays part as his narratives are well-paced and well-streamlined, something rare in those productions especially when he adapted some fantasy warrior novels which are widely known to be poorly chopped down and edited in haste when brought to the screen, not with this guy as his movies might probably ignore many details but they don't seem like it unlike others who sinned too much from this and were quite obvious they skipped hundreds of pages in 5 minutes. I recall one case where they skipped almost the entire book from one scene to another. This dude, who was also a T*r*ntino rip victim for anyone keeping tabs on that list, lived in relative peace and money since the 90's and passed away February of this year, i recall very well reading his obituary and somewhat dismissing it due to glimpsing his credits there on some cheaply looking action stuff i remembered from that folder, shame on me for dismissing him as i didn't pick those folders yet but destiny has made me see his "lesser" known works in the cheap-action oriented western scene (but rabidly more known in the nudity and fantasy-oriented east). One does never know exactly who was the guy dying in turn until one sees his work in form, from a random action peddler to an oddly visually refined man who seemingly took planning quite seriously in his big projects, a few among his 125 overall credits as director in which he also script tweaked 70+ of them. I shouldn't underestimate anyone as easily, obituaries and retrospectives sometimes are made by people who haven't actually seen or read shit about some and can't do written justice to their actual achievements, and have to say i am in their position often to my own detriment. Again this guy probably wasn't a King Ho or was he? but in the context we are speaking i can say he was a name often mentioned as big but few knew how to explain why... now i know kinda, from pervy taboo slashers semi-imported from Nippon like Intimate Confessions of a Chinese Courtesan to some ethereal vignettes in a bunch of his fantasy tale adaptations, his efforts somewhat reminds me of that Fred Zinnemann quote, being able to make films is a privilege and one should act knowing this fully at all times to make a respectable product no matter who or what is the audience; this guy seemed like he did that sometimes and that's most appreciated even if, again, the context is about mysterious and flamboyant flying chinamen in shiny clothing slapping people and swinging swords almost exclusively for revenge in sets that are repeatedly shared among dozens of movies.
Do you ever feel like you watch too many films from the same region? I feel like I only watch films from East Asia and the Anglosphere, but I don't want to force myself to watch films from other regions as I won't appreciate them.
Are there any directors who you've watched their entire filmography?
>>2474 Yes, same with East Asia (Hong Kong) but also Eastern Europe (Yugoslavia) and my own country. It is a tricky thing because you feel near like an otaku or something being focused on a specific scene but it is enjoyable, you learn their some of their little details and recurring themes, changing scenes very often (as is watching a movie from x place then y then z then b then a then c...) will end up with one using a general standard, that is the best movie you watched in that run instead of the context. Some places are just pure guilty pleasure and consuming them is akin to eating fries and grape soda everyday, it's not healthy but who can stop you? at least you can see other stuff with different eyes at times. >>2475 Should be easy but not often done because directors always have a particular work or two that aren't worth it or merely not interesting compared to their other works. In my case i reserve some stuff for latter days, Kurosawa i reserved myself his colour works but 15+ of his B&W i have seen. By accident i remember seeing, i think, all of Paul Verhoeven and Jim Abrahams + Zucker Brothers works, some others i am shy two or three movies like JP Melville or Sergio Leone, KW Wong is another and now that i remember Chan-Gook Park. Usually most people will be shy a few works due to that certain thematic oddity.
>>2475 I have seen all films directed by Charles Laughton and Ester Krumbachova. I've seen all of Orson Welles' major works besides Macbeth and Chimes at Midnight. Since he has so many unfinished projects and assorted TV episodes there's still plenty for me to watch.
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>>2326 Bluray looks great. I can finally watch this!
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Has Trinh T. Minh-ha made anything worth watching... or is she a mediocrity elevated by the progressive stack? Reassemblage is not an essential short and it's sloppily "assembled" to boot. I see a lot of people gushing over her work as if it unlocks some profound truth. Trinh has a 3000 word wikipedia page, over three times longer than legitimately interesting directors like Ulrike Ottinger and Kidlat Tahimik.
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The first part of this video outlines some of the new applications of "AI" in video production For example, LED backdrops replace greenscreen to improve natural lighting. (This of course reveals that AI itself cannot convincingly reproduce natural lighting.) Some of the other uses have an uncanny valley feel to me. https://www.youtube.com/watch?v=ixgFtjfO_7Q https://inv.riverside.rocks/watch?v=ixgFtjfO_7Q
Currently coursing a writing activity thing once a week and getting instructed on how to write specifically technical documents to present at producers/directors, not really scripts but yeah practically scripts, instructive documents on how to make short projects without going into the director's dossier/shooting list. Been lagging around here so i expect to pass that on digital, translate it and post it around here and then start the PDF dumb just for the heck of it and kick myself a bit to read about camera work. If i ever get spare money then a video camera and try my hand at shorts but because nomonies i will probably end up doing "video art" aka experimental nobudget pretentious series of cinemagraphs, so that opens a whole new area i know very little aside from music videos. I remember reading the best only acceptable kind of video art projects are the ones experimenting about new or little used techniques, in this case because of no money what should i do? what do cinematographers even do when they have absolutely no money at all other than their camera? The Man with a Movie Camera version #88? should i expect to know after reading 2 or 3 books about camera work?
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>>2590 >what do cinematographers even do when they have absolutely no money at all other than their camera I'm inspired by Paul Clipson, although now I can't find the relevant quote (from an obit) ) where he summarized his approach. He said something about a preference to just go out and shoot instead of spending hours planning what to do. As a result his work had a compelling spontaneity. Granted that's not an easy thing to duplicate without developing a sense of what to shoot and how to shoot it.
Once again this year another lore character of Hong Kong's film industry has passed away: Ni Kuang or sometimes written I Kuan was a shanghainese bookworm and a fanatic of fantasy/wuxia and science fiction literature, later on these feelings of utopian or impossible ideals and other assorted fantastical tastes naturally made him enroll in the communist party (police academy area) but he soon faced the dire reality of being coy while serving as a bookie in a mongolian commie security bureau outpost, in which he was often in charge of signing the written notices to send people either to the camps or to be executed. At some point he received a notice himself after poaching wood from the outskirts of a farm (owned by the family of a party leader) to warm the office at winter and soon escaped said outpost, back in his town his family refused to shelter him due to fear of being all send to the steppes and, like many cultured enough in gommie china, fled the country while in his particular case he went to Hong Kong after months of journeying in the rural areas and paying up 3 months of salary money to be shipped across the mainland to the island. Here is where things got relevant, he worked as hard labour for a while but due to his knowledge in several genres along with very disciplined workflow (consequence of being a chicom pencil pusher both to survive and entertain himself) he started penning amateur work for some newspapers and became a solicited freelancer both as a writer and as a quality control not much later, at some point writing a column for 12 newspapers at the same time, and after making friends with some literatefags in the city he was suggested to make his very own novel. Later on the novel was made and supposedly became an influential hit we don't know if they were good because hongs very rarely translate their literature and after getting a bit more fame he was invited to collaborate with the hegemonic film studio of the city-state, the Shaw Bros., where he became the almost-omnipresent staff script doctor for almost every screenplay that was considered worthy of filming. The hong industry has a particular thing, in which i know has a name in terms of industry practice but i forget about it, where an entity will oversee almost every output made and credit itself entirely even if they haven't touched the product but will also produce and cover up most expenses along with functioning as a supporting role if work gets trickier; such is the case of Ni Kuang and the Shaw Brothers film output, where he is credited at almost 400 scripts in 20 years (191 in the martial arts realm) if someone entered a basic idea or an advanced script he would supposedly come in, format it to industry standard to present it as an official screenplay, maybe fix some plot points here and there and then credit himself while other times maybe he would do the entire thing or some other times he would credit himself to make some freelancer avoid contractual problems with another studio. Most of these ranged in the wuxia/fantasy, urban crime, military drama or the studio's main source of income: Martial Arts flicks. There was a comment i read time ago which said something around the lines that "if you watched any hong kong movie from 1965 to 1985, there is a solid legitimate 33% chance it was penned at some point by Ni Kuang" and honestly it is not a hyperbole. After ditching the newspaper gig in the late 60's he went on to concentrate his efforts in the studio along with doing some "novels" chinamen call a lot of things novels, we can say chapters, comics, short stories, actual novels, etc and sometimes even if he didn't sign the script his work would be adapted by someone else as he freelanced or doc'd fiction works for other people, so if we believe the numbers there are around 500 products out there with his ideas or foreign ones with their consent as he was drinking buddies with many well-known writers of the time; if some movie's story was way too similar to a famous novel it could be maybe that he either supported said writer with the same plot points or just ripped it off with previous blessings by the man himself. To make things more absurd there's known work that was his but went uncredited to avoid contract problems, such was the case of Bruce Lee's Fist of Fury and The Big Boss, done because Bruce paid good money to disregard "the rules" which was the real reason why he got bumped off We can even argue the majority of the cliches, tropes or what have you in the martial arts genre was invented or implemented narratively by Kuang, so if someone thinks most martial arts movie play the same and have no variation at all, as if they were written by the same dude, then surprise... it probably was. In reality the guy probably didn't write, in an integral form, more than 100 works but his orders to format the napkin stories and streamline most anything with the same plot points, ideas and even basic dialogue lines makes him a core personality in Hong Kong's film lore and basically the entire martial arts/hand-to-hand combat action genre. With his death the last of the 4 major writers of the Hong industry rests in peace, in the coming days we'll see if he will receive an outwardly fanciful farewell like he did at some point being the co-protagonist of that Coffin Drinking Tale (along with recently deceased Jimmy Wang) or if he will be somewhat ignored by their media due to his staunch anti-communism position, rumored umbrella sympathizer along with being an allegedly somewhat famous PRC critic via satirical columns done both in the 60's and the late 80's, the main reason of his departure from the island in the mid-90's (along with many other chicom expats like Jet Li) which also effectively ended his script doc and big editorial career. Coincidentally i saw a movie penned by him yesterday although that's not an oddity lol, RIP nevertheless

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