I am a historical film director in the entertainment industry.

Popular celebrities often don't perform as well as established actors.

This is because popular celebrities often debut because they have a certain "selling point" rather than because they have real acting skills.

Therefore, their performances are often far inferior to those of established actors.

This makes people feel that the existence of traffic stars is a waste of the audience's time and money.

Furthermore, the behavior of popular celebrities is often overly exaggerated.

In order to maintain their popularity and number of fans, traffic stars often resort to some excessive behaviors to attract public attention.

For example, some popular celebrities post inappropriate content on social media or make overly exaggerated performances in public.

These behaviors not only make people feel that they lack real manners, but also have a certain negative impact on society.

In the future, the term "traffic star" can be said to have been "demonized". As long as you hear "traffic young male" or "traffic young female", the show will be questioned as a bad movie.

The phenomenon of actors receiving exorbitant salaries, delivering poorly acted performances, and then winning Best Actor awards is indeed distorted, burying many truly talented actors.

Cheng Sheng had no intention of giving additional pay to such an actor; to do so would be an insult to true actors.

Extremes beget their opposites; virtue is not commensurate with position!
These hyped-up young idols not only reap fame and fortune, but they also rob veteran actors of their last shred of dignity, refusing to even give them acting awards!

Sympathy for truly dedicated actors is also the root cause of dislike for traffic stars!
“No problem, our Sound Emperor agrees to this as well,” Huo Wenxi said.

Although Yinhuang Entertainment also has popular celebrities, their approach to developing stars goes beyond simply creating popular stars.

Subsequently, Cheng Sheng, Xing Aina, and Huo Wenxi discussed the details of their film and television resource cooperation.

Finally, it was decided that for films produced or invested in by both companies each year, in terms of casting, as long as the roles are suitable, the other company's artists will be given priority.

In this respect, Cheng Sheng is at a disadvantage, since his company doesn't have many artists, and most of them are big names.

Having them act in Yinhuang Entertainment's film and television productions is essentially giving their movies a boost in prestige.

However, conversely, it would also benefit Cheng Sheng Company.

Because Shengli Film and Television Company has few artists, it needs to hold auditions from outside every year, thus giving away the company's profits to outsiders.

Now that we've partnered with Yinhuang Entertainment, we can extract artists from their company and profit from them. We can even put our new talents into Yinhuang Entertainment's movies to hone their acting skills.

It can be said that both sides benefited, but the Emperor of Sound benefited more.

After the discussion, Huo Wenxi said, "Director Cheng, Ah Sa and Ah Jiao are our company's rising stars. We brought them here this time in the hope that you can give them a chance."

Upon hearing this, Xing Aina remained unfazed, but Cheng Sheng's heart skipped a beat. Next year, with the 'computer repair' incident, these two rising stars would likely be separated.

Her phrase "very silly and naive" was widely ridiculed, and she struggled to shake off the shadow of the incident for a long time.

She felt as if she were stuck in a quagmire, unable to extricate herself.

Perhaps it was because her innocent image was so deeply ingrained in people's minds that the exposure of the incident had a stronger impact on people, an impact that almost trapped her and made it difficult for her to escape.

This incident not only affected the individual celebrities, but also the entire Hong Kong entertainment industry.

The decline of Hong Kong cinema can be attributed to several factors. Besides the impact of the mature industrialization of mainland cinema, which led many of its talented filmmakers to move north, the most critical reason is the lack of a new generation of talent within Hong Kong cinema itself.

In the future, the movies that audiences will be able to see on the big screen that can be labeled as Hong Kong films will basically all be limited to the same type of subject matter and the same group of actors.

Benefiting from the different film censorship systems on both sides of the Taiwan Strait, Hong Kong films are still able to maintain a slight advantage in the crime and suspense film genre.

After the "Infernal Affairs" series, a film produced with the full support of Hong Kong, briefly revived Hong Kong cinema, the industry has been following a repetitive path ever since.

Despite producing excellent works such as "Cold War" and "Overheard," Hong Kong films have never been able to return to their former glory.

The demise of Hong Kong films is irreversible. Although some excellent filmmakers are still working hard to revive them, this can only slightly slow down their decline.

The two most commercially valuable Hong Kong film stars, Jackie Chan and Stephen Chow, have lost their appeal in the local Hong Kong film scene as they shed their Hong Kong film labels.

Aaron Kwok, Liu Qingyi, Gu Tianle, Zhang Jiahui, Wu Zhenyu, Zheng Zidan, plus Chow Yun-fat and Andy Lau who occasionally make cameo appearances—this was the only bargaining chip that the "Oriental Hollywood" of yesteryear still had.

Even the audience, and the Hong Kong film industry itself, probably can't remember how long it's been since they last updated their cast list.

In recent years, apart from Lin Jiadong, who is well over thirty, no fresh blood has appeared in their circle.

While the male actors still have a fighting chance, the female actors, after the retirement of the goddesses of the 80s and 90s, are now most formidable, surprisingly Kara Hui, born in 1960 and soon to turn 60.

Hong Kong films shouldn't have come to this.

In 2008, the first installment of the Ip Man series starring Donnie Yen was released, and no one could have imagined that it would be the last vestige of Hong Kong martial arts films.

At the beginning of that year, a "computer repair" scandal broke out in the Hong Kong entertainment industry.

The "computer repair" incident, which occurred with the rise of the internet, has had an unprecedentedly wide impact.

This incident not only caused a major uproar in Hong Kong's entertainment industry and among mainland netizens, but also drew commentary from Western media outlets such as The Wall Street Journal, the Canadian Press, and the Frankfurter Allgemeine Zeitung. (End of Chapter)