So what if I work with celebrities?

As expected, there's a lot of nonsense in reality.

The news that Xu Zan was under the protection of two powerful underworld figures quickly spread throughout Hong Kong's entertainment industry. They told the story with great detail and accuracy:

On set, Hui Chan single-handedly subdued a bodyguard, prompting the Tuen Mun leader to kneel and beg for forgiveness overnight.

However, Xu Zan later realized that he had gotten carried away during this period, and there were no harsh words spoken around him, only praise.

The sailors of the Lianzhuhui (a secret society) held him in high esteem, and under his influence, everyone at China Film Group treated him with utmost respect.

Hu Huizhong's tenderness, Lin Qingxia's sorrow, Zhang Aijia's flirting, and Deng Lijun's signature dishes.

Not to mention the rapid progress in her career, Toei Animation sent a fax saying that "Miss Granny" was doing very well at the Japanese box office.

The film grossed 108 million yen in its opening week, and the total box office is expected to reach around 400 to 500 million yen.

With such success for a foreign film, Toei's top management took notice of Hsu Tsan and ordered Takeda Ryusuke to cultivate a good relationship with him and import more of his films.

Xu Zan knew that the most important thing now was to calm down and not cause any more trouble in the underworld. The road ahead was long, and the most important thing now was to make money.

Money attracts people and creates significant influence.

Chui Shui Min gave a brief overview of the plot at the dinner table. After hearing it, Xu Zan remembered the movie "Jump Ash" that he had seen in his previous life. This movie was a huge hit in Hong Kong.

Therefore, he won't lose money by investing HK$200,000.

Also, befriend Chui Shui-min; at least the Digital Head faction won't easily provoke Hsu Zan. Now, only Wo Luen Shing remains.

However, Xu Zan didn't care. If he remembered correctly, Hong Kong's security management had been very strict in recent years, cracking down on many underworld forces. At one point, they even thought that there were no underworld forces left in Hong Kong.

Therefore, the resurgence of underworld forces in the late 1980s and 1990s is self-evident.

Xu Zan's film crew has resumed work, and the filming is progressing rapidly. The plot of the film is relatively simple, with action over dialogue.

Liu Jiahui has a solid foundation in basic skills. He has practiced each set of movements very well and can get the job done in just a few takes.

When filming "The Monk Sande Passes Through Thirty-Five Chambers," Xu Zan met Yuan Xiaotian. The older generation were very humble.

He would take the photos however he was told, without getting angry, and was always smiling.

"Mr. Yuan, I'll be filming another kung fu movie next year, could you please help me out?"

"Sure, wouldn't it be foolish not to make money? Hahaha!" Yuan Xiaotian said, smoking a cigarette.

Xu Zan then asked what his son was doing. It turned out that he was filming with Wu Siyuan. Their company was independent of Shaoshi and Jiahe, and it was doing quite well.

Wu Siyuan, in particular, is a man of keen insight and shrewd social skills. When the Independent Commission Against Corruption (ICAC) was established in Hong Kong, he flattered the anti-corruption campaign relentlessly, and made a fortune from it.

It must be said that their ability to capitalize on trending topics is outstanding, and their ability to adapt existing content is even stronger.

After a month and a half of meticulous work by Xu Zan, filming of "The 36 Chambers of Shaolin" officially wrapped up. He then hosted a banquet for the crew, indulging in a complete feast.

"Director Xu, please look for me again if you have any projects in the future!" Liu Jiahui said, raising a glass of wine.

Liu Jialiang raised his glass and said, "Let's toast to Xu Sheng. Everyone has seen his hard work over the past month. His directing ability is absolutely top-notch!" He gave a thumbs up.

He will focus on directing in the future, but he also recommended some people from Liu's stunt team to Xu Zan. These people can work as stuntmen or martial arts instructors.

Xiang Huaqiang leaned over and said that he hoped to go to Taiwan with Xu Zan. He preferred making movies to being a star's sidekick or doing odd jobs in his brother's restaurant.

Ms. Fang also attended the dinner. Her presence was certainly not for congratulations; she must have had something else to discuss.

However, Xu Zan already had a general idea of ​​what it was about. It was nothing more than more co-productions.

After all, "The Joy of Love" and "Miss Strange" have already demonstrated Xu Zan's directing ability, and his shooting techniques and concepts are similar to those of directors who have studied abroad, and they were also big hits.

In comparison, Xu Zan stands out even more.

In addition, Ms. Fang had watched all the raw footage she edited every day, and had a general idea of ​​the film. She estimated that "The 36th Chamber of Shaolin" would be a big hit.

Shao has had a tough time these past few years, missing out on Li Xiaolong and Xu Guanwen, and being constantly criticized by the media in magazines and newspapers.

Ms. Fang was well aware that Shao's Film Company was deeply entrenched in problems and could easily collapse if it abandoned its current model. If it did not abandon it, she would have to watch it decline until it was pushed to its knees and collapsed.

"Mr. Xu, I heard from them that you're going to continue making kung fu movies next year?"

"I have this plan, but it's still in the planning stages," Xu Zan said.

"It was a pleasure working with you this time. Could we continue to collaborate next time? I can be more flexible with the profit-sharing ratio!" Ms. Fang asked, raising her glass.

"We'll see when the time comes. I haven't decided what to film yet!" Hsu Tsan didn't give a definitive answer, but she didn't agree either.

Ms. Fang didn't press the issue, but instead turned to "The Eight Hundred Heroes," wanting to ask if, in addition to David Chiang and Dillon, any other actors from Shaw Brothers could be added.

She recommended young talents like Wang Yu and Fu Sheng.

As a result, Hsu Tsan started dodging the issue again, saying that only China Film Group had the right to decide on the casting, and that the cast had already been announced, so it wouldn't be good to add more people.

The Shao family is only good when they're half-dead. Xu Zan, who is preparing to inherit the Shao family's estate, naturally doesn't want to rely on his abilities to save them.

If he were in Miss Fang's position, he would definitely cut all the artists under Shao's company and then follow Jiahe's model to vigorously cultivate talented newcomers.

Given the current internal strife, the fact that it lasted until the 1980s is ample proof of Ms. Fang's management skills.

After filming "The 36th Chamber of Shaolin" ended, Xu Zan did not fly back immediately, but instead worked with Chui Shui Min to develop a new film.

At Binbin Film Company, I met Xiao Fangfang, a veteran actress who debuted as a child star and became famous throughout the Chinese community. She was eloquent and persuasive.

He went to New Jersey, USA in the early 1970s to complete his college studies, and after graduation, he worked as an assistant director at NBC television station in the United States.

He came into full contact with advanced Western entertainment media, learned the ways of the Western left, and then starred in a highly controversial film called "Hiroshima Twenty-Eight".

Xu Zan helped Chen Xinjian complete the script for "Jump Ash" and told them that if they wanted to make something new, it couldn't be a martial arts film; it had to include gunfights.

"You can tell if someone's talent is something just by looking at them," Chui Shui Min said, praising him. Then she discussed with the investors that since they had HK$200,000 from Xu Sheng, they should make the whole movie even more exquisite.

Xu Zan was about to leave by plane when he received a call from Teresa Teng, informing him that her first solo concert in Hong Kong would be held at the Lee Theatre, with a total of three shows.

Lee Theatre is one of the more upscale theaters in Hong Kong, with a capacity of over 1,500 people.

Xu Zan sat in the best viewing position, surrounded by prominent figures in Hong Kong, clearly demonstrating Teresa Teng's strong influence.

"Mr. Xu, why don't you join my Shao family? I'll support you no matter what kind of movie you want to make!" Master Shao, accompanied by Miss Fang, sat down next to him.

This was Xu Zan's first time meeting Boss Shao. He had a slight Shanghai accent and sometimes mixed in a few words of English.

Not far to the left is Mr. Zou, the owner of Jiahe, and in the front row are the Governor of Hong Kong, the Li family, the Huo family, and the Ho family.

As the concert began, the curtain was drawn back to the music, and the stage, which was not very large, was divided into two sections.

In front, dancers were performing, while behind them, the band sat in two opposing groups.

The opening music was a medley of "A Thousand Words" and "Goodbye, My Love." Introduced by Ho Shou-hsin, Teresa Teng, wearing a sheer pink dress, gracefully walked to the center of the stage.

"I don't know why, but sorrow surrounds me. I pray every day."

Teresa Teng had a broad forehead, slightly furrowed brows, and a strong, clear, and gentle voice.

Xu Zan leaned back in his chair, and at that moment, he finally realized the beauty of Teresa Teng, the kind of beauty that emanated from her when she sang.

No wonder she's been carefully selected by three generations; she's truly a remarkable person.