This director loves making friends.

Chapter 104 Do you dare?

After Lok Yee-ling and Lo Mei-wai's remarks were exposed, they instantly became the hottest topic in Hong Kong's film and television industry. Knowing the nature of Hong Kong media, they would definitely strike while the iron was hot and hype up the topic.

For a time, Hong Kong filmmakers of all ranks, whenever they were cornered by the media, were asked for their opinion on the matter.

The reactions from Hong Kong filmmakers are quite interesting.

People from major film companies like Shaw Brothers, Golden Harvest, Win's Entertainment, and D&B Films, as well as those from the five major cinema chains, gave unexpected answers whenever asked by reporters, whether they were specifically instructed or not.

They either refuse to be interviewed or say they have no comment.

Either say Qin Keqing is a good director, and that's it.

Either say directly that making movies should be pure and that personal attacks are unacceptable.

In short, none of the responses from these large companies specifically mentioned supporting Lok Yee-ling and Lo Mei-wai.

Of course, there was no one who openly supported Qin Keqing's rebuttal of Le Yiling and Luo Meiwei, except for Oriental Cinema Line.

Huang Baiming is the only one among the film and television bigwigs who openly supports Qin Keqing, and he also relentlessly criticized Le Yiling and Luo Meiwei for their ignorance, arrogance, and reckless remarks.

While the outside world was somewhat surprised by Huang Baiming's clear support for Qin Keqing, it was understandable, as it was assumed to be a matter of mutual benefit. After all, "The Uncle" was released in Oriental Cinemas and sold very well on its opening day, so Huang Baiming would naturally want to support it.

Aside from the big companies, the other people in the film and television industry are quite interesting.

There are also quite a few people who openly support Qin Keqing, but most of them are filmmakers who have worked with Qin Keqing.

The cast includes actors such as Lin Guobin and Lin Wei, art director Zhang Shuping, cinematographer Liu Weiqiang, assistant director Ye Weixin, and action directors Lu Huiguang and Yang Sheng.

Renowned directors such as Xu Ke, Du Qifeng, Wang Jing, Chen Musheng, and Chen Jiashang were also asked about it.

Among them, Du Qifeng and Chen Musheng avoided the topic of discrimination, but instead expressed their admiration for Qin Keqing's new fighting style, which is characterized by its cold realism and abandonment of flashy moves, creating an extremely oppressive atmosphere.

They also specifically emphasized that these were not copied from Hollywood, and that Hollywood, and indeed the world, does not have any movies with this minimalist fighting style.

Although Wang Jing, Xu Ke, and Chen Jia did not directly criticize Le Yiling and Luo Meiwei, they did say that Qin Keqing is Chinese, and since everyone is Chinese, there should be no discriminatory remarks.

Wang Jing also specifically said that Qin Keqing is a very good person, a talented and genius director, and that the films he makes are all of very high quality and level.

Besides these, many Hong Kong filmmakers also supported Lok Yee-ling and Lo Mei-wai, emphasizing the term "Hong Kong people" in their words and even implying that mainlanders would steal Hong Kong people's jobs.

Qin Keqing wrote all these people down in his notebook.

Stephen Chow was alright; although he didn't say anything in the media, he made a special phone call to Qin Keqing to comfort her.

In addition, the third daughter of the Li family, Li Peiyi, also called to ask if there was anything she could help with.

Qin Keqing could hear the eagerness in her tone; she seemed impatient to help.

After thinking for a moment, Qin Keqing asked, "I'm planning to write an article that might mention my uncle's background. Is that alright with him?"

"Haha, there's nothing to be ashamed of about this. My dad has never denied it. You can bring it up as you like."

After Qin Keqing finished the call, Zhang Min came over and held Qin Keqing's hand. She was really afraid that Qin Keqing would be upset.

"Should I have someone warn Lok Yee-ling and Lo Mei-wai to stop them from talking nonsense again?"

Qin Keqing smiled. He knew that Zhang Min hadn't been wasting his time; she still had some connections in the underworld.

"No need, I can handle it. These are no big deal. Didn't you see some big shots leading the charge against me?"

Zhang Min thought about it and realized there really wasn't any, which was what puzzled her. Logically speaking, given Le Yiling and Luo Meiwei's connections, there might actually be some big shots who would stand up for them.

But it didn't.

"Go to sleep first. I'll write an article about this. If I don't say something, people will think I'm easy to bully."

After Zhang Min went to rest, Qin Keqing began to write an article, which was actually not difficult at all.

Don't let regional discrimination become a cover-up for failure.

"The Man from Nowhere" saw a box office boom on its opening day and received rave reviews from audiences, while The Lover and His Confidant, released at the same time, was met with a lack of viewers.

Faced with this stark contrast, instead of reflecting on the weakness of their own work, investor Lok Yee-ling and actress Lo Mei-wai pointed the finger at the director, using labels like "mainland boy" and smears like "showy but incompetent" to try to cover up their incompetence.

The dismissive "Mainland boy" from Lok Yee-ling's mouth reveals her narrow-minded regional prejudice and arrogance. Film art has no regional distinctions, only differences in quality. The audience will give the best answer.

Defining an identity is the stupidest thing the stupidest person can do.

I don't know how she defines "mainland boy". If you broaden the time frame, everyone in Hong Kong is from the mainland, and she herself is also a "mainland boy" in her eyes.

Let's shift the timeline back and talk about those who came to Hong Kong in the last 60 years or so.

The film and television industry boasts a multitude of figures, including Michael Hui, Dean Shek, Paula Tsui, Pan Ying-Tzu, Michael Miu, Elvis Tsui, Lam Wai, Sharla Cheung, Jet Li, Faye Wong, Leon Lai, Carina Lau, Vincent Zhao, and many more.

If we expand to other areas, there are even more.

You're probably familiar with Lee Shau-kee, right? He came to Hong Kong in 1948.

You all know Li Ka-shing, right? He came to Hong Kong in 1940.

You all know Cheng Yu-tung, right? He came to Hong Kong in 1946.

You all know Kwok Tak-seng, right? He came to Hong Kong in 1940.

Leaving aside the rest, I would like to ask Ms. Lok Yee Ling and Ms. Lo Mei Wei, what would you call them?

Is he also a "mainland boy"?

If you truly dare not and did not do it, I will admire your impartiality.

The key question is, do you dare?

Attributing commercial failure to the director's background is not only a trampling on professional ethics but also a disregard for market rules. The audience's votes, cast with real money, have already proven the value of "The Man from Nowhere".

This kind of discrimination based on birth seems so pale and ridiculous in the face of solid box office results.

Luo Meiwei criticized the new fighting style as a deceptive and pretentious show, and a typical case of an amateur instructing an expert. Traditional martial arts emphasize the beauty of routines, while this new style, which focuses on the visceral impact of punches, pursues the real transmission of power and the ultimate visual impact.

This is a respect for the audience's sensory experience and an innovation. When the old performance mode has caused the audience to become aesthetically fatigued, innovation is bound to be accompanied by controversy.

Ironically, Romeo's denigration did not stem from a difference in artistic appreciation. She is neither an action actor nor does she understand action scenes; her denigration was purely for the sake of denigration, which is the most low-level and foolish behavior.

The most powerful counterattack against unwarranted discrimination and malicious slander is not verbal sparring, but rather the continuous creation of more impactful works, letting the facts speak for themselves.

Finally, I'll give Ms. Lok Yee-ling another chance. I'll make a movie, and you'll invest in one. Let's compete again.

I'll say it again: Do you dare?

You wouldn't dare!

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