I don't like Zhang Che's way of dealing with violence, but his depiction of love and righteousness is very beautiful and unrestrained. In addition, I have deliberately emphasized the handling of violent scenes. I use blood and death to achieve an exaggerated effect, scaring the audience, making them feel the horror of the underworld or the invisible totalitarian force.
The performance of Chinese films has always been too subtle and unstyled, and has no value for the audience to watch. The Chinese should be more open, show their true nature, and put these characters in the movie, just fine. (Director John Woo)
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Woo originally wanted to be as dirty as the movie Taxi Driver, but Tsui Hark asked for a sense of the city, clean and gentle. Brother Mark is located in Central, and the dress of the upper class is in contrast with the chee cheong fun of the lower society, which expresses Mark's informal character. (Art Director Lei Zhiliang)
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The most impressive thing in the whole play are those coats, which are very romantic. The romantic style suits John Woo very well. Except for the design of the hair boy to wear a coat, everyone must wear a coat (the Hong Kong-made film has never seen it). The director's perseverance is very important. At that time, he was very poor, but he said that even if the scene was not decorated, he had to wear a coat. (Clothing guide Yu Jiaan)
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