Liu Weiqiang's young experience, his family background and his parents?

Chinese name: Liu Weiqiang English name: Liu Weiqiang (Liu Weiqiang)

Flower names: A Qiang (so called by Wen Juan) and Liu Sheng (your respectful name by the crew)

Dad (the nickname of the crew), silly strong (a personal friend)

Birthday:1April 4, 960 Constellation: Aries Height: 174CM

Occupation: director, photographer, producer, actor Marital status: married.

Family members: wife (Angela), four children (eldest son Junde, second son Jiande, third son Wade, youngest daughter Huaying).

Liu Weiqiang, a photographer, has played an important role in Hong Kong films in recent years.

1960 was born in Hong Kong. I loved photography since I was a child. 1980 joined Shaw after graduating from high school. My first film was Liu Jialiang's Eighteen Martial Arts, and I was a photographer. 65438-0985, officially engaged in photographer's work, and his works include "Dragon and Tiger Storm" and "Tears Like Rain". 1990 began to direct the barrel, and made films such as Peng dang, human skin lamp and story of the temple street. 1995 teamed up with Wen and Jing Wong to form the best partner film production company, 1996 directed the best partner's pioneering work "Young and Dangerous Jianghu". As a result, the film made great achievements, and three films in succession entered the top ten blockbuster movies in Hong Kong that year, which set off a wave of Jianghu films in the Hong Kong film circle, and the Young and Dangerous series was filmed for six episodes in a row. Liu Weiqiang also entered the ranks of first-line directors in one fell swoop, and then made several blockbusters in succession. In recent years, it has become the mainstay of revitalizing Hong Kong's film industry, especially good at shooting cartoons and movies with a lot of computer stunts. In 2002-2003, Infernal Affairs Trilogy, directed by, pushed Liu's career to the peak.

From business to literature and art, Liu Weiqiang was a famous Hong Kong cinematographer in 1980s and 1990s. He won the best cinematography award or was nominated many times for his films, such as Lei Laohu of Juan Carlos I (199 1) and Chongqing Forest (1994). He also started directing movies in the early 1990s. In the second half of 1990s, he provoked the task of saving the market and made a series of films featuring young people and dangerous people. At the end of 1990s, Liu Weiqiang combined computer special effects with animation special effects for the first time, and produced animation and costume martial arts films such as "The Wind and Cloud Dominate the World" (1998) and "man called hero" (1999). These films started Hong Kong before Tsui Hark's digital martial arts film Shu Shan (200 1). At the beginning of the new century, infernal affairs (3 episodes, 2002-2004) was released in Liu Weiqiang, which had a strong response in Hong Kong and the mainland, injected a shot in the arm into the weak Hong Kong film market, played a positive role in promoting the declining Hong Kong film industry, and gradually shifted from a commercial route to a literary route. His later transnational works Daisy (2006) and Wounded City (2006) are full of literary flavor.

The film Young and Dangerous is Liu Weiqiang's first creative stage. During the period of 1996- 1998, Liu Weiqiang and his best partner, screenwriter Wen Juan, successively released "Jianghu Young Men" (1996), "Young Men Crossing the River" (1996) and "Young Men Entering the Dragon" (6544. The film "Young and Dangerous" continues some themes of "gangster films" during the film boom in Hong Kong, and shows the antisocial, unrestrained and arbitrary life attitude and lifestyle of street-edge teenagers. So this kind of movie is different from "gangster movies" for ordinary audiences. Its target audience is very clear, and it is a youth "gangster film" for young audiences at present. The film "Young and Dangerous" has always retained the theme of "loyalty" in the previous "gangster movies" and "hero movies", and "young and dangerous" have made their way out of the rivers and lakes by loyalty and teamwork. Chen Haonan, the protagonist of the film, is loyal to his brother, never gives up his girlfriend, and respects the elderly. He was portrayed as an ideal hero in post-traditional society, which attracted the "pursuit" of most young audiences. As a photographer-born director, Liu Weiqiang knows well the language rules of commercial films. Most of his "Young and Dangerous" movies are sports scenes such as shoulder resistance, shaking and shifting, which not only fits the youthful mania of young and dangerous people, but also controls the rhythm of the whole film well. On the other hand, Liu Weiqiang skillfully used the influence of cartoons. When his characters appeared, they all started with sketches of comics. The outline of the black characters created a mysterious introduction, and the audience saw the projection of the previous cartoons during the viewing process, which produced a further sense of identity.

The personalized, fashionable and young image style and group image constructed by the film "Young and Dangerous" has set off an upsurge in Hong Kong. Not only did the follow-up cartoons named "Young and Dangerous" flood the whole of Hong Kong, but such films were also a continuation again and again. Later, in addition to the movie Young and Dangerous, there was also an old fool like Twelve Sisters in Wan Chai (1999). These films are not directed by Liu Weiqiang. Their themes and styles are very different. For example, Kai Cheung Chung's "Mong Kok Flying Man" (1996) and "Go, Flying Army" (1996) directed by Chuen-Yee Cha are all extremely mocking the underworld, showing that "young and dangerous people" are just Ye Gong.

The creation of animated special effects action films is the second stage of Liu Weiqiang's films. Movies at this stage, such as Unifying the World, man called hero, and The Top of Purple Gold (2000), are also adapted from cartoons. The original cartoons of Ma Rongcheng, a famous Hong Kong cartoonist, endow these films with the connotation of popularity and slow fever. For example, his popular comic "Fengyun" uses popular media forms to meet the serial characteristics and visual requirements of comics, and reproduces a story that has no background of the times, but is closely related to the cultural trend of Hong Kong. Liu Weiqiang's film "Dominate the World" was cut on the basis of this popularity, and many sidetracks were deleted, simplifying some complicated plots, making it more suitable for film expression, and the plot and characters were more in line with the needs of the public. These films combine traditional costume swords with modern sci-fi types in images, trying to soften the imagination of eastern chivalry by using modern digital technology, and update the action pictures in the form of swords, fists, palms and lightness skill. Among them, the sense of science fiction and animation brought by digital technology has brought the exotic feelings of traditional martial arts into a space full of modern consciousness and future imagination. At the same time, the elegant lightness skill, dancing swordsmanship and the palm style of pulling mountains and rivers in traditional martial arts films have also become more vivid through digital technology. These films use a lot of digital synthesis technology. For example, The Tempest used as many as 550 digital lenses. Most of these stunt pictures in the film are designed according to the original comics, which have the charm of comics and are full of sci-fi and surreal colors. Among them, the contest of Leshan Giant Buddha, Aaron Kwok's unicorn arm and Ekin Cheng's snow-drinking knife also have a video game mode, which makes the film more fashionable. This kind of stunt picture with video games as audio-visual effect combines the film style with animation, and also presents the unique illusory artistic conception of the oriental martial arts world. Dominate the world also well grasps the balance between stunts and narrative, pays attention to the character and emotional expression, and better grasps the unity of commercial value and artistic taste. Although the other two films also used a lot of digital lenses, due to the fragmentation of structure, the characters were weak and failed at the box office.

Another film by Liu Weiqiang, Initial D, is based on the cartoon of the same name by Japanese cartoonist Noxiuji. It was shot in 2005, but it is also an animated special effects action film. Compared with the original comics, the film highlights the indomitable spirit of the protagonist Fujiwara Takumi, and also shows emotional things such as affection, friendship and love in detail. In the application of special effects, the film shows subtle taste, which strengthens the application of music and sound effects. With the help of racing professionals, the film language full of visual movement and psychological stimulation creates a fast and dynamic racing world.

The gangster film creation represented by Infernal Affairs series is the third stage of Liu Weiqiang's films. Among them, Infernal Affairs (2002), which initially caused a sensation, pays attention to innovation in both content and form, which is very different from traditional gangster films. For example, the film no longer follows the traditional narrative mode driven by violent actions and loyalty in the rivers and lakes, and no longer interprets the superficial significance of the opposition between the underworld and the police, but finds another way, with delicate inner anatomy and humanized story. The film adopts an omniscient perspective, and at the beginning, it explains the true identity of the characters and the mission entrusted to them, which determines that the film will not go "Who is undercover?" To create suspense, but to "what will happen when they encounter a crisis?" What will they do? " It is necessary to remind the audience to always pay attention to the fate of the characters, pay attention to the dangerous lives of the two characters, explore their unknown fate, and always pay attention to their fears, contradictions and stressful hearts. In this way, the film has gained the humanistic depth and cultural significance of paying attention to the living conditions of the characters. Liu Weiqiang himself explained this: "This film will reflect the conflict between people in modern society and the definition of good and evil, thus inspiring people's values of money, status and truth. In other words, success in doing bad things does not mean that he will be so successful in the future or after leaving this world. " In the last two films of Infernal Affairs, Infernal Affairs II (2003) and Infernal Affairs III's Ultimate Boundless (2003), this humanistic theme gradually extended in depth, indicating that Liu Weiqiang has gradually completed the transformation from a commercial type to a literary type.

The transnational production of Daisy with Korean filmmakers perfectly reflects the change of Liu Weiqiang's film style and marks the beginning of Liu Weiqiang's fourth creative stage. This film strongly exaggerates a romantic love story, exotic encounters and love, slow pace, more memorable lyrical pictures and charming Amsterdam scenery give it a typical literary film style. At the same time, the film packages many commercial elements in Hong Kong-style movies, such as the action scenes of police robbers and the creation of suspense atmosphere, which further enhances the appeal of the plot. In addition, the story is narrated from the perspectives of painter Huiying, policeman JUNG WOO and killer Park Yi, which enhances the tragic color and theme of "wrong love" from their respective perspectives. Liu Weiqiang's latest film "Injured City" still takes the commercial packaging route of literary films. The film tries to cure the sadness in the depths of the city with the classic legendary mode of "degenerate son, prostitute, we are all unhappy-to the end of the day". The film contains the loss of the identity of the police and robbers and the dramatic tension of the plot in Infernal Affairs, but the former does not have the intense feeling and tragic momentum of confrontation between police and robbers and confusion between black and white. The film focuses on the inner darkness of the characters and the ambiguity of the urban background, and takes the soul-stirring tracing back to the incomplete humanity as the biggest selling point of the film. Compared with Infernal Affairs, the depiction of love between men and women is more delicate and in-depth, and the lines of literary films are more firm.