sinovels Chapter 289 Infernal Affairs Begins Filming
Chapter 289 Infernal Affairs Begins Filming
Chapter 289 Infernal Affairs Begins Filming
As the New Year's bells rang, the final cut of "Departures" was sealed in an exquisite aluminum film canister and sent across the ocean to Europe and North America, officially beginning its journey to be screened and reviewed at major international film festivals.
Initially, the selection committee members at major Hollywood and European film festivals did not show much interest when they received the information about this film.
After all, the title "Departures" sounds rather obscure and depressing. In this era filled with popcorn blockbusters and sensory stimulation, an art film exploring Eastern philosophy of life and death often means dullness and low box office returns, making it difficult to attract the attention of these discerning and hard-pressed judges.
However, just as that thick stack of film selections was about to be turned over, someone who had been deeply moved by "Kikujiro's Summer"...
The seasoned film selector, whose eyes were suddenly fixed on the credits and who was very sensitive to the name of the genius screenwriter, Nobu Kitahara, the script was stunning.
Screenplay: Shin Kitahara; Director: Shin Kitahara.
"It's him? The genius screenwriter who wrote 'Kikujiro's Summer,' the youngest Best Actor in Japan?" The film selector couldn't help but exclaim, attracting the attention of his other drowsy colleagues in the lounge.
The name seemed to possess a certain magic. The judges, who had initially been indifferent to the subject matter, immediately snapped out of their daze and exchanged surprised glances. With the international acclaim and box office success of his works in recent years, the name Kitahara Shin had already established extremely high prestige in the minds of these core figures in the film industry.
"He actually switched careers to become a director? This is his directorial debut."
"Quick, put this reel of film on and let's take a look!"
Even before the most basic screening process was completed, the selection committee directly arranged a high-profile internal premiere for "The Certified Inspector".
As the lights in the screening room dimmed and the tranquil snowfield appeared on the big screen, along with the solemn, restrained, and ritualistic oriental movements of Masahiro Motoki and Tuna Yamazaki, an indescribable change occurred in the atmosphere of the screening room.
The judges, who initially just wanted to "watch Kitahara Shin's antics," were gradually drawn in by the profound emotion flowing through the visuals.
I was deeply moved by the gentle and aesthetically pleasing view of life and death that embodies Eastern beauty.
The entire film contains no heart-wrenching cries or deliberately sentimental scenes, yet it silently peels away the gloomy and fearful shell of death, depicting it as a tranquil door to the next journey, granting the deceased supreme dignity and the living final solace.
After the film ended, the theater fell into a deathly silence that lasted for several minutes. Even the most notoriously critical film critics silently put down their pens.
When the lights came back on, many of the gray-haired judges had slightly reddened eyes. They didn't applaud immediately, but instead fell into deep thought.
"Is this really a debut film made by a young man in his twenties?" A highly respected jury member at the Venice Film Festival exclaimed, his voice trembling. "This insight into human nature, this composure and open-mindedness in the face of life and death, is like a master who has seen through the world speaking eloquently."
Although this was only an internal premiere and the awards ceremony hadn't officially taken place yet, "Departures" had already erected an unshakeable monument in the minds of these film industry giants. A torrent of praise and admiration poured in, with countless Hollywood stars urging Kitahara Shin to release the film globally as soon as possible in private settings.
Although Kitahara Nobuyuki was well aware that the competition for these international awards for art films was fraught with uncertainty, and he couldn't guarantee that he would win the top prize, he was certain that the film's internal word-of-mouth had been phenomenal, and it had taken the most solid step on its path to the world stage.
While enjoying the lavish praise from top judges in distant Europe and North America, Kitahara Shin was already thousands of kilometers away in Hong Kong.
The project preparation work for the crime masterpiece "Infernal Affairs" that he agreed to make with director Andrew Lau progressed very quickly in two months, and the selection of the core actors was finally settled.
In the end, nothing too unexpected happened.
Andy Lau, with his undeniable popularity in the Hong Kong film industry of the 1990s, keen business acumen, and indomitable fighting spirit, successfully won the role of Lau Kin-ming, the undercover gangster originally intended for Tony Leung. He will team up with Nobu Kitahara in this script for a dreamlike duel between two unparalleled heroes.
As Kitahara Shin's private jet landed smoothly at Hong Kong's Kai Tak Airport, he looked out the window at the bustling yet somewhat crowded sea of neon lights and felt a strange mix of emotions.
In his previous life, this was a cultural peak he could only look up to; but in this life, he is a world-class leader with absolute authority, stepping onto this land to personally create the pinnacle of this era.
This time when he came to Hong Kong, Jackie Chan did not personally greet him as usual. Jackie Chan is currently busy dealing with a host of complicated business matters.
This is understandable, as Jackie Chan's collaboration with Shin Kitahara on "Shinjuku Incident" last year completely opened up the Southeast Asian market and also achieved very good results in North America, becoming the most successful work in Jackie Chan's career in breaking into the US and Hollywood.
This film not only boosted Jackie Chan's fame but also significantly elevated Kitahara Nobu's standing among Hollywood producers. Kitahara speculated that the film's impressive North American box office numbers might have played a role.
Jackie Chan has probably already received an invitation from Hollywood and is preparing to film "Rush Hour," the movie that will solidify his position in Hollywood.
Kitahara Shin was genuinely happy about his older brother's progress.
Kitahara Shin, escorted by his company's dedicated security team, discreetly arrived at the secret filming location of "Infernal Affairs".
The film set is located on the rooftop of a rather old tenement building near Sheung Wan, surrounded by densely packed Hong Kong-style signs, exuding a down-to-earth, everyday atmosphere.
Andrew Lau, Andy Lau, Eric Tsang, Anthony Wong, and other pillars of the Hong Kong film industry were all present. It was clear that this was the first time everyone had seen this legendary world-class executive up close, and the previously noisy film set instantly fell silent the moment he entered.
To everyone's utter astonishment, when Kitahara Shin calmly walked up to them and greeted them, he spoke fluent, pure Cantonese with absolutely no strange accent like a foreigner!
"Director Liu, Andy Lau, Senior Zeng, Mr. Huang, hello everyone. This is our first time working together, please give me your guidance." Kitahara Shin smiled and shook hands with everyone.
Even Anthony Wong, known for his arrogance, couldn't help but show a hint of surprise and admiration in his eyes. In the entertainment industry of the 1990s, for an international superstar who had never lived in Hong Kong to speak Cantonese so fluently was a testament to his professionalism and dedication, which was truly awe-inspiring.
During the brief greetings and script discussion, Andrew Lau explained in detail to Nobuki Kitahara some of the script's setting modifications.
Because of Kitahara Shinna's special status as an international gangster, the script changed the original setting that Ah Ren (Tony Leung's character) was expelled due to academic problems to: he was appreciated by Brother Chen and sent to Japan to expand international gang business, where he worked in the Japanese underworld for many years.
For this new setting, Kitahara Shin even suggested to Andrew Lau that in the dialogue scene of his first meeting with Brother Chen, there be a little scene where he shows off his amazing Japanese ability, which impresses Brother Chen and makes him decide to give him a chance.
This change not only makes the male lead's identity more reasonable, but also subtly elevates his aura by a whole level.
The play-by-play was over, and everything was ready.
"Infernal Affairs, Scene 1, one take, one shot." Andrew Lau, holding the walkie-talkie, his eyes sharpened. "Action!"
Although it wasn't the classic confrontation on the rooftop, Andrew Lau chose a highly meaningful dramatic scene to open the story: Chan Wing-yan and Lau Kin-ming unexpectedly meet in a cramped audio equipment store.
As the accompaniment began, the melancholic voice of "The Forgotten Time" filled the speakers.
Shin Kitahara and Andy Lau sat facing each other, their eyes meeting in the air. Although there was no physical conflict, the invisible clash of their acting skills instantly made the atmosphere on the entire set heavy.
At this time, Andy Lau was at the peak of his status as one of the "Four Heavenly Kings." He possessed a handsome face that drove countless women crazy, and his acting skills had long been honed to perfection. In the script, his character, Lau Kin-ming, even when he was nervous inside, still maintained the elegant composure of a perfect, rising star in the police force.
However, even with such a perfect disguise, when he actually stood in front of Kitahara Shin and felt the oppressive and story-filled feeling that seemed to penetrate his soul from Kitahara Shin's deep and restrained eyes, Andy Lau's hand holding the teacup still couldn't help but tighten slightly.
He could clearly feel the immense pressure from a world-class acting style, the aura honed through countless trials in Hollywood and on the international stage, crashing down on him like a mountain. That sharpness, even without a single line, could instantly overshadow all the light around him.
Watching this perfect scene of two heroes battling it out, Liu Weiqiang, standing behind the monitor, couldn't help but rub his hands together excitedly.
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After the initial encounter scene at the audio equipment store was successfully filmed, the crew quickly moved to another location to delve into the core plot of "Infernal Affairs," depicting the undercover life.
The biggest highlight of this story is the misalignment of identities between the police and the underworld. Shin Kitahara plays Chen Yongren, an undercover police officer who has been infiltrating the underworld for many years. Kitahara didn't deliberately modify any minor plot points in the script for this role; instead, he poured all his skill into extremely subtle performance details.
In the scene where Chen Yongren accompanies Brother Chen (Eric Tsang) to negotiate with other gangs, this subtle and devastating attack was vividly displayed.
Generally speaking, when Hong Kong actors portray gangsters, they tend to exaggerate their personality: fierce eyes, exaggerated body language, or deliberately raised voices to show arrogance.
But Kitahara Shin completely abandoned these routines.
In front of the camera, he wore a slightly worn leather jacket, his hair a little messy. While Eric Tsang was exchanging harsh words with others, Shin Kitahara simply leaned quietly against the wall behind him, smoking. His body was slightly hunched, his eyes unfocused, and he exuded a deep weariness and numbness worn down by the years and life in the underworld—a veritable scoundrel with no future, just waiting to die.
However, the moment Eric Tsang turned around and faced away from him.
Kitahara Shin's flicking of cigarette ash paused for a fraction of a second. In that extremely brief instant, a flash of clarity, sharpness, and suppressed pain—a quality characteristic of a policeman—suddenly appeared in his previously cloudy and numb eyes, like a blade being drawn from its sheath. But when Tsang Chi-wai turned back, his expression instantly returned to its usual nonchalant roguishness.
There wasn't a single line of dialogue, and even the facial muscles moved very little, but the suffocating feeling of "three years after three years" and the torment of being torn apart by identity were vividly conveyed through the screen.
Andy Lau, watching the monitor from the sidelines, couldn't help but take a deep breath. As his co-star, he could most directly feel how terrifying this kind of attention to detail was. Kitahara Shin's performance wasn't just "acting" as an undercover agent; it made the audience truly feel that this was a living person walking in an inescapable hell, on the verge of a mental breakdown at any moment.
Eric Tsang, who acted directly opposite him, felt it even more intensely. In that instant, Tsang actually felt a chill run down his spine, as if a lone wolf was lurking beside him, ready to bite off his neck at any moment.
"Cut! Perfect!" Liu Weiqiang excitedly shouted to stop.
After several days of filming, Kitahara Shin's subtle yet chillingly precise acting completely won over the entire crew. The highlight of almost every scene was focused on his expressive face.
As night fell, the film crew, having finished a day of intense shooting, finally wrapped up.
To show their hospitality, Andy Lau, Eric Tsang, and director Andrew Lau hosted a dinner at a high-end restaurant in Kowloon, where they booked a private room and treated Kitahara Shin to drinks and a late-night snack.
After a few glasses of strong foreign liquor, the atmosphere in the private room gradually warmed up. Initially, everyone had some awe towards this multinational capitalist, but after a few drinks, they discovered that Kitahara Shin was actually very easygoing in private and didn't have any haughty airs.
"President Kitahara, after watching your film today, I am completely convinced." Andy Lau raised his glass and sincerely toasted Kitahara Shin. "No wonder Jackie Chan praised you as a once-in-a-century genius to everyone he met when he was in Hong Kong."
Kitahara Shin smiled and raised his glass in a toast: "Andy, you're too kind. Just call me by my name. Jackie Chan is mentoring a younger generation—"
When we were filming "Shinjuku Incident," I learned a lot about the fighting spirit in action scenes from him.
Eric Tsang, munching on a cigar, asked curiously, "To be honest, we're all quite curious. With such a large business empire in Japan, you must be incredibly busy. Why are you suddenly so interested in a Hong Kong police drama script, and even flew here to stay on set and film it?"
Kitahara Shin put down his wine glass, wiped his hands with a damp towel, and smiled as he began to share his views on the Asian film and television industry with everyone.
"Hong Kong films are fast-paced and flexible, which is an advantage. But the reason I chose 'Infernal Affairs' is because it breaks away from the pure gunfights and slashing of traditional Hong Kong police and gangster films. It has a very profound sense of destiny, which has universal value in the international market."
Then, Kitahara Shin took the opportunity to talk to them about the current filming models and industrialized operations of the Japanese entertainment industry.
In this era, although Hong Kong's entertainment industry largely borrowed from and imitated Japan's star-making model in its early stages, there were still significant differences between the two at their core. Hong Kong emphasizes "speed, accuracy, and ruthlessness," with a film potentially going from preparation to completion in just over ten days, relying on the actors' talent and the director's quick wit; while Japan places greater emphasis on a rigorous system, lengthy pre-production preparation, and a meticulous publicity and distribution industrial chain.
Shin Kitahara explained in simple terms how he integrated resources in Japan, how he used the power of capital to protect his films, and his ideas on how Asian films should unite to go global in the future.
The Hong Kong film industry heavyweights in the private room nodded repeatedly, even feeling a sense of sudden enlightenment.
In their previous understanding, actors only needed to perform well and directors needed to make good films. But what Kitahara Shin showed them was a vast strategic game played from a global perspective. That mature, industrialized vision broadened the horizons of Andy Lau and others, and made them realize more deeply that this young man's rise to such a prominent position in Asia was not solely due to his acting skills and luck.
The gathering was a resounding success, with both hosts and guests thoroughly enjoying themselves. This group of top Hong Kong filmmakers were not only captivated by Kitahara Shin's acting skills on set, but also utterly impressed by his unfathomable insight and strategic vision over drinks.
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