Xu an

Xu an

The data part is completed by Xu an himself

Xu an, born and raised in Hong Kong, is of mixed race. His mother is Australian and his father is Chinese. He started his career in 1991, worked with Tsui Hark for 11 years, worked as a deputy director and screenwriter, and began to participate in the special effects guidance work from the biography of Shushan. In 2001, he set up his own company and served as special effects director for many films, such as kill the wolf, Dragon and tiger gate, ghost in heart and painted skin 2.

Personage introduction

Koan Hui was born in Hong Kong in September 1971. His father is Chinese and his mother is Australian. His ancestral home is Shantou City, Guangdong Province. Hong Kong film director, screenwriter, special effects director, actor.

Acting experience

Xu an entered the film industry in 1991 and joined Tsui Hark's "film studio" as deputy director. He has been involved in the production of "Huang Feihong" series (a total of four films), "Oriental invincible", "green snake", "New Dragon Gate Inn", "Liang Zhu", "Golden Jade House" and many other classic films. as a screenwriter, Xu an wrote many screenplays. The screenwriter's works include Dao (directed by Tsui Hark, starring Zhao Wenzhuo), black man (directed by Li Rengang), SWAT new human (directed by Chen Musheng) and downstream and upstream (directed by Tsui Hark, starring Nicholas Tse and Wu Bai). In 1999, he assisted director Tsui Hark in the visual effects design and production of the film Shushan Zhuan, and nominated the best visual effects award of the 21st Hong Kong Film Awards. in 2014, he took over the film "Legend of Fengshen", which was invested and produced by China Star Film Co., Ltd.

Main works

Directing works

Screenwriter's works

Visual effects works

Works of deputy director

sound design

Executive director

Actors and actresses

Planning works

Honorary achievements

Nominations for Hong Kong Film Awards

The 21st best visual effect "Shushan biography" and the 26th best visual effect "dragon and Tiger Gate"

Golden Horse Awards

The 49th best visual effect "painted skin II" in 2012 and the 37th best original film music "upstream and downstream" in 2000

Media evaluation

Sina entertainment and Xu an

Sina entertainment: when the audience goes in to watch a movie, what can they see you do? Xu an: because this is a large-scale magic film, we have almost 1700 shots in the whole film, 1200 of which are special effects shots, and then there are some. The key point is to change the skin, and one is to change the skin. We do it with special effects makeup in the later stage. Then there is a scene at the beginning of the play, which is Xiaowei, the role of Zhou Xun, the ice crack made by reality, which is our later stage Achieve this ice crack effect. Then there are some scenes. There is an animal scene, that is, the scene of the bear attacking the princess. The scene and the bear part are also made with special effects makeup. Then there are some magic tricks in the whole film, including the role of Yang Mi. It's cui'er who will become a bird, sometimes half bird and half human. Those are also implemented by our special effects. Sina entertainment: Why did you join this project this time? Xu an: it's a Beijing Tiangong Yinghua company. As the special effects management company of Huapi 2, they need a visual effect director, so they talk to me about cooperation. Then I'm very interested in this type of film, and I've also seen the director's first film "sword smile". I think he likes his style because I pay more attention to the visual effect The grid. So I was very interested in working with him, and then I talked about it several times. I saw that the director actually made a lot of preparation, visual effects preparation, he drew a lot of concept maps, a lot of design, I think this is a Hong Kong film or a domestic film in the past, because we usually follow the director's idea to change while shooting, but that kind of approach is not like the American film It's a very complete finished product. This time, I see this opportunity. We can realize an initial concept, which can be realized step by step in the end. The first time we have this space, we also have this opportunity to achieve this result. Finally, we have achieved what we originally wanted to do, so this opportunity is very rare. Sina entertainment: how does the director communicate with you about special effects, because it's really heavy. Xu an: it's very important, because it's a magic film, and the focus is on the visual effects. The director has made a lot of his own preparations. He also invited Yoshiko Amano of Japan to do the conceptual design. The first time I met him, he told me that he hoped our film could present a kind of feeling called Oriental magic, so I'm very interested in this. It can show a new kind of film with its own style. I spent a lot of time communicating with the director in the early stage. He found a group of painters to draw concept maps. After I entered the production team, I made those pictures into animation demonstrations, which are dynamic storyboards. But we used three-dimensional to do it. In our early stage, we had shot the important pictures of the whole film once in the computer. We already know the angle, lighting and atmosphere How do we get to the scene. For example, in the special effects makeup scene, we already know that the skin of this lens needs to be very thin. In the other scene, the skin needs to be elastic. We have prepared it in the early stage, so when we go to the scene, we can accurately grasp the material we need. Sina entertainment: because I have seen some Hollywood movie shooting gags, the director can see the final actor's performance in front of the blue screen and the final effect of the final synthesis through the camera when shooting. Do we have that equipment? Xu an: there are devices, but there are no people. There may be hardware, but the software has not yet reached the standard. But there is no film that needs this kind of cooperation, just like "Avatar", most of which are made in the later stage, and the characters are made in the later stage, so it needs it. What do you think is the biggest challenge of Sina entertainment? Xu an: the first is imagination, because we want to achieve a kind of shock in this film, which is something that the audience has not seen. Therefore, it is a big challenge to collect concepts from the early stage and imagine how to cooperate with some technologies. Then, because there are many different kinds of effects involved in the film, including animal effects, skin effects and scenes, every one needs to be re researched and developed, and some technologies need to be re researched and developed. We also have a cycle limit, so to do all the effects well, our assigned work is also one of the challenges. Sina entertainment: how many people are involved in the special effects team this time? Xu an: more than 200 people. Sina entertainment: what kind of scale is this compared with other movies? Xu an: it should be the top scale. In domestic films, it's the top scale. Because of that volume, I just said there were more than 1000 special effects shots, but we also had a tight cycle. In fact, we did it for three and a half months. The same amount of work in the United States may take a year and a half. They are surprised to hear our speed, but our conditions are like this. This is also one of the challenges. There is not enough time, because the more time you have for special effects, the more real it will be.

Chinese PinYin : Xu An