"吳宇森"的搜尋報告

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吳宇森（John Woo Yu-Sen，，BBS，1946年5月1日──）出生於廣州，成長於香港，是香港及好萊塢著名導演及編劇。1969年年僅23歲的他以助理導演的身份，在邵氏兄弟公司開始了他的電影事業。1973年，吳宇森首次獨立執導電影，直至1986年他編劇並導演的《英雄本色》一片，在當年度香港電影金像獎評選中獲得最佳影片、最佳男主角兩大獎項，在台灣金馬獎評選中，吳宇森被評為最佳導演。由此片，吳宇森形成了自己獨特的電影風格，在東半球高舉暴力美學的旗幟，與西半球的奧利佛·史東和昆廷·塔倫蒂諾遙相呼應，穿插著白鴿與雙槍的吳氏作品，將黑幫影片與江湖義氣描繪得蕩氣迴腸。
2005年由香港影藝界所舉辦的「中國電影一百年」活動當中，吳宇森被香港人選為這一百年來最喜愛的導演。

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生平
1969年，吳宇森當時二十三歲，Woo got a job as a script supervisor at Cathay Studios. In 1971, he became an assistant director at Shaw Studios, where the famous Chang Cheh took him under his wing. In 1974 he directed his first feature film The Young Dragons (Tie han rou qing). 由成龍設計，是一個功夫動作電影，是有特色有生氣的電影，並精心製作了每一個動作鏡頭。The film was picked up by Golden Harvest Studio where he went on to direct more martial arts films. He later had success as a comedy director with Money Crazy (Fa qian han) (1977), starring Hong Kong comedian Ricky Hui.
在1980年代中期，吳宇森 suffered a burnout. His films were failures at the box office and he retreated to 台灣 in exile. John Woo— once called the new comedy king of Hong Kong— seemed to be on the way out. It was then that director/producer 徐克 provided the funding for Woo to film a longtime pet project called 英雄本色 (1986).
The story of two brothers— one a cop, the other a criminal— the film became a sensational blockbuster. A Better Tomorrow singularly redefined Hong Kong action cinema with its emotional drama, slow-motion gun-battles and gritty atmosphere. The film's trenchcoat/sunglasses fashion sense, and combat style of using a gun in each hand in close quarters— often referred to as 'Gun fu'— would later inspire 荷裡活 filmmakers such as Quentin Tarantino and the Wachowski brothers.
Together with leading man 周潤發, 吳宇森 would make several more Heroic Bloodshed films in the late 1980s and early 1990s. His violent gangster thrillers typically focused on men who were steadfast in their honor and friendship, even though such values forced them to become outcasts in a rapidly-changing world that was more concerned with money and progress. In this respect, Woo's characters were modern-day knights who used guns instead of swords.
The most famous of these movies would be 喋血雙雄 (Die xue shuang xiong) (1989), which brought 吳宇森 international recognition. Often called the best Hong Kong movie ever made, it was widely praised by critics and fans for its action sequences, acting and cinematography, and often referred to as "the perfect action film." With The Killer becoming the most successful Hong Kong film in the U.S. since 李小龍的 Enter the Dragon (1973), 吳宇森　became a cult favorite. One year later he made another masterpiece, Bullet in the Head, that he still considers as his most personal work. The movie was a major commercial failure in his career though.
It was only a matter of time before 荷裡活 took notice. By this time, 吳宇森 had many American admirers, including the likes of 馬田史高西斯, and Sam Raimi - who compared Woo's mastery of action to 希治閣's mastery of suspense. Enormously impressed with his work, American executives green-lighted a contract for Woo to work in America. With the 1997 handover of Hong Kong fast approaching, Woo decided that it was indeed time to leave.
吳宇森最近一套香港電影為Hard Boiled (1992). It featured a Hollywood-scale spectacle in its second half with policemen and criminals waging war inside a hospital - while helpless patients are caught in the crossfire. The film climaxes with supercop Chow Yun-Fat singing a lullaby to a baby while gunning down incoming gangsters, and then jumping out of a window to safety below, baby in arm.

香港職業生涯
在1993年，吳宇森發現自己在新的土地上有了新的文化。他被環球影業委託去作尚·克勞德·范·戴姆的電影「Hard Target」的導演。While Woo was used to creative freedom in Hong Kong, he was forced to deal with a compressed production schedule. He also faced studio-imposed restrictions such as how many people could be killed in each scene, how many bullets Van Damme could pump into somebody, how Van Damme could behave and so on. When initial cuts failed to yield an "R" rated film, the studio took the film from Woo's hands and pared it down themselves in order to produce a cut that was "suitable for American audiences". A "rough cut" of the film, supposedly his original unrated version, is still circulated among fans.
It would be three long years before 吳宇森 made another American directorial attempt. Starring John Travolta and Christian Slater, Broken Arrow was a frantic chase-picture with a bigger budget. Unfortunately, Woo once again found himself hampered by studio interference and editors who did not share his sense of aesthetics and filming style. What resulted was a film that, despite modest financial success, lacked Woo's trademark style.
Still smarting from his bitter experiences, 吳宇森 cautiously rejected the script for 奪面雙雄 several times until it was rewritten to suit him (by shifting the futuristic setting to a modern one). With Paramount Studios offering him significantly more freedom this time around, Woo set out to craft a complex story of two enemies— a law enforcement agent played by John Travolta and a terrorist played by 尼古拉斯基治—who embark on a fantastical surgical procedure that allows them to switch faces. Trapped in each other's identities, they play a cat-and-mouse game that allowed Woo to do what he did best: emotional characterization and elaborate action. 奪面雙雄 opened in 1997 to critical acclaim and performed well at the box office, grossing over $100 million in the 美國 alone. As a result, 吳宇森 became the first Asian director to hit mainstream, paving the way for other Asian filmmakers to follow in his footsteps.
吳宇森 has made three additional Hollywood films: Mission: Impossible II, Windtalkers and Paycheck. While Mission: Impossible II was a huge hit in 2000, Windtalkers and Paycheck have been box office duds that were lambasted by critics. It is unclear whether Woo will be able to bounce back from these disappointments.
At the moment 吳宇森 has many projects in mind, including three remakes of French famous thrillers starring Alain Delon and a videogame called Stranglehold for Xbox 360. However he had to give up two projects of videogames' adaptations, Spy Hunter, which was already in production, and Metroid. In 2006 he will go back to China with Chow Yun-Fat to shoot his next major project, the highly anticipated The War of the Red Cliff, based on a historical epic battle from Romance of the Three Kingdoms.

個人生活
「我喜愛鴿。我是一個基督徒。鴿象徵著愛和美的純淨。它們都是崇高純潔的。且鴿是神與人之間的使者...When I shot The Killer, these two men, the killer and the cop, they work in different ways, but their souls are pure, because they do the right thing. In the church scene, I wanted to bring them together. I wanted to use a metaphor of the heart. I came up with doves —they're white. When the men die, I cut to the dove flying —it's the soul, rescued and safe and also pure of heart. So the dove became one of my habits: I used it in Hard Boiled, Face/Off, and in Mission: Impossible II。」

吳宇森的標記之一是鴿。2000年6月Premiere雜誌引用吳宇森的話說：
In the anime series, R.O.D the TV which features three girls named after real life Hong Kong action stars, 'John Woo' is the name of a mysterious carrier pigeon.
Quentin Tarantino has been quoted in reply to a studio executive who said "I suppose Woo can direct action scenes" as saying "Sure, and Michelangelo can paint ceilings!"
When Jean-Claude Van Damme was trying to get Woo for Hard Target he described him as "the Martin Scorsese of Asia".
In another anime series, FLCL, two characters can be seen watching the climactic end sequence of an action movie. Although the screen in not visible, it can be surmised that it is indeed a John Woo film, as one of the film's characters exclaims, "What are all these pigeons doing in here?" and a multitude of flapping wings heard. The screen was then broken, and a flock of white doves flew out of the TV set.
A Mexican standoff is a common situation in his movies.
At some point the main characters see and talk to each other using mirrors.
Japanese professional wrestler SUWA, of the promotions Dragon's Gate and Pro Wrestling NOAH, utilizes a seated dropkick that frequently sends its victim flying back-first into the corner. As a fan of Hong Kong action cinema, he calls this move the "John Woo", as a homage to the impact of shotgun blasts on the human body in Woo's films.
In the video game Max Payne there are many homage and reference of John Woo. For example the black suit and tie Max was seen wearing at the beginning, the dual guns and jumping and shooting in slow motion. Also John Woo's name was mentioned at one point in the game.
吴宇森likes the look of the Beretta 92F/FS pistol and had featured it in many of his movies. He stated in an interview that it "is a great character" and added that "it's so strong and elegant." He also mentioned that other pistols looked dumb to him.
吴宇森在小時喜歡看西方電影，尤其是the final scene in Butch Cassidy and the Sundance Kid where the two comrades run out gun blazing (where he got the inspiration of holding two guns). Woo is also a fan of Hollywood musicals and at one point, was a contender for the director's chair for Phantom of the Opera.
在電腦遊戲中， F.E.A.R., the developer admitted that they been inspired by John Woo action movies that they wanted the action to be exactly epic to Woo movies.
The Christian rock band Newsboys has a song called 「John Woo」 which makes reference to the religious symbolism he often employs in his films. -->

曾合作主要演員
朱江、曾江、狄龙、李修賢、張國榮、周潤發、尚·克劳德·范·戴姆、约翰·特拉沃尔塔、尼古拉斯基治、湯告魯斯、本·阿弗莱克

男演員
鍾楚紅、米拉·索维诺、葉童、葉倩文、甄楚倩

女演員

中國電影
香港電影