“The Message” and “Body Guards and Assasins” Trailers released


Zhou Xun in "The Message"

Ok, so two trailers for two very anticipated and high budget movies came out. While Bodyguards and Assassins gives a frantic feel, the Message has an understated ambiance. Which are you going to watch?

The Message Trailer

Thanks to qiaozi426 @youtube.

Go below the cut for  a behind the scenes look at The Message, and the Bodyguards and Assasins trailer.

The Message Behind the Scenes

Thannks to stevewang0918 @youtube.com

Bodyguards and Assasins

Thanks to ChrisLiYuChun @youtube.

16 thoughts on ““The Message” and “Body Guards and Assasins” Trailers released

  1. It’s no wonder that J-pop and K-pop are on the A list for pan-Asian and non-Asian audiences. The popularity of Korean and Japanese TV dramas can be partially attributed to English subtitles, something that the China TV industry should emulate to popularize Chinese culture and history. Quite a few excellent historical dramas have been shown on local Chinese stations in the western hemisphere, but it was a pity that the audience was limited to Mandarin speakers due to lack of subtitles. The Korean station is now broadcasting Iron Empress and disseminating history to non-Koreans from their point of view because of accessibility through subtitles.

  2. @shuge

    Right…which is why I feel Tang dynasty can’t be compared to China now. Although I feel being so self-absorbed naturally leads to a fall.


    I would like for China to be something like how the US manages their movies…focusing on the Chinese audience first, but still trying to sell it abroad if they can because more money = more diversity in the types of film they can produce.

    Interesting point about subtitles though. It does show that there is some regard to international distribution even though they focus more on the Chinese audience now.

  3. Back to movies … the mainland China film industry is currently expanding, with what appears to be lots of available funding for big-budget movies. It seems logical that the backers would be interested in expanding the audience as well — hence more international exposure and distribution.

    I’m lucky, living in San Francisco, that we get more Asian films than do most cities in the US. In addition to more than a dozen annual film festivals (some focused specifically on Asian films), SF venues present international films that have gotten US distribution (eg, I saw “24 City” last week, playing at one of the Landmark theatres), but also occasional “non-arthouse” films through a few treasured indie movie houses like the 4 Star (which will screen the Korean blockbuster “Haeundae” later in the month, and which often shows fare such as HK Lunar New Year comedies).

    That being said, for a film goer who doesn’t speak a movie’s native language, there is still the question of subtitles, and the Mainland China film industry (unlike, for example, HK with its production history under the British, requiring English subs for the major films) is still picking and choosing which productions to prep for international theatrical (as well as DVD) release by creating and providing versions with English subs. Which comes first: the overseas distribution contract or the decision to provide subtitles? That’s one more thread in the current tapestry.

  4. cfensi,

    Tang China did not worry about outside approval because the country came from a position of strength and power. Contemporary China is rising from the ashes of 100 years of foreign humiliation, the Japanese invasion, the cultural revolution and other calamities. Like a child trying to regain footing, it’s unfortunate that some Chinese feel that the west holds all the answers.

  5. @shuge

    I’m sorry, perhaps I worded this incorrectly? Look at it in context. I know Tang Dynasty took much and gave a lot, but the main difference here that I am trying to point out, was that the mindset was different. They weren’t preoccupied with the foreign, and they certainly didn’t care for western approval. They absorbed other cultures, but they were very proud of their culture. They weren’t trying to make anything for the outside world. And the way foreign media through movies, tv, internet is incomparable.

    America now reminds me more of Tang Dynasty then. We take what they like from different cultures, but we still really haven’t got a clue about other cultures. We’re in the midst of such globalization, still rather self absorbed. Whereas China is searching for it.

  6. Cfensi, you need to study up about the Tang Dynasty. Introduction of Buddhism into China lent heavy Indian influence which can be seen in the Dunhuang murals. Tang Dynasty was indeed the most open and cosmopolitian period in China’s history. The capital of Chang’ an was populated by different nationalities from Arabs, Jews, Koreans, Japanese to Central Asians. Tang China also greatly influenced neighboring countries like Japan which sent several diplomatic missions to China where they learned and adopted Tang culture which formed the basis of their culture.

  7. @mrpeng

    People show their films to foreign distributors at festivals like Cannes, etc, trying to get it picked up. If a distributor from the US like Sony Pictures Classics or Miramax thinks it has a chance of making money in the US market, then they buy rights to show it.

    After Crouching Tiger Hidde Dragon, which got so much acclaim and money, all the best Chinese directors thought “Hey…I can do that too”, and they did, and US distributors picked them up because CTHD sold so well.

    Curse of the Golden Flower wasn’t really bad, the novel it’s based on is a classic after all, and Zhang Yimou is too skilled to make anything terrible, but it was one of Zhang Yimou’s worst films. Zhang Yimou has a talent for not only making things that are beautiful, but with heart, and he forgot that second part. Feng Xiaogang is even better at showing heart in his films, and he ended up with the Banquet, and dry emotionless film devoid of any of the wonderful qualities usually found in his work. Don’t even get me started on the Promise.

    To put it bluntly, I HATED that period of Chinese film and I’m glad I don’t see Chinese directors trying to get their films in America anymore. So much talent was wasted on trying to make something that America would like; the directors forgot what sort of films they were best at. They put the films they wanted to make on the backburner all to make stupid wuxia films that they never had an interest in before.

    It’s nice if people beyond China like Chinese things, but it’s not necessary since China’s market is big enough to sustain itself, and a preoccupation with if foreigners like it is bad. Tang Dynasty was one of China’s most self-absorbed periods…foreign influence was minimal. If we are going to really talk about Chinese history in the broad scheme of themes, there’s always Opium…that was a pretty influential western element.

    Again, this is not directed at you mrpeng specifically. I used to root for Hero, CTHD too. It’s more of just an excuse for me to rant a bit. I don’t hate western culture at all, but trying to make something for a foreign market is never good. I’m glad we’re past that.

  8. @cfensi

    i dont know if you understand what im trying to ask. im not praising the west or anything like that. as a matter of fact, none of my comments have. im just simply asking how, what, who determines whether or not a movie goes abroad. lets just reverse my question then:

    why do some movies from the west make it to china? how, what, or who decides whether or not a movie goes to china. b/c i dont know if its how or if its a requirment or if its a person or company that allows movies to go abroad.

    and i dont understand how curse of the golden flower is considered a bad movie or western? is it because the women in that movie have their breasts half showing? lol… because thats how women in the tang dynasty dressed. tang dynasty was the period in which women wore the most revealing clothes.

    and im wondering why you keep bringing up that article about china indie music. i was simply posting it on this blog to show that, some people in the west are paying attention to china’s music industry. if youve read the whole article it even said that chinese indie bands have taken western rock and added chinese characteristics to it, to make it “better” or their own, more unique. im not praising the west or anytihing like that. sa dingding’s music got ranked number one in BBC, and it was very chinese. i dont know if you think the comments or questions i post/ask about china music/entertainment, that have anything to do with other parts of the world, make you think i dont appreciate real chinese music?? tang dynasty was a period in which china opened itself alot. silk road etc. people took ideas from the west and east, vise versa and made it their own, and better. take the compass, FORK 221 BC, gun powder, glasses, paper, printing, silk, etc… those are some of the many things that china has left and contributed around the world. india, traditional clothe is made of silk. but many people dont bash them and say, oh silk is from china, so your traditional clothing is 100% chinese. i think its the same with music. and plus, give china 10 more years, when china’s economic, and political influence becomes HUGE, and who knows?, the west might take in chinese opera? and add some american style to it.

  9. @julie this was a response to your statement about SARFT in the previous Open thread, but it’s more fitting here.

    SARFT will probably die out or change to a normal movie regulating sector once it passes hands into the next generation.

    My mother when I asked her to watch the Message trailer, was like, “Why is China making making this sort of garbage?” because she thought it was too bloody, too psychologically twisted. She’s not some sheltered house-wife…she is probably more well-read and cultured than almost everyone I know. The thing is, since China modernized so rapidly, there is a generation in China that is very different from the one before. SARFT changed hands recently…I’m not sure if that will change anything rapidly, but any changes should be for the better, or rather I should say, more open.

    In the meantime, China’s industry is chugging along quite rapidly inspite of it, and there’s no need to fixate on it.

  10. Oh mrpeng…

    Why should they make it abroad? Must chinese indie music be known abroad for it to be good?

    I’ve been saying continuously on this site that I hate that time period of Chinese movies, because everything was made for western not Chinese consumption, partly for acclaim, mostly for money.

    The best Chinese directors wasted their talent on crap like The Banquet, Curse of the Golden Flowers. Now China’s box office has grown astronomically since then, and Feng Xiaogang, director has rather thankfully said, “there is now no need to rely on the foreign market.”

    This is a new time period in Chinese film, where Chinese directors don’t look to the US at all. With the Chinese Box office, they can spent huge amounts of money on a film, and reap back that investment just within the Chinese market.

    Chinese entertainment is good and getting better…trying to make it palatable to others only undermines its growth.

  11. looking forward to watching both of these movies. they look incredible.

    btw what determines whether or not a movie goes overseas, (USA, canada, australia, etc)

    for ex: mostly all of zhang yimou’s films such as curse of G F, hero, croucing T hidden G, etc… have been shown in movie theaters worldwide and so have many other kung fu films & HK films.

    does the producers of a certain movie say, “okay, i think this movie can make it big in USA, so we will play the movie in US”
    a movie becomes a huge hit in china, as a result the movie recieves atteniton in places like US, and US invites the movie to be played in america.

    and it seems like the only movies that make it abroad are kungfu movies. but i dont have a problem with that. i just dont know what, or who determines whether or not a movie goes abroad. im looking forward to the next curse of golden flower, house of flying daggers, crouching tiger hidden dragon. those movies have made it big abroad.

  12. I’m excited for both films. Both beautifully casted.
    My only complaint for “The Message” is not enough Huang Xiao Ming.

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