Entertainment King:I Can Extract Skills from the Movies

After exchanging pleasantries, Du Sheng got straight to the point: 

"Director To, I've gone through the script that Director Ju sent over. 

We're shooting the scenes where the protagonist fights his inner demons and the murderer flees after killing a cop, right? 

I've already planned out the choreography for the action sequences. Would you like to review it first?" 

Johnnie To raised an eyebrow, finally showing a hint of surprise. 

The script was only sent out yesterday, and it was already conceptualized? 

The speed was almost unnaturally fast—even Yuan Bin, a seasoned action director, would be hard-pressed to keep up. 

Of course, speed alone meant nothing if the choreography was poorly conceived. It needed to align tightly with the film's narrative, characters, cinematography, and editing. 

"Sure, let's take a look now," To said. 

He turned to a bespectacled, scholarly middle-aged man directing the set arrangements. 

"Ah Fai, come over here. This young man has choreographed the fight scenes; let's take a look." 

The middle-aged man was Wai Ka-Fai, another director who had worked on numerous films. 

A few years ago, he and Johnnie To founded Milkyway Image, heralding a new era for Hong Kong cinema. 

Wai Ka-Fai studied Du Sheng briefly without much small talk and jumped straight into discussing the action scene details. 

This was clearly a test of Du Sheng's abilities. 

However, Du Sheng, armed with memories of the past and his expertise in *Action Directing*, was fully prepared. 

Although he couldn't recall every detail of the original film, his accumulated knowledge filled in the gaps seamlessly. 

His choreography added tension to the eerie investigative elements of the film and brought the action scenes to life with crisp pacing. 

Even a few of the poorly received action sequences in the original film were refined. 

For instance, the murderer's "floating" ability, which seemed cartoonish in the original, was revised to appear more realistic. 

"If you hadn't told me you got the script yesterday, I'd have thought you were reading our minds," Wai Ka-Fai said after several minutes, his usually reserved demeanor giving way to astonishment. 

"Impressive. Sharp thinking, and it syncs perfectly with our vision," To said, his tone far more enthusiastic than before. 

He clapped Du Sheng on the shoulder, exuding warmth and excitement. 

"We need talented, creative minds like you in our crew. Welcome aboard officially." 

In that moment, Du Sheng was no longer just a hired hand but a valuable asset. 

As To's long-time collaborator, Wai Ka-Fai understood his excitement. 

Du Sheng's concepts seamlessly aligned with the film's core theme: 

**"You can't take anything with you but your karma."** 

In just one day, Du Sheng had not only choreographed complex fight scenes but also perfectly captured the film's philosophical essence. 

Such talent was a rare gem. 

Du Sheng humbly noted the praise but felt no guilt. 

After all, he was standing on the shoulders of giants. 

"Are we shooting today? If so, I'll have the team prepare," he asked. 

To wanted to strike while the iron was hot and turned to Wai Ka-Fai. 

"Where's the actor playing the murderer? Let's shoot his chase scenes first." 

This sequence was pivotal. 

The summary: the female lead, a detective, is investigating a gruesome murder. 

At the crime scene, the area is in disarray, with a decapitated body lying in a pool of blood. 

A police dog begins barking wildly at a metal box. 

Following Du Sheng's choreography, the scene opens with suspense. 

When the officers pry open the box, they discover a blood-stained head inside. 

But in a chilling twist, the head's eyes suddenly open! 

The murderer, a contortionist, had folded himself into the small, 40 cm-wide box. 

In a spiral of grotesque movements, he emerges to launch a brutal attack. 

Although eventually subdued and captured after being hit by tear gas, the killer escapes from his restraints while in a police vehicle. 

The ensuing chase includes a dramatic rooftop sequence where he dodges bullets and leaps from walls, showcasing skills akin to *Eight-Step Cicada*. 

"Everyone, get ready!" a crew member shouted. 

As actors took their positions, Du Sheng got his first look at the actress playing the female lead, Cecilia Cheung. 

Indeed, she was as pure and radiant as her reputation suggested—a true standout. 

Despite only a few years in the industry, Cecilia had quickly risen to prominence in Hong Kong's film scene. 

Every film she starred in had been a commercial and critical success. 

Her striking beauty and charisma had made her one of the most sought-after actresses of her generation. 

As soon as Cecilia arrived, reporters and photographers swarmed her like bees to honey. 

Even in ordinary attire, her looks outshone everything around her. 

However, faced with relentless media questions, her expression remained indifferent, barely acknowledging their presence. 

"Cecilia, this is our new action director," To introduced her, calling her over. 

"We'll shoot your scene chasing the murderer after his escape. Follow Du Sheng's instructions for the details." 

Out of courtesy, Du Sheng nodded slightly. 

Cecilia gave him a brief glance, nodded in return, and then pulled out her phone to scroll idly. 

"She's in a bad mood today," Wai Ka-Fai whispered to Du Sheng as he passed by. 

"Mr. Cheung treats her like a goddaughter. As long as she doesn't delay filming, we tend to turn a blind eye." 

Du Sheng wasn't bothered. 

If he guessed correctly, her foul mood likely stemmed from the infamous "Cecilia-Nicholas-Faye love triangle." 

Just days ago, Nicholas Tse had reconciled with pop diva Faye Wong, leaving Cecilia heartbroken. 

If not for certain future events still years away, she might not have even shown up to work. 

"All departments, positions!" 

To's voice rang out, directing the wire team into action. 

Du Sheng turned to the translator for Ali Fazal, the young Indian actor playing the murderer. 

"Does he remember the key movements?" 

"He needs to move quickly to dodge the cops' bullets, then scale the wall using *Eight-Step Cicada*. Once on the wall, he'll turn mid-air and counterattack with his blade…" 

Ali, who was about 18 or 19, struggled with Cantonese and Mandarin. Even his English was heavily accented. He relied entirely on his translator, likely brought in through international connections. 

Despite shooting two takes already, his movements were still clumsy. 

Reshooting such a simple scene multiple times had tested the crew's patience. 

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