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劇情簡介

【天堂口】是阿峰、小虎與大剛三人的故事。故事自上海市郊的小村落「朱家角」揭開序幕。他們都是生長在朱家角的貧窮漁家子弟。三人的情感有如手足般深厚，小虎也正是大剛的親弟弟。年輕是他們唯一的本錢，不甘受限於窮苦的家境，他們毅然決然赴上海發展，探索著這大城市中彷彿取之不盡的發達機會。

來到魂牽夢縈的上海後，他們終於見識到紙醉金迷的繁華美景，只是三人萬萬想不到，他們也踏入了黑幫世界與亡命之徒的不歸路。上海有一間名聞遐邇的「天堂夜總會」，象徵著墮落卻迷人的極致享樂。他們很快便迷失在這個五光十色的聲色漩渦中。天堂夜總會的舞台光芒特別閃耀，因為這裡有位絕美動人、男人都為之傾倒的駐店女歌手露露。只是，天堂夜總會歌舞不息的表象之後，卻是暗潮洶湧、腥風血雨。它的擁有者洪哥，掌控上海的黑幫世界。他發現得力助手馬克，竟與他的女人露露有染，而他的仇家和手下也對他的權力虎視眈耽。

隨著他們三人逐漸晉升幫派的權力核心，故事中的主人翁阿峰面臨生命中最重要的抉擇：他必須決定是否繼續鋌而走險的現況，並追求一份永遠也得不到回報的愛；或是重新找回過去的自我。小虎面對自身軟弱的個性，苦於尋找上海新生活的立足點；大剛則被權力的欲望沖昏了頭，不計一切代價實現他的野心。

尋夢的過程最終免不了有得有失，但生命的救贖永遠都有一線生機。

故事大綱

【天堂口】的故事開始於貧困的小村落「朱家角」，此處位於上海的市郊，居民過著簡單樸實的生活。阿峰（吳彥祖飾）的家總以米粥充飢，而且常沒有足夠的份量可分食。儘管如此，阿峰是一位安安分分的老實青年，他心甘情願地捕魚為生，藉此照顧家人，並看顧孱弱、臥病在床的母親。朱家角的生活平靜，但卻困苦。

阿峰遲遲無法離開朱家角，因為他心頭還有個放不下的牽掛，就是他青梅竹馬的戀人素珍（李小璐飾）。素珍是個善良純潔的乖女孩，與他的家人十分親近，還幫忙照顧他的母親。阿峰內心裡期盼著能與素珍共結連理。

小虎（楊祐寧飾）同樣生長於朱家角，與阿峰是莫逆之交，他的心態卻迥然不同。他崇拜他的哥哥大剛（劉燁飾），願意跟隨他到天涯海角。他想要跟著大剛到上海追尋更好的生活。儼然一位長不大的青少年，小虎天真地以為在這座城市，什麼都可能發生，包括華衣美食的享樂生活、數也數不清的金銀財寶與一個個目眩神迷的成功傳奇。

大剛在朱家角當地是個英雄般的人物。他意志堅強而且有很大的野心、抱負。他極力勸說阿峰與小虎跟他一起去上海。某日，大剛為了幫小虎過生日返家，他說服阿峰與小虎，承諾可以幫他們安排侍者的工作機會，並以此作為在上海發展的跳板。

阿峰與小虎還是來到了上海這迷人的大城市。他們從黃包車拉伕的工作做起，雖然位居最卑微的社會階級，卻透過這個工作見識這城市的紙醉金迷。

不久後，阿峰和小虎在大剛的引領之下終於來到了上海遠近馳名且富麗堂皇的「天堂夜總會」。大剛在夜總會裡擔任侍者，他希望能幫阿峰與小虎也在夜總會裡找份差事。阿峰與小虎兩人一到天堂夜總會，就被此處浮華的氣氛和奢逸的情調深深吸引。

他們隨即也領教到天堂夜總會的老闆洪哥（孫紅雷飾）是個不好惹的人物。他是個很具個人魅力的電影大亨，但檯面下他也是在上海黑社會勢力龐大、本性無情、貪婪的龍頭老大。

改變阿峰命運的一刻，在他看到性感誘人的露露（舒淇飾）在舞台上唱歌時悄然降臨。她誘惑力十足的歌聲像是對他施了魔法，他的鄉愁、他的過去與昔日的青梅竹馬，都被他拋諸腦後。她絕美的臉龐與身軀，取代了素珍在他心中的身影，成為他最炙熱的幻想。他開始夢想一個嶄新的世界，並決心讓兩人在此世界產生交集，期盼他這來自鄉村的小伙子，能獲得佳人的垂青。在某一次相遇，露露警告阿峰絕對不要與洪哥有任何瓜葛。阿峰許下了承諾。

只是一切遠比眼前所及更為複雜。露露實際上是洪哥的紅粉知己，卻背地裡與洪哥的左右手、也是天堂夜總會的駐店殺手馬克相戀。

某夜，馬克試圖暗殺洪哥，但卻沒能成功，不僅受了傷，還在過程中失去意識。他的性命岌岌可危，隨時都可能被洪哥找到。阿峰在第一時間發現並拯救他，將他藏匿在自己的住處，並照料他的傷勢。馬克恢復意識後，兩人逐漸變得熟稔。阿峰將馬克引見給大剛與小虎，但是大剛告訴阿峰馬克的真實身份，並提醒他要小心謹慎。

不久後大剛、阿峰和小虎奉命為洪哥執行一項祕密任務，也是讓他們加入幫派的關鍵考驗。他們在一個雨夜中，到一間倉庫找電影器材。但是大剛撬開其中一個箱子後發現，裡面裝滿火力強大、殺傷力十足的槍砲。嚇壞的阿峰不願繼續，其他兩人卻執意要完成這項考驗。

阿峰離開後，洪哥的死對頭「刀疤」和他的人馬現身，試圖從大剛和小虎手中搶奪物品，並在過程中讓他們吃盡苦頭。「刀疤」下令手下剪斷小虎的手指，小虎被制伏在地上，內心恐懼且不能動彈。大剛無助地用言語挑釁「刀疤」，希望藉此把眾人的注意力移轉到自己身上。就在關鍵時刻，阿峰即時出現，拔槍營救他的好友，在一陣槍火對峙之下，殺死「刀疤」和他的四個手下。

任務大功告成。為了獎賞三人，洪哥讓他們正式成為手下弟兄，並拔擢大剛，讓他擁有自己的勢力與人馬。只是阿峰內心仍為這進退維谷的困境苦惱著。為了拯救他的好弟兄，他卻讓自己深陷幫派世界，而一切看來似乎已經沒有任何退路。

自此局勢開始轉變，三人過去患難與共的兄弟情開始有著微妙的質變。大剛越來越殘忍無情；小虎越來越怯懦，而阿峰的內心，一方面徬徨於這沒有退路的新人生，另一方面又試圖維持他正直的性情，倍受煎熬。

大剛的一個新手下「細眼」開始挑釁小虎，而且大剌剌地表現對小虎懦弱態度的輕蔑。這也讓兩兄弟的關係益發緊繃，因為小虎無法證明自己是成為黑幫份子的料。

洪哥私下得知馬克與露露不為人知的祕密戀情。暴跳如雷的他，下令大剛、阿峰與小虎殺掉兩人，這是大剛求之不得的任務。大剛要阿峰與他合作，卻遭到阿峰的拒絕。阿峰對馬克早培養出惺惺相惜的交情，他對露露的愛慕也與日俱增。僅管馬克與露露的戀情令他心碎，他還是決心要警告他們大剛的阻殺計劃。當晚，阿峰、露露與馬克試著逃出上海，但大剛與他的手下老早就等候在外，準備阻止他們脫逃。

在隨之而來的槍火對峙中，阿峰中槍受傷，而小虎的忠誠竟也因此而產生戲劇化的轉變。他用自己的肉身為阿峰抵擋大剛與大剛的手下，還在慌亂中朝大剛開火。在馬克的掩護之下，露露與小虎快速地將阿峰帶上車逃離現場。大剛中彈受傷倒在地上，眼神中燃燒著瘋狂的怒火！

自此，每個人的生命風雲變色。洪哥對於大剛任務失敗感到震怒，當他要解決掉大剛之際，大剛搶先一步反擊，殺死了這位昔日的老大，並且隨即自命為「天堂夜總會」的新當家。

小虎未經思索後果，重返夜總會，並慶幸哥哥倖免於死。只是，他們兩人血濃於水的親情早已不復存。即使大剛內心痛苦不堪，被背叛的憤怒卻遠超過手足之情。他眼睜睜地讓手下將弟弟殘忍地折磨至死。

此時，阿峰帶露露與馬克回到朱家角，希望能為他們找到藏身之處。阿峰再度回到家人身邊，而露露也與代替阿峰照顧家人的素珍衍生出友情。巧妙的是，在朱家角這個窮困的小村落中，露露與馬克反而找到了他們渴望已久的平靜生活。

好景不長，大剛的手下來到朱家角，伺機展開報復行動。某日，阿峰正看顧他的母親時，一顆子彈飛入房間，兩人差點就成了槍下亡魂。千鈞一髮之際，馬克即時為他們解圍。素珍與露露當時結伴在朱家角的周遭散步，沒想到中了大剛手下細眼的埋伏，露露在素珍眼前被槍殺。阿峰與馬克趕到時，素珍因驚嚇過度呆立在現場。但他們還是遲了一步，露露已經氣絕身亡。

馬克與阿峰知道他們除了回上海做最後攤牌，別無其他的選擇。他們回到天堂夜總會，沿路持槍掃射大剛的手下。馬克對付細眼，而阿峰則與他的「好兄弟」大剛對峙。大剛與阿峰在槍戰中重傷彼此，兩人在奄奄一息之際，深感悔不當初。大剛希望能獲得阿峰的原諒，阿峰錯愕於這樣的結局，心中滿是複雜的情緒。於此同時，收拾細眼的馬克走進來，朝大剛開槍，這致命的一擊，結束一切。悔恨自責的淚水從已受傷的阿峰臉龐潸然落下。他領悟到鮮血付出的慘痛代價，還有手足之情崩解的苦楚。

阿峰自問，上海真的是所謂的天堂嗎？真正的天堂又在那裡？也許天堂存在於他們曾經擁有，但如今永遠失去的純真之中。

製作

重出江湖：吳宇森旋風亞洲再現

香港名導吳宇森曾拍過多部具指標意義的【喋血雙雄】、【槍神】與【英雄本色】等賣座港片，造就周潤發、梁朝偉與張學友等多位演技派巨星，並為九O年代的香港犯罪動作片樹立全新典型。他接下來在美國好萊塢的表現也不遑多讓，作品包括【終極標靶】、【斷箭行動】，與尊特拉華達和尼古拉斯基治聯袂演出的【奪面雙雄】。

【天堂口】是吳宇森闊別亞洲多年後，首度監製的亞洲片。在美國從事製片與導演工作超過十年的他，認為正是回到家鄉、並且為亞洲的類型片注入新意的時機。談到【天堂口】與本片導演陳奕利最吸引他之處，吳宇森的立場再明白不過：「有那麼多年輕、富前瞻性與前衛的導演在此頭角崢嶸，我認為我必須回來，並給予支持。看看這個演出陣容，還記得稍早前，我們一起共進晚餐，所有人都到場，包括吳彥祖、舒淇、張震與其他人。我看著坐在那裡的每個人，大家都充滿了生氣、才華與經驗。【天堂口】使他們同聚一堂，我也想為擁有獨到拍片見解的陳奕利貢獻一己之力。」

慧眼發掘陳奕利的是吳宇森的長期製片搭檔張家振。陳奕利曾於亞洲與美國拍過音樂錄影帶與電視廣告，也曾為數家知名公司拍攝平面系列廣告。吳宇森表示：「我和張家振曾於三年前與陳奕利碰面，我們看了一些他的作品，其中包括他幫周杰倫拍攝的十五分鐘音樂錄影帶短片《雙刀》。他的原創性與想法深深吸引我。《雙刀》就是他拍片實力的最佳展現，其中包含武術、流行音樂、情感、攝影藝術與令人折服的說故事能力。」

他們三人開始尋求合作的機會，並發展出【天堂口】這則故事。劇本接近完成階段時，吳宇森與張家振合組的「獅子山」製片公司 (Lion Rock Productions)，與台灣中環娛樂集團達成圓滿協議，除了攜手讓本片更具規模，也委由中環集團發行。

志同道合：與中環娛樂集團合作

中環娛樂集團是亞洲頂尖電影與家庭娛樂公司。在台灣，中環不僅執獨立製片發行市場的牛耳，擁有戲院龍頭威秀戲院與家庭娛樂公司「得利影視」的實質股權。香港方面，中環與得利影視合組最具規模的家庭娛樂企業，事業版圖已擴展到中國大陸，並設立辦事處。中環娛樂隸屬於1978年成立的中環集團旗下。中環集團在光學儲存媒體（DVD-R, CD-R）上發展有成，並且為主流片廠與電影公司提供預錄媒體（CD-ROM, VCD, DVD）拷貝。

2005年，中環娛樂推出蘇照彬的【詭絲】，正式涉足電影製作。【詭絲】一片在台灣電影工業史上開啟新扉頁。回顧過去十多年來，【軌絲】是第一部由台灣製作、集結亞洲電影菁英人才與演員的本土賣座片（預算為六百萬美元）。【詭絲】在票房上告捷，成為自1993年以來，票房收入最高的本自製影片，也被世界最大影展坎城影展選為2006年的觀摩片。中環集團對【詭絲】的投資在台灣史無前例，此舉也鄭重宣示中環將負起讓華語商業電影，再度活絡於全球市場的重任。

秉持著製作高品質華語賣座片的決心，中環把握機會，繼續與吳宇森合作他的古裝戰爭史詩片【赤壁】。鑒於中環集團與吳宇森的「獅子山製片公司」先前成功的協力先例，張家振提出兩家公司再度進一步合作的建議。「獅子山製片公司」對於培植亞洲電影新血的滿腔熱忱打動了中環，並接受該公司對陳奕利導演的肯定與推薦。中環認為對【天堂口】的投資無論在實質上或象徵意義上，定會締造雙贏局面。「獅子山製片公司」的專業，以及陳奕利引人入勝的編劇功力，讓中環集團毫不猶豫與「獅子山製片公司」二度合作，成為吳宇森與張家振兩人這部野心鉅作的最佳後盾。

儘管曾暫別香港十多年，張家振依然號召了一群經驗豐富的專業影視尖兵，包括葉錦添、邱偉明與郭追。所有人都相信，這位年輕富創造力的導演，與這群業界的第一好手們，彼此將激盪出最燦爛的火花。

風起雲湧：【天堂口】拍片概念來由

談到自己的生長背景對於拍片的重要性，導演陳奕利自身的見解如下：「我不在中國出生與成長，但是我的父母都是中國人，我也自詡為中國人，這與我在哪生長無關。但是當我到中國大陸拍攝這部電影，我發現自己與其他人對許多事物的見解不同。我希望能有機會讓別人看見，我眼中的中國與中國人是什麼模樣。」

他期許個人的首部長片作品，能夠吸引更多年輕世代的華人，或其他國家的觀眾：「我相信這則故事很切合今日的年輕華人，許多年輕人過著與劇中人物相似的生活。因此我得在執導這部片時，讓它更為簡單、直率與強而有力。我希望年輕華人都能對這部電影感同身受，並且瞭解到本片正是他們目前生活的寫照。」陳奕利解釋道。

製片張家振很認同陳奕利的想法，並指出其中的關鍵點：「陳奕利對於西方電影與中國文化歷史的熱愛，使得他的觀點格外特出。這份熱愛就在他的血液中流動，所以對他而言再自然不過。他融合東西方電影傳統的手法非常獨特。」

陳奕利談到他來自西方的靈感來源。「我拍【天堂口】時的參考素材，」他強調「就是沙治奧李安納/里昂（Sergio Leone）與森畢京柏（Sam Peckinpah）拍過的經典西部片。你很少會將上海與這樣的場景聯想在一起：一、兩個持槍客力敵一整個軍隊的人。但這就是我想為本片注入的－－粗獷不羈與浪漫英雄主義的平衡。在那些西部片中，常讓你忍不住質疑主角是否能為他所信仰的事物奮戰到底，以及他要如何克服來自外在與內心的阻礙。」不懼爭議的陳奕利接著強調，他想在他的作品中型塑出「中國牛仔」的形象，將美國傳奇西部英雄移植到三O年代的上海。

陳奕利很清楚，關於三O年代上海幫派份子的電影早有人拍過，所以他所面臨的挑戰就是得讓它與眾不同。從電影拍攝初期，他便謹慎地設定故事的時代背景，運用三O年代上海氛圍打造出這個當代主題的場景。這項手法對創造部門的每個人，都是嚴峻的考驗，包括美術指導、服裝設計與攝影皆然，因為陳奕利不想讓觀眾太過重視片中的時序，而是著眼故事的現代感與角色人物。「我想訴說一個彷彿發生在現代的昔日故事。」他做出如此結論。

故事中對愛情的描寫，也是使本片增色的主因。以他的觀點來看，片中的女性角色，不僅不落俗套，還是故事中不可或缺的要角。

舒淇飾演的露露，無心地造成她、阿峰與馬克的三角習題。陳奕利所塑造出的露露，就像經典默片【潘朵拉的盒子】中的露薏絲布魯克（Louise Brooks）一樣，是一位魅惑與純真兼具的少女，也為故事更添浪漫性感的層次感。她是令男人癡狂的尤物、天堂夜總會的男人都想一親芳澤的對象。

在美術設計邱偉明心中，她不該被視為片中的毀滅力量。「打從一開始，陳奕利與我便同意，我們要打造出一個危機四伏的上海，但這些黑暗的元素不是來自女性，大部分都是男性。片中沒有黑寡婦或蛇蠍美人，相反地，故事中的每位女性，都象徵著希望、自由以及昔日的美好生活。」

【天堂口】不能完全被歸類為寫實片，而是對於犯罪類型片的嶄新嘗試。大部分的人信仰愛情的程度，就像他們信仰任何宗教一樣，因為愛情與宗教都象徵著希望與信念，而這就是本故事的主軸。當無情的子彈使人成為一具具死屍，唯有片中的女性露露、素珍、阿峰的母親與姊姊，才能救贖他們的靈魂。

導演陳奕利表示：「我試著增強片中的愛情元素，讓女人的感性為本片加分。露露是位舉手投足眩惑人心、魅力十足與情感豐沛的女人。在孫紅雷與舒淇對戲時，你能看到舒淇演出極度自制情況時，所流露的脆弱面。在洪哥的VIP室場景中，高捷飾演的角色詢問洪哥，露露的『價碼』多少。你能藉著她緊緊環抱自己、眼神緊盯洪哥以及嘴唇輕微顫抖的模樣，感受露露心中的崩潰。我想呈現的就是這種二分法對比。美人外在精緻的華服與旗袍，反而更凸顯出她們內心的脆弱。」

美術指導與打光透過精細的視覺呈現法，加強這種情感張力。燈光設計黃志明談到他為舒淇打光的方式：「在其他片中，我們常因沒有足夠的時間或其他原因，採用較為簡便的方法；但是在這部片中，攝影指導米歇•塔布里（Michel Taburiaux）和我被授與更充分的時間，我們以更小心、精細的態度打光，就是讓光線看來彷彿來自露露的內心，並從她的臉龐煥發出光采。我認為效果很成功，它真的使露露無辜、純潔的人格特質躍然銀幕。」

紙上交流：蔣丹與陳國輝的加入

【天堂口】正式開拍之前，陳奕利其實已籌備許久。由於他的英文比中文流利，他便用英文撰寫劇本。當這部電影獲得製片允諾拍攝，他與製片公司開始尋找一位能將其中對話翻譯成優美中文（漢語）的譯者。這就是蔣丹加入【天堂口】編劇陣容的緣由。

就像許多電影從業人員一樣，她自小便深深地為電影世界所吸引，尤其是世界知名波蘭導演奇斯洛夫斯基（Krzysztof Kieslowski）的作品。這一點是她與陳奕利合寫劇本時的最佳連結。他們靈感的主要來源都來自於對西方導演的熱愛，儘管陳奕利是一位以英語為母語的海外中國人，恰恰相反地，蔣丹則在中國大陸土生土長，僅略通英語。

蔣丹深厚的編劇訓練底子，以及她對中國古典文學的學識，幫助陳奕利將劇本中的對話，轉化為優雅又純正的上海風格。除此之外，身為一位女編劇，蔣丹對於浪漫情節有很大的貢獻，她為這部陽剛味十足的電影增添了更多女性的柔軟調性。

蔣丹的參與強化了本片的浪漫元素，陳奕利後來又邀請陳國輝加入，為主要角色對話中蘊含的兄弟情更添力道與真實性。陳國輝是位資深編劇，曾於1993年以【拼盤】(Combination Platter)一片獲得辛丹士影展的瓦杜撒爾特編劇獎（Waldo Salt Scriptwriting Award）。這是陳奕利與陳國輝的二度合作，陳奕利認為陳國輝這位生力軍的加入，能為銀幕上已然鮮明的中國男性氣概，更加如虎添翼。

三人的創造力結合後，無疑將本片的敘事方式提升至更廣大的層面。這一次東方與西方、男性與女性的巧妙搭配，讓本片有別於其他同類型的電影。

摩登再現：服裝設計與上海樣貌

服裝設計葉錦添對服裝細節極為講究與注重，他談到本片時代背景帶給他的挑戰。尤其是本片設定的時間約在國共內戰的八年間，以及上海受日本統治的殖民時期。

「從1930年到1938年，以及國共內戰後、日本犯華前的的這段時間，是上海史上最繁榮的極盛時期。我們對這段時期做了許多研究，此時也是外國對中國的影響開始發酵的時候。當時的上海看來似乎更興盛法國、英國、荷蘭與德國等異國風貌，反而不是中國風。這對於當時各行各業的販夫走卒而言，都是很大的文化衝擊。過去的中國人還不習慣許多來自西方的時尚，例如果香味道的香水與古龍水。中國男人花了好一段時間，才適應領帶與蝶形領結。中國女人剛開始也對某些服飾配件驚奇不已，還有西方的襯裙、褶邊上衣與剪裁合身的外套。但她們很快地便接受這樣的風格，以及背後所蘊含的態度。她們不只穿這些衣服，並加以改良為專屬於她們的風格，因此產生改良式的現代旗袍。今日我們所看到的旗袍，便是源自於當時的上海。這絕對是時尚史上最獨一無二的融合。」

葉錦添繼續表示：「旗袍的轉變就像是新旅程的開始。在那之前，中國女人通常不會穿量身打造或是曲線畢露的衣物，遑論長度只到小腿一半、在兩旁開衩的裙子。她們也不會選穿亮色與繁複花樣的服飾。改良後的旗袍便是如此，它也象徵著時尚品味的解放。它使女性對自己的外在更有性感的自覺，不僅更加吸引人，還有種備受尊寵的感覺。」

法籍攝影指導米歇•塔布里則對於拍攝情況補充道：「是的，它非常性感、非常感官化。透過攝影機，看著美麗的女人穿著強調曲線的合身華服，實在是種賞心悅目的享受。」

服裝設計的工作，早在電影開拍前四月便展開。葉錦添在香港、北京與上海間來回穿梭，尋找最對味的風格形貌。他不間斷地畫設計圖、打版製作與重製片中要角的戲服。過程詳實細膩，每個小細節都極為重視。領帶的長度精準無誤、外套也有最正確的衣領，袖口得具備摩登感（當然是三O年代的摩登），帽子與鞋子也得搭配得宜。

「讓我們試想，」葉錦添表示，「一個曾受限於傳統與貧窮的社會，突然有了大鳴大放的機會。看看劇中的人物馬克。他的造型簡直無懈可擊。我們多半讓他穿著光滑、淡灰色的服飾，而在他嘗試行刺洪哥時，我們準備了乳白色襯衫、帽子與長褲。他的角色本質其實並不壞，他的動機是可理解的，因為洪哥曾插手他的過去。但是有趣的是，馬克與洪哥這兩個角色，在故事展開前沒多久，還只是無名小卒。他們見機不可失，便鋌而走險藉此快速致富。致富後的轉變之一，就是他們開始穿起這些名貴、象徵身份地位的華服。片中的鞋子，特別是孫紅雷與張震所穿的鞋製作非常精良，絕對會讓男性觀眾又羨又妒。」

楊祐寧談起他在片中的造型，肯定葉錦添功不可沒：「進入天堂夜總會的世界後，我開始穿起這些與上海情節息息相關的戲服，我明顯地變得更帥氣瀟灑。這不只為我的角色加分，也讓我在表演時更有自信。葉錦添著實費盡心思找出適合我們每個角色的不同造型，就像可以讓觀眾迅速瞭解角色性格的快速視覺導覽，對我們演員亦然。」

葉錦添的挑戰之一，就是讓原來的鄉巴佬三兄弟，蛻變為城市時髦客，他說：「上海是第一個接受西化服飾的地方。你可以看出鄉村地區的人們仍舊穿著傳統服飾，而上海人早就開始西式的造型與打扮。」

他繼續說道：「就像我們的飲食與說話方式，我們的穿著打扮絕對是個人社會階級的明顯指標。為這個過渡時期設計服飾，絕對是很大的考驗，因為當時社會階層很不穩定。人們突然暴富，卻很難永續這份財富，許多富人在一夜之間失去一切。這樣的情況在當時不勝枚舉，在現代也屢見不鮮。」

電影形貌：設計、攝影與燈光合作

除了服裝設計，本片還得面臨一個更大的難題－－打造出一個讓劇中角色生與死的世界，並讓觀眾產生認同感，不去意識這是個虛構的電影世界。有許多場景需要搭建，每個場景還得設計不同的運鏡與燈光設計。這意味著美術設計邱偉明、攝影指導米歇•塔布里與燈光設計黃志明三人難免的合作考驗。

陳奕利以局外人的角度，解釋米歇•塔布里為影片所帶來的不同角度與新鮮感：「從一開始，我便知道我需要一位深富概念，以及一雙不以亞洲觀點看事物的攝影指導。這麼一來，你眼前所及的影像，由始至終都會是一個以你從未看過的方式所拍攝出的中國。」

「陳奕利和我一直拿一件事開玩笑，就是其實我聽得懂演員在每場戲時，到底在說些什麼。」米歇•塔布里笑說。「當然我的漢語完全不流利，但是對於一位攝影師而言，最重要的就是要掌握每場戲的節奏，並且清楚角色間的互動轉換何時發生。由於我也得操作攝影機，我必須緊緊跟隨演員的每個眼神與動作，並且事先預測效果最佳的畫面框架。劇組人員事先準備了劇本的英文譯本給我，也著實給予我不少幫助。」

就像其他燈光設計一樣，黃志明最在意如何讓演員在鏡頭前呈現最佳狀態。但他更進一步考量打在演員身上的光，必須能映照出他們的角色、他們在畫面中的存在感，以及彼此心理地位的優劣態勢。

黃志明解釋：「拿『老大的巢穴』來舉例。故事過程中，這個地方，或者我們應該說是洪哥的辦公室，屬於兩個人。剛開始是洪哥的，然後是大剛。大剛殺了洪哥後接收他的勢力與財物。這個具有象徵意義的空間，必須在屬於不同人時，看起來截然不同。我得考慮幾項要點，第一就是孫紅雷與劉燁各別的角色，舉止其實很不同。如果你注意片中的孫紅雷，你將發現他將洪哥詮釋得非常優雅。他念台詞的速度很慢，而舉止就像一位以慢動作跳舞的芭蕾舞者。相反地，劉燁飾演的大剛，一舉一動都像一條被來回彈動的橡皮筋，他的舉止非常的暴躁與緊繃。所以當他成為老大，屋內的氣氛也從沈穩轉趨成不定性。我在使用燈光時，特別強調出這一點。洪哥時期的空間呈現出柔軟與迷濛的光線調性，由大剛接手後，我讓這黑道本營的光變得明亮又直接，就像太陽毫不客氣地由外登堂入室。」

邱偉明身負天堂夜總會美術設計的重責大任。陳奕利清楚，只有曾與王家衛合作多部作品的人，才有能耐為這份工作操刀。邱偉明為【天堂口】美術設計作研究工作時，只揀選他所需的部分。「如果你看過當代的照片，」他說道，「就會發現有許多不明確之處。我看這些建築、服飾與車輛時，總認為我看到的無法完全明確、精準地體現當代。照片是黑白的，所以顏色的決定權在我。我喜歡這種工作的自主權，我也不想完全照本宣科，畢竟我並不清楚它實際的樣貌到底為何！」

「在朱家角拍攝的部分很簡單，因為我們在實地取景（當地距位於松江區車墩的上海電影電視製片廠約一小時半車程，天堂夜總會的場景在製片廠搭造）。而那個地區自三O年代以降，都沒有太大的改變。所有的暗巷、老屋與骯髒的河流，都還在那裡。我們很幸運能夠在一個保存完整、並保有七十年前相同特質的地方拍片。」這裡幾乎不需做場景設計，邱偉明只需再添加一些事物畫龍點睛。「我只要在竹竿上晾幾件衣服就行了。」

要打造出天堂夜總會，就沒那麼簡單了。不過，幸運之神依舊看顧著邱偉明，他雇用一批上海當地的建造快手。他只要事先畫出3D立體藍圖與場景設計的動畫，就能在銀幕上顯現精細的立體藝術效果。

邱偉明繼續說道：「我的首要考量是，天堂夜總會是一個奢華享樂之地。除了基本的雪茄、威士忌，也絕對少不了舒適的座椅。一家夜總會如果沒有豪華的寬椅，根本不像樣。還有燈光。由於我必須要讓它成為一個真正能運作的場景，不能只是像夜總會而已，我得與黃志明開會決出要在裡面擺放什麼設備。當然，得在我決定以何種色調為特徵後才能擺放。金色是我的首選，所以牆壁鑲邊、舞台、天花板玻璃、圓柱與水晶燈，都使用大量的金色。但是金色只是用來錦上添花的色調，我選擇棕色當作基調色。棕色是一個很好的顏色，因為它能吸收光線，對於一個像天堂夜總會的場景而言，它能營造出很好的朦朧氛圍，卻又不會搶了角色的黃皮膚色。這也有助於黃志明工作，因為棕色不會與燈光抵觸。你在夜總會看到的第三種顏色，是深紫色與薰衣草色的混合色。我很驚喜地發現，它與金、棕色搭配起來是如此地協調。我認為它傳達出一種悲劇色彩。」

此外，邱偉明強而有力的視覺設計成品，自成影片重要的原動力：「美術設計能輔助故事的敘述。然而，設計本身也以一種無聲的方式娓娓道出故事。更重要的是，它有助於引領觀眾走入片中人物角色的世界。」

槍林彈雨：槍戰設計與風格緣由

對於任何一部暴力題材的時代片而言，最困難的部分莫過於槍戰戲的設計。為了達成這個技術性的難題，吳宇森邀來郭追擔任動作設計。

「這就是在亞洲電影圈工作的方式。」郭追解釋道。「這是非常小的圈圈。1992年時，我是吳宇森片中的一位演員，十四年後，他以製片身份請我為他的新作擔任動作設計。這是至高的榮幸。前置作業過程中，陳奕利堅持他要的，是義大利人拍攝的美國西部牛仔片風格槍戰，那種你可以在【獨行俠決鬥地獄門】(The Good, The Bad, and the Ugly)中看到的快速應戰。我從未做過這種嘗試，因為我從未為西方電影作動作設計，而且上海也沒有牛仔。但是他仍舊能將那樣的視覺脈絡，置入這裡的黑道世界。劇中角色一言不合、拔槍對決時，每人都有自己獨特的應戰風格。舉例來說，馬克是個非常沈著的殺手，所以他在射殺別人時，眼睛眨都不會眨一下。阿峰也是很討好的角色，因為他本質善良，即使他因不得已而殺人，內心一點都不想這麼做。所以他的難度就在於必須讓他的動作，表達出對殺人的抗拒感。」

郭追對於影片中的武打風格，以及角色的對戰還有更多的想法：「三O年代沒有一個特定的武打風格。首要之務，就是得為每個角色塑造出專屬的風格。我們試著儘可能地貼近劇本，由於每個角色的人格特質迥異，打鬥風格也各異。」

同時他也認同表演時，考量實際面的重要性：「我們試著讓本片的武打動作儘可能的切合實際。舉例來說，拔槍是一個簡單的動作，不該過度的誇張。當然，動作設計的本意，就是必須讓它更加風格化與精緻化，但是我們不想讓它看來不切實際。」

定下這個架構方針後，每個角色要具備的高識別度，便顯得格外重要。「我要再次強調，每個角色都有他專屬的動作。拿大剛舉例，他是一個冷血的人，小虎是怯懦的膽小鬼，而阿峰則介於兩者之間。演員瞭解這些不同的人格特質，所以他們知道該如何演出彼此的不同，這也是導演最強調的部分。我想讓動作設計清楚反映出這些角色的差異。」

他詳加說明片中男性角色的主要對比：「打從一開始，大剛便是個鄉下的流氓。他是個暴力易怒的年輕人，但是當他來到上海，甚至成為這裡的老大之後，他便以冷血與鎮定的手段展現他身為黑道頭目的架勢。這個角色隨著情節發展改變許多，所以他的演出方式必須有顯著的前後差異。我要求他在電影前半段時，都以一種性急又粗暴的方式與人對打，到了最後，他變得相當冷靜而且精於算計。這個改變顯而易見。」

「這部電影的槍戰鏡頭與眾不同的主要因素，就是這群人（大剛、他的手下與阿峰）都很強悍。當他們對彼此開槍，就是一場激烈的生死對決。這對決取決於他們的速度－－他們相信如果自己夠快，便不需閃躲子彈。這就是我在設計槍戰動作時的思考根基。」

陳奕利極力想在他的導演處女作中追求全面化效果，此手法的重要性顯而易見。深受賽傑雷歐尼影響的他，想要將那種風格化與精心設計的槍戰場面，融入在本片中，好讓它與其他華語武打片有所區隔。他甚至設計攝影機的移位動作，讓槍戰動作更為協調一致。藉由這方式，他為這個經典的類型片注入新意，並創造出嶄新的視野。

演員角色與拍攝幕後

吳彥祖（阿峰）

吳彥祖出生於美國，他飾演的阿峰，卻是個土生土長的中國人。吳彥祖能說一口流利的漢語與上海話，他很驕傲自己能回到上海，拍攝一部時代背景設定在上海三O年代的影片，他的祖父母曾經歷此時期，見證過這個城市動盪不安的歷史，也曾見過與【天堂口】中類似的事件。

吳彥祖說道：「我曾聽過與讀過我祖父在此時期發生的故事，而這些故事啟發了我，讓我自覺必須忠於這些故事，以可信的方式拍這部電影。我很確信觀眾會看到前所未見的我，更為私人的我。」

「本片還有一點很令人著迷，就是故事背景設定在與今日上海十分相似的時期。當時上海正經歷文化與經濟等各方面的蓬勃發展。這座城市今日展現出的活力，也反映在三O年代的上海。」

他對片中的角色了然於心並躍躍欲試。片中談論兄弟情的特殊概念，一種超越血緣關係、生死與共的伙伴情誼，更使他心有戚戚焉。「在這部片中，」他評論道：「片中的兄弟情很深刻，藉著為對方拋頭顱灑熱血，與他人建立起緊密的情感。這是我詮釋阿峰時，一直用來提醒自己的。對他而言，結局如此悲慘的原因，是因為他雖然朝大剛開槍，但隨即意識到他其實不希望對方死去。他充滿自責，也對於昔日情誼再也回不來的事實悔恨不已。大剛亦有同樣的感受，有這麼一刻，兩人對彼此道歉，直到馬克朝大剛開了最後一槍。」

【天堂口】的故事會如此吸引吳彥祖，也與他的個人經驗與成長背景有密不可分的關連：「我沒有兄弟，但有兩個姊姊。所以當我結交朋友時，和朋友建立起如兄弟般的情誼，對我而言是非常重要的。直到今天，我仍然有四到五位非常親近的友人，他們都是我十二歲時就結交的死黨。因此，兄弟情讓我深感興趣，而我認為片中探討這主題的方式強而有力。這對於今日尤其重要。我覺得現代人不再重視手足之情或友情。現代人往往都是今日當朋友，卻可能在明日反目成仇。」

這種手足般的兄弟情誼，也在演員間發酵。吳彥祖便不諱言公開表達他對片場其他同儕演員的欣賞：「我很高興我們擁有像劉燁、張震與楊祐寧這樣優秀的演員，而我們彼此間建立起一種密切的關係。我接拍這部片的主要理由，就是因為有這麼堅強的卡司。我和張震相識許久，從來沒有機會與他合作，但我一直很想與他共事。我曾看過劉燁的電影，我覺得他有非常大的潛能，他絕對是中國最優秀的演員之一。至於楊祐寧，我曾在幾年前和他合作過，我認為他們三人都是非常好的演員。我們的年齡相近，儘管來自不同的國家，一起工作時，感覺還是再自然不過。」

吳彥祖對服裝設計葉錦添的功力也折服不已：「我真的很喜歡我角色的造型。不僅讓我看來更加英挺，也引領我重回我祖父昔日的年代。我認為葉錦添為每個人設計的戲服都很出色搶眼。」他曾仔細研究過祖父當時的照片，並透露對當時服飾的著迷：「我認為當時的時尚是西方與中國交融的成果。舉例來說，傳統旗袍開始用西方的布料製作，或是西式服裝輔以中式的點綴。我們現在所穿的衣服已失去這樣的特徵。所以正如我先前所言，本片喚醒了我祖父母年代的快樂回憶。」

舒淇（露露）

陳奕利表示：「我曾問過我的製片，哪一位女演員能在這群堅強的男性演員陣容中風采依舊，並凸顯自己，他們都回答：『舒淇』，舒淇絕對可以在他們之中發光發熱。他們一點都沒錯。飾演悲劇角色露露的舒淇，能夠在銀幕上完美拿捏角色純真與危險的兩面。」

舒淇是電影圈公認極具天分的女演員。【天堂口】是她第一部完整的時代劇情片。談到演出這部電影，舒淇表示：「許多方面對我而言都很困難。最有難度的部分，就是我得想像自己置身於三O年代的上海，演出還得具有說服力，才能讓觀眾看到截然不同的舒淇。有一點很有意思，當代的上海，還沒完全走入摩登的現代，但也當然不固守舊式傳統。當時的情況介於兩者之間，介於古代與近代的分野間，所以當時人們的服飾與舉止都透露一種認同危機。我的挑戰之一，就是要穿著在當時蔚為風潮的旗袍，表現出當代女性的特徵，並模仿她們抬手、回眸與輕輕款擺臀部的方式。」然而，為了說服現代的觀眾，不得不忠實表現當時的矯揉造作，結果就是必然的妥協與讓步：「如果你的舉止真表現得與當時的人無異，觀眾可能會覺得你很做作並難以忍受。要取得兩者間的平衡，真的很不容易。不過戲服有很大的幫助，當我一穿上旗袍，我走路的方式便會自然而然改變。」

在這樣的時代與故事中，詮釋這樣的角色，還有許多困難橫亙在她的眼前。對舒淇而言，露露是一個誠實、易受傷的女性，卻生長在錯誤的地方、錯誤的時代，這點無論在當時或現代似乎都適用：「我認為本片的中文片名『天堂口』，是最好的寫照。一旦你進入「天堂夜總會」，這是現狀的結束，還是新生活的展開？如果仔細觀察露露這個角色，你會看到人總是渴望做他們想做的事情，但是卻不清楚他們該依循的方向，也不知道何時會結束。我希望觀眾能思考－－我們到底想從生命中得到什麼、到底想達成什麼？」

露露是天堂夜總會的駐店紅星，舒淇也藉此為她的表演成績單再添新頁－－唱歌與跳舞。電影開拍前一週，她便與舞蹈教練排練在片中的兩場舞蹈連續鏡頭。她指出她的角色因舞蹈可能承擔的風險：「如果你的舞姿有任何一絲現代舞的影子，這表演會讓觀眾無法消受。觀眾對於時代片中的歌舞，總是懷有相當高的期待。」所以舒淇學到最重要的一課是什麼？三O年代女性跳舞時誇張的程度，就和她們平常的舉止一樣，所以她的舞姿必須作某種程度的誇張，就像她為電影的演出一樣。

「當時的作風就是透過肢體的動作，產生暗示性與撩人的聯想，還有挑逗效果十足的勾手指動作。剛開始我本來認為透過舞姿『放電』、讓自己令人難以抗拒，對我有點唐突。但是這正是我的舞蹈教練希望我做到的。陳奕利顯然很喜歡我角色的這一部份，因為露露是所有男人垂涎的對象。直到後來，我已不害怕投入角色。」

「另外，看看片中的這些男人，」舒淇說道，她指的就是吳彥祖、劉燁、楊祐寧與張震等人。「對一個女孩而言，妳再也得不到更好的待遇，這是一個難得的享受與榮幸。這四位演員－－吳彥祖、張震、劉燁與楊祐寧全都是帥哥。當我看到他們在鏡頭前試鏡，每人都散發出獨特的氣息，我認為這個演出陣容能激發人更多的靈感，也讓我期待與他們合作。」

劉燁（大剛）

演出爆發力十足且性格多面的角色大剛，劉燁背負著相當艱鉅的任務。他得讓觀眾相信，他的角色轉變是來自在上海經歷的是是非非。他從一個平凡、心地善良的小伙子轉變成墮落殘忍的黑道份子。然而他的表現令人嘆為觀止。「沒有太多人能夠完整表達出這樣的角色。」編劇蔣丹指出。「但我認為每位看過他在片場演出的人，都覺得這可能會是他從影以來的最佳演出。」劉燁對【天堂口】劇本印象最深刻的，就是其中完備的性格描述。「本片的角色豐富，也充滿內涵。他們是成就本片的基本要素。就我的角色而論，絕對是我過去從未有過的嘗試。我演過的角色大部分都很懦弱、消沈或是憂鬱。當別人聽到我要演出大剛這角色，他們總是不敢置信地問道：『大剛？劉燁真的能勝任大剛嗎？』他們過去總認為我很寡言、含蓄而且抑鬱，所以這回一定會讓很多人大吃一驚。他們會看到劉燁不曾展現過的一面。而且演出這三人組中的幫派份子實在非常過癮。這是我第一次演黑道，更別說還是黑幫老大！」

劉燁坦言陳奕利相當擇善固執，他也因此能夠突破自我，並創造出有別於過去從影表現的演出：「這個角色和我過去演出的角色完全不同。陳奕利強調，他要一個截然不同的劉燁。」這對劉燁是一個興奮的全新挑戰，而他的表現也博得滿堂彩。

另一個讓劉燁不假思索接拍此片的原因，便是與他同台演出的卡司陣容。「我興奮極了，但是同時也有很大的壓力。除了舒淇以外，我從未與他們其中任何一位演員合拍過片，也很難料想會擦出什麼樣的火花。每人都是經驗豐富的專業演員，我告訴自己，我要做的就是不能比他們差，如果我能辦到，那我就能提昇自己的演出水準。」劉燁同樣對全體劇組人員讚不絕口：「我非常開心能由吳宇森擔任製片。我對本片的品質控管有絕對的信心。陳奕利是一位富有遠見的年輕導演。他很年輕，對電影充滿熱情，我認為透過他的詮釋，三O年代的上海，將會展現獨一無二的風情。」

不過這並不完全意味劉燁對自身的角色無所畏懼。「大剛原本有顆善良的心，但是他也是一個自負的傢伙。他不願一輩子當個服務生，所以在洪哥所佈局的幫派陰謀中不可自拔。殺掉馬克與露露的任務，就是對大剛忠誠度的終極測試。大剛就像洪哥豢養的幼虎。還是虎子時，他可愛又溫馴，但是一旦成長為老虎，他便變得有如脫疆野馬般無法控制。只是洪哥意識到這一點時，為時已晚。」

劉燁特別強調他演出大剛殺害洪哥的情節時，所碰到的難度與挑戰：「我不希望導演拍我的面部特寫，因為我害怕自己無法完整表達出其中錯綜複雜的情緒，以及殺掉培育我的恩人所產生的矛盾情結。但是陳奕利很堅持，他很喜歡這個特寫鏡頭，而且覺得在當下，特寫鏡頭是必要的。我知道他的看法是對的，這樣一個狂暴的內心戲，如果使用廣角鏡頭拍攝，絕對無法傳達其中的力道。」

劉燁深信觀眾將會喜歡電影成品，並直率地表達出他的樂觀：「我堅信本片會吸引觀眾進戲院。無論是演員、導演、攝影或其他部門的工作人員都非常努力、且一切到位，努力將一部好電影呈現在觀眾眼前。我有一種預感，本片在中國的成就，將等同於【教父】對西方電影的影響。」演員談論他們演出的影片時，也許不曾有過比這更好的讚美了。

楊祐寧（小虎）

2004年，楊祐寧以台灣片【十七歲的天空】榮獲金馬獎最佳新人獎。這位才華洋溢的年輕演員，一心想著向其他著名的搭檔演員學習看齊，並將他的演出發揮到極致。談到拍片過程，楊祐寧表示：「要成為一位更好的演員，你必須留心並找出如何達到那樣的境界。剛開始，身處在這群優秀的演員當中，我幾乎無所適從，但我知道我得仔細的觀察與學習，後來我發現藉著他們的從旁協助，我也自然地開始發光發熱。一位實力堅強的演員與你對戲，並不會降低你的水準，也不會讓你感覺備受威脅，反而幫助你提昇層次。我學著去相信吳彥祖、舒淇、張震、孫紅雷與劉燁，讓他們在演出過程中帶領我。」

他詳述片中一幕戲的準備過程：「我們當時正準備拍攝一場戲：劉燁的角色大剛、他的嘍囉還有我，正在一家麵店吃東西。吳彥祖飾演的阿峰進入店裡，大剛質問阿峰為什麼沒對付敵對黑道份子時，空氣洋溢著一股緊張與對峙感。陳奕利，劉燁與吳彥祖在片場鉅細靡遺地討論這場戲的每句台詞。劉燁提問大剛是否真心覺得阿峰故意逃避，如果是的話，他的指責方式該是無情又直接、很平靜還是話中帶刺？吳彥祖建議阿峰面對大剛的指責時，可以回答他生病了。但是接下來又有問題產生，大剛到底接不接受阿峰的說法？這整個討論過程間，我在旁觀看，並注意到這群演員能精準挑出每句台詞背後的動機，清楚該如何完成這場戲，這真的非常了不起。」

陳奕利表示：「小虎這角色非常非常重要，因為他只是一個再平凡不過的普通人，也是讓觀眾最容易認同的角色。我們面對危險的情況時，免不了都會害怕。」聯合監製楊雪儀同意道：「小虎被內心的膽怯所糾纏。他雖然擁有雄心壯志，但是到了得扣扳機的時候，卻怎麼也辦不到，因為他明明就不是個殺人機器。讓楊祐寧飾演這樣的角色時，我們當然讓他處於一個十分脆弱易受傷的處境。當觀眾看這部電影時，我希望他們能夠理解。當你處於緊急關頭，有多少人真能面對殺人的恐懼？」

楊祐寧繼續說道：「演小虎的最大難度，來自於他人格特質的轉變。片子開始時，小虎是個玩心很重的年輕人，但是來到上海之後，他的經歷使他徹底改變。他變得更沈默寡言，並將別人阻絕於他的世界之外。我認為小虎性格中的變化，是演出中的一大考驗。這一方面，我向導演陳奕利請益，並獲益良多。在此之前，如果我要演一個很苦惱的角色，我只會保持靜默不動，但是陳奕利讓我領悟，藉著肢體語言，我的手或頭部的細微姿勢，都能有效地強化小虎的傷感與沮喪，表達他心中的痛苦。」

三O年代的上海，對於在八O年代出生的台灣人楊祐寧而言，就像是一個遙遠的外星世界。儘管如此，他還是自有方法融入本片的情境。他解釋：「我錄了一張三O年代流行歌曲的選輯，在拍片期間，我一遍又一遍地聆聽，這就是我在心中營造三O年代上海氛圍的方式。我也很注意自己的口音與肢體動作。我請我的發音教練在我不小心脫口說出台式漢語時，都要提醒我。每天早上開始工作前，我會在鏡子前練習跳舞，，因為我不希望我的舉止洩露出任何現代感的蛛絲馬跡。」

張震（馬克）

張震被公認是新生代男演員中的佼佼者，他笑言：「每位男演員和每個小男孩，在人生的某個階段，都會夢想演出一位殺手。在本片中，我得到了這個千載難逢的機會，實現男孩時期的幻想。」儘管他的角色是位殺人不眨眼的殺手，張震詮釋該角色時，以一種令人著迷的風格，展現出其他同類型片中少見的感性與內心交戰的情感。這角色吸引人之處，就是因為他的外表看來總是強悍與不可接近，但是他又像一頭受傷的野獸，渴望著愛情（露露）與手足之情（阿峰）。張震表示：「馬克實際上是一位感情豐富的人。我認為要演出這個外表冷酷的角色，還要能以他的情感贏得觀眾同情，難度實在非常的高。」

吳宇森表示，馬克是最難選角的角色：「我們需要找到一位演員能立即展現出冷靜與沈著，但也要能夠表達馬克心中的脆弱人性面。」

電影圈內有種說法，張震的長相是攝影師夢寐以求的完美上鏡面孔。他的臉精瘦、有稜有角，表情線條卻很溫柔；他的眼神銳利，卻又不可置信地清澈。燈光設計黃志明指出：「張震是終極的性格演員，他能讓自己深深地融入角色，藉著細膩的手部或臉部動作，表達出人們在真實生活中的小動作。我們得處理的問題是，如何將他心中的三O年代黑暗世界人格化。我們做的其中一項嘗試，就是在他置身天堂夜總會時，打上較為柔和的光，這麼一來，不只使他在這群人中顯得與眾不同，也使他看來看來比洪哥或大剛更有人性。打光真的能區別出他角色性格的兩面。我們藉此對照出他平時冷靜沈著的舉止，以及當他得作決定時稍嫌輕率與出於直覺的作風。」他角色中的道德覺醒，就是藉由這特殊的作法示意。「他心中的道德感與英雄般的責任感，使他與阿峰更接近。」蔣丹做出結論道。

「這對我而言，是個不可多得的角色。」張震說道。「馬克是導演陳奕利的觀點中，不可或缺的角色。因為剛開始時，我們無從得知他到底是好是壞。他的話不多，而我們最先看到他的情景，就是他在一家咖啡館殺人！而且他背著洪哥，與大哥的女人露露偷歡。不過陳奕利、蔣丹與陳國輝對他的描寫，是讓馬克擁有一種忠誠的道德感。隨著故事逐漸發展，我們看到他開始領悟，他必須為自己的信念而戰，那就是愛情、手足情與復仇。對他而言，忠心是必須的。不論這忠心得如何建立，就是有存在的必要。這絕對是一個非常複雜的角色。」

張震也將他為電影所做的研究用在角色扮演上。「從我所做的研究中，」他說道，「我瞭解上海當時的生活狀況。我開始理解上海黑幫所存在的階級制度－－他們的地位從上到下共分成四個等級。舉例來說，在天堂夜總會裡，馬克與洪哥屬於最高等級，接下來是大剛、阿峰與其他人。這個研究提供我影片的背景知識。我也能藉此識別馬克這角色在片中的地位，並應用於拍片中。」

李小璐（素珍）

為素珍這角色選角時，吳宇森與張家振曾經歷微妙的心理抉擇。與其他角色相較，她是片中戲份較輕的角色。素珍是阿峰的青梅竹馬戀人，曾伴隨阿峰度過在朱家角的艱苦時期。他們曾考慮過，既然這是一個小角色，可找一位名氣不高的女演員詮釋，但是他們又擔心一位年輕、缺乏經驗的女演員，可能無法勝任傳達該角色重要性的工作。

直到陳奕利看到【天浴】中的李小璐，他馬上知道他找到出任素珍一角的理想人選。儘管如此，陳奕利不敢奢望李小璐會答應參演【天堂口】，他認為像李小璐這樣的知名女星，不會接受這樣的小角色。他試著物色其他與李小璐外貌相似的年輕新人。然而，陳奕利在因緣際會之下與李小璐本人碰面。出乎陳奕利意料的是，李小璐對這角色表達高度的興趣。李小璐後來解釋道，身為一位女演員，她最主要的考量是她能否精湛地演繹該角色，並非她到底是不是主角。此外，這個以三O年代上海幫派世界為背景的浪漫愛情故事，也深深激發她的創造力。

他們的首度合作終於在【天堂口】中付諸實現。陳奕利對她為本片帶來的貢獻激賞不已：「在原來的劇本中，素珍是位頗富爭議性的角色。她過著雙重生活，她既是阿峰與阿峰家人心中甜美無暇的女孩，卻也是在當地妓院工作的妓女。這對一位女演員是一個很具挑戰性的角色，李小璐在兩方面都表現地極具說服力。她將這個戲份少卻關鍵的角色，發揮地淋漓盡致。」

孫紅雷（洪哥）

孫紅雷最著稱的，就是他認為每個銀幕上的角色其實都有兩面。而他身為演員的工作，就是要找出這兩面，並從中取得平衡。孫紅雷解釋他自己的演出哲學：「對我而言，為了讓一個角色更為可信，你必須加入現實面，才能超越紙上的角色。每個人都有兩面，而電影常常錯誤地簡化一個角色……我和導演以及編劇，總試著為洪哥加入全新的角度，某種突破窠臼、令人難以預期的角度。」

陳奕利表示：「我們為本片選角時，我毫不猶豫便知道孫紅雷可以飾演洪哥。如果沒有他，本片會變得不具說服力，所以我一定得找到方法說服他演出。」

孫紅雷接續談起他接拍本片的經過：「我收到一封陳奕利寄來的信，還附上一份東尼史考特（Tony Scott）的【浪漫風暴絕命大煞星】（True Romance）碟片。陳奕利在信中解釋，克里斯多夫華肯（Christopher Walken）與丹尼斯霍柏（Dennis Hopper）在銀幕上的時間不超過十五分鐘，但這關鍵的十五分鐘卻在影史上成為永恆的經典片段。我從來沒從其他導演那收過這樣的信，這是個很誠實也很大方的舉動，然後我就接受了這個角色，因為此舉證明他對我的信心，並且樂於提供給一位演員所需的發揮空間。我相信無論身為導演或演員，你必須熱愛電影。當陳奕利坐在我的面前時，這位年輕導演對電影的熱情深深地打動了我。」

孫紅雷繼續補充道：「我從來沒演過像洪哥這樣的角色。我們在現實生活中不可能做時空旅行，回到三O年代的上海，這也是為什麼我會對參與這部電影如此有興趣，因為我們能藉此想像那個騷動不安的年代。藉由詮釋這角色時的觀點，我也可以解讀出以這個虛構上海為背景，所創造出的其他角色。」

本片工作人員各盡其職，並環環相扣的配合默契也遠遠超過他的預期：「儘管片場中有四種語言－－英語、粵語、漢語與法語－－我自始至終都很享受這次與其他演員，和劇組人員共事的經驗。在電影開拍前，我本來有點擔心，不知道我們是否會有溝通問題，或是對表演方法爭論不休。然而，我想我們都屬於同一世代，我們有許多共通的演出方式，所以在合作時一點問題也沒有。第一天拍完戲後，我鬆了很大一口氣。這年輕演員陣容中的每一個人，都是亞洲的一線巨星。這也是我第一次與和我年紀相當的演員共事，過去和我合拍片的都是年紀大我許多的資深演員。我很興奮能與年輕一輩的演員合作，我每日都能感受到流動在我們之間的活力。我們心無旁騖，只想專注於我們的角色，並且在片中展現絕佳的表現。」

演員介紹

吳彥祖

吳彥祖在同儕演員中，無疑是顆耀眼的年輕新星。出生於舊金山的他，因動作天王成龍而展開演藝事業。他俊美的長相與紮實的武術底子，吸引許多想尋找「下一位超級巨星」的香港導演，他的優勢也使他的演藝事業一飛沖天。

1998年，他以【玻璃之城】的演出獲香港電影金像獎最佳新人獎的提名。2003年，他以自製自演的【妖夜迴廊】提名第四十屆金馬獎的最佳男主角獎。2004年，他則以成龍的【新警察故事】獲得第四十一屆金馬獎最佳男配角的榮銜。

他為人熟知的作品還包括與香港著名藝術片導演關錦鵬合作的【長恨歌】與楊凡執導的【美少年之戀】。近期，他演出馮小剛的【夜宴】，以片中的無鸞太子角色打開國際知名度。

多才多藝的吳彥祖最近初執導演筒，拍攝【四大天王】，這是一部「嘲諷式偽紀錄片」，他同時也擔任製片與編劇。該片很受肯定，並於2006年舉辦的第三十屆香港國際電影節上首映。

代表作品－

2006 【夜宴】／ 【四大天王】
2005 【長恨歌】／ 【三岔口】
2004 【新警察故事】／【旺角黑夜】／【公主復仇記】
2003 【妖夜迴廊】
2002 【想飛】
2001 【北京樂與路】／【遊園驚夢】
2000 【公元2000】
1999 【紫雨風暴】／【特警新人類】
1998 【美少年之戀】／【玻璃之城】

舒淇

在舒淇亮眼的演藝生涯中，她的電影作品已超過五十部。聰明又性感的舒淇，以多部備受好評的作品，為自己在台灣與香港建立起她的一席之地。在侯孝賢執導的【千禧曼波】中，是她從影以來最具突破性演出。她在飾演痛苦周旋在兩男間的夜店女主人Vicky。

她藉著獎項的加持，累積自己的演出口碑。她在1996年時，以【色情男女】獲得第十六屆香港電影金像獎的最佳新人獎與最佳女配角獎。1998年，以【古惑仔情義篇之洪興十三妹】獲得第三十五屆金馬獎的最佳女配角獎；另外以【最好的時光】獲得第四十二屆金馬獎最佳女主角。

她演出二十世紀福斯影片公司於2002年發行的賣座片【玩命快遞】，以及元奎的【夕陽天使】、彭式兄弟的【見鬼2】等片在國際影壇上嶄露頭角。她近期接拍韓國喜劇續集片【我的老婆係大佬3】，演出一位強悍的女黑幫份子。

無論是獎項的肯定，以及接拍角色的多元性，舒淇早已向世人證明自己是一位有深度的演技派女星。

代表作品－

2006 【傷城】／【我的老婆是大佬3】
2005 【最好的時光】／【韓城攻略】
2004 【見鬼2】
2003 【美人草】
2002 【玩命快遞】
2001 【千禧曼波】／【北京樂與路】／【夕陽天使】
2000 【小百無禁忌】／【Bad Boy 特攻】
1999 【玻璃樽】
1998 【美少年之戀】／【古惑仔情義篇之洪興十三妹】
1996 【色情男女】

張震

張震在十四歲時的初試啼聲便不同凡響。他的第一部作品就是楊德昌於1991年推出的【牯嶺街少年殺人事件】。中斷演戲事業數年後，他接下來與香港兩位傳奇巨星梁朝偉與張國榮合演王家衛的得獎代表作【春光乍洩】（1997）。2000年時，他與周潤發、楊紫瓊與章子怡共同演出奧斯卡導演李安執導的金像獎最佳外語片【臥虎藏龍】，從此躍上國際影壇。近幾年來，張震成為亞洲最搶手的男主角之一，並主演多部由國際名導執導的作品，包括王家衛的【2046】、【愛神】、侯孝賢的【最好的時光】、蘇照彬的【詭絲】以及田壯壯的【吳清源】。張震接下來的作品就是吳宇森監製的動作劇情鉅片【天堂口】與韓國導演金基德掌鏡的【呼吸】。

代表作品－

2006 【詭絲】／【吳清源】
2005 【最好的時光】
2004 【愛神】／【2046】
2003 【地下鐵】
2002 【天下無雙】
2001 【愛你愛我】
2000 【臥虎藏龍】
1997 【春光乍洩】
1991 【牯嶺街少年殺人事件】

劉燁

身為中國備受矚目的新星，他的電影處女作是1999年由霍建起執導的得獎片【那山那人那狗】。隨後他接拍了十二部電影，包括【巴爾札克與小裁縫】、【紫蝴蝶】、【無極】與【滿城盡帶黃金甲】。其中有多部作品都在國際影展上獲獎。2001年，劉燁以【藍宇】獲頒第三十八屆金馬獎最佳男主角獎，該片是一位男大學生與一個商人相戀的同志故事。

他的影迷與賣座實力遍及中國、韓國、日本甚至法國。今年他的另一部矚目新作是好萊塢製片【暗物質】，將與奧斯卡影后梅麗史翠普同台演出。

代表作品－

2007 【暗物質】
2006 【滿城盡帶黃金甲】
2005 【無極】
2004 【茉莉花開】／【戀之風景】
2003 【紫蝴蝶】
2002 【巴爾札克與小裁縫】
2001 【藍宇】
1999 【那人那山那狗】

楊祐寧

楊祐寧以模特兒工作踏入演藝圈，首次演戲經驗是電視劇。2004年，他以浪漫喜劇賣座片【十七歲的天空】，在台灣與亞洲一夕之間走紅並聲勢看漲。他在片中展現出有別於電視劇的另一面，而他的演出讓他獲得第四十一屆金馬獎的最佳新人獎。他接下來的作品也是喜劇【夢遊夏威夷】，該片在法國杜維爾影展上出盡風頭，勇奪最大獎最佳影片金蓮獎與法國國際影評人協會獎。

2005年時，楊祐寧與【十七歲的天空】導演陳映蓉再度攜手合作動作喜劇【國士無雙】。2006年，他與亞洲巨星周迅、吳彥祖合拍區雪兒的跨界風格影片【明明】。

代表作品－

2006 【明明】
2005 【國士無雙】
2004 【十七歲的天空】／【夢遊夏威夷】

孫紅雷

孫紅雷來自中國西北部的哈爾濱市。他的表演事業始於擔任樂團的主唱，大部分在當地酒吧演出。他後來決定朝演戲發展，赴中央戲劇學院就讀。他曾演出數部舞台劇，並在不同電視劇中演出警察與刺客角色嶄露頭角。他受到大導張藝謀賞識，演出【我的父親母親】與【幸福時光】。接下來，他在【周漁的火車】中，飾演帶給鞏俐諸多喜悅的享樂主義獸醫。他近期的作品還有徐克的武俠新經典【七劍】，他在片中飾演的「風火連城」，率領軍隊侵略並破壞武莊。今年他的作品除【天堂口】外，還有沙治博杜夫（Sergi Bodrov）執導的【蒙古王】。

代表作品－

2007 【蒙古王】
2006 【上海紅美麗】
2005 【七劍】
2004 【我為誰狂】
2002 【周漁的火車】
2000 【幸福時光】
1999 【我的父親母親】

李小璐

李小璐於1981年出生於北京。她在處女作【天浴】中的演出技驚四座，不僅成為台北金馬獎有史以來最年輕的影后，同時也以本片在1999年的巴黎影展上，獲觀眾票選為最佳女主角。以首部作品一鳴驚人後，她接拍數部電視劇，被業界視為中國最具潛力的新生代女演員。2005年，她以【關於愛】在羅馬尼亞影展中，再度獲最佳女主角肯定。除了在電影與電視上發光發熱，她也活躍於中國的廣告與時尚界。

代表作品－

2005 【關於愛：上海篇】
2003 【我心飛翔】
1998 【天浴】

幕後人員介紹

導演 陳奕利

陳奕利在倫敦求學，隨後赴紐約大學藝術學院就讀。他的電影事業始於擔任劇照師。

2000年，陳奕利完成他的首部短片作品【17.17】，這部六分鐘的實驗性短片在布魯克林國際影展上首映。他在電影世界的初試啼聲，也使他發覺自身的熱情與才華所在。2002年，他到亞洲謀求導演事業的發展，並開始執導電視廣告與音樂錄影帶。這些作品為他掙得眾多國際獎項的肯定。

他於2003年應邀為台灣流行樂天王周杰倫（【頭文字 D】、【滿城盡帶黃金甲】）的十五分鐘音樂短片【雙刀】掌鏡，該片邀來好萊塢演員莉娜艾絲雅莉（Leila Arcieri）與丹尼祖（Danny Trejo）演出，幕後人員裡還有【黑色追緝令】的攝影師Andrzej Sekula。

【雙刀】吸引了吳宇森與張家振的注意，啟用陳奕利執導首部電影長片【天堂口】。

製片 吳宇森 ＆ 張家振

「獅子山製片公司」自1997年成立以來，曾為哥倫比亞電影公司製作【好膽別走】，為米高梅電影公司製作【烈血追風】(Windtalkers) 與【刀槍不入一僧侶】(Bulletproof Monk)，並為派拉蒙電影公司製作【記憶裂痕】。【天堂口】是「獅子山」的首部華語製片作品。

吳宇森與張家振這對黃金搭檔，曾製作過許多賣座片，包括吳宇森執導的【槍神】、【斷箭行動】、【職業特工隊2】與【奪面雙雄】；也有非吳宇森執導的影片，包括【血仍未冷】(Replacement Killer)（安東尼奎克 Antoine Fuqua）與【再戰邊緣】(The Corruptor)（詹姆斯佛利James Foley）等作品。他們未來的作品包括重拍【喋血雙雄】，以及華語史詩劇情長片【赤壁】。

代表作品 (吳宇森)-
2003 【致命報酬】
2003 【刀槍不入一僧侶】
2002 【烈血追風】
1998 【無字頭4殺手】
1998 【血仍未冷】
1996 【浪漫風暴】
1995 【和平飯店】
1990 【喋血街頭】

代表作品 (張家振)-
2003 【致命報酬】
2003 【刀槍不入一僧侶】
2002 【烈血追風】
2000 【職業特工隊2】
1999 【安娜與國王】
1999 【再戰邊緣】
1998 【無字頭4殺手】
1998 【血仍未冷】
1997 【奪面雙雄】
1996 【斷箭行動】
1993 【終極標靶】
1992 【辣手神探】
1991 【縱橫四海】

服裝設計 葉錦添

葉錦添第一部參與的電影，就是1986年由吳宇森執導的【英雄本色】。已入行超過二十年的他，曾參與多部電影與舞台劇的服裝設計與美術指導工作。2001年，葉錦添以【臥虎藏龍】囊括奧斯卡金像獎的最佳美術指導獎，以及英國影藝學院獎的最佳服裝設計獎。

他在亞洲與海外的成就，已廣受國際的讚美與世界的肯定。他的作品不只融合摩登與經典的藝術形式，也結合東、西方的美感，探索藝術與電影的新境界。

代表作品-
2006 【夜宴】
2005 【被遺忘的天使】
2002 【雙瞳 / 小城之春】
2001 【你那邊幾點？】
2000 【臥虎藏龍】
1993 【誘憎】
1992 【秋月】
1989 【吃一碗茶】
1987 【胭脂扣】
1986 【英雄本色 3】

獲獎及提名紀錄-
2006 提名香港金像獎最佳美術指導、最佳服裝造型設計【無極】
2001 榮獲奧斯卡最佳藝術指導【臥虎藏龍】
2001 榮獲英國電影學院最佳服裝設計 【臥虎藏龍】
2000 榮獲洛杉磯影評人協會最佳美術指導【臥虎藏龍】
1993 榮獲金馬獎最佳藝術指導 【誘憎】

美術設計 邱偉明

邱偉明以1996年的【浪漫風暴】一片跨入電影美術設計的領域。他陸續在九O年代晚期擔任多部電影的藝術指導，包括【飛虎】、【野獸刑警】與【天旋地戀】。他的業界名聲以【2046】一片達到頂峰，榮獲2004年台北金馬獎與2005年的香港電影獎。【天堂口】是他的最新代表作。

2004 【2046】
1999 【天旋地戀】
1998 【野獸刑警】
1996 【飛虎】
1996 【浪漫風暴】

獲獎及提名紀錄-
2004 榮獲金馬獎最佳藝術指導【2046】
2005 榮獲香港金像獎最佳美術指導【2046】

攝影指導 米歇•塔布里

米歇塔布里剛從事攝影時，多拍攝電視廣告與音樂錄影帶。他與奧利維耶維達爾（Olivier Vidal）、克里斯多福佛萊彭（Christophe Fraipont）與奧利維耶梅加頓（Olivier Megaton）曾合拍數部短片，他在2000年的【出口】，首挑大樑擔任該片的攝影指導。之後，他與導演茱朱利安賽里（Julien Seri）合作【因咩差事跳多跳】(The Great Challenge)與【Scorpion】。他的近作是【天堂口】。

2007 【Scorpion】
2004 【因咩差事跳多跳】
2000 【出口】

剪輯 程瓏

程瓏曾於上海科技大學主修電子工程，拿到理學士學位後，繼續在美國攻讀電影製作，先後在費城與洛杉磯就學。他曾於九O年代晚期擔任數部電影與電視節目的剪輯，他後來返回中國，執導電視劇。他以張藝謀的【十面埋伏】、【千里走單騎】與【滿城盡帶黃金甲】重拾剪輯工作。

2007 【滿城盡帶黃金甲】
2005 【千里走單騎】
2004 【十面埋伏】

動作指導 郭追

郭追原本是位動作演員，入行已超過三十年。自七O年代中期開始，他已演出五十多部電影，大部分都是香港的武打片。他一方面擔任演員，另一方面也在八O年代開始從事電影武打情節的動作設計。他最富盛名的代表作就是【天脈傳奇】，獲得2003年香港電影獎的最佳動作設計獎。除了在動作設計上的成就，才華洋溢的郭追，同時也是數部影片的導演、編劇、製片與藝術指導。

2002 【天脈傳奇】
2002 【幽冥武士】
2001 【狙魔特工】
1993 【白髮魔女傳】
1992 【俠女傳奇】
1992 【辣手神探】

獲獎及提名紀錄-:
2003 提名香港金像獎最佳動作設計【天脈傳奇】

電影配樂 丹尼爾貝拉丁尼利（Daniel Belardinelli）

貝拉丁尼利是為自由作曲家，在紐約開設自己的音樂錄音室。他曾為形形色色的類型作品製作配樂，包括電視廣告、原聲帶與實驗影片。他與陳奕利的合作始於陳奕利的短片【17.17】。【天堂口】的配樂是他第一部電影長片作品。

代表作品-
2007 【Santa Mesa】
2006 【In Men We Trust】
2005 【Penny Dreadful】
2005 【Knife Girl】
2004 【Empty Building】

音效設計 卓保怡（Martin Chappell）

卓保怡1970年出生於英國諾丁漢。他深受知名鋼琴家祖父的影響，在年幼時便以音樂為職志。他自曼徹斯特大學音響工程系畢業後，曾搬到澳洲一年。1994年，蕭培爾來到香港，並擔任電影的音效剪輯。他的事業自他來到香港後便一帆風順，他的作品有十多部，並曾三度提名亞洲的重要電影獎。他曾於2003年以【PTU】提名台北金馬獎的最佳音效獎；也曾以2002年的【蜀山傳】與2001年的【順流逆流】分別提名香港電影獎的最佳音效設計與最佳音效剪輯獎。

2007 【跟蹤】
2006 【狗咬狗】
2003 【PTU】
2001 【蜀山傳】
2000 【順流逆流】

獲獎及提名紀錄 -
2003 提名金馬獎最佳音效【PTU】
2002 提名香港金像獎最佳音響效果【蜀山傳】
2001 提名香港金像獎最佳音響效果【順流逆流】

------------------------------------------------------------------------------------------------------------------
上映日期 : 2007年8月
級別 : TBC
片長 : TBC分鐘
戲院 : TBC
發行 : Golden Scene Co Ltd.

Blood Brothers
[Tian Tang Kou]

directed by Alexi Tan
produced by John Woo & Terence Chang

SYNOPSIS

Blood Brothers is the story of three close friends, Fung, Kang, and his little brother Hu. They begin the story as poor fishermen from Zhujiajiao, a small village on the outskirts of Shanghai. They are young and trapped by unfortunate circumstances; they decide to move to Shanghai in search of whatever opportunities the big city may have in store for them.

Once in Shanghai, they are tempted by riches they once could only imagine, but they never expected to become involved with the criminal underworld. They are quickly drawn into the vicious and seductive life provided by the most infamous nightclub in Shanghai, the Paradise Club, a place where the dance stage sparkles with beautiful women such as Lulu, the resident songstress and object of every man's desire. Behind the bright lights, a stream of blood flows deep and wide as Boss Hong, owner of the Paradise Club and a powerful figure in the crime world of Shanghai, discovers that Mark, his right-hand man, is having an affair with Lulu. All the while, both his enemies and his allies are plotting to wrestle control of local gangs away from him.

As the three brothers rise to power, Fung has to make a choice between this life of crime and unrequited love, or a return to the man he once was. Hu has been struggling with his own weakness and reconcile himself to the dangers of his new life in Shanghai while Kang, blinded by a lust for power, pursues his own ambitions at any cost.

By the end, lives will be lost, though redemption may still be within reach.

The Story

Blood Brothers begins in the poor village of Zhujiajiao, located on the outskirts of Shanghai, a small quaint place where the locals lead a simple life. Fung's family live on rice congee, with barely enough to share between them, but Fung is an honest son with humble ambitions, content to provide for his family and ailing mother by making a living as a fisherman. Life in Zhujiajiao is peaceful but impoverished.

What stops Fung from leaving is his childhood sweetheart Su Zhen (Lulu Li), a virtuous, angelic figure close to his family who helps to care for his mother. Fung hopes to marry her one day.

Hu (Tony Yang), is also a local and is Fung's best friend, but has a different mind-set altogether. He looks up to his older brother, Kang (Liu Ye) and will follow him to the ends of the earth. He wants to follow his brother's dreams of having a better life in Shanghai. Like a perpetual adolescent, he naively believes the city will offer much more: sumptuous riches, untold wealth and dizzying success.

Kang, the local village hero, is a strong willed and ambitious character. He manages to convince Fung and Hu to move with him to Shanghai. He tells them on the occasion of Hu's birthday, that they can get jobs as waiters and work their way up.

When Fung and Hu arrive in Shanghai, they find jobs at the bottom of the social ladder, as rickshaw pullers. Through this line of work, they get to experience at first hand the seductive sights and sounds of the city.

Soon, Fung and Hu are introduced to the Paradise Club, Shanghai's most glamorous nightclub. Kang is a waiter here, and hopes to find his two friends similar work. Once they enter, they sample its lush atmosphere and intoxicating sights.

At the Paradise Club, they encounter Boss Hong (Sun Honglei), a charismatic showman, and a self-styled movie producer. But underneath this exterior, he is a ruthless man who controls part of the city's underworld, a crime boss extraordinaire filled with greed.

The lights dim, as the three friends gaze at the sensual Lulu (Shu Qi) singing onstage. Her irresistible voice casts a spell on Fung that banishes all nostalgia from his past life. Her beauty displaces that of Su Zhen in his fervid imagination. He begins to dream of a new world and determines to meet her, hoping to make an unlikely impression with his country charm. In their encounter, Lulu warns Fung not to get involved with Boss Hong. Fung reluctantly agrees.

Yet the situation is more complicated than it first appears. Lulu is actually Brother Hong's muse, but she is in love with Mark (Chang Chen), Hong's right-hand man, confidante, and deadly enforcer.

One night, Mark attempts to assassinate Boss Hong, only to fail, injuring him and falling unconscious in the process. He is in grave danger of being discovered by his ruthless boss when Fung rescues him, hiding him in his own home and tending to his wounds. The two get acquainted and an uneasy friendship is formed. However, Kang informs Fung of Mark's identity and to remain cautious.

Soon, the three friends are given an opportunity to carry out an assignment for Boss Hong. A test, to initiate them into the gang. They are sent to a warehouse on a rainy night to recover some supposed film equipment. But they soon discover that the haul is a deadly cache of handguns and ammunition. Horrified, Fung refuses to continue but the other two are determined to complete the test.

When Fung leaves, the two brothers are attacked by Scarface and his men, who take the goods off their hands and starts to torture them. Scarface orders one of his men to cut off Hu's fingers. Hu lies on the ground, fearful and unable to move as his brother helplessly tries to divert the attention to himself. From out of nowhere, Fung comes to their rescue with guns blazing! He single-handedly kills of five men in one go.

Their mission completed, the three are inducted into Boss Hong's family with Kang made a special leader of his own unit. Yet Fung is tormented by recent events. By saving his 'blood brothers', he has become a killer, further implicating himself into the gangster life, with no turning back.

In time, things change, and blood loyalties are put to test. Kang becomes more ruthless and cruel; Hu succumbs to his weaknesses and Fung struggles with his new life while trying to keep his integrity.

Xi Yan, a new member of Kang's gang, begins to rival the uncertain Hu for Kang's favour, showing contempt for Hu's cowardice. This leads to tensions between the two brothers themselves, as Hu fails to show his mettle for the life of a gangster.

Boss Hong discovers the illicit affair between Mark and Lulu. Enraged, he orders the three friends to kill them both, a task Kang is all too eager to perform. Fung refuses, having developed a growing rapport with Mark and a clear affection for Lulu. Even though, heartbroken by the affair, Fung decides to alert Mark to Kang's deadly plan. That night, as Fung, Lulu and Mark try to flee Shanghai, Kang and his men are waiting outside, ready to stop them at all costs.

A deadly gunfight ensues, Hu's allegiances shift dramatically when Fung is shot and wounded. Hu shields the injured Fung from Kang with his own body but without thinking, fires at his own brother! He screams in agony! Under Mark's gunfire cover, Lulu and Hu quickly drag Fung into the car, as they speed away. An injured and enraged Kang is left lying on the ground. Madness in his eyes!

So comes a crucial turning point in the lives of all involved. Hong is furious at the Kang's failure. Hong intends to dispose of Kang but Kang strikes first, killing his mentor. Kang quickly proclaims himself the new boss of the Paradise Club.

Hu then makes the fatal mistake of returning to the club, delighted that his brother has survived. But blood loyalty has been found wanting. Though he is emotionally torn, Kang's sense of betrayal outweighs his sense of loyalty. He leaves his own brother to die brutally at the hands of his henchmen.

Meanwhile Fung takes Lulu and Mark back to Zhujiaojiao, hoping to find refuge there. Fung reconnects with his family, while Lulu develops an unexpected friendship with Su Zhen, who has been taking care of Fung's family during his time in Shanghai. Strangely, Lulu and Mark find the peace they are searching for in this poor village.

The respite is brief. Kang's henchmen arrive in the neighbourhood, intent on revenge. One day as Fung is caring for his mother a bullet rips through the room, narrowly missing both of them. Luckily, Mark quickly comes to their rescue. But elsewhere as Su Zhen and Lulu are walking through the neighbourhood, Lulu is shot by Xi Yan, one of Kang's hoodlums, right in front of Su Zhen, who stands traumatised as Fung and Mark rush to the scene. They are too late; Lulu is dying.

Mark and Fung now feel they have no choice but to return to Shanghai for a last showdown. They go back to the Paradise Club, guns in hand, shooting their way past Kang's guards. Mark takes on Xi Yan while Fung battles his 'blood brother' Kang. Kang and Fung wound each other in the shoot-out: both are close to death and both convulsing with remorse. At that moment, Kang asks Fung for forgiveness. Fung is stunned with emotion; until- Mark fires the fatal shot at Kang! Tears of remorse roll down the checks of the wounded Fung. He realizes the bitter cost of violence and the collapse of the brotherhood.

Fung asks himself if what they found in Shanghai is truly paradise or something else? He asks himself, where is the real paradise? Perhaps it is in the innocence they once had but now lost.

ABOUT THE PRODUCTION

JOHN WOO'S RETURN TO ASIA

In his native Hong Kong, John Woo directed the legendary box-office hits The Killer, Hard-Boiled, and A Better Tomorrow, teasing great performances out of versatile actors like Chow Yun-Fat, Tony Leung, and Jacky Cheung, and providing a new template for Hong Kong crime thrillers in the 1990s. His subsequent, highly successful Hollywood ventures included Hard Target, Broken Arrow and Face/Off with John Travolta and Nicolas Cage.

With Blood Brothers, Woo returns to Asia to produce his first Asian film for another director. Having produced and directed films in the US for over a decade, he felt that it was time to return home and take stock of new developments there in genre pictures. In talking of his attraction to Blood Brothers and of its young director, Alexi Tan, he sets out his position very clearly: 'With so many new young visionary and edgy directors it was imperative that I come back and give my support. Just take a look at this cast. I remember early on, we had dinner together, and they were all there - Daniel Wu, Shu Qi, Chang Chen and the rest, and I looked at each and every one of them sitting there, full of energy, talent, and experience. Blood Brothers brought them all together and it was necessary that I contribute to Alexi's own unique vision.'

It was Terence Chang, Woo's long-time producer who first discovered Alexi Tan directing music videos and commercials in Asia and the USA, and photographing promotional campaigns for major companies. According to Woo: 'In America, Terence and I met Alexi about three years ago, and we saw some of his works, notably his 15-minute short film/music video Double Blade (?刀) starring superstar Jay Chou. His originality and vision really caught my eye. Double Blade is a good representation of what he can do, combining martial arts, pop music, emotion … cinematography and effective storytelling.'

The three of them then began to explore opportunities for collaboration, fleshing out the story that was to become Blood Brothers. As the script neared completion, Chang and Woo's production company, Lion Rock Productions, entered into successful discussions with CMC Entertainment in Taiwan to clinch a wider production and distribution deal.

COLLABORATION WITH CMC

CMC Entertainment is a leading film and home entertainment company in Asia. In Taiwan, it is the market leader in independent film distribution, having substantial shareholdings in the dominant cinema circuit with Vie Show Cinemas and in the territory's leading home entertainment company, Deltamac Group. In Hong Kong, CMC, in collaboration with Deltamac, is one of the largest home entertainment companies, and has recently established offices in China to further expand its market there. CMC Entertainment is part of CMC Magnetics Corporation, which was established in1978. CMC Magnetics is the leading manufacturer of optical/magnetic storage media (DVD-R, CD-R) and provides duplication of pre-recorded media (CD-ROM, VCD, DVD) for major studios and companies.

In 2005, CMC Entertainment launched into film production with Chao-bin Su's Silk, a feature film which has had a major impact on the Taiwanese film industry. After more than ten years of industry recession, Silk was the first domestic blockbuster (budgeted at US$ 6 million) produced in Taiwan with a Pan-Asian crew and cast. The film was not only a box-office phenomenon in the domestic market, becoming the highest grossing Taiwanese film funded wholly with Taiwanese finance since 1993, but was also selected for the Cannes Film Festival in 2006. The unprecedented financial investment in Silk has fully demonstrated CMC's commitment to reviving the global market for commercial Chinese-language films.

Continuing its commitment to producing quality Chinese-language blockbusters, CMC seized the opportunity of collaborating with John Woo on his period war epic, The Battle of Red Cliff. After a successful partnership had been built between CMC and Woo's production company, Lion Rock, Terence Chang proposed further co-operation between the two companies. He convinced CMC of Lion Rock's enthusiasm for nurturing new talent in Asia and of their confidence in Alexi Tan. Taken together, this made Blood Brothers an ideal project for their investment. Trusting in Lion Rock's expertise and attracted by Tan's gripping script, CMC promptly entered its second major collaboration on a film by backing Woo and Chang's ambitious feature.

Despite having been absent from Hong Kong for over a decade, Chang mustered a crew composed of truly experienced professionals that included Tim Yip, Alfred Yau Wai Ming and Philip Kwok. He firmly believed the respective talents of a young, creative director and an experienced crew would spark off one another to maximum effect.

THE BIRTH OF A VISION

On the importance of his background for the making of this film, Alexi Tan has some fascinating observations: 'I was born and raised outside China, but my parents are Chinese and I see myself as a Chinese; it doesn't matter where I grew up. But when I came to China to make this film, my views on many things may well have been different from others here. I hope people can see my vision of China and the Chinese as one that is different from their own.'

He also stresses the appeal he hopes his first feature film will have for the younger generation, both in China and elsewhere:

'I believe this story has a lot of relevance to the youth of China today, that many young people's lives run parallel to the lives of the characters in this film, and because of that, I had to direct this film so that it is simple, direct, and forceful. I want China's youth to be able to relate to it so that they realize that it is a reflection of what they're going through right now.'

Producer Terence Chang agrees and points to the foundation of Tan's vision: 'What makes Alexi especially visionary is his love of Western cinema in addition to the culture and history of China. It's in his blood, so it's only natural. His ability to fuse Western and Eastern cinematic traditions is very unusual.'

Tan also discusses the Western sources of his inspiration. 'One of the major influences in making Blood Brothers,' he stresses, 'are the classic westerns of Sergio Leone and Sam Peckinpah. You don't usually think of scenes of one or two gunfighters fighting an army when you think of this period in Shanghai, but that's exactly what I wanted to bring to this film, a balance of grit and romanticism. In those films, there's real suspense when you really question the protagonist's ability to fight for what he believes in, and how he can overcome resistance from outside and within.' Courting controversy, Tan then goes onto to stress that out of period, so to speak, he wanted to fashion an iconography of 'Chinese cowboys' in his picture, images of the mythic American West transplanted to 1930s Shanghai.

Tan knew that films about gangsters in 1930s Shanghai had been done before, so his challenge was to make his version unique. From the outset, he was deliberately anachronistic, using 1930s Shanghai as an atmospheric setting for a story with very contemporary themes. This approach was a challenge to everybody the art direction, costume design, and cinematography departments, because Tan wanted the audience to focus not so much on the time period of the film, but rather on the up-to-the-minute flavour of the story and its characters. 'I am telling a period story as if it were happening in current times,' he concludes.

What makes the film even more distinctive is its take on romance. In Tan's view, women in the picture are not mere stereotypes, but important characters in their own right.

As Lulu, Shu Qi unwittingly creates a love triangle between Fung and Mark. Recalling the Lulu played by Louise Brooks in G.W. Pabst's silent classic Pandora's Box, Tan's leading lady is an ingenue imbued with both sensuality and innocence, layering the story with the atmospherics of romantic sexuality. She is an object of obsessive desire for all males at the Paradise Club.

At the same time, she is not a destructive force in the film. Says production designer Alfred Yau Wai Ming: 'From the very beginning, Alexi and I agreed that our Shanghai was going to be a city filled with danger, but it wasn't the women that these dark elements were coming from, it was mostly the men. There are no spider women or femmes fatale. Instead, every woman in this story represents hope, freedom, and a return to a better, earlier life.'

Thus Blood Brothers is not a homage to film noir at all, but a novel take on the crime genre. Often people depend on love as much as they might depend on religion because both are a source of hope and faith, and this is what the story stresses. When bullets destroy lives and bodies, it is the women in the film, Lulu, Su Zhen, Fung's mother and sister, who lead everyone along the difficult road to redemption.

Alexi Tan argues: 'What I'm trying to do is to amplify the element of romance as a part of the women's sensuality. Lulu is a very magnetic, charismatic woman full of emotion. In the scenes with Sun Honglei and Shu Qi you can see the way she is able to play this feverishly vulnerable woman while exerting tight self-control. In Boss' VIP room when Jack Kao's character Chen asks Hong about Lulu's 'cost,' her price, you can see Lulu breaking up inside by the way she holds her body rigid while her eyes search Boss Hong for an answer and her lips tremble ever so slightly. It was this dichotomy that I wanted to go for. Beautiful women in exquisite costumes and qipaos, but essentially highlighting their vulnerability.'

The art direction and lighting serve to reinforce this sensibility by exquisite visual means. Lighting designer Wong Zhi Ming describes his method of lighting Shu Qi: 'With other films we have taken a simpler option conceptually speaking, due to lack of time or other reasons; but on this film the DP Michel Taburiaux and I were given the time to light a little bit more carefully, more exquisitely, in order to make it seem as if the light is glowing from within Lulu and shining out from her face rather than the other way around. I think it works, and it really emphasizes Lulu's innocent, angelic personality.'

SCREENPLAY

Blood Brothers is a project that Alexi Tan had been developing for sometime before the film project came to fruition. As he was more fluent in English than Chinese, he wrote the screenplay in English. Once the project had been greenlighted, they started to look for a translator who would turn the dialogue into Chinese (Mandarin) beautifully, and this was how Jiang Dan came to collaborate on the Blood Brothers script.

Like many people working in cinema, Jiang was drawn to the form as a child, discovering at an early age the films of the world-renowned Polish director Krzysztof Kieslowski. This was a key link in her writing collaboration with Tan. Both of them find their main sources of inspiration come from Western filmmakers, but while Tan is English-speaking and grew up outside of China, Jiang grew up within China and speaks little English.

Jiang's training as a screenwriter and her knowledge of Chinese Classical Literature helped Tan translate the dialogues into Mandarin in a beautiful and authentic Shanghai style. In addition, as a female writer, Jiang made a creative contribution to the romantic scenes, adding a feminine touch to the otherwise masculine feel of the film.

As Jiang's participation enhanced the romantic elements in the film, Tan later brought Tony Chan into the company to strengthen the authenticity of the dialogue within the brotherhood of the main characters. Chan is an experienced scriptwriter who won the Waldo Salt Scriptwriting Award at Sundance in 1993 for Combination Platter. This is their second collaboration, and Tan believed that Chan's involvement enhanced an already vivid picture of Chinese masculinity on the screen.

This creative triple act is what gives the narrative its immense lift. The distinctive East-West, male-female collaboration helps to set the film apart from so many pictures from the same genre.

COSTUME DESIGN AND MODERN SHANGHAI

Costume designer Tim Yip speaks about the care he has taken in his costume designs, and of the challenges presented to him by the film's period setting during the eight years between the Chinese civil wars and the start of Shanghai's occupation by the Japanese:

'From 1930 to 1938, after the civil war and before the Japanese invasion, was the most prosperous period in Shanghai's history. We've done a lot of research into this period, it was also the time that the influence of foreign countries on China started to rise. It seemed that Shanghai had more of a French, British, Dutch, and German flavour than anything distinctly Chinese. As such, it was a culture shock for many people from all walks of life. The Chinese weren't accustomed to a lot of the new western fashions or the fruit-scented perfumes and colognes, while it definitely took time before Chinese men got used to wearing neckties and bow ties. Chinese women too were surprised at first by some of the accessories, and the wearing of skirts, frilly blouses and well-tailored jackets. But it wasn't long before they picked up the style and the attitude behind it. Not only did they wear these clothes, they adapted them to be their own and gave birth to the modern version of the qipao. The qipao dress that inspires us to this day originated in the Shanghai of that time. It was definitely one of the most unique fusions of fashion culture.'

Yip continues: 'the transformation of the qipao was a new departure. Up until then Chinese women did not generally wear clothes that were form-fitting, or skirts that went half-way up the calf and had revealing slits on the side; nor did they wear bright, intricately designed patterns. The made-over qipao was all of that, and in a way liberated the fashion sense of the time. It made women feel very sensual and not only attractive, but privileged.'

And French DP Michel Taburiaux adds about the shoot itself: 'It was sexy, it was sensual. It was a pleasure to look through the camera and each time see beautiful women in beautiful dresses dotting the frame.'

The designing process had begun very early, four months ahead of the start of filming, with Yip travelling back and forth between Hong Kong, Beijing, and Shanghai to find the right look, then constantly returning to the drawing board, making and remaking the clothes for the principal actors. It was an exhaustive process, in which not a single detail was overlooked. Ties had to be the right length, jackets have the right collars: cufflinks had to be (1930s) modern and hats and shoes properly fitted.

'Just imagine,' says Yip, 'a society previously locked in a mix of tradition and poverty and suddenly given the opportunity to flourish. Take a good look at the character of Mark. His style is impeccable. We generally dressed him in a smooth, light shade of grey, and for the scene in which he attempts to assassinate Boss Hong, we dressed him in a cream-white shirt, hat, and trousers. His character isn't bad - his motivations are understandable considering how Boss Hong altered his past. One of the perks is that they get to wear these luxurious, image-defining clothes. The shoes in this film, notably the ones you see worn by Sun Honglei and Chang Chen, are gorgeous and will fill men in the audience with envy. This is one example explaining how the characters' personalities are conveyed through costume'

Tony Yang's comments on his looks in the film stand as a strong endorsement of Yip's efforts: 'I definitely feel very handsome, very slick in the suits that I get to wear for our Shanghai scenes after entering the world of the Paradise Club. It adds to my role and gives me a confidence in performing. Tim really took the time to figure out what our clothes meant to each of our characters so that it's like a quick visual guide for the audience to suss out our character, and it's a guide in turn for us as well.'

One of the challenges that Yip confronted was how to design the transition of the brothers from country boys to stylish metropolitan men:

'Shanghai was the first place to adapt western clothes. You can see in the film that people in the rural area are still dressed in the traditional clothes while people in Shanghai have started wearing western suits and dresses.'

He continues: 'Just as how we eat and talk, the way we dress is a clear indication of a person's social class. Designing this transition was definitely a challenge because at that time classes were unstable. People got rich all of a sudden, but it was very hard to keep that wealth for long and often wealthy people lost everything they had overnight. All of this was happening everywhere then, and it's happening again now.'

THE LOOK OF THE FILM: DESIGN, PHOTOGRAPHY, LIGHTING

In addition to costume design, the film faced a bigger obstacle: fashioning the world in which the characters live and die, and photographing it in such a way that audiences willingly suspend disbelief. There were many sets to be built, each having to accommodate the photography and lighting designed for each scene. This meant a vital collaborative challenge for Hong Kong production designer Alfred Yau Wai Ming, DP Michel Taburiaux and Hong Kong lighting designer Wong Zhi Ming.

Tan explains the edge and the freshness of an outsider's eye that he felt Taburiaux brought to the picture: 'I knew from the beginning that I wanted a DP with a perspective and an eye that didn't come from Asia, so that from the second you saw the first frame all the way to the very last, you would feel that every second of what you saw was a Chinese world photographed in a way that you had never seen before.'

'Alexi and I had a running joke that I actually knew what the actors were saying in each scene,' jokes Taburiaux. 'Of course I am not at all fluent in Mandarin, but the most important thing for any cinematographer going into any story is to know the rhythms in each scene and know when the transitions in the characters are happening. Since I was also operating the camera, I had to follow closely the eyes and movements of each actor and predict how best to move the frame. It also helped that production prepared a copy of the script translated into English just for me.'

Like any expert lighting designer, Wong was concerned with making the actors look their best, but he took it one step further and made sure that the way the actors were lit reflected their dramatic role, their space in the frame, and their hierarchy of psychological dominance.

Wong explains: 'Take the den, for example. In the course of the story, the den, or shall we say, Boss Hong's office, belongs to two people, first to Boss Hong, and then to Kang as Kang kills Hong and takes over the throne. It was imperative that the den looked different for each man. I had a couple things to consider, the first being that as actors and characters, Sun Honglei and Liu Ye moved very differently. If you look at Honglei in this film, you will notice that he plays Boss Hong very gracefully. He delivers his lines very slowly and the way he moves is like a ballet dancer moving in slow motion. Liu Ye, on the other hand, plays the character of Kang in such a way that each movement he makes is like a rubber band being snapped back and forth. His movements are very snappy and rigid, and so when he becomes the boss, the atmosphere in the den changes from one of grave eloquence to one of makeshift instability. One of the ways I magnified this in my lighting was to make Hong's den glow with soft, smoky tones, but when the den became Kang's I made the light bright and direct, as if the sun was an unwelcome intruder.'

As the production designer of the Paradise Club itself, Yau had a huge responsibility. Tan knew that only someone who had worked on the films of Wong Kar-Wai could handle the job. In undertaking his preparatory research for Blood Brothers, Alfred took only what he needed: 'If you look at the pictures from that time period, you'll see that there's a lot of ambiguity. Whenever I look at the architecture, clothing, and cars I get the sense that what I'm seeing isn't a clear and accurate representation of what it was like then. The photos are all black and white, so choosing the colours was up to me. I liked the freedom to do that, and I certainly didn't abide by history simply because I didn't know what it was really like!'

'Shooting in Zhujiajiao was the simple part, because we actually shot on real locations (an hour and a half away from the Shanghai Film & TV Studio in the Chedun district of Song Jiang where the Paradise Club was built). And that area really hasn't changed much. The back alleys and the historic houses and the dirty river are all still there. We were really lucky to be able to film in a place that's been preserved and has much the same character as it did seventy years ago.' Yau's location design was simply a matter of adding some finishing touches: 'All I had to do was amplify it a bit by putting in clothes drying on bamboo sticks.'

Constructing Paradise Club, however, was an enormous task, but Yau was gifted with an industrious construction crew who were hired from amongst the Shanghai locals. All he had to do was draw up in advance 3D blueprints and animations for a set design, which onscreen seems very subtly to suggest art deco.

Yau continues: 'First and foremost, Paradise Club is a place of luxury and comfort. Cigars, whiskey, and comfortable chairs, definitely. No nightclub is of any worth without plush, big chairs! Next was the lighting. Since I had to make it a fully functioning set, not one that merely resembled a nightclub, it was imperative that I collaborate with Zhi Ming in deciding what original fixtures were put in. That was, of course, after I decided what colours to feature. Gold was a given, and so a lot of the trims along the walls, the stage, and the ceiling glass, columns, and chandelier were gold. But gold was only the complimentary colour, not the foundation colour, for which I chose brown. Brown is a good colour because it absorbs light, and for a setting like Paradise Club, it compliments the smoky atmosphere very nicely by not competing with skin tones. It was also easier for Zhi Ming since brown is a colour that doesn't clash with the lighting. The third colour you'll see inside the Club is a mix of dark purple and lavender and I was surprised to note how nicely it complimented the gold and brown. It gives a certain sense of tragedy, I believe.'

Moreover Yau makes a strong case for his visual design as a key motor for the story itself: 'Production design is used to support the narrative of the film. However, the design itself is also telling the story; it tells the story silently. More importantly, it lets the audiences feel the ambiance of the characters' surroundings in the film.'

CHOREOGRAPHY: THE GUNFIGHTS

The challenge for any modern action film is to design original and spectacular gunfights. To fulfil this technical challenge John Woo brought in Philip Kwok as action choreographer.

'That's the way it works in Asian cinema,' explains Kwok, 'it's really just a very small community. In 1992 I was an actor in a John Woo movie, and 14 years later he asked me as a producer to do the choreography for his latest film. It's the highest honour. During preproduction, Alexi Tan insisted that he wanted a spaghetti western style for the gunfights, the type of quick-draw that you see in The Good, The Bad, and the Ugly. I'd never done this style before, because I've never choreographed a western and there were never any cowboys in Shanghai. Yet here he is putting the criminal underworld into that visual context. It was also up to me to give each character a distinctive style whenever they broke out into action. Each of the male characters carries themselves differently. For example, Mark is a very collected killer, and so he's able to shoot people point blank without blinking. Fung is fascinating too, because he's a good man, and he doesn't want to kill even when he's doing so. The challenge was to direct his action in such a way as to convey his resistance to it all.'

Kwok has further meditations on the fighting style of the picture and the individuality of its characters in action:

'There isn't a particular fighting style from the 1930s. The most important of all is to create a style for each character. We try to follow the script as closely as possible. Each character has a different personality so each of them would have a different fighting style.'

At the same time he recognises the importance of basic realism in the staging: 'we try to make the fight choreography in this film as realistic as possible. For example, raising a gun should be a simple action, there shouldn't be much exaggeration. … Of course, the choreography would be slightly stylised and elaborate but we don't want it to look way beyond the reality.'

Within that framework, an identifiable style for each character is necessary.

'Again, each character has his own distinctive movements. For example, Kang's a cold-hearted person, Hu's a coward and Fung is somewhere between the two. The actors understand these different personalities so they know how to act out the difference. This is what the director emphasises most and I want the choreography to clearly reflect the difference between these characters.'

He elaborates on the key contrasts in the male protagonists:

'Kang is a rogue from the countryside in the beginning of the film. He is a snappy, violent young man but when he arrives in Shanghai and subsequently becomes the big boss, he acts cold-heartedly and calmly to show that he is cool. This character has changed a lot through the film so there must be a clear difference in how he acts. So I ask him to fight in a hot-tempered and violent style in the first half of the film and then he's becoming calm and calculated towards the end. The change is clearly visible.'

'What makes the fights [in this film] distinctive is that these guys [Kang, his men and Fung] are tough, when they shoot at each other, it is more like a duel. It all depends on how fast they are: they believe if they're fast enough, they don't have to dodge. This is the kind of thinking on which the choreography is based.'

We can now see the significance of this approach to the overall effect that Alexi Tan is striving to create in his debut feature. Deeply influenced by Sergio Leone he wants to integrate that kind of stylised and choreographed conflict into this film to make it distinct from other Chinese-language martial arts movies. He also wants to co-ordinate and to synchronise the choreography of the action with the movement of the camera. In this way he has infused a classic genre with new blood, and created a new approach to the action movie.

THE CAST - BEHIND THE SCENES

DANIEL WU (Fung)

Though he was born in the USA, the background of Daniel Wu, is strictly Chinese. He is fluent in Mandarin and in Shanghainese, the dialect of Shanghai, and feels proud to return to the city to make a film set in the 1930s, the era of his grandparents; they had experienced the turbulent history of the city at that time and witnessed events similar to those taking place in Blood Brothers.

Wu comments: 'I listened to and read stories of my grandfather during this time and it gave me the inspiration I needed to do this story justice, to carry the film in an authentic way. I really believe the audience will see something they haven't seen in me before, something a bit more personal.'

'One of the fascinating things about a movie taking place in this period of Shanghai's history is the resemblance to the city now. At that time Shanghai was experiencing a boom culturally, economically, in every sense. Most of the energy that you see in the city today is reflected in the things that were going on during the 1930s.'

Daniel Wu is very articulate and expansive about his role in the film, and especially about its special concept of brotherhood, that goes beyond blood ties to a deeper sense of comradeship. 'In this film', he comments, 'brotherhood runs deep, and 'blood' is symbolic in representing the bonds that men form with one another; that was one of the things I kept recalling when I played Fung. For him the reason the ending was so tragic is because even though he shoots Kang, he realizes right after that he didn't want him to die, that he was full of remorse, deeply sorry that the brotherhood between them had past the point of no return. Kang felt the same way and there is this moment between them when they are apologizing to each other just before Mark fires the final shot into Kang.'

He adds that his attraction to the 'brotherhood' concept has strong roots in his personal circumstances and his upbringing: 'I have no brothers, but I have two sisters, so when I make friends I feel it's very important for me to establish a kind of brotherhood with my friends. To this day, I still have four or five very close friends who I have known since I was twelve. As a result, brotherhood is something that intrigues me and I think it is something very powerful that is rightly investigated in the film. It's particularly crucial nowadays because I feel that people aren't serious about brotherhood or friendship; people could be friends today but enemies tomorrow.'

The feeling of brotherhood extended into the cast, and Wu expresses open admiration for his co-stars:

'I think it's wonderful that we had brilliant actors such as Liu Ye, Chang Chen and Tony Yang and we all established a close rapport with each other. The clinching reason for my participation in fact was the strong cast. I've known Chang Chen for years; I never had the chance to co-star with him but I always wanted to work with him. I've seen Liu Ye's films and I feel he's got such potential that he's definitely one of the most outstanding actors in China. As for Tony Yang, I collaborated with him a couple of years ago. I think all three of them are very good actors. We're all of the same age but from different countries. Nonetheless, it feels so natural for us to work together.'

Wu also displays his appreciation for the work of costume designer Tim Yip:

'I really like the look designed for the character I play. It not only made me look very handsome but brought me back to the period in which my grandfather lived. I feel that Tim did a brilliant job of designing costumes for everyone'. He goes on to reveal his own fascination with the clothes of the time, which he had studied closely from photographs of his grandparents: 'I think the fashion was a fusion of the western and the Chinese style; for example, a traditional qipao could be made of western fabric or a western suit with a Chinese finishing. The clothes we wear today have lost this characteristic. So as I've said before, this film taps the happy memories of my grandparents' era.'

SHU QI (Lulu)

Alexi Tan confesses: 'I asked my producers which actress could hold her own and stand her ground in such a strong male cast. They both said 'Shu Qi can shine out amongst all of them.' And they were right. Shu Qi, playing the tragic figure of Lulu, is able to balance both sides of her character onscreen to reveal both her naivety and her gravity.'

Shu Qi is generally seen as an actress with a flair for the contemporary and Blood Brothers is her first complete period film. Of acting in the film she remarks: 'It was extremely difficult for me for many reasons. One of the main elements was the fact that I had to put myself into 1930s Shanghai and make it convincing so that the audience would see a Shu Qi they'd never seen before. The funny thing about Shanghai then is that it wasn't completely modern, nor was it completely 'ancient'. It was sort of stuck in-between, between two periods in time, and there was almost an identity crisis in the way people dressed and moved. One of my challenges was to embody the characteristics of the way women would fit into the style of the Chinese dress (the qipao), that grew popular at that time and imitate the ways they lifted their arms, turned their heads, and swayed their hips ever-so-slightly.' At the same time as doing justice to the mannerisms of the period, however, you have to convince a contemporary audience. The result is a necessary compromise: 'If you behave as people really did then, the audience may feel you're unbearably pretentious. It's so difficult to strike a balance. But having said that I found the costume did help. As soon as I put on a qipao, I would naturally walk in a very different way.'

Playing such a character, in such a period and such a story, had other difficulties as well. For Shu Qi, Lulu was an honest and vulnerable woman living in the wrong place at the wrong time, a crucial feature of life then but also of life now:

'I think the film's Chinese title, The Gate of Paradise, is worth reflecting on. Once you've entered Paradise, is it the end of a current life or the start of a new one? If you look closely at Lulu's character, you see that people always long to do things they really want to do, but still don't know which direction they want to go in and never know where things will end up. I hope audiences will start thinking about this - what we really want out of life, what we really want to achieve.'

As Lulu was the resident star at Paradise Club, Shu Qi had the opportunity to add new skills to her acting portfolio - singing and dancing. A month before the start of production she began rehearsing the film's two dance sequences with her dance coach. She pointed out the extra pitfalls that dancing brought to her role: 'If your dancing has any hint of contemporary movement, the performance will just bomb in the eyes of the audience. Audiences have such a high expectation for period song and dance.' The vital lesson that Shu Qi learned was that exaggeration among women in 1930s dancing was much the same as exaggeration in their general movement, that her dancing had to be an exercise in such amplification, much like her acting for the film in general.

'The style of the time was to create suggestive and titillating movements through the sashaying of the body, and the come-on of flirtatious, curling fingers. One of the things I found difficult at first was to "transmit electricity" through dancing, to make yourself totally irresistible. But that's exactly what my dance coach wanted me to do. Alexi definitely loved that part of my character. He knew that Lulu was an object of desire, and in the end I was not afraid to put myself into that kind of role.'

'Besides, look at the men in this film,' Shu Qi says, referring to Daniel Wu, Liu Ye, Tony Yang, and Chang Chen. 'For a girl it can't get much better than this. It was a treat and an honour. All four actors - Daniel, Chen, Ye and Tony - are so handsome. When I saw them testing for the camera, each of them showing his own distinctive aura, I found it was such inspired casting that it really made me look forward to collaborating with them.'

LIU YE (Kang)

In playing the dynamic, multi-faceted character of Kang, Liu Ye faced a tremendous challenge. He had to convince the audience that his character would be transformed by the experience of Shanghai from being an ordinary good-natured guy to a corrupt and ruthless gangster. Yet he delivered magnificently: 'Not many people can fully deliver on that kind of role,' notes Jiang Dan, 'but I think everyone who saw him perform on set felt that this might be one of his best performances ever.' One of the things that impressed Liu Ye most about the Blood Brothers screenplay was the integrity of the characterisation: 'The characters are very rich, full of substance…they are essentially what make this movie. As far as my character is concerned, it's definitely one the likes of which I have never acted before. The majority of my roles in the past have been men who are weak, depressed, and melancholy. When people heard that I was going to act the role of Kang, people would ask in disbelief "Kang? Can Liu Ye really play Kang?" They were used to seeing me quiet, reserved, and pensive. It's going to surprise many people. They'll see a Liu Ye they've never seen before. And to play a triad gangster was extremely satisfying. It's the first time I've ever played a gangster, let alone a gang boss!'

Alexi Tan was adamant, as Liu Ye admits, that he should break rank and produce a performance in stark contrast to all his previous appearances: 'This role's so different from the all the characters I've played. Alexi emphasised that he wanted a completely different Liu Ye.' For Liu Ye this was a new and exciting challenge that has ended in personal triumph.

The other thing that had excited Liu Ye about the shoot was the other actors who had been cast alongside him: 'I was excited, but at the same time there's immense pressure. Except for Shu Qi, I haven't worked with any of them before, and of course it was hard to know what to expect. Everybody had a lot of experience. I told myself that all I had to do was not be any worse than they were, and if I wasn't then I had nowhere to go but up.' Liu Ye was equally complimentary about the production: ''I was so excited about having John Woo as our Producer. I have absolute confidence in the quality control of this film. Alexi is a young director full of his own vision. He is young and so passionate about cinema; I believe his interpretation of Shanghai in the 1930s will turn out to be unique.'

But that doesn't mean that Liu wasn't afraid of certain aspects of the role itself: 'Kang starts with a good heart, but he is also quite an arrogant guy. He doesn't want to be a waiter all his life so he gets dragged further and further into Boss Hong's gangster conspiracies. The assignment to kill Mark and Lulu is the ultimate test of Kang's loyalty. Kang is like a tiger cub that Hong has raised. As a cub he is cute and tame but as a tiger, he becomes uncontrollable. By the time Hong realises this, it is too late.'

Liu Ye stresses the difficulties presented to an actor by the scene where Kang kills Boss: 'I didn't want a close-up filmed of me, because I was afraid that I wouldn't be able to fully convey those complex emotions and the ambiguity of killing someone who had nurtured me. But Alexi was adamant; he really likes his close-ups, and he felt that at that point, it was necessary. I knew he was right, a scene with such internally violent tones couldn't be conveyed so powerfully by using only wider shots.'

Liu Ye is convinced that audiences will take to the finished product and is upfront in his optimism: 'I firmly believe that this movie will attract audiences, and that we've done everything right in trying to put together a good movie with the director, actors, camera department, and other departments working very hard together. I have a feeling that this movie will be for China what The Godfather has been for Western cinema.' There can be no greater compliment than this from an actor towards their own feature film.

TONY YANG (Hu)

In 2004, Tony Yang won the Golden Horse Awards for Best New Performer in Taiwan's Formula 17, and is really the talented newcomer in this feature. He was clearly looking to learn from his more experienced colleagues to enhance his performance. Of this process he remarks:

'To become a better actor, you just have to watch and find out how to get there yourself. At first, I almost felt out of place amongst all these greats, but knew I had to watch and learn, and realised that with their support I couldn't help but shine. A strong actor in the same scene with you will not pull you down or intimidate you, but rather pull you up. I learned to trust Daniel, Shu Qi, Chang Chen, Sun Honglei, and Liu Ye and let them be my guides'

He gives a detailed illustration from a formative sequence in the film: 'We were preparing to shoot the scene where Liu Ye's character Kang and his henchmen and I are eating at a noodle shop. Daniel's character Fung comes in and there's a bit of tension and confrontation as Kang accuses Fung of bailing out of his job of interrogating someone from a rival gang. Alexi, Liu Ye, and Daniel had a huge discussion on set about how to shape each line. Liu Ye raised the question of whether or not Kang really felt that Fung was copping out, and if so, whether his accusation be brutally direct, toned down, or scathingly sarcastic. Daniel suggested he countered Kang's accusation by claiming that he was sick, but then the question arose as to whether or not Kang would believe it. Through it all, I simply watched and observed as these actors really dissected the motivation behind each line of dialogue and how to play a scene. It was incredible.'

Alexi Tan notes: 'The character of Hu is very, very important, because he is just an ordinary guy, the one character that audiences will most naturally relate to. We're all scared when confronted by a dangerous situation.' Co-producer Cheri Yeung agrees: 'Hu is haunted by his cowardice. The ambition is there, but when it's time to pull the trigger, he can't do it because killing isn't in him, and for Tony to play a character like that, we definitely put him in a vulnerable position. When audiences watch the movie, I hope they'll understand. Because when push comes to shove, how many people could really face killing somebody?'

Yang continues: 'The biggest challenge for me in playing Hu is the transformation of his personality. In the beginning of the film, Hu is a very playful young man, but after arriving in Shanghai, what he's experienced has changed him completely. He's become reserved and shuts himself in his own world. I feel that to convey Hu's change in his persona is the most challenging part of the acting and it is from here that I've learned the most from Alexi. Before this performance, when I played a character who was being upset, I would just keep quiet and motionless, but Alexi made me realise that by using the body language, a subtle gesture from my hand or head, would effectively amplify the sadness and frustration from which Hu is suffering.'

Shanghai in the 1930s might seem like an alien place in a distant era for Yang, who was born in Taiwan in the 1980s, but he had his own method of getting into the mood for the film. He explains: 'I made a music collection of the popular songs of the 1930s. I listened to it again and again during the shooting and that was how I got to create the atmosphere of 1930s Shanghai in my mind. I was also very conscious of my accent and body movement. I asked my voice coach to remind me each time when I slipped back into Taiwanese Mandarin. I practiced the dancing in front of the mirror every morning before the shooting began because I didn't want my movement to reveal any hints of a contemporary feel.'

LULU LI (Su Zhen)

Casting the role of Su Zhen proved to be a tricky decision for John Woo and Terence Chang. Although the character of Su Zhen does not have much screen time, she is Fung's childhood sweetheart, a love interest who sustains Fung throughout his difficult time in Zhujiajiao. They considered casting an unknown actress but they were worried that a young and inexperienced actress might not be able to convey the importance of this character.

Alexi Tan remembered Lulu Li from Xiu Xiu - The Sent Down Girl, and knew she was the ideal candidate for this role. Nevertheless, Tan did not dream of casting Li as Su Zhen in Blood Brother because he assumed that a well-known star such as Li would not accept a minor part in a film. He tried to find another new girl who had the physical resemblance to Li. However, Tan got to meet Li in person by chance, and to his surprise, Li expressed a strong interest in taking up the role. Li later explained that as an actress, her paramount concern was whether the character would allow her to present a brilliant performance; it did not matter to her whether it was a leading role or not. Additionally, this romance set against the backdrop of the gangster world in the 1930s' Shanghai had caught her imagination.

Their first collaboration eventually came to fruition in Blood Brothers. Tan expresses his admiration for her contribution to the film: 'In the original script, Su Zhen is a far more controversial character. She leads a double life; she is a sweet and innocent girl helping Fung and his family but turns out to be a prostitute working in the local brothel. This is a challenging role for an actress and Li acts convincingly in both sides of the character. She plays this minor but crucial role to its full potential.'

SUN HONGLEI (Boss Hong)

Sun Honglei is famous for his belief that every screen character has two sides, and that an actor's job is to find these two sides and balance them out. Sun explains his acting philosophy: 'To me, in order to make a character believable you have to infuse him with a reality that goes beyond what is written down on paper. Everyone has two sides and often films will wrongly simplify a character… Together with the director and writers, we were always trying to add a new angle to the character of Boss Hong, something unconventional and unpredictable.'

Tan notes: 'When we were casting this film, I knew right away that I wanted Sun Honglei for the role of Boss Hong, and that without him it would be a weaker film. So I had to find a way to convince him.'

Sun takes up the story: 'I received a letter from Alexi along with a copy of Tony Scott's True Romance. Alexi explained to me that in it, Christopher Walken and Dennis Hopper appear onscreen [together] for no more than fifteen minutes, but those crucial fifteen minutes have now been immortalized in film history. I had never received a letter like that from any director. It was an incredibly honest and generous gesture and I had to take the role because it showed me that he really had faith in my abilities and was willing to give me what I needed as an actor … I believe that no matter whether you're a director or an actor, you have to love films with passion. When Alexi is sitting in front of me, I can feel a young director's passion for film, which touches me deeply.'

Sun comments: 'I've never played any characters like Boss Hong before. It's impossible in reality to travel back to Shanghai in the 1930s which is why I'm interested in participating in a feature film imagining that turbulent period. From the perspective of playing this character I could interpret all the other characters against the backdrop of this imaginary Shanghai.'

The level of collaboration on the set went beyond his highest expectations: 'Despite four different languages being spoken - English, Cantonese, Mandarin and French - I thoroughly enjoyed working with my co-stars and crew. Before the shoot started, I was slightly anxious about whether we would have communication problems or disputes over acting methods. However, I guess because we belong to the same generation, we had so much in common acting-wise and there was absolutely no problem over collaborating. I felt so relieved after the first day on set. Everyone in this young cast is an A-list star in Asia. Yet this was my first experience of working with actors of my age; I used to co-star with actors who were a lot more senior than me. I was so excited about working with young actors and I could feel the energy flowing between us on daily basis. We had nothing on our mind but focussing on our characters and giving our best performances for this film.'

CHANG CHEN (Mark)

The incomparable Chang Chen laughs as he declares: 'Every male actor and every small boy has at some point in life dreamed of playing a hitman. In this film I get that rare, once-in-a-lifetime opportunity to fulfil a boyhood fantasy.' Though his character is an unstoppable assassin, Chang Chen plays his role with an intriguing touch of sensitivity and remorse not usually seen in genre pictures. The character arc is all the more fascinating because he has to appear tough and untouchable at times, even while he is reaching out for love (with Lulu) and brotherhood (with Fung). Chang Chen remarks: 'Mark is actually a very emotional person. I found it very difficult to play such a character who appears to be cold-hearted but at the same time has to win the audience's sympathy with his emotions.'

John Woo notes that this character was one of the hardest parts to cast: 'We needed to find an actor who immediately comes off as cool and collected, but who as an actor was able to portray the vulnerability of Mark.'

It's been said of Chang Chen that his face is a cinematographer's dream - his face is lean, angular yet soft in texture: his eyes are razor-sharp, yet incredibly translucent. Lighting designer Wong Zhi Ming states: 'Chang Chen is the ultimate character actor, immersing himself into a role so much that it's through the little movements he makes with his hands and face, through capturing the small gestures people make in real life that he defines and adds depth to his character. Our challenge was to personalize the dark world of our 1930s for him. One of the things we did was to light him a bit softer in the Paradise Club so that he'd stand out not only from the patrons but also as someone much less amoral than Boss Hong or Kang …This really sets his character apart: it allows us to contrast the cool, collected way he moves with the somewhat rash, instinctive way he makes decisions.' The possibility of a moral turn in his character is signalled by this special imagery. 'It's this sense of morality and heroic responsibility that draws him closer to Fung,' concludes Jiang Dan.

'It's a phenomenal role for me,' says Chang Chen. 'Mark is an essential part of Alexi's vision, because in the beginning we don't know whether or not he's a good or bad man. He doesn't say much, and our first sighting of him is in the cafe killing people! And there's the fact that he's sleeping with Lulu behind Boss Hong's back. But the way that Alexi, Jiang Dan and Tony had written the character is such that Mark has a moral sense of loyalty. As the story progresses, we see him start to realize that he must fight for what he believes in, namely, love, brotherhood, and revenge. To him, loyalty is existential; it doesn't matter how it's created, only that it exists. It was definitely a very complex character to play.'

Chang Chen also put his research for the film to good use in developing his character: 'From this research, I got to know what life was like in Shanghai at that time. I began to understand the hierarchy of Shanghai gangs: they were divided into four levels, from top to bottom. For example, in the Paradise Club, Mark and Boss Hong belong to the top level, followed by Kang, Fung and the others. This study provided me with the background knowledge of the film. Starting from there, I tried to identify with the character of Mark and to fit it in with rest of the film.'

FIMOGRAPHIES - CAST

DANIEL WU

Daniel Wu is Hong Kong's brightest young star of his generation. Born in San Francisco, Wu embarked on an acting career with the help of mega-star Jackie Chan. His good looks and martial arts expertise proved attractive to many Hong Kong directors looking for that "next big thing", and this helped in the development of his career.

In 1998, he was nominated as the Best New Performer at the Hong Kong Film Awards for his role in City of Glass. In 2003, he was nominated for Best Actor at the 40th Golden Horse Awards for Night Corridor, which he also produced. At the following year's Golden Horse Awards, he was crowned Best Supporting Actor for his performance in Jackie Chan's New Police Story.

Wu has also made a name for himself with Hong Kong's internationally renowned art house directors such as Stanley Kwan (Everlasting Regret) and Yonfan (Bishonen). Most recently, he starred in Feng Xiaogang's The Banquet, garnering international fame as Prince Wu Luan.

The multi-talented Wu also made his directorial debut with The Heavenly Kings, a "mockumentary" which won him Best New Director at the Hong Kong Film Awards in 2007.

Selected Filmography：

• 2006 The Banquet / The Heavenly Kings
• 2005 Everlasting Regret / Divergence
• 2004 New Policy Story / One Night in Mongkok / Beyond Our Ken
• 2003 Night Corridor
• 2002 Princess D
• 2001 Beijing Rocks / Peony Pavilion
• 2000 2000 A.D.
• 1999 Purple Storm / Gen X Cops
• 1998 Bishonen / City of Glass

SHU QI

In a stellar career now spanning more than 50 movies, the intelligent and sexy Shu has made her mark in a number of critically acclaimed feature films in Taiwan and Hong Kong. Her breakthrough came when Hou Hsiao-Hsien cast her in Millennium Mambo as Vicky, a nightclub hostess torn between two men.

Shu has proved her acting credibility by garnering several awards: in Viva Erotica in 1996 for Best New Performer and Best Supporting Actress at the 16th Hong Kong Film Awards; in Portland Street Blues in 1998 for Best Supporting Actress at the 35th Golden Horse Awards; and in Three Times for Best Actress at the 42nd Golden Horse Awards.

She has become well known internationally from her role in 20th Century Fox's 2002 box-office hit The Transporter, from Corey Yuen's So Close and from her role in the Pang Brothers' sequel The Eye - Part 2 in 2004. She recently took on a role as a tough female gangster in the Korean comedy sequel My Wife is A Gangster 3.

The awards she has won and the diversity of roles she has undertaken are a true testament to Shu Qi's wide-ranging skills as an actress.

Selected Filmography：

• 2006 Confession of Pain / My Wife is A Gangster 3
• 2005 Three Times / Seoul Raiders
• 2004 The Eye 2
• 2003 The Foliage
• 2002 The Transporter
• 2001 Millennium Mambo / Beijing Rocks / So Close
• 2000 Hidden Whisper / For Bad Boy Only
• 1999 Gorgeous
• 1998 Bishonen / Portland Street Blues
• 1996 Viva Erotica

LIU YE

As a rising star in China, Liu Ye made his film debut in Huo Jianqi's award-winning Postmen in the Mountains in 1999. More than a dozen films followed, including The Little Chinese Seamstress, Purple Butterfly, The Promise and Curse of the Golden Flower. Many of his films have been nominated for awards at international film festivals. In 2001, Liu Ye was crowned Best Actor at 38th Golden Horse Awards for his role as the co-lead in Lan Yu, a film about a homosexual college student enamoured with an older businessman.

His fan base and box office success extends well beyond China to Korea, Japan, and even France. He will next be seen in the US feature Dark Matter, co-starring the legendary Meryl Streep.

Selected Filmography：

• 2007 Dark Matter
• 2006 Curse of the Golden Flower
• 2005 The Promise
• 2004 Jasmine Women / The Floating Landscape
• 2003 Purple Butterfly
• 2002 The Little Chinese Seamstress
• 2001 Lan Yu
• 1999 Postmen in the Mountains

TONY YANG

Yang began his career as a model and made his acting debut in a TV drama. In 2004, he became an instant celebrity in Taiwan and throughout Asia following his film debut in the romantic comedy and box office hit Formula 17. Yang showed a totally different side to his TV persona and his performance won him Best New Performer at the 41st Golden Horse Awards. His follow-up work was another comedy entitled Holiday Dreaming, which was awarded a Best Film Lotus (Grand Prix) and Air France Lotus (International Critics' prize) at the Deauville International Film Festival.

In 2005, Yang re-teamed with Formula 17 director DJ Chen to star in the action comedy Catch. In 2006, he joined fellow Asian stars Zhou Xun and Daniel Wu in Susie Au's stylish cross-over work, Ming Ming.

Selected Filmography：

• 2006 Ming Ming
• 2005 Catch
• 2004 Formula 17 / Holiday Dreaming

LULU LI

Li was born in 1981 in Beijing. Her brilliant performance in her debut film, Xiu Xiu: The Sent Down Girl made her the youngest actress ever to win the Best Actress at the Taipei Golden Horse Awards, but also saw her voted Best Actress at the Paris Film Festival in 1999. Since her first film, Li has appeared in several television series, making her one of the most promising young actresses in China. She won the Best Actress again at the Romanian Film Festival for About Love in 2005. In addition to her acting career in film and television, Li enjoys huge popularity in the Chinese advertising and fashion industry.

Selected Filmography：

• 2005 About Love (segment: Shanghai)
• 2005 Rainbow
• 2003 Fly My Heart
• 1998 Xiu Xiu - The Sent Down Girl

SUN HONGLEI

Sun Hong Lei is from Harbin, a city in the Northwest of China. He started his career as the lead singer of a band performing mostly in local bars. He then decided to pursue acting, enrolling himself in the Central Academy of Drama. Sun moved on to perform in several stage dramas and made a strong impression playing both policemen and assassins in a variety of TV shows. He was quickly discovered by Zhang Yimou, who cast him in The Road Home and Happy Times. From there he played opposite Gong Li in Zhou Yu's Train as a hedonistic vet who offers her more than she thought she had. His latest film before Blood Brothers is Tsui Hark's new classic Seven Swords, in which his character Fire-Wind leads an army to invade and destroy Martial Village. In addition to Blood Brothers, Sun will appear in Sergei Bodrov's Mongol in 2007.

Selected Filmography：

• 2007 Mongol
• 2006 Shanghai Red
• 2005 Seven Swords
• 2004 Manhole
• 2002 Zhou Yu's Train
• 2000 Happy Times
• 1999 The Road Home

CHANG CHEN

Chang Chen made an incandescent screen debut at the age of 14 in Edward Yang's A Brighter Summer Day in 1991. After a brief hiatus from acting, he returned to the screen with a co-starring role alongside Hong Kong legends Tony Leung Chiu Wai and Leslie Cheung in Wong Kar-Wai's award-winning Happy Together (1997). In 2000, he achieved worldwide stardom opposite Chow Yun-Fat, Michelle Yeoh and Ziyi Zhang in Ang Lee's Academy Award-winning Crouching Tiger, Hidden Dragon. In recent years, Chang has become one of Asia's most sought-after leading men and has starred in numerous internationally acclaimed films by some of the world's preeminent directors, including Wong Kar-Wai (2046, Eros), Hou Hsiao-Hsien (Three Times), Su Chao Pin (Silk) and Tian Zhuangzhuang (The Go Master). He will next be seen in Kim Ki-duk's romantic drama Breath.

Selected Filmography：

• 2006 Silk / The Go Master
• 2005 Three Times
• 2004 Eros / 2046
• 2003 Sound of Colors
• 2002 Chinese Odyssey 2002
• 2001 Betelnut Beauty
• 2000 Crouching Tiger, Hidden Dragon
• 1997 Happy Together
• 1991 A Brighter Summer Day

FILMOGRAPHIES-CREW

ALEXI TAN (Director)

Alexi Tan was educated in London and later undertook his graduate studies at NYU's Tisch School of the Arts. He began his film career as a stills photographer.

In 2000, Alexi directed his first film 17.17, a six-minute experimental short which premiered at the Brooklyn International Film Festival. With this first exposure to the film world, he discovered where his true passion and talents lie. In 2002, Alexi moved to Asia to pursue his career in film directing, and at that time he started to direct TV commercials and music videos. His videos have won numerous international awards.

In 2003, he directed Double Blade, a 15-minute short film shot entirely in Los Angeles starring Taiwanese pop sensation Jay Chou (Initial D, Curse of the Golden Flower) and a Hollywood cast featuring Leila Arcieri and Danny Trejo. Amongst the crew that Alexi was able to assemble was Andrzej Sekula, the cinematographer of Pulp Fiction.

Double Blade caught the attention of filmmakers John Woo and Terence Chang, who subsequently agreed to produce his first feature film Blood Brothers.

JOHN WOO & TERENCE CHANG (Producers)

The team of John Woo and Terence Chang has produced many hit movies in the past, including the Woo-directed Hard-Boiled, Broken Arrow, Mission Impossible II, Face/Off, and the non-Woo directed Replacement Killers (Antoine Fuqua) and The Corruptor (James Foley), among others. Their future collaborations include the remake of The Killer and the Chinese language historical epic Red Cliff.

They established Lion rock Production in 1997 and have since then produced The Big Hit for Columbia, Wind Talkers and Bulletproof Monk for MGM, and Paycheck for Paramount. Blood Brothers is their first Chinese language production after more than 10 years working in Hollywood.

Selected Filmography (John Woo as producer)：

• 2003 Paycheck
• 2003 Bulletproof Monk
• 2002 Windtalkers
• 1998 The Big Hit
• 1998 The Replacement Killers
• 1996 Somebody up There Likes Me
• 1995 The Peace Hotel
• 1990 Bullet in the Head

Selected Filmography (Terence Chang)：

• 2003 Paycheck
• 2003 Bulletproof Monk
• 2002 Windtalkers
• 2000 Mission: Impossible II
• 1999 Anna and the King
• 1999 The Corruptor
• 1998 The Big Hit
• 1998 The Replacement Killers
• 1997 Face/Off
• 1996 Broken Arrow
• 1993 Hard Target
• 1992 Hard-Boiled
• 1991 Once a Thief

TIM YIP (Costume Designer)

Tim Yip kicked off his film career in 1986 with John Woo's A Better Tomorrow. Over the past twenty years, he has been involved with both costume design and art direction in many movies and theatrical performances. He has worked with prominent directors from Hong Kong, Taiwan, and China, including Ang Lee (Crouching Tiger, Hidden Dragon), Wayne Wang (Eat A Bowl of Tea), Stanley Kwan (Rouge), Clara Law (Autumn Moon, Temptation of a Monk), Tsai Ming-Liang (What Time Is It There?), Tian Zhuangzhuang (Springtime in a Small Town) and Feng Xiaogang (The Banquet).

In 2000, Tim received international recognition for his work on Crouching Tiger Hidden Dragon, wining both an Oscar for Best Art Direction at the Academy Awards and Best Costume Designer Award from the British Academy of Film.

His achievements both in Asia and abroad have earned him global acclaim. His works not only merge modern and classic art forms but meld East and West, exploring new combinations of art and film.

Selected Filmography：

• 2006 The Banquet
• 2005 All the Invisible Children
• 2002 Double Vision / Springtime in a Small Town
• 2001 What Time Is It There?
• 2000 Crouching Tiger, Hidden Dragon
• 1993 Temptation of a Monk
• 1992 Autumn Moon
• 1989 Eat a Bowl of Tea
• 1987 Rouge
• 1986 A Better Tomorrow

Awards & Nominations：

• 2006 Nominated for Hong Kong Film Awards for Best Art Direction, and Best Costume & Make Up Design (The Promise)
• 2001 Won Oscar for Best Art Direction & Set Decoration (Crouching Tiger, Hidden Dragon)
• 2001 Won BAFTA Film Awards for Best Costume Design (Crouching Tiger, Hidden, Dragon)
• 2000 Won Los Angeles Film Critics Association Awards for Best

Production Design (Crouching Tiger, Hidden Dragon)

• 1993 Won Golden Horse Awards for Best Art Direction (Temptation of a Monk)

ALFRED YAU WAI MING (Production Designer)

Yau began his career in the film industry as a production designer in Somebody Up There Likes Me in 1996. He then moved onto working as Art Director on several films throughout the late 1990s including The First Option, Beast Cops and When I Look Upon the Stars. His reputation reached the peak in his career with 2046 for which he won Best Art Direction at the Taipei Golden Horse Awards in 2004 and the Hong Kong Film Awards in 2005. Blood Brothers is his latest film.

Selected Filmography：

• 2004 2046
• 1999 When I Look Upon the Stars
• 1998 Beast Cops
• 1996 The First Option
• 1996 Somebody Up There Likes Me

Awards & Nominations：

• 2004 Won Golden Horse Awards for Best Art Direction (2046)
• 2005 Won Hong Kong Film Awards for Best Art Direction (2046)

MICHEL TABURIAUX (Director of Photography)

Taburiaux started his career as a cinematographer working extensively in television commercials and music videos. After collaborating with Olivier Vidal, Christophe Fraipont and Olivier Megaton on several short films, he made his debut feature as Director of Photography on Megaton's Exit in 2000. Since then Taburiaux has worked on two other features, The Great Challenge and Scorpion, with Julien Seri. Blood Brothers is his most recent film.

Filmography:

• 2007 Scorpion
• 2006 Mon Dernier Role
• 2004 The Great Challenge
• 2002 Undercover
• 2000 Exit
• 1998 No Happy End
• 1994 Balthazar
• 1993 Amour dans l'ame, L'
• 1993 Sottovoce

CHENG LONG (Editor)

Cheng studied Electronic Engineering at the Shanghai University of Science & Technology. After completing his B.S., he moved onto studying film-making in the United States, firstly in Philadelphia and then in Los Angeles. Cheng spent several years working as an editor on various film and television projects before returning to China in the late 1990s and since then he has directed a couple of television series. Cheng resumed his editing career with Zhang Yimou's latest films including House of Flying Daggers, Riding Alone for Thousands of Miles and Curse of the Golden Flower.

Selected Filmography

• 2007 Curse of the Golden Flower
• 2005 Riding Alone for Thousands of Miles
• 2004 House of Flying Daggers

PHILIP KWOK (Action Choreographer)

Kwok started as an action actor in his career which has spanned more than three decades. Since the mid-1970s he has appeared in more than fifty films, most of them Hong Kong martial art movies. While continuing to work as an actor, Kwok began choreographing fight scenes for films in the 1980s; amongst his work as an action choreographer, The Touch enjoys the highest profile for which Kwok was nominated for the Best Action Choreography at the Hong Kong Film Awards in 2003. In addition to his achievements in action choreography, Kwok is such a versatile talent that he has worked as a director, writer, producer and art director on several film projects.

Selected Filmography：

• 2002 The Touch
• 2002 Samourais
• 2001 Brotherhood of the Wolf
• 1993 The Bride with White Hair
• 1992 Zen of Sword
• 1992 Hard-Boiled

Awards & Nominations：

• 2003 Nominated for Hong Kong Film Awards for Best Action Choreography

(The Touch)

DANIEL BELARDINELLI (Music Composer)

Belardinelli is a freelance composer who runs a music studio in New York. He composes original scores for a variety of different projects ranging from television commercials to the soundtracks for experimental films. His collaboration with Alexi Tan began with Tan's short film, 17/17. Blood Brothers is Belardinelli's first move into composing for full-length feature films.

Selected Filmography

• 2007 Santa Mesa
• 2006 In Men We Trust
• 2005 Penny Dreadful
• 2005 Knife Girl
• 2004 Empty Building

MARTIN CHAPPELL (Sound Designer)

Chappell was born in 1970 in Nottingham, England. Under the influence of his grandfather, a well-known pianist, he decided to choose music as his profession at an early age. After graduating from Manchester University with a degree in Sound Engineering, he moved to live in Australia for a year. In 1994, Chappell arrived in Hong Kong and began to work as a sound editor in film. His career has flourished since his arrival in Hong Kong; he has participated in more than a dozen films and has been nominated three times for major film awards in Asia. He was nominated for Best Sound Effects for PTU at the Taipei Golden Horse Film Awards in 2003, Best Sound Design for The Legend of Zu in 2002 and Best Sound Editing for Time and Tide in 2001 at the Hong Kong Film Awards.

Selected Filmography:

• 2007 Eye in the Sky
• 2006 Dog Bites Dog
• 2005 Taped
• 2003 PTU
• 2001 The Legend of Zu
• 2000 Time and Tide

Awards and Nominations:

• 2003 Nominated for Best Sound Effects at the Golden Horse Film Awards (PTU)
• 2002 Nominated for Best Sound Design at the Hong Kong Film Awards (The Legend of Zu)
• 2001 Nominated for Best Sound Editing at the Hong Kong Film Awards (Time and Tide)

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Note: The information above is provided by the owners of the film or their agents who are responsible for the promotion of the film. We do not guarantee the accuracy of such information.

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