A Dive into a 2D World

Director Peter Qi revealed that creating “The Bad Guys! I Want to Eat the demon” was a deeply personal journey, evolving organically from his passions. He explained, “The more I write, the more I get, the more I get, the more I get, and gradually I can’t help but put some things I like and put more and more. The whole thing has become the kind of drama I like to watch.”

Qi emphasized the importance of staying true to his vision, regardless of external opinions.”I took it my own way and filmed the best ones I think,” he stated. He likened his experience to being a lone ship at sea, only to discover others sharing his passion: “I didn’t expect that I was the Poison in the Night, and thought I was the only one boat in the sea. Then because I turned on the light, I found that many other boats in the sea were on the light. Maybe this drama aroused the innocence of some viewers, but they wouldn’t show it.”

The series’ distinctive Japanese-style elements stem from Qi’s love for Japanese drama and anime. This affection, combined with a sensitive storyline, inspired him to immerse the audience in a secondary world. He illustrated this with specific examples: “You don’t see the character’s eating cart noodles, wonton noodles or congee, Other to eat ramen, there will be houses ) On the thighs, I write in the script to write about the knees In the inner lining people are snugly installed, Japanese style is hypnotized in a kind of packaging, just like entering the world of Japan’s quadratic animation world Sickness to see the animation and comics will cry, even when I tell others will cry when he tells others.”

Navigating the Challenges of the Local Film Industry

Qi addressed the difficulties facing the Hong Kong film and television industry, notably the struggle to move beyond established formulas. “I basically think that the country has been in half a century of stalking very much more change, I think the present is worse than before, because the current Hong Kong film and television work market is shrinking the smaller, recently I understand that most of the platforms just said, basically when it comes to exports in Cantonese content, others illustrate that the work is to be the work of course 》, but will be because others have a large platform in the mainland, and then come to Hong Kong to give TVB, the same period talk about the regional platform, can imagine the price given by the platforms that will not be very high , in Hong Kong to do films, actually honestly say that ‘don’t have no way to walk’, or need to accept it at a very low price to accept doing Cantonese content is good looking.”

He pointed out that the industry has long relied on overseas markets, particularly Southeast Asia, and has become overly reliant on past successes. “Hong kong film and television works have always been unaffordable locally. They have always been raised by overseas markets, such as the Southeast Asian market. We have been eating our old capital for decades, and we have gathered customers too well. Wherever there are customers, we only do what customers need. Later, we no longer remember how our first famous dish was made after a while. Then, we learned from other places, so now other people’s markets have come.But how did Hong Kong come up at that time? People often say that there are no martial artists in Hong Kong, there are not enough action actors, and the action guidance is used by Japanese people, or South Korea is better than you, but this is all hardware.”

Qi believes the focus has shifted from creative risk-taking to prioritizing established formulas and marketable elements. “Everyone’s attention, including the boss, investors, and platforms, are all hardware, and they need famous people or functionality, but in fact, the most prosperous Hong Kong was because Hong Kong films were dared to do anything at that time.”

He contrasted the current climate with the industry’s more daring past. “Not only in the glorious periods of the 1980s,but even Cantonese fragments were brave enough to shoot. They wouldn’t be afraid that no one would watch them because no one had done them,but today’s situation is that the decision to start a drama is dominated by the so-called administration,that is,the accounting department or the distribution department made the decision.It is because which drama sells well, and to do that thing again becomes all the decisions because others have done it, and no one tries to do something that no one has done, but in fact, the audience needs to watch a drama that no one has done. But you have to have a mental preparation for “the Servant X”.Now the entire industry has entered the framework of administration of a large company. Unlike in the past, some companies were able to start shooting when the boss liked a certain project.Of course, there is a risk, but some big casts will actually be opened, and those that can make up for the risks you take, but now there is no such mentality.”