Su Ze once had a question: Although society is developing at a rapid pace and people's living standards have improved significantly, why do these movies insist on focusing on the bottom class?
Is the director just trying to please the foreign judges and deliberately showing only the poor and backward side?
Do what he likes?
Grandstanding?
Later, I gradually realized that the so-called articles that hate life, and the stories of high-ranking officials, inevitably appear superficial, thin, and even hypocritical.
Because for a script, setting up conflict points is very important, and to cause conflicts, you must create pressure. There is no pressure more serious than the pressure of survival.
For example, the Korean movie Parasite, which won an Oscar last year, can easily create an atmosphere of survival pressure for the poor. But for the rich, this creation is more difficult, and their suffering looks more like moaning from overeating.
Their real dilemmas involve either politics, economics, or even many gray areas, which are difficult to explain without review, and the complex issues involved are beyond the cognitive scope of many film scholars in the ivory tower.
This kind of thing is the same all over the world, not just domestic movies.
I also discussed with Chen Gang that many directors who graduated from the Beijing Film and Television School of China Theater and Film School vowed to make literary films. They were basically about deserts, heavy snow, trucks, lonely and downtrodden men, and slutty but innocent women...
All kinds of nonsense.
Look at films like Farewell My Concubine, Raise the Red Lantern, and Nie Yinniang, which even Western filmmakers would never be able to make in ten lifetimes.
If you can show the world a unique set of values, you will naturally win awards. If you make a film with the aim of winning awards, your film will be inferior.
The same goes for Oscar, 21 years of homelessness and the lives of people who lost their homes during the Great Depression... 19 years of Green Book racism... Moonlight, drugs, homosexuality.
Focus on scandals in 2016...08 Drugs, crime, and homicide.
Su Ze took a sip of beer. The answer he agreed with was that we can shoot things that Westerners cannot. Because they don't understand the East and have only seen the translated Chinese.
There is political correctness, communist rationality, materialistic values, and the legacy of feudalism...
These things are things that Western movies have not touched for more than a hundred years, but these things have the soul of the East, the past and present of the East, the common persistence of Eastern people, and generally point to the state of survival...
This is what they want to see, reflected by these restless people and restless events, something that makes them feel the taste.
Through these, it seems that one can feel a kind of psychological curiosity and survivor bias, using an indescribable word to label the East in a way that is consistent with Western understanding.
Just like the West is vying to label you as someone who has no human rights, but you can't translate to them that you know the etiquette and the honor and disgrace of having enough food and clothing to them?
Mr. Heshu La Tiaozi is not only a true portrayal of hundreds of millions of rural people, but also exists around us. Although they are at the bottom of society, they also have their own yearning for life.
They have their own value orientation, but the ugliness of human nature and the cruelty of life ruthlessly shattered their dreams, causing them to have a complete mental breakdown.
After all, most of the time the lives of ordinary people are dirty, messy, and poor. How many people live in the childhood?
The time has come to the end of September, and the nominations for this year’s Golden Rooster have finally been announced. As expected, one spoon has been shortlisted for four nominations, becoming the most shining cub this year.
Su Ze also got his wish and was nominated for Best Newcomer. Kong Xue has been ready for a long time. As soon as the news came out, all kinds of trolls were building momentum. They were the strongest newcomers in the Golden Rooster and Golden Horse... double nomination... a rising star in Chinese dramas...
Once on the hot search!
In the past, the scene of Chen Gang standing on the podium was no longer in the freshman and sophomore classes. Every acting class was held on the small stage of the Chinese Opera. The students rehearsed various dramas. Small groups of several people formed groups freely.
The dozen or so seniors were divided into two large groups to compete. In the final graduation drama, all members participated in the battle, and no one could escape.
During this time, Su Ze transformed into a director and rehearsed the play with Zhang Yu, Ding Feng, Hu Jianfeng, Hu Lei, Zhao Yuncheng and others, and finally realized the difference between standing on the stage and facing the camera.
The biggest difference between dramas and film and television dramas is the visual perception, which is rooted in the venue.
Drama has a history of thousands of years, and drama as a branch has experienced hundreds of years of development. However, in the past few years, the form has not changed much.
When watching a play, most of the audience still has to sit at a distance from the stage.
It is these tens of meters of distance that will seriously weaken the appeal, which puts a requirement on the actors: from movements to tone, the performance must be exaggerated.
Only in this way can the actor's emotions be accurately conveyed to the audience far away from the stage. Just like racing cars, some cars are designed for speed, and some are designed for off-road use.
The higher the level of people, the more difficult it is for them to make breakthroughs. There are really not many people who can combine the two systems of stage and camera and shadow to make breakthroughs.
For example, Chen Jianbing, Cheng Daoming, Duan Yihong, Pu Cunxin, Liang Guanhua, Song Dandan...
Everyone is a big shot!
After this period of stage performance, Su Ze experienced the charm of the stage personally, and also understood why so many big names still work so hard to perform in plays when they are already famous.
One word:
Cool!
If you are making a movie, one of the things that actors have to accept is being interrupted. Think about it when you are eating hot pot and singing songs, and you are in high spirits, and suddenly you hear: Ka!
Then the director came over and said: The dish is wrong, the visual effect is better if the action is done this way, let’s do another one.
For the work, this is very necessary. But for the actors, is it a bit frustrating to lose track at a critical moment?
When performing on stage, you no longer have to worry about issues that have nothing to do with acting. You can completely immerse yourself in the role, enjoy the joys and sorrows in the play, and enjoy being completely integrated into a character.
Moreover, dramas have to be performed many times, and the actors will have a deeper understanding of the characters through repeated performances. This sense of immersion and satisfaction is the key to actors choosing dramas.
Acting is also a profession. Some people do it for fame and fortune, but of course there are also people who choose the truest desire in their hearts, enjoy the interaction of standing on the stage facing the audience, and indulge in the sense of accomplishment of improving their acting skills. This is the charm of the stage.
Many people like to say: Does acting in a drama make your acting skills improve by leaps and bounds?
In Su Ze's opinion, the cause and effect are actually reversed. Because actors who like dramas often have a strong love for acting.
They are willing to spend more time pondering a role, try different performance methods, and purely enjoy the fun that belongs to actors.
Even if there is no drama, they can go further on this road and perform more amazing roles.