"Move unit No. 2 to the right and the lights will be warmed by two degrees!"
"Where are the props?"
"Do you use wilted green onions?"
"All changed!"
Su Ze watched Kong Sheng busy. He had just bought the chopped green onions in the morning, but they had to be replaced because they were a little dehydrated after being cut early. Yes, this is the power of detail control.
If we were to count all the directors we have worked with since his debut, Su Ze admires Kong Sheng the most. There is no way, there are so many things to learn.
Both of them are Virgos, and both have an almost paranoid pursuit of details. It's just that Su Ze's performance is in acting, while Kong Sheng's performance is in his works.
In a simple shot, the small flowering plant on the wooden cabinet matches the crescent white color of Hu Xiangjun's cheongsam, instantly creating a finishing touch.
An anti-Japanese drama like "War in Changsha" can turn into "Bite of the Tongue" and "Late Night Canteen" in minutes. The wontons sold by vendors in the alleys late at night are cooked in a clear soup and topped with a handful of green green onions.
If you use one word to describe the feeling of Kong Sheng’s picture, it should be...
texture.
Yes, a sense of sophistication that seems simple and unintentional but is actually carefully orchestrated.
The director's motivation goes far beyond that. In Su Ze's eyes, his efforts in characterization are unparalleled in China.
Usually in TV dramas, when the heroine is about to leave the hero, she will choose to hug tightly or stare affectionately, but Lao Kong created a set of expressions of his own.
Although he clearly covets the remaining warmth in his sweetheart's hand, he has to force her to leave him. Without the meeting of eyes, he can express all his feelings with only one pair of hands.
Su Ze likes this kind of restrained expression, which is far more contagious than passionate release. When the two finally parted ways, they did not choose to argue fiercely. Instead, they used opposite directions to hint at the opposition between the two, allowing the characters to
The distance changes in the standing position, making it look more layered.
Last year, I was dissatisfied with the environment when I was filming a movie about mountains and seas, so I had to rebuild Xiguhai. This was not the first time that Lao Kong had done this. When he was filming his parents' love story, he couldn't find a fishing village suitable for filming, so he just gritted his teeth and built it directly.
I looked at him holding a hand stove for heating, which was a prop left behind when he was filming Nirvana in Fire. I heard from the executive director that Hu Ge was actually holding it with charcoal burning inside, and it was the most traditional kind.
When arranging filming locations in Hengdian, which crew would line up behind Kong Sheng’s team?
Just take a vacation!
Other crews would come in and simply set up the set and shoot for a few days and then leave. They came in and had to redecorate it and start filming after a lot of meticulous work.
A few days ago, the ten-minute siege scene took seven days to shoot!
The military uniforms I wear are all custom-made by old tailor shops. Each person has several sets, and one set costs thousands.
These are okay. I heard that the clothes Liu Tao wore when playing Ode to Joy had to be from top brands. In order to save some money for the crew, she paid for the rest of the clothes herself?
The only one who can push a national daughter-in-law to this extent is Lao Kong.
What Su Ze admires the most is the director's ability to train actors. Not only the leading actors, but also the supporting actors and even the costar Kong Sheng are willing to take the time to teach them little by little.
Today's student demonstration scene, with dozens of people holding slogans, each with different movements, was all designed by him.
I often brainstorm on the set and gather everyone for meetings. Everyone has the right to speak and express their opinions.
If Xin Yukun forgets his words and laughs out loud, he will seriously say "I'll fine you a hundred", but when it comes to Kong Mengmeng, he will laugh with you and play tricks if he doesn't agree with you.
Can you believe that Yang Zi, who has always been lively and talkative, is not his opponent?
But Su Ze knew that his stunts were not just killing time. Every time he was funny, he was trying to create better creations on the spot.
Well intentioned!
Having worked together twice, Su Ze understands that in his eyes, the actor's attitude comes first. As long as you have the determination to do it well, everything else is not a problem.
Won't?
I can teach you step by step!
Jin Dong was an unknown little actor when he was filming The Pretender. He didn't even have a team manager, so Lao Kong still chose him to play the eldest brother.
Later, he was signed by Tencent to star in "Ghost Blowing the Lamp". In order to allow Jin Dong, who had just recovered, to go further, he even accepted the filming of an online drama as a gift.
When acting in Director Kong's play, everyone doesn't have to think too much about anything other than performing the play well, and they don't care about the pay.
Look, veteran actor Chen Baoguo signed a two-month contract and filmed for three months, but he never mentioned any additional money.
This is the pride of a true director and the pride of a true actor. The sense of accomplishment of making a good work cannot be bought by money.
Su Ze couldn't help but ask Lao Kong a question: What does the sun at noon mean?
Lao Kong replied happily: The sun at noon is bright and warm, dazzling but magnanimous. The former is talking about our artistic ideals, and the latter is talking about our artistic creation.
Su Ze raised his thumb, showing off.
"Hey, what do you think is the most powerful thing about Lao Kong?" Yang Zi asked Su Ze during the break. They have become very familiar with each other for two months, and they didn't call each other by name all day long. Hey, hey, hey.
"The script has never gotten out of control." Su Ze said casually: "As a director who was born as a photographer, beautiful composition is just his basic operation."
"What do you mean?" Yang Zi asked confused.
"Not out of control means that the logic of the story is smooth, there are no big loopholes, and I won't make up mysteries just to tell a novel story, and I won't make a story that no one can understand just to show that I am different."
Su Ze couldn't help but think of a person, Chen Zhengdao.
"Well, that makes sense." Yang Zi sat with no image, biting an apple and muttered: "I think the TV series he shoots are very honest, the characters are very charming, there are not so many intrigues, and it is very comfortable to watch."
Su Ze nodded, this is Kong Sheng's biggest trump card. He is sunny and cheerful, and never goes to extremes. He will neither look at life from a gloomy perspective because of the dark side of society, nor will he hide the world and the world just to sing praises.
The complexity of human nature.
His shots always try to portray each character as kindly as possible, letting the audience know the last resort and difficulty of each character.
His perspective has never been to look down at all living beings, nor to look up to the powerful, but always to look level. Even though life is full of thorns, we still have to sing and move forward.
Of course, no matter how powerful a person is, there are shortcomings, such as insufficient marketization. This can only be compensated for by his old partner Hou Hongliang through careful selection of scripts that meet market needs, actors with a balance between traffic and acting skills, and precise marketing.
Then the pace is a bit slow and there is too much foreshadowing. If the audience can't follow along and get involved in the play, it will be quite discouraging.
In this regard, both 500 and 500 are obviously stronger.
Even Lao Kong himself said that he couldn't make suspense films, and he couldn't do anything too brain-intensive. There are specialties in the field, and these should be left to young people.