“Half Comedy” allows actors to improvise and create like Wang Jiawei?丨 Demystifying
The “Half Comedy”, which was created by the original cast of the domestic comedy movie “Don’t Get Water” and lasted three years, was released on December 20. It will have a box office of 54 million and a Douban score of 7 on the 23rd.7.The story background of the film is set in the modern city, behind the relaxed and humorous love story, it is the creative thinking of the urban young people’s love concept and evaluation.Before shooting the film, Zhou Shen and Liu Lu, who were born in the director of the Central Academy of Drama, were already very popular in the theater industry. The “Bald Singer” and “Van Gogh’s Autobiography” that the two collaborated had a lot of influence.The “Donkey Deshui” caused a sensation, winning nearly 200 million box office results at a cost of less than 10 million, becoming the dark horse of the year.With the same creative concept, Zhou Shen is in charge of creation and Liu Lu is in charge of control. The fit between the two is very high.”Small workshop” slow work and detailed work mode and continuous rehearsal to create scripts also make the audience refreshed.Zhou Shen and Liu Lu also refuted the problem that the director of the audience’s dialogue script made the film lack of lens, and the audio-visual is not as good as the script.[Script]The script creation that is closer to real life than “Don’t Get Water” “Half Comedy” has a long history.In 2005, Zhou Shen taught at the Dance Academy. The class leader asked him to help arrange a essay about dormitory hygiene. Zhou Shen felt that the essay was boring and boring, so he compiled a fun story about two brothers living in a dormitory.Sloppy and dirty. Another girlfriend who loves cleanliness. The girlfriend of the sloppy boy is coming to the dormitory. He is afraid that his girlfriend finds himself dirty. He swapped the two people’s bed labels, which caused a lot of laughter.By 2008, Zhou Shen and Liu Lu had encountered many dilemmas in their lives. They had the desire to think and express themselves in their lives. They wanted to find an interesting vehicle to bring about “people must insist on doing the right thing”.In order not to express too strict preaching, Zhou Shen thought of his original story and decided to use its structure to express content and write a drama.In that year, the drama “If Me, Not Me” was successfully staged.Ten years later, in 2018, the success of “The Donkey Gets Water” gave Zhou Shen and Liu Lu confidence, but he always felt that the story would be far away from everyone. When I watched it, I felt like I was watching other people’s things. The two wantedIt is closer to the real life story to discuss the problem, so the script is revised again and again to have the current movie version.In the “Half Comedy” stills, Mo Mo, played by Ren Suxi, and Sun Tong, played by Wu Yuhan, gradually became emotional.”Half Comedy” involves a lot of social issues, north drift, marriage, and the bottom line of life. Zhou Shen believes that what he most wants to express is that all the problems are with you. Don’t blame others.Others do n’t give you dignity because you gave up your dignity for your own benefit. If you want to be dignified, you must let go of your own interest and take your dignity back.The choice to stick to your own lies only with yourself and not with social pressure.[Photography]Much like Wang Jiawei, he surpassed the money in “Don’t Get Water”, there was a scene in which Zhang Yiman spread garlic skin pretending to snow, which left a deep impression on the audience.The action I thought of was retained by the director Zhou Shen in the drama and movie versions.And this unique creative way of writing only a rough frame at the stage of the script, allowing actors to fill in lines and improvise themselves in shooting over and over again is also the creative habit of Zhou Shen and Liu Lu.Zhou Shen: “This is a process for us to write a script. In fact, it is very similar to Wang Jiawei. Wang Jiawei also gave an actor a script outline for the actor to improvise. We also asked the actor to improvise, but he surpassed us.item.But we didn’t have that much money and couldn’t afford it on the spot, so we first found a rehearsal hall to do so. The time on the spot was a little less than that of Wang Jiawei.Our approach is the same.This is our consistent way of creation.I do n’t think we are born as a professional screenwriter. The written script does not have that kind of vitality, but just a clue to the story. The vivid language of each character in them allows them to create their own. It must be better than ours. I just need to take care of that contextToo.”Liu Liu imitated that” Half Comedy “had a lot of apology with Gao Lu, which was not included in the script or even in the stage when it was filmed. When filming on the spot, it played a lot of actor Liu Xun naturally following the characters’ emotionsTo apologize, the photographer and director did not interrupt his performance. The state of the episode was very touching, and Liu Lu decided to keep it in the film.Another occasional “good chapter” is that Sun Tong and Mo Mo are in the optical shop. The mirror reflects the two people’s bodies to form a swap. Many viewers think that this is a deliberately designed laugh point. In fact, it is also a scene captured on the scene.Chang Yuan guest starred in a blind date.There are many laughs in the same improv show.Chang Yuan, who appeared as a blind date male guest, played on the Allegro. It was decided by Zhou Shen and Liu Lu the night before the filming. I always worried about whether I would be too tempting or not to match other characters.One, the temporary play “Let’s get the certificate”, also attracted the audience’s laughter at each screening.[Team]The biggest benefit of the small workshop style is that the creative work for many years has allowed Zhou Shen and Liu Lu to cultivate a tacit understanding.The two worked together to create the script and discuss the theme. During the filming, Zhou Shen performed it, and Liu Lu was responsible for judgment.Zhou Shen explained: “Creators need to pay 100% when they create, but everyone has an experience. It’s easier to get rid of problems when looking at other people’s things. The creator needs to keep investing and pulling away.This is actually very difficult and inefficient.So the way we chose was that I fully added it in. Liu Lu was able to quickly grasp the problems as if he were watching someone else’s work.”Despite the considerable successes, Zhou Shen and Liu Lu still maintain a small workshop-style team creation, work slowly and carefully, spend several years to craft the script carefully, and let the actors start rehearsal a few months in advance.I changed the lines all over the place, wanted to schedule, and finally showed the ideal comedy form.Liu Lu ‘s article: “The biggest benefit of these is the creative autonomy. We will not be disturbed by any external factors. We will follow our creative philosophy completely and will not compromise any step.”The original law of creation should be like this, we just do it according to the original rules.”Responding to doubts-no” film sense “?This is the prejudice of the director of the dialogue drama. Sauna Night Net: “Half Comedy” still focuses on the indoor space. Through the dislocation to create the effect, many audiences feel that this is the stage form used in the movie. TwoWhat did the director think about?Zhou Shen: This kind of comment is wrong, because movies can also be used in this way. Is n’t Woody Allen ‘s movie a movie?There are many movies talking while walking, which is a matter of the structure of the play. Putting it on the screen is the movie, and putting it on the stage is the drama.This is a kind of play structure. No play structure is specifically for the stage or the screen.I think this is a kind of prejudice against the directors who come from the stage. There are many movies of indoor dramas in foreign countries are classic, and no one said that it is a stage drama.In terms of content, the laughs on the stage of the drama can’t be moved to the screen. The laughs of the drama “Don’t Get Water” are almost not on the screen, and almost all of them are replaced with new ones.In “Half Comedy”, we have rewritten the story, so there is no problem of laughter and obsolescence. The movie version and the stage play have basically the same structure except for the structure.The director and screenwriter of the film “Half Comedy” Zhou Shen and Liu Lu.Sauna Night Net: So what’s the difference in skill and expression of laughter on stage and laughter adapted into the movie?Zhou Shen: The advancement of the stage and the movie is different. The advancement of the movie refers to this realist movie made by Liu Lu and me. The priority refers to the real life.But the advancement of the stage can be exaggerated, because until it is a completely realistic play, it cannot be completely restored.The audience is able to accept this little exaggeration, and will also feel that this little exaggeration is also true.But when placed on the big screen, the audience will be keenly aware that it is not true.So these laughs can’t be used.Sauna Night Net: How do you think the movie script of Happy Twist in your impressions is solid and slightly weak in audiovisual?Zhou Shen: I think our lens is used very well.Perhaps we do not specifically require styling in technology. All of our audiovisual languages are for stories, not stories for audiovisual languages.Both can be movies, but everyone’s aesthetic style is different. I wouldn’t say that they are not movies, but they also don’t say that mine is not a movie.When people say that your story is fluent but I do n’t see the audiovisual language, the audiovisual language affects my story and breaks my story.You should follow the story and the characters.Sauna Night Net: What you want to see is that there are higher requirements for light and shadow modeling, and let the lens participate in the narrative, rather than just being satisfied with telling stories with lines.Zhou Shen: We asked the photography guide to complete this request. Our photography guide and lighting are the best in China. I think it has been done very well without any problems.Liu Lu: There is a particularly wonderful part of the audio-visual language that can add color to the story. Of course it is very good. Although the audience thinks that the design of the mirror section in some films is very good and wonderful, it will not jump out of the story and tell it alone, otherwise it just happensThe dislocation and embarrassment of the two people is the fusion of audiovisual, story, and performance we want to achieve, but we will not deliberately design the audiovisual language in advance.That is, the departure is relatively different.Sauna, Ye Wang Li Yan editor Huang Jialing school against Li Xiangling