Actor Xia Mingyang is deeply touched by the core abilities and creative techniques of "Iron Army" to shape characters.
"For the drama "little characters, big feelings, positive energy", being able to portray the texture and sense of substitution of the characters is the most critical creative ability; behind this ability is ten years of persistence; in fact, shooting TV series is like being a human being, your direction and determination are very important, so Xi Xin director and his "Iron Army" are known as the leader of "little big and honest", which can be said to be an inevitable result. "
has known "Iron Army" for more than ten years and has regarded Xin as his life mentor.
In "All the Way Forward", Xia Mingyang plays Luo Xiangqian's superior leader Mazutang. It is slightly different from Yang Laifu, a young man from Miao in " is the time when youth is brilliant", Mazutang does not have many scenes in the play, and strictly speaking, he made a guest appearance.
But this does not prevent Xia Mingyang from arriving in time from thousands of miles away. "As long as it is the "Iron Army", I will not refuse. "He said.
However, in just a few simple scenes, Xia Mingyang has already shown Mazutang's powerful aura appropriately. "For Luo Xiangqian and others, Mazutang is a stabilizing needle-like existence. When Luo Xiangqian is weak, when his thoughts are problematic, and when the railway construction battle is anxious, Mazutang appears. "
Xia Mingyang joked that compared to Luo Xiangqian, Wu Qiang, Zhang Biao and others, Mazutang is a person like a "strategic nuclear weapon". "Whether on a construction site in full swing or in the battle with enemy spies and bandits, we cannot see Mazutang. He does not undertake specific combat tasks, but as long as he occasionally appears, the morale of the entire team will be stable."
From Xia Mingyang's unique analysis of Mazutang, we can feel the love of an actor for the role.
Xia Mingyang said that from the first day he started being an actor, he has warned himself to always remember "there are only small actors, no small roles."
Therefore, although Xia Mingyang is similar to actor Li Jian in terms of actual age, Mazutang seems to be much more mature and calmer in character than Luo Xiangqian played by the latter.
Mazutang's eyes are firmer, his smile looks smarter, and his mind seems broader.
"This is not because I played well, but the difference in the setting of the character itself: as the leader of the heroic regiment, Mazutang's overall view, his determination and perseverance, his cognitive dimension and mind must be slightly better than Luo Xiangqian, who is the company commander, otherwise he will not be able to lead the subordinates; the most important thing is that in Luo Xiangqian, the focus should be on presenting the changes in the character before and after to highlight his sense of layering, so some more down-to-earth problems should be set on Luo Xiangqian, such as impatience, recklessness, stubbornness and confusion." Xia Mingyang said.
The young actor's performance status can always remain relaxed.
"The actor's relaxation can be understood as a "empty cup state without distractions". He will naturally put the character inside with a bang, so his performance state can be moderate and will not "pass". "Director Xi Xin commented on Xia Mingyang like this.
Insiders know that a good actor would rather "take a little" than try to avoid "being over".
"Once the actor has been "performed", it means that the actor is in a tense and tense state. As a director, he must stop immediately and help the actor adjust his state on the spot. "Xi Xin said.
In recent years, Xia Mingyang has made great progress. In addition to shaping each character with great texture, he has also directed two theater movies "Five Degrees" and " Our Golden Age ". He emphasized that being an actor is his long-term love of the main business, and being a director is a side job, which is just an attempt to enrich himself.
As a young director, he sincerely admires Xi Xin and his "Iron Army" for twenty years of persistence. "This industry has been in a state of impetuousness and noisy over the past many years. Many people do not consider the outlook on life and values presented by artistic works at all. They shoot whatever they have gimmicks or traffic. Some works are really distorting or even poisoning the spiritual world of teenagers." Xia Mingyang said.
Therefore, he felt that Xi Xin and his "Iron Army" are worthy of everyone's respect if they can be willing to shoot "Little Da Zheng" works without being driven by huge commercial interests.
What kind of original intention and sentiment do you have will have what kind of works.
During the filming of "All the Way Forward", Xia Mingyang felt that the creative team's pursuit of light was excellent.
"The first principle is to be real, strive for the texture and atmosphere of the 1950s. The first principle of many eras and costume dramas is not real, but the so-called beauty, so you can see that because of the use of skin grinding and filters, there is no texture on the face of male actors and no trace on the face of actresses. The fake is like a character produced through AI technology." Xia Mingyang said.
And in the filming of "Iron Army", under the requirements of reality and texture, the so-called actor beauty is placed in a very restrained position. "You know, in that era, the beauty of everyone was under a relatively simple tone, which was nothing more than the intellectuals' dresses more refined and stylish; but on the faces of the characters, there was no difference between using Lancome and ordinary soap." Director Xi Xin said.
Therefore, natural and natural become the best standard. What impressed Xia Mingyang the most was that in many scenes, the main creator did not refuse the use of " top-light ". "Top light refers to the light shining directly above the object. This kind of light is often found in summer sunlight. Top light is not suitable for shooting general objects. Using this light to photograph characters will leave a large shadow under the protruding part of the cheekbones. The characters photographed by the lens may have a sinking eye socket, which is relatively ugly."
Usually the solution to this problem is to strengthen the side light on both sides, but director Xi Xin said: "We must not shoot TV series and characters. We must not shoot TV series and characters. According to the script, the same thing; the core task of using light is to express the most essential state of people and things through it, so no matter what light is used, you must obey the specific theme of each scene. "
Therefore, when Sha Menghai went to see the body of his nephew Sha Kai, his face was dull and his eyes seemed to be sagging; when Luo Xiangqian returned to Neijiang in his later years to pay homage to his comrades, his face was not only dull, but also the feeling of being almost dry. In these two important scenes, the use of Taiguang better illustrates the characters' extreme grief and vicissitudes.
In a sentence: For characters, makeup solves problems at the "artistic" level, while light is working hard on the "slight" level.
