The excellent TV series "Our Ten Years" has been on the air on TV recently. Many viewers have seen the real changes in China in the past decade through the series, and were moved and liked it.

Beijing Daily Client | Reporter Li Xiazhi

Excellent TV series " Our Ten Years " has been on the air on TV recently. Many viewers have seen the real changes in China in the past decade through the series, and were moved and liked it. As the artistic director of the drama, director Mao Weining said that "Our Ten Years" focuses on reality and can lead the audience to re-reflect and feel the changes in our decade. "This change is real and credible, visible and tangible. This is also the reason why realistic works have become popular in recent years and have become the mainstream of the market."

reflects the great era from ordinary people's stories

Mao Weining has directed many realistic dramas, including the familiar " Ordinary World ", "Hundreds of Temperament to Steel", "Meritoriousness, Li Yannian, and Li Yannian", " Song of Lushan ", etc. From "Ordinary World" to "Our Ten Years", Mao Weining came to a creative conclusion: "Only true can be trustworthy and trustworthy, so that it can be substituted and substituted, and empathizes with ." This is his creative insight and the password for the changes of Chinese TV series in the past decade.

In Mao Weining's view, "We've Been Ten Years" is about small people in the incident, and small events reflect big themes. When he first received this project, Mao Weining organized a team of hundreds of people to screen topics for several months, narrowing from more than 200 topics to dozens, and finally establishing the current 11 stories and themes. Mao Weining has also directed the unit drama "Meritorious" before, but he believes that "Meritorious" and "We've Been Ten Years". The former is the narrative of eight heroes, while the latter reflects the highlights of the times from the stories of ordinary people.

"For example, the unit of "Love", it seems to be about writing about sports and football, but in fact it is about the theme of national integration and unity." Mao Weining said that each unit of "Our Ten Years" enters characters and stories from some very exciting and very real small incisions, but it is very warm and touching, and can impress the audience and let the audience feel the people and things around us in an immersive way. This is the artistic feature of the play. In his opinion, real stories can only empathize and become more artistically appealing. Today's audiences have higher requirements for watching dramas. "You must provide textured visual expression, and at the same time have its story and drama. The core is to mobilize the inclusion of the audience, especially young people, to create emotional resonance between the audience and the characters."

" In summary, I think an excellent main theme TV series should be based on the story originating from life, the characters are real and credible, and the behavior is It is logical and rich and vivid, and these qualities are indispensable. "Mao Weining believes that "Today's audience will definitely reject fake and empty space, so we finally came to a conclusion: only truth can be trustworthy and trustworthy can be used, and then empathize with empathy."

Theme comes from the refinement of life

In the existing structure, Mao Weining participated in the filming of "Listen Sword", "Three Meals a Day" and "Xixiang Mingyue". From selecting the theme of each unit at the beginning to writing the manuscript, Mao Weining said that there are still many difficulties that need to be solved.

Take the unit "Liu Jian" as an example. This unit talks about the military reform of the army. Screenwriter Liu Gejian is also the screenwriter of "Li Yannian, a Literary and Martial Arts" in "Meritorious" but this time he found that the army had already undergone earth-shaking changes. "Today's army is completely different from Li Yannian's army at that time. It is a modern army. In addition to the need for a spirit of heroism and a fighting spirit that is not afraid of hardship or death, the current army also needs us to have strong and better professional skills and knowledge culture. This is what we need to explore in the creation process."

unit "Three Meals a Day" also revised the draft. This unit is about the eight central regulations, which is also the earliest determined "but how to write it, we also spent a lot of energy. At first we believed that the eight central regulations were stipulated for party members and cadres, so from the perspective of party members and cadres, screenwriter Hao Yan wrote a book called "Returning Home". The story is about returning to his hometown through a leading cadre and feeling the changes that have occurred after the implementation of the eight regulations."But after submitting the manuscript, everyone was not satisfied. Hao Yan had already revised five manuscripts and almost gave up.

Mao Weining couldn't sleep until midnight one day, and called the screenwriter at two o'clock. The two started from the creation of "Teahouse" and talked until six o'clock in the morning. They found that the initial direction was separated from the audience. "The eight regulations of the Central Committee stipulate party members and cadres, but in fact what we want to write is what impact it has on the people, and can we change our perspective? For example, from the perspective of the people, the eight regulations restrict the changes in the lives and work of our people after they restrained the party members and cadres. "The transformation of angle brought a turning point, and "Returning Home" became the later "Three Meals a Day".

unit drama shooting brought a new challenge

typhoons and rainstorms, high temperature and scorching heat, and the shooting of "We've Ten Years" encountered many challenges brought by changes in the natural environment. Mao Weining introduced that the last "heavy snow" of "Tang Palace Night Banquet" was actually filmed in the hot and hot temperatures of Zhengzhou. Because the story involves a very wide range of areas, the crew traveled through many rivers and mountains from Guangzhou to Zhengzhou, from Hangzhou to Xinjiang, from Jiangnan water towns to the northwest desert.

Mao Weining revealed that in the past, he might encounter a certain natural environment problem when shooting a movie in the past, but because 11 units were filmed across the country, "we have encountered everything we should have encountered, which is still relatively difficult. "The bigger challenge is for him as an artistic director, he also needs to coordinate and control these 11 units. "No matter how big or difficult the drama we filmed in the past, including my filming of "The Song of Lushan" and "Hundred Temperings into Steel", they were all filmed by a team team, and they followed the same progress, but "Our Ten Years" were different. You solved all the problems today, and tomorrow, new problems will arise in the new unit. "

" It's like building a building. No matter how deep the foundation is, how high the building is, no matter what kind of building conditions, we will follow the same rule, but now we are building 11 buildings with different styles at the same time, and the progress is different. As an artistic director, I have to deal with various problems at different nodes at the same time, which I have never encountered before. "Mao Weining said that the team has a core WeChat group including the chief producer, chief planner, chief editor and artistic director. From its establishment to the present, people have spoken 24 hours a day and are constantly dealing with various problems every day. "This creative process is unforgettable and it is also a great exercise for us. ”