At the moment when feminism is popular, urban workplace dramas related to female themes, especially female group scenes, have always been regarded as the traffic code for film and television series. But if you are not careful, such works will be criticized as suspended, bloody and embarrassing.
Recently, another controversial drama " Their Names " with this type of theme appeared. Since it was launched simultaneously on Youku and Zhejiang Satellite TV on September 5, it has been at the forefront of Maoyan TV series popularity list in terms of data, and the popularity value has shown a trend of opening low and closing high.
However, the Douban score of the show has reached 5.8.
At the same time, dissatisfaction with the script has caused many users to directly scold, and they have topped the homepage of Douban hot comments: "Bad scripts, the current gimmicks of female themes have become the wealth code", "feminism is booming, and female theme dramas are still on the spot", "screenwriters will always only know elite business war + bloody love + false friendship"...
curses while watching, which shows that works on female group portraits are not easy to deal with.
. In fact, there are many "hot" works such as " Ode to Joy " series and " Thirty Only " on the market. How to make breakthroughs in concept and subject matter, give the audience a refreshing feeling, and how to keep pace with the times, hit the pain points of the times, and trigger the emotional resonance of the audience , has become the key to determining the life and death of the work. In group portraits, not only should each protagonist have distinct style characteristics, but the surrounding characters should also try to avoid symbolization and flattening.
Titanium Media APP found that Gao Xiaoxian, the screenwriter of "Their Names", participated in the production of a phenomenal online drama " Crown Princess Promotion " in 2015. At that time, the drama ignited the online drama market with a low-cost small production model and also became a benchmark case in the industry. Coincidentally, "The Promotion of the Crown Princess" is also a work with a strong style of a leading actress.
"Their Names" characters and story settings are not complicated.
The drama mainly tells the story of three women of different ages, different personalities, and no intersection, the shrewd and capable workplace elite, and the gentle and beautiful full-time housewife Ren Duomei, who strives to prove that her invisible wealthy girl Shen Jianan has become a close friend who knows each other and falls in the face of their respective workplace and life difficulties, as well as important nodes in life. The storyline and narrative method in
are also relatively straightforward.
From speculating on each other to gradually accepting each other, from facing each other alone, to opening up each other, from fighting alone, to supporting each other, these three modern urban women worked together to solve the problems and confusions in each other's lives, witnessed each other's growth and transformation, tore off the inherent labels that the outside world has attached to women, and bravely pioneered the career of realizing themselves.
Therefore, it is also regarded by many people as a "sweet drama".
Some female viewers believe that they have found their own "Internet substitute" in this drama:
In the face of the fragments in real life, the domineering female president in the TV series is their dream leader. The rich wife regards running marriage and family as their career, which was once their dream. The proud and willful rich second generation began to "rectify the workplace". These are what they want, but they dare not do.
After many years, what changes have Gao Xiaoxian’s thinking on the creation of a big girl’s theme drama? What values should be conveyed when shaping female characters? As a female screenwriter, how should we weigh personal life experiences and the needs of the female-themed drama market? In female group portraits, how can the surrounding male character settings avoid symbolization and flattening?
A few days ago, Titanium Media APP chatted with the main creative team of the drama, including screenwriter Gao Xiaoxian, and the leading actor Qin Hailu .
In Gao Xiaoxian's view, when shaping every female character, she must not reduce her intelligence, and her emotional intelligence and IQ must be online. Nowadays, women have mature thoughts and rational emotions, which is a presumable baseline for character creation and setting.Within the background framework where the workplace and marriage are the two eternal themes of this series, when creating the theme of feminist realism, you need to "sink down" and truly understand the current anxiety and dilemma of women.
As the actor of Lei Li, the female "domineering boss" in the workplace, Qin Hailu found that the language was refined and there were many summary speeches, which was "a kind of cool drama interpreted from another form."
She told Titanium Media APP that there is no way to define whether a woman belongs to the workplace or the family. Every woman has a very fraternal, persevering and inclusive heart. When facing her own life path, she is very strong. Although she is fragile, she will set off again after being fragile.
Actor Qin Hailu
If a woman is described as a strong woman, this tag is also a kind of constraint and pressure. Can a strong woman be fragile? Will everyone still accept her when she is fragile?
"I don't want everyone to define a strong woman. This is also a kind of tag. Don't give women advice on to learn successfully, because many individuals cannot be imitated because of personal growth experience and environment. There are many chicken soup articles about learning success, but I think it's quite intimidating." Qin Hailu told the Titanium Media APP.
However, the audience has already "labeled" about Qin Hailu. Facing the audience's evaluation of Qin Hailu's "reality performance", Qin Hailu seemed unwilling to admit this, and believed that this was ignoring her professionalism as an actor. "In life, I don't have the space to show my identity as a domineering person. In life, I would rather be a little wife."
For an actress, is it a good or a bad thing to have a clear label among her peers?
Qin Hailu also admitted that "tag" has both advantages and disadvantages for actors. Actors are actually very passive and have no right to choose the market. Because the production process of film and television works is usually when the producer, director and screenwriter reach an agreement on a certain project, it is the turn to choose an actor. "So, when you choose an actor, it is actually based on who is suitable and who is not suitable. Everyone actually has a conceptual impression, so the actors do not have more initiative."
The following is the transcript of the dialogue between Titanium Media APP and others with Gao Xiaoxian:
Q: Do you have your own personal experience in life or workplace experiences to integrate into the script?
Gao Xiaoxian: I think no matter whether it is a writer, screenwriter or creator, they must be closely related to their feelings and experiences. Try to make yourself have keen insight in your daily creation. For example, I have always worked in the workplace and have never left the workplace.
In my own working environment, I observed that small staff also have some difficulties for small staff. Then, to be very high-level professional women, they also have some of their more difficult worries. Moreover, in your character design, you will find that love and marriage are always eternal topics, and in your life, everyone will focus on this area after dinner.
These are two major themes about workplace and marriage. When I experienced this in the workplace, Lei Li’s state when he was young was more like the state we were when we first worked. Then Shen Jianan’s state when he first got into the workplace was discovered when I was working a few years ago. The post-90s generation has started working, and now the post-95s generation, the post-00s generation has become your colleagues.
The style of young people in this wave of young people is completely inconsistent with our style of dealing with things when we were young. We also want to show a new force in this part of the workplace. Then, the marriage and love line of Ren Duomei is what I want to do is more practical.
Not to mention first-tier cities, at least in second- and third-tier cities, every woman may not have her own career. Women have a stronger sense of family, and these confusions will be reflected in the line of how beautiful people are, which is a process of long-lasting flow.
Q: Previously, there were very successful female group dramas. Relatively speaking, what do you think are the special features of the script of "Their Names" in terms of concept and theme that can bring a refreshing impression to the audience? As a screenwriter, do you consider the audience and the market when writing scripts? How to grasp those things that can hit the pain points of the times and present them in the form of a story?
Gao Xiaoxian: When we first started this project, we also asked ourselves the same question. Our idea of solving the problem is to find the uniqueness in our project from the typicality of the female image. We have spent a lot of energy on differentiating characters. Our female characters are from different age groups of 20, 30, and 40.
In terms of characters, the unified idea we reached at the beginning is that every female character should not reduce her wisdom, that is, emotional intelligence and IQ must be online. Then I also hope that women today will have mature thoughts and rational emotions. This is a baseline for our character creation and setting.
. When we first started making a character biography, we had a more exciting point at the beginning, which is the character characteristics. We accept the model of villains appearing, hoping to make a breakthrough. Don’t come up and just be the characters that everyone loves. I want to wait for the plot to unfold and make some characters reversals so that those unpleasant characters have some charming and cute qualities.
We also hope that every character is not flat, the protagonist also has his own selfish and imperfect side. All characters should not be black or white, and make the complexity of this character better. I hope there are some differentiated expressions in this type of subject from the character design and background of the character.
Q: You have had screenwriters of costume light comedy and urban fantasy romance dramas. What are the different creative processes and feelings about the urban topic drama "Their Names"? Everyone says that this drama is a female drama. How to define the concept of pleasure?
Gao Xiaoxian: Because I am relatively good at some female themes, such as costume light comedy from the early years, and some romantic dramas. For love, love is more important than the sky and some of my own idealism.
enters the theme of feminist realism, but it actually needs to sink. To have some ability to explore the unique tenderness of women and empathize with , you need to use your heart-opening state to observe what kind of anxiety and difficulties the women around you are really facing, and then summarize and summarize these.
And as you get older, you will find that love is the most important thing at the beginning, but when you enter the essence of life, you actually want to express that a woman’s sense of security is not only derived from love, but also related to my own personal growth experience. In addition to love and marriage, you should also have your own career, friendship, your own opinions and hobbies. In fact, it is a process of finding yourself.
Q: What are your considerations in shaping female roles and highlighting female strength? What is the storyline that touched you the most in the play?
Gao Xiaoxian: I think women have her unique tenderness and empathy ability, which is a state that men cannot compare with, but the strength and softness of women in the workplace are originally a state where the two sides of the same body are integrated, and the drama that impresses me is actually the peripheral characters.
For example, I designed Lei Li and Yu Feifei to compete in the arena. In fact, Lei Li also mentioned in her line that she appreciates such an ambitious, hardworking and young opponent, and she also firmly believes that she can come back, including Yu Feifei's character in the later period, which has also reversed.
, the seventh day of the lunar month and Shen Jianan, one is a submissive post-it note girl, and the other is a girl who dares to speak out, but Shen Jianan is also helping her. Even though I don’t agree with your style of dealing with things, it doesn’t mean that I want to take advantage of the situation. I think I want to express that there is also mutual help between women, which is also a kind of force for women’s unity.
Q: In recent years, there have been many "her" theme dramas. Compared with the dramas you created before, what are the difficulties and easy points in creating this kind of theme when creating it, and how can we create new ones?
Gao Xiaoxian: In fact, this drama is quite challenging, because writing itself is a relatively personal matter, and then you have to stay out of the matter and explore this role, and wait for everyone's response to it, which is another unresolved judgment.
Whether women should observe from the perspective of women is the first question I asked me at that time. Then we should consider how we maintain the original intention of discussing the topic, the depth of the discussion, whether the relationship between men and women can be inconsistent, and whether the audience can see the workplace drama clearly. Including group scenes, it is also difficult, that is, the surrounding characters should not be symbolized or flattened.
Q: Can you understand this way? You are trying your best to combine the pleasure points with reality and find a combination of market and quality. There are many heart-wrenching workplace details and how to deal with emotional relationships in reality, but at the same time, it also provides a more ideal way to deal with them.
Gao Xiaoxian: Actually, I think the pleasure is not just about making some plot reversals. In this drama, I actually pay more attention to the expressions of women of different dimensions, ages and personalities. Many lines, including golden sentences, are actually borrowed from the protagonist's mouth, and then they say some of the things the audience often OS in their hearts, but they don't say. These views are not actually trying to judge whether she is right or wrong, but just putting them on this table.
Because in many real life, some words are on the table require a lot of courage. Secondly, I think the second point is that I really enjoy it. It doesn’t mean that I smash the table and chairs and fight you back on the spot, but it’s not a temporary courage. Your compromise will definitely be with you to stick to yourself to the end.
Q: It is difficult to shape a strong woman in the workplace like thunder particles, and it is easy to hang up if you are not careful. How do you design the plot line of the Thunder Grain so that the audience can quickly feel the character's working ability?
Gao Xiaoxian: In fact, at the beginning, whether it was when we created it at first, or when we later communicated with the director, I emphasized that I was particularly afraid that this role would become a symbol, that is, wearing high heels, carrying a high-end bag, and then entering the office and starting to give orders. I was very afraid that the strong women would make a stereotype.
Because I think a real strong woman, especially the role of Lei Li, she worked from a young employee to a director through her own efforts, and then by chance became a founder of the group Mulan said. She is a business-oriented president. She is not a person who has a background and wealth.
In her career, we have done a lot of online collection to understand how big the company is and how many people are under her. If there are two assistants, one of them is biased towards life and whether it is biased towards life, the other assistant is business-oriented, and whether it is helpful to her to handle some things. If such a female president, what is her usual way of speaking, she must not just be verbose. Every word she says should be loud and clear.
Then, when the character tries not to be stereotyped, I also hope that the character is self-mockery and relaxed, not always ready, and will also care about whether the staff are talking about gossip, and will also be stern in their faces to train people. At the same time, she also has her best friend in her life. In her life, some details have been designed, such as her home is not clean and clean, she even has no way to clean up because she is too busy with work, and it is even hard to hire a job at the hourly worker, because she has so many messy things, and others don’t know where to put them.
So she actually envies Ren Duomei, such a virtuous wife, and such a friend can help her.Her best friend line is about the same age as her but not married yet. They will naturally get closer together and get together frequently. They will also have her attending class reunions in the early stage and occasionally happening. Best friends don’t have to meet each other, but they will definitely make a phone call to tell each other about their living conditions. In fact, let this character not be shameful or one-sided, just become like a person.
Q: For the age difference between Qin Hailu and the character played by Dong Youlin and , what is the setting behind this CP?
Gao Xiaoxian: The group of CPs of Qin Hailu and Dong Youlin. At first, we thought that Lei Li, a person with successful career and a very confident life, would naturally not be easily tamed by a man, so I don’t want to write about the so-called “She can’t extricate herself in love, and then she becomes a love brain. I think this is unlikely in life.
So when a woman like her chooses love, she does not have such a strong need to consider money and status. If she is lucky and meets an equally free soul and is not lucky, then I think it is good to have a relationship.
In the process of falling in love, women should enjoy love and not be confined by age. A 40-year-old woman can choose someone of the same age or older than herself, so why can't she choose someone younger? So in fact, the design at that time deliberately wanted to challenge CPs with such a big age difference.
If such a thing really happens in real life, can women challenge this matter regardless of the eyes of people around them? So I tried to write this younger brother as sincere as possible, and he pursued it persistently. In this case, we have to consider which dimensions of him can accept this love, it is just a love, and that's it.
Q: The audience is actually acceptable for sister-brother relationship, but they also think that this little boyfriend is too perfect. Many workplace crises have also been resolved by him. How did you consider it?
Gao Xiaoxian: Actually, when I was writing this character, I also asked myself why Lei Li liked him. Lei Li could not accept his confession or pursuit at the beginning. I think this point was at the beginning along the psychological line of the character of the thunder particle. This little boyfriend is indeed relatively rich. Looking back, you will find that there are actually Lei Li helping him resolve the crisis.
Because the crisis in the workplace happened to be in that incident, it is not that he helped resolve the lightning particles, but why can't professional women be good at using the power and resources of the people around them to resolve the crisis? Then my rejection of men's help to me shows that I am a professional woman. I don't think this is necessary, so I didn't deliberately avoid it when writing, but it did not involve many plot points where her boyfriend helped him to work.
Q: Lei Li and Qin Tian are both superiors and subordinates and friends. The character Qin Tian is very popular on the Internet and has a good review. How do you evaluate the performance of Jin Shijia in the play?
Gao Xiaoxian: The character of Qin Tian may also be related to my past creative experience. In such a female drama, I gave Qin Tian a lot. When I wrote romantic dramas before, I gained some feedback from the audience when writing about the male characters who are idealistic about women, and you will inject this feedback and some of your own emotions into this character.
is looking for Teacher Jin Shijia, because when we first met, he also asked me this question. He said what kind of identity is this character next to Lei Li? I said that he is a person who makes Lei Li feel safe. He wants to give everyone around him a sense of security. He is loyal to his boss and should be dedicated to love. He always maintains his state: as long as he is here, this matter will not be out of line.
I think Jin Shijia's performance actually surprised me, because if this role is not performed well, it will be very foiled. However, he is so popular now. In addition to the actor himself and the audience's preferences, I think his performance is very delicate, which is that the camera may have some very subtle details in his reaction. He can use his own performance to convey this subtlety to the audience. Even in the barrage, someone will comment on his reaction and expression.
is actually difficult to play introverted characters, so the actors need to be more focused and immersed in their own roles. During the process of character discussion, he often asked the character why he did this. Did he know about this at that time? Jin Shijia would come to discuss these issues. I think this is the performance of a very mature actor.
Q: The character Ren Duomei in the play, as a housewife, not only should shed her mother-in-law, but she should also be careful of marriage crisis everywhere. Some viewers were quite frustrated in the early stage. As the plot develops, Ren Duomei began to fight back and reach the hot search high. How did the screenwriter conceive when designing it?
Gao Xiaoxian: Ren Duomei’s line, in fact, I want to show the current situation of most women, which is more realistic. They actually want to jump out, but their current situation is Ren Duomei’s initial state, being a good wife in the family. When you are truly in reality, you will find that it is difficult for many women to wake up immediately in their family environment. She must have gathered together with many small things over time and suddenly woke up through a certain point.
So, the plot has developed to the present, and some of the preparations in front of Ren Duomei's line will make her open the valve and fight back soon. I also watched everyone's barrage. Everyone said they were very frustrated, but in fact, most women may not be as good as her presentation in the drama now. It's just that we use the characters' hearts to show the plot and the actors' performances, and then let everyone feel that they don't look as glamorous as they look, thinking that she is so good at marrying.
Q: Ren Duomei "using tea to treat tea" to maintain her marriage, which has caused a heated topic. # Should the husband's cheating be restored in time or to separate decisively#. Netizens have had a lot of one-sided discussions, and they all said that they should divorce decisively. However, when watching the offline community movie meeting, Chaoyang aunties gave completely different opinions. What do screenwriters think about this phenomenon? If it happens in reality, what is your choice?
Gao Xiaoxian: I think the value we want to convey most in this drama is to not deviate from the current theme benchmark, not to consume anxiety, and let the audience empathize with some of the difficulties the protagonist has suffered. Try to find a way to reverse his dilemma, and through how she solved this dilemma, let the audience feel more problem-solving ideas, even if it is given some inspiration to the audience. After the mess and your emotions are expressed, how do you face it?
The difference between the characters in our play is that I don’t think they are complaining about the world. They just truly present lost, frustrated, and negative emotions, but the most important thing is that they can quickly collect the mess and prepare quickly. This is also a must-pass path in life. Everyone must have the courage to be hated. What I want to express is that we must accumulate our confidence and then have the ability to face and solve problems directly. Should
cheating be restored in time or to separate decisively? In fact, when we were creating, we also asked ourselves whether the final belonging of this character is divorced or what. In fact, it should be emphasized that no one is smarter than anyone else. I won’t talk about the people in the play for now. I think if such a thing happens in life, I feel like following my heart and ignoring the people around me.
For example, if your mother advises you not to divorce, or if your sister advises you to divorce quickly, I think the first thing to do is to judge right or wrong. As for recovery, you have to ask yourself clearly whether this recovery is emotional dependence, whether you still love him or your financial dependence, which is inseparable from the moment. Then you can just make a judgment on this recovery.
But don’t move yourself under the banner of love, think that you want to save men and marriage. But if you can leave decisively, as long as it is a personal choice, you can live your life well, and being able to leave is also a skill. I think the most important thing is that women should look at the environment they are in and what the things they are really facing, and then make this judgment, and not be influenced by the people around them.
Q: How do the few male characters in the play distinguish their "functionality"? In the environment of the heroine, are male characters not very likable? What are the values you want to convey most in the whole show? Any comments to send to female friends?
Gao Xiaoxian: I think because we are female subjects, it is actually a matter of perspective. When the audience watches such a drama, he will naturally come into the female perspective, believing that male characters are foils, but in fact, in the relationship between the two sexes, they will naturally produce different sparks after they collide, and even the state of binary opposition .
In fact, our creative team has been discussing this. The topics raised can reach the audience and are accurate, but in solving problems, we should try not to be sharp or tense. There are opposing plots in the plot, and we should also consider you from your perspective and consider me from my perspective, as an answer.
In fact, when doing these three characters, they will give them more or less some of their own traits, or some of the traits of the images they see, injected into this character. I think Leili is the person I want to be in my mind. She is very wise, calm, capable and courageous. She does anything lightly and does not force it, but I don’t give up. Leili is the person I want to be.
Shen Jianan, I think she is the early stage you will think that this girl is not a likable character, but in fact she is more like a female warrior, and she may be more like a little demon in our hearts, but this little demon is very kind and righteous. If you really have such a girl around you, let her say everything she wants to say but dare not say. You will think that such a girl is actually very sincere and cute.
Ren Duomei is decent and gentle, which meets the expectations of most social groups, elders and patriarchal groups for women. So whether she is sober or her growth, her clues will be slower, but later she has her own growth value.
Q: Regarding the recent hot topic #What is the confidence of the post-00s to rectify the workplace#, everyone is discussing that because Shen Jianan is a rich second generation, she is more confident in rectifying the workplace. How did the screenwriter consider it?
Gao Xiaoxian: When I wrote , I didn’t actually want the post-00s to rectify the workplace, but just wanted to create an image that did not have so much burden and dared to express unfair or unjust things in life with justice. She is relatively free and free, and a newborn calf is not afraid of a tiger.
Actually, I also saw that she rectified the workplace because of the second generation of rich people. But at first, she didn’t want to express her as a second generation of rich people, and she didn’t have too much space to express her wealth and wealth. How much money is there in her family? There is no such scene or scene to reflect this. I just want to say that when she first entered the workplace, she doesn’t have to be responsible for my finances or for my survival.
But she also has her own troubles and dilemmas, but this dilemma actually puts her central point in the confinement of her father, family, and society. In fact, I myself have been subject to regulations that girls cannot do this and that girls cannot do that since I was a child. Each of us must be relatively free when we are 20 years old. You have all kinds of strange ideas and cleverness, but by the same token, your disadvantage is that you must not be mature enough. In Shen Jianan, I asked her to "should" her, and later I also slapped her in the face, making her feel that there is nothing to do in this world, so she just represents the attitude of young people.
The following is the transcript of the dialogue between Titanium Media APP and other people and Qin Hailu:
Q: I would like to ask what aspects of the character Lei Li attracted you when I first got the script? What character traits are emphasized in the subsequent presentation?
Qin Hailu: When got the script, I actually thought the script was written very well. Fortunately, many languages are very concise and have a summary speech on many things. I think this may be a cool drama, and it is also a cool drama interpreted from another form. Then the three women's status and character settings are completely different. In the subsequent presentation of
, Lei Li is actually a relatively mature woman and has experienced many things, so she is mature, funny, will not easily be irritable, or cannot grasp the key points of the problem, and has a single emotional vent. I think these may be the same when I was filming this scene, the character will focus on a different creation in terms of performance.
Q: What are the main aspects of shaping a strong woman? What difficulties did you encounter during the shooting process?
Qin Hailu: I think the definition of strong women is actually relatively single, or the initial image in our film and television works years ago is to wear suits, have stereotyped faces, and have no expressions. So now, women’s independence, or in their workplace and life, I think she is very strong.
We cannot define whether a woman is a workplace or a family. I think every woman has a very fraternal, perseverance, and tolerance. Every woman is actually very strong when facing her own life path. She is fragile, but after being fragile, she will actually set out again. Think about her own experience, it is actually like this.
Q: In the play, you play Lei Li, a female domineering president. When you play, will you avoid presenting the stereotype of a strong woman ?
Qin Hailu: Actually, I don’t want everyone to define a strong woman, this is also a kind of label. Don’t give women advice on success theory, because many personal success theory cannot be imitated because personal growth experiences and environments are actually different. There are many chicken soup articles that have been successfully learned, but I look quite intimidating anyway.
definition of success may be a bit one-sided. What exactly is success? I think it is also a success to raise your own children to grow up, and then you may have completed this month's KPI in the workplace, which is also called success, or you have successfully gotten a boyfriend, which is also called success. We should not understand success too one-sidedly.
And if women are often described as strong women, I think this tag is also a kind of constraint and pressure. Can strong women be fragile? Will everyone still accept her when she is fragile? I think people are very rich and multi-faceted. Don’t just take a look at her and evaluate this person.
Q: Everyone says that Leili has your personal style, which is different from ordinary professional elites. Have you added any personal designs to this role?
Qin Hailu: I think it is undeniable that every character must have the personal style of the actor himself. I think my own growth environment is the biggest difference between me and others. Everyone looks at many characters, and they will have more or less personal styles. But I also saw netizens' comments saying that I am the true character. Do you know what my true character looks like? Ha ha.
I don’t admit that it is the true character to play. Where is my professionalism? I think there is a personal style, but I am also pursuing the difference between styles. For example, I have also played a lot of female roles. How can she be similar to others and what are the differences? I'm looking for very subtle differences, but I definitely can't be considered a true character.
Q: Many netizens think that the domineering president played this time is because they have read too many novels of the domineering president. Is there any reference when performing? The performance in the play is so domineering. Has it been influenced by the characters and brought to life?
Qin Hailu: I don’t know if you have read the novel of the boss. It’s all the male boss who loves the heroine. I can’t learn from this. In life, I don’t have the space to show my identity as a domineering boss, and in life I prefer to be a little wife.
Q: How do you view the female power presented by "Their Names"? How to evaluate the three heroines, Lei Li, Ren Duomei and Shen Jianan? What do you think of Lei Li’s view of love? What do you think of the love between Lei Li and Gao Xu? What thresholds do sister-brother relationships need to be crossed?
Qin Hailu: I think Lei Li, Ren Duomei and Shen Jianan are naturally at different ages, and they will also have their own ideas when facing different problems.
For Lei Li, she has been single for a long time. When I first communicated with the director, I said, will she still fall in love? The point is not whether to go in love or not, but whether it will happen. After a long time, people who are nearly 40 years old may ask her to go to a movie, eat popcorn, or take her to ride a bicycle to play some exciting things, such as bungee jumping, etc., which may really not be suitable for her, but where is the romance of mature women? These may be worth discussing.
Q: This drama has been encouraging everyone to tear off the tags and live their own way. Do you think tags are good or bad for actors?
Qin Hailu: The drama is also about tearing off the tags. I hope everyone can get to know women in more aspects. It is not a single tag. So for actors, is it a good or a bad thing to label? I think labels are actually a relatively neutral word, and they have both pros and cons.
Its advantage may be that it will allow everyone to quickly develop an understanding of a person. The disadvantage of it is that it will make it difficult for you to change, and you don’t even want to know more about it, so there is no way to say whether it is good or bad.
But I think not curing the tag might be a good way to do it. The actor himself is relatively passive because I had an interview before, and the reporter asked me whether the actor should choose to cater to the market. In fact, I also said that the actor is very passive and he has no right to choose the market, because everyone may not know much about our production process.
Our production process is first of all, the producer, the producer, or the director wants to make a play, and then find the director, the screenwriter to write the script, the producer to invest money, and then it is the turn to choose the actor after reaching an agreement. So when you choose an actor, you actually have a conceptual impression of who is suitable and who is not suitable, so the actors do not have more initiative. The casting is definitely based on the right side, and it is impossible for me to play a 16-year-old girl now, both of which are suitable and inappropriate.
(This article was first published in Titanium Media APP, author | Li Chengcheng)
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