In preparation for the world, mr. zhang's reaction to a call of 110 was a surprise to director gan jian-yu.\" I think that's a shot of tension.\"
For the first time, zhang rouyun joined sina entertainment's year-end blockbuster \"the most beautiful performance\" in 2019, appearing in two short films with very different styles, ranging from unruly and somewhat marriage-phobic middle-aged men to a new actor whose dreams are advancing.
Fan is on the air, the role of a sense of humor are revealed between the role is also numerous, the appearance of humor and the loneliness of the heart of the contrast in this person, to interpret a role like this, for Zhang Ruoyun, there is a greater room for play,\" Qing Yu-nian \"Fan Yi can also have a different, the script to provide him a lot of ways, but also to me to break into a space.
In two short films,\" world prep \"and\" watermelon \", mr. zhang also found more clues and possibilities beyond the script. In \"world prep \", mr. zhang surprised director gan jian-yu with a call of 110.\" I think that reaction was in front of my monitor. I think it was a shot of tension.\"
《 Watermelon makes it harder to convince viewers of the character's logic and how to choose between a motorcycle and a girlfriend? How to bear the consequences of choice? After the selection, are there more possibilities? These are all that Zhang Ruoyun needs to present one by performing.
Zhang Ruoyun: is a very ordinary actor, in \"the world prepares \", this actor refers to any actor, any actor has the place behind him that no one else can see, the reverse of this script is basically like this.
Zhang Ruoyun: It's not very easy to say that I'm the first time to play an actor, which is quite interesting. The advantage is that the staff of the class, the screenwriter, the director and the whole crew are faced with a variety of actors every day.
On the other hand, I think it's hard to explain the preparation of an actor completely, because I don't know what we have done. If these things can be very clear, then everyone can do it, but in fact, performing it's not a lot of things that everyone can do, or there are many things that don't say it will always become false. It's not a saying that the performance is not explained, or there is no way to explain it.
Zhang Ruoyun: I think this kind of tension can make me a lot of memories. Because we've been filming for years, we've been actors with a certain experience, and now it's hard to go back to the scene when I first got out, because a lot of things have become instinctive, but when you look at it yourself, you can see the gap between time and how I should capture that initial state.
The final scene in the short film, the first shot we made this time, was the one I walked into the set, and we were watching by the monitor, and I turned my head and I asked the director if I was going too easy, but there was no way, it was instinct. Later I changed to a quick step, running slowly, into the set of such a state.
Zhang Ruoyun: after all the skills have come in the door for a while, you can feel more happiness, the beginning is pain, the performance is the same, when a person has not been able to understand, in the role of handling, he is really very difficult to feel other people's happiness, that is, we often say this is the meaning of this sentence, then that is the meaning of that, that is to say, to think about a person's mind, or what is the subtext, but I play this new actor, more is not to feel the joy, to keep the enthusiasm for the performance, the last is to give the director a light, that is an externalization of the heart, is a kind of the scene, he is a sacred film in the heart.
Zhang Ruoyun: Before opening the movie, I discussed the script twice with the director, and I thought it was time to talk about a character, and then the actor put the character in a minute or so, which is called acting. In the end, we still make a play, that is to say, this character, he is a small actor, he is in silence, he is going to the set, he is very nervous, just a few settings, we can no longer try to tell through the story what the performance is.
It's a reverse shot, and then the last part, and then what's the intensity of a previous kidnapper's scene, and we'll probably talk about it.
Zhang Ruoyun:\" Watermelon \"that is too interesting, I looked at it for the first time, I didn't understand what it was saying, because it is actually a real-life adaptation, about a Beijing boy, that is, before getting married, their home decoration money to buy a motorcycle, and then his wife broke up with him, and then compound. It is actually a special Beijing figure, this person can be for his ideals, but in fact all the feelings are very sincere.
《 Watermelon is actually very difficult to perform because the man is so flying that he says it's especially implausible how to turn something untrustworthy into something credible, which is the more difficult part of the performance. Director Wei Shujun is also from Beijing, he also likes the story very much, I think it is also a challenging thing, because it is a mirror to the end of the shooting, I am actually not sure how I finished that, but today actually rushed many times. It's in there that for a moment it makes the audience think that the character is cute and amiable, and I think it's great because the character is so special.
The man in 《 watermelon, all of him is true, his love for the motorcycle is true, his love for his girlfriend is also true, he is a big boy, is an idealistic big boy, so twice blessed, he can make himself so miserable, in fact, because all of his feelings are true.
Zhang Ruoyun: Because at the beginning of the conversation people are flying, there are a lot of lines like Freud once said, two wheels, four wheels and so on, when the actors touch a point, everyone thinks that this is right, but when the real connection is complete, you have to start to be willing, just because the director is asking for a mirror to the end, so it is the same as the stage art, there is no space to cut the words, you have to start to cut off what you think is interesting, but now you don't think it is so interesting to cut off, only the core part of the last.
Zhang Ruoyun: I think it is a common phenomenon, in my view will feel more immature, but I think immature is not the side of being blamed, fear of marriage is a social phenomenon, why is fear of marriage a topic? Because the fear of marriage involves two people, you fear, in case your other half want to get married, then what to do?
I think all things, everyone can face, you want to fear marriage, you face up to this fear, do not cover up, and then say that, everyone will be tolerant, but there is no way, someone's place, there must be contradictions, love is more contradictory. A lot of men will hide their other ideal, especially if you say that when a young man is at this stage of twenty-seven, he always feels that he is still, or keeps a fire, and wants to go on the other side, you say that ideal and love, if really conflict, what you choose, this is a very difficult proposition for everyone,
Zhang Ruoyun: At first thought of this paragraph is the time, is my sudden wonder, I also in front of a lot of content, with a lot of words, pad to the last few words of the state. We repeated the words, because each one of my consumption is too much, that is, every real shot, the release of the whole emotion, and so on, obviously the person is too far from my understanding, I have to substitute his logic, my thinking logic and his thinking logic is too different, I have to become him, I use his rhythm to think, the rhythm is right. So we've been discussing what's best when it's finalized, but it's actually a brick-and-mortar process, and the final piece is right.
Zhang Ruoyun: The play was filmed for three days, because Sun Hao's filming was very detailed, and we actually took a larger amount of ancient poetry than we eventually did, because the scene was that we didn't want to miss it. Is with the eldest princess, the second emperor these partial opposites, the second half of the day began to shoot poetry, the third day is a full day of poetry. I remember the first day as if more than 300 shots had been taken, so after a few days, the lens is huge, do not want to leave regret it, the scene is difficult to recover, Chinese ancient poetry is a very magnificent cultural treasure-house, in which always feel that can be used in the story, we actually shoot more than in the play cut, the play is because later feel that the state of several and Fan's state of mind to confirm the best, so the choice is the several, he is actually a strange feeling lonely in a world.
The part of the drunken poem, I was drunk for a day and a half, the next day I went out of work in the morning, began to drink at eight o'clock in the morning, that is, the day was completely in that state of intoxication, because not in that state, you can't rush up, acting you can be two minutes drunk, you can be three minutes drunk, you can be eight minutes drunk, but if you don't get a drop, you have to be drunk on a special holiday, so the whole person should stay in that state of drunkenness.
Zhang Ruoyun: I think there are a lot of different understandings, because there are a lot of old predecessors in this film, including the director is also very good at the play, the screenwriter is also very good at the play. The point they told me before would be the key point, the point, the color of your future.
In fact, I also thought at that time, because I think reciting poetry is wonderful, the plot is wonderful, but really need to shoot so many poems? I didn't quite understand it at the time, but just said that I would like to memorize the poems and then show them, but the result was, indeed, the audience looked at it and said that this was the color of the moment.
Our actors are also summing up the lessons, teacher chen daoming sometimes told me, you have to think about a word, said that this is your whole play. It's possible that when I first started, I thought the rhythm was that way, but he popped out, you're the eye of your play, and I'll go back and figure it out. When I put the word into action, I found that it was different, and that was what I learned.
Zhang Ruoyun: yes,\" qing yu nian \"has formed a special\" mind \"atmosphere for everyone, for example, in summer, people wear clothes, you see he didn't wear it, I also didn't wear it, you wear left sleeve, I wear right, one wears half, definitely don't wear better than others first, then one to lunch, one said that I had a heatstroke, who also had a heatstroke, but it's all installed,\" I had a heatstroke, who took a picture first, but it's not so malicious, I said, I may not think it is quite right, but because we have a good relationship, it is a mutually damaging state. Because the story of \"qing yu nian \", each character is poisonous, there is no special false model of the kind, everyone is very reverse writing, the mouth is cheating, but the heart has great meaning.
As an actor, the character does change the state of the actor for a period of time, and the actor will consciously retain that state. I'm playing Fan Yi, I've got a part of Fan Yi's character, then I'm not going to distinguish it in my day-to-day, I'd rather it stays on me a little more, I'd rather it took root in me a little bit more, at least during the play, I'd like Fan Yi to grow on me, and I'd like to live as Fan Yi, to talk to them, to communicate with them, so everyone actually takes the characters to communicate in the crew.
Zhang Ruoyun: I haven't finished filming my Fan Yi story, and I don't think there can be exactly the same, that is, sometimes get a similar role, I will think that the script has provided me with space, let me break into a different role. In fact, a good script would give such a space.
In fact,\" qing yu nian \"fan yi can still have a different, the script provided to fan yi many ways, but I chose one of them. However tight the script is, the actors still have a lot of ways to go in it, but instead the script is not good, the actors will have only one way to go, because there is no way to play.
Zhang Ruoyun: performance is not the most, it can be beautiful, or it can be moving, performance is a character relationship with the character of the problem, is the two biggest pillars, if a false concept, it is the performance state, it does not need to have a character, there is no need to have a character relationship, no need to have a character state, if a person in the play to communicate with anyone else, it should be a short story to shoot, a character, the main character, once you have established the character, that this is the most beautiful performance in my mind.