Always young, always reckless, always love whatever.
Life is in a mess and there are countless choices. Everyone is telling you what's right to do.
and you don't.
you have to hit the south wall head on.
it may be a broken head or a bright willow.
this is the plot of the movie half Comedy--
there are laughter, noise, sadness and anger.
you can see very clearly that stories that we are very familiar with take turns on the big screen.
there is something different--
is absurd, a joke, and a kind of recklessness that only belongs to young people.
this time, an uncle's "Star interview" column specially invited two stars: Ren Suxi and Wu Yuhan. Listen to them talk about the laughter and scolding in the movie, as well as themselves.
X Ren Suxi & Wu Yuhan
"Truth is the first point"
there is often a kind of truth in the process of filming.
both Ren Suxi and Wu Yuhan admit.
the same is true of comedy movies--
you have to take the trouble to arrange those wonderful jokes and create those natural coincidences.
the people in the play can be embarrassed, but the audience cannot be embarrassed.
because of the effect of absurd comedy, it is impossible to be deliberately funny.
if you want to speak, you must pay attention to the word "truth".
in order to create the greatest sense of resonance to the audience, Ren Suxi and Wu Yuhan chose "if you want it to be true."
is not the kind we usually understand: memorize the script thoroughly, and the action lines are all good.
but more creative. They call it--
everyone, with the basic script, play each other over and over again, cut off the mouthful, extract the "words that are most like human words", and then create and modify them, so as to retain the "freshest and first feeling".
it's easy to catch funny lines in a movie:
"he, the advice from the tutor is longer than the paper."
"I'm 30 years old. I'm already very familiar. If I'm ripe, I'll rot."
"what's the relationship between us?" "Love relationship!"
A natural crosstalk-like tease, coupled with a pure Beijing accent, is a living person just standing there.
what an uncle sees from this is the real dilemma faced by urban youth:
Beijing drifters rents a house, parents urge marriage, age crisis.
they have all the "funerals" that urban youth should have. And this kind of "mourning" mixed with "trouble" constitutes a good play.
you will believe that what he says and what he does has really happened.
Ren Suxi told an uncle that grasping the truth is the most basic thing.
"because we know what real life is like, and we know what people are going through, it's easy to capture that scene."
and she is always willing to give anything for this truth--
in the past, when filming "Donkey gets Water", there was a scene where I slapped myself in the face.
through the high-definition lens, you can even see that the muscles on Ren Suxi's face are shaking, but what about her? He didn't even frown.
at that moment, the physical pain is real, the spiritual pain is also real.
this time, they are rooted in the soil of life, repeatedly watering and pruning the branches on the script, so that they have the final result of this edition:
the flesh and blood is full, but the meaning is still not enough.
in an interview with an uncle, both Ren Suxi and Wu Yuhan firmly believed:
"the most powerful and moving thing in a play is the truth."
this is where they are really smart: they don't have to blindly consider the preferences of the audience, but put their true expression first.
as long as what you create is "real", then the results you get must be touching.
Life is a play, and drama is also life.
you know, only the "real" things are always the most moving.
so why do so many people feel that their roles in the movie are you and me in life?
actually the answer is very simple:
those characters are real.
"acting is just a profession"
when interviewing Ren Suxi and Wu Yuhan, it is easy to feel the distinct sense of the flag.
Ren Suxi, broken down, it is a word-hard, or serious.
Wu Yuhan is milder and more introverted. The edges and corners are slightly smooth, and there is a sense of bookishness when chatting.
however, the two people with completely different personalities have never fought against each other. Instead, they complement each other just like a scabbard.
an uncle feels that this has something to do with what they have in common, the "axis".
the "axis" is not towards anything else, but the attitude towards the identity of the actor.
when they talk about acting, characters and movies, they always have a lot to say.
when they talk about life and individuals, they insteadremain mute as if one's mouth were sealed.
Wu Yuhan's profile contains only one line: "Happy mahua director and actor." Ren Suxi's is even simpler, with only two words: "actor."
this is the small window they leave to the world.
Ren Suxi and Wu Yuhan have always believed that acting is just a profession, not a tool to get attention.
outside the camera, under the stage, they have a real life:
if you want to buy vegetables, you have to squeeze the subway, and you can still drive with a limited number.
"I can't drive seven days a week just because I'm an actor."
for Ren Suxi, an actor just means it is possible to break away from some part of not acting as an actor.
"but we are also experiencing the life we are experiencing, and I think life is the same. Everyone is the same, except that your friends become these people, but you also have friends, and what you have experienced has become this thing, but you are also going through it. "
obviously, they don't care much about the default rule of the entertainment industry-stars have to stay high above the cloud and enjoy the focus of the flash.
they always stand on the ground, just like Mo Mo and Sun Tong in the movie.
always young, always reckless, always love whatever.
even Ren Suxi joked:
"what is there to pick up in the atmosphere? Aren't we just standing on the ground? "
within the lens and above the stage, they are more willing to wear the mask of actors and do things in a professional manner.
even if you also encounter the moment of "life in chaos" in the movie:
maybe it's a career difficulty, maybe something's wrong at home, maybe it's something else.
it's not as dramatic as it is in the movie, but there must be. But they don't bring emotions into the movie.
"everyone has joys and sorrows in life, but if I am creating, I am willing to get into the state." Maybe something unhappy happens to me, maybe I won't show my life like this in front of the camera. "
that's what they say.
sober, transparent and down-to-earth, I think this is the real foundation of a good actor.
"everything is caused by fate"
when it comes to their life experiences, it may not be too much to sum up with the word "dramatization".
Ren Suxi, from the play to the big screen.
Wu Yuhan, from actor to director to actor.
Life seems to them to have more than one way to go.
and when Uncle asked why they made such a wide-span choice, Ren Suxi and Wu Yuhan answered the same word in unison-
Ren Suxi said:
" is teased by fate, that is, it is pushed by fate. What if I didn't have to go? I didn't say that I had to act in a play or a movie. This is not the case, but I happened to finish a play and people wanted to make a movie and asked me, "would you like to come?"
it was stumbling all the way, but there's nothing wrong with it.
over the years, fate has given them a big candy, and happy mahua movies are gradually on the right track.
through the camera, many people remember this girl with glowing eyes and a handsome boy with a warm and warm personality.
almost overnight, flowers and applause came. People often make this sound on the Internet:
"the comedy produced by Happy Mahua must be fine!"
however, on the one hand, this is pleasant praise, on the other hand, it is inevitable pressure.
is like a sword of Damocles, hanging high above their heads.
Ren Suxi and Wu Yuhan began to worry: can the things they create meet the expectations of the audience?
how to break this dilemma?
there is only one way for them to go: speculate and make progress over and over again.
first, get rid of what is called vulgar content from the beginning and decide on the script you really want to do.
then, in the process of shooting, he constantly honed his acting skills.
there is a counterpart in half Comedy--
finally found himself betrayed Momo (Ren Suxi), angry to grab a knife to chase out the door, Sun Tong (Wu Yuhan) tried his best to stop her.
then he calmed down, he squatted at the door and looked at her, and she squatted in the room to cover her face and cried.
Time to update your wardrobe and add some ruffle wedding dresses factors. Spend time and consider this selection.
disappointment-anger-sadness are intertwined, and the emotional transition is extremely natural, which makes people feel sad.
this is their answer paper handed in by the film, while the audience evaluation is the teacher's report card.
and this time, they all got an A score.
Wu Yuhan said:
"No one has missed, and no one has been plain sailing. This is normal, in fact, we are seriously doing what we want to do, as long as we do it seriously and do the best we can, we will be very satisfied. If it doesn't feel good, OK, let's learn our lesson and come back next time, it's true. "
the endogenous force that is so serious and introspective is the real reason why they are not detained by the predicament.
they finally found their own Yi Xian Tian (One-Line-Sky) from the gifted show business.
"I'm going to bump into it"
there is a shocking line in half a Comedy--
"it's not that I don't know what the world is like. I just want to see if it's okay. I bump into it and see if it kills me."
not soft. It's hard. But there are principles.
principle is particularly important.
in the movie, you can see Momo's "intransigence": say what is wrong and do what is right.
this principle and intransigence also properly neutralized Sun Tong's "pussy", making him stand up straight and dare to say no.
outside the movie, Ren Suxi said frankly that she and Momo are very similar:
"paranoia. Paranoid. This kind of character can't be changed. It doesn't mean you can change it if you want to. "
for Ren Suxi and Wu Yuhan, actors have their own spiritual pursuits.
they hope to try to tell the audience something through their works.
when Uncle asked them what a "good comedy" was, Wu Yuhan said:
"the kind of thing that smiles off can actually be called a comedy. But I think it's really good to ask the audience to laugh at this thing in their hearts, to be really happy and to let him go. "
Ren Suxi believes that besides laughter, there is another definition of comedy:
"I haven't considered what kind of comedy is a good comedy. Of course, if you ask me, I don't even think about it now, I can tell you: I think I can take away something other than laughter, even if it's more successful. "
what does "something else" mean? Ren Suxi also gave us an answer in the interview:
"I think we should at least ask questions, which is the role of the creator."
in their bones, they are always idealistic. They are eager to pry the earth with their own power, even if it is only a small corner.
"because the answer is that there is no answer all the time," Ren Suxi said. "We are still in life, and we are still in progress. All the things need to be put forward and discussed together. I think we have this responsibility. "
Star interview x
Ren Suxi & Wu Yuhan
one book a week, read all things in the world, sing and walk with you.
this is Uncle's star interview program "Star interview". The guests we invited this time are two really good actors-Ren Suxi and Wu Yuhan.
if you have any questions you want to ask,
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