Text | ZMH in the late summer on sunny days
In 2018, the Qing costume palace fighting drama "Yanxi Raiders" was released, with the plot of "upgrading and fighting monsters", exquisite costumes and props, once the drama was broadcast, it quickly occupied the major hot searches and became a topic of discussion among audiences in the streets and alleys. The popularity of the play has also won the popularity of many actors in the play, many of whom have become popular again with old actors such as Nie Yuan and Qin Lan.
For many TVB fans, the show also has a big highlight, that is, it has the former TVB boss Hua Dan She Shiman to join. As the first double-material queen in tvB history, over the years, Charmaine She has created many classic screen roles with her changeable drama path and superb acting skills, leaving a deep impression on many audiences familiar with Hong Kong dramas and being a real powerful actor.
In "Yanxi Raiders", She Shiman played the role of Concubine Xian, this role from the initial indisputable pure liang, to the later encounter with family changes and blackening, and then frequently borrowed knives to kill people to climb up to become the empress, both to maintain superficial kindness, but also to play tricks in the dark to consolidate the position, the character personality from light to dark, complex and changeable, extremely challenging.
Despite this, Charmaine She lived up to expectations and successfully brought this layered and diverse role to life. It is also through the role of Concubine Xian that She Shiman has received the affirmation of countless audiences from the mainland, truly realizing the transition from Xiangjiang Hong to the mainland.
And all this is inseparable from the person who has been hiding silently behind her- Su Baili.
As a well-known voice actor and voice director in Hong Kong, Su Baili has been the royal voice of Charmaine She for many years. She is very precise about She Shiman's smile in the play, the ups and downs of the character's psychology, and can always be shown in the right voice. So much so that for many mainland audiences, Su Baili's voice is she herself.
In fact, in addition to She Shiman, Su Baili is also the royal voice of well-known actresses such as Xuan Xuan, Li Zi, Cai Shaofen, etc. In many Hong Kong dramas and movies well known to mainland audiences, there are many classic characters who are Chinese voiced by Su Baili.
She entered the industry in the 1990s and has starred in thousands of film and television dramas for thirty years, although she is not as often active in front of the public as an actress, but her voice has accompanied the growth of generations and become an inseparable part of people's memories of those classic roles.
Su Baili was born in 1971 in Tianjin into a family of pear gardens, and her maternal grandfather was Xun Huisheng, one of the four famous peking opera masters, the founder of the Xun school. Su Baili grew up with her grandmother in Tianjin, she inherited her grandfather's vocal talent, but did not use it in the field of Peking Opera, at the age of 18, she moved with her mother to Hong Kong.
Upon arriving in Hong Kong, Su Baili received a phone call to find her mother. At that time, she didn't know who the other party was, so she talked to the other party in a vague way. Later, she learned that she was talking to Xue Qun, a famous voice director in Hong Kong at that time.
This phone call made Xue Qun deeply impressed by Su Baili's voice, so he strongly invited Su Baili's mother to take Su Baili to the set. In this way, on the day after arriving in Hong Kong, the childish Su Baili followed her mother to the Jiahe set.
The first time she entered the studio, Su Baili saw four very lively hairy boys, who were dancing up and down to dubbing a film. Unbeknownst to her at the time, these four so-called Mao Boys were the famous Hong Kong band Beyond, and they were pairing the Cantonese version of Teenage Mutant Ninja Turtles. This different experience made Su Baili feel that the dubbing was very interesting and interesting, which led to a strong interest.
Because of her mother's relationship, although Su Baili is young, she also has the opportunity to voice some small characters, but more often, she pours tea and water for her big brother and sister to learn from the shed. After two or three years of such days, with the accumulation of experience, Su Baili can match more and more roles, and the drama path is getting wider and wider.
In 1994, Liu Zhenwei, the director of the movie "Journey to the West", asked Su Baili to voice the blind man in the film. This was the first and only time in Su Baili's life to voice a man, although she was a newcomer and there were not many roles, but her exaggerated and well-placed interpretation finally gave this little character more comedic effects, and her subversive attempts also achieved the first widely known classic role in Su Baili's early dubbing career.
In 1995, a turning point in Su Baili's dubbing career, she officially joined TVB's Chinese dubbing team, becoming the youngest voice actor in the Hong Kong dubbing industry. And that's a full fifteen years.
In the past fifteen years, Su Baili has matched hundreds of film and television dramas, her voice range is wide, the dubbing style is diverse, whether it is a young child or an ignorant girl, or a mature woman, she can perform brilliantly. And she herself is also in the grind, from unknown voice actors, to TVB many well-known female stars of the royal voice actor, and finally became a famous voice director in Hong Kong.
Looking back on this road, Su Baili was lucky, before she realized her talent, she encountered Bole who appreciated her, and accidentally hit and crashed into the line. Director Xue Qun's phone call changed the trajectory of Su Baili's life, opened her long dubbing career in the future, and also allowed her to achieve her own life while giving full play to her talents.
Burson Su entered the industry the day after she arrived in Hong Kong, but as a mainlander, she knew nothing about Cantonese at that time. Still, the sensitivity to sound allows Suberie to quickly integrate into the local environment. But in just three months, she was able to communicate fluently in Cantonese.
However, even if Su Baili has a unique talent for sound, she has suffered setbacks and blows.
Su Baili's enlightenment teacher was Zhao Lingzhi, and Zhao Lingzhi's dignified and generous style profoundly influenced Su Baili, who had just entered the industry at that time. In 1993, Zhao Lingzhi moved to the United States, and Su Baili turned to Wang Huijun as a teacher.
Wang Huijun's dubbing style is known for being spicy and dry, which is a great contrast with Zhao Lingzhi's small family jasper. The two teachers' very different dubbing styles put Su Baili in a dilemma for the first time. At that time, she had already begun to voice some of the protagonists, and suddenly, she found that she could not even match two or three words. No matter how hard she tried, she could not meet the teacher's requirements, and she was bluntly said by the teacher, "Do you speak human words?" ”
Disoriented, Saberie scrambled and began to fall into deep self-doubt. Devastated, she ran back to Tianjin, and for nearly a year, Su Baili lived a decadent and confused life.
Then, after the enlightenment of her family, Su Baili gradually changed her mind and returned to Hong Kong to retrain hard. When she reappeared, Su Baili's dubbing skills had greatly improved, not only absorbing the essence of the two teachers, but also perfectly blending them to form her own new dubbing style. This transformation also allowed her to gain more classic roles.
In the 95 version of "Tianlong Babu", Su Baili, who is only 24 years old, voices multiple characters in the play at the same time, and her variety of timbres give different feelings to different characters, and the ability of one person to play multiple roles is amazing. In 1996, in the movie "God Eater", she also fully showed her multi-faceted, and many directors looked at her with surprise and extended an olive branch to her.
TVB has always been known for its high-intensity work. At that time, Su Baili was basically in a state of continuous rotation. Seven days a week, she worked from 9 a.m. to 2 a.m. the next day, with only two days to rest, but still had to go to work at night. In addition to a variety of large and small series and movies, she also has to take care of dubbing some information programs. At the peak of the development of Hong Kong's film and television industry, TVB produced 1400 to 1500 hours of dramas a year.
In addition, the environment in which the voice actors work is also very harsh. They usually stay in a small dark room with silence, cold in winter and hot in summer, a microphone, a table, that's all they do. At that time, the technology could not keep up, all the voice actors had to record at the same time, as long as one person was wrong, they had to be torn down and restarted.
The time is tight and the work intensity is so great that the hard work of the voice actor can be imagined. However, although life is hard, it also greatly increases the richness of the characters played by Su Baili, and her dubbing skills are also moving to the point of pure fire in the daily honing.
Voice actors are not like actors and can have the opportunity to stand in the spotlight and enjoy the applause of the audience. For them, it is the norm to speak alone into the microphone in the darkness behind the light and shadow. However, behind the light and shadow is not only the working environment, but also the unknown heartache, bitterness and unimaginable hardship in this industry. And all of this, even if the talent is extraordinary, Su Baili is not tasting them all.
In 2012, Su Baili was interviewed by CCTV Chinese International Channel, in which she described her work as "very magical, very wonderful" and "this thing is so fun". At this time, Su Baili has been in the industry for 22 years. But when she mentions it, she still smiles very happily, and in her eyes, we can still see the purity and love like a child.
Su Baili entered the industry early, but she did not expect too much from the industry. For her, fun and interesting is what makes the industry attractive to her. And being in it for a long time also made her slowly like it to "love to the point of being unable to extricate herself".
Although it is at the end of the film and television industry chain, the difficulty of voice actors is higher than that of actors. There is no opponent to play, no so-called situation, props, all of which must be imagined by the voice actors themselves. Despite this, they still have to show the feeling of the scene, not only to match the mouth shape of the actor, but also to adjust themselves at any time to fit every micro-expression, micro-breath, and micro-movement of the actor.
In 1999, Su Baili wanted to voice the role of Liu Piaopiao, played by Cecilia Cheung in the movie "The King of Comedy". Because Cecilia Cheung's voice is relatively hoarse, and Su Baili's voice is rounded, in order to fit the characteristics of the actor's own voice, Su Baili can only use the hoarse tone when she just woke up. Despite the devastation of her throat, she still had no remorse.
Although voice actors can't really play different roles like actors, they can still experience a different life in their voices, which has always been a fun place for Su Baili to be dubbing. However, behind the fun, hidden is her heartfelt love for this industry, is diligent, careful to speculate, is selflessly involved in it.
During the recording process of the TV series "Chu Han Jiaoxiong", there is a scene in which Lu Yan, played by Zhang Keyi, encourages Liu Bang, played by Zheng Shaoqiu, to bravely stand up and rush forward. At that time, Su Baili was the voice of Zhang Keyi, and after she finished a period of excitement, she stood up from the dubbing table until she walked out of the recording studio, her body was shaking, and the tears had been flowing, and this state lasted for ten minutes.
When she mentioned this matter many years later, Su Baili still remembers it deeply, and she deeply remembers herself at that time, "the kind of trembling that is completely out of control."
The full dedication of the dubbing not only makes Su Baili's observation of the actors meticulous, but also makes her have a tacit understanding of the actors she often matches. After "Yanxi Raiders" became popular, Su Baili once said very confidently in a program that every eyebrow, every corner of the mouth, and every breath in the play can be "completely synchronized", and even without looking at the picture, only looking at the dialogue can be matched.
Thirty years into the industry, through the grind of life and the baptism of years, Su Baili has always maintained a sincere love for this industry. This love allows her to get rid of all kinds of shackles and truly enjoy the joy of behind-the-scenes performances; it gives her the freedom to switch freely between light and shadow and reality, between self and role. It is also this love that makes her voice forever remembered by time along with classic works.
In the early years, Su Baili always felt that the work she was engaged in was very ordinary, although she had achieved a lot of achievements, but for her, this was only a hobby of her own, and there was nothing special about it. It wasn't until she and her colleagues traveled to the mainland that something happened during which she completely changed her mind.
When they arrived in Shenzhen, passing by a place, they saw a group of people laughing happily around a TV set. Su Baili curiously went up to look at it and found that "In Search of Qin" was playing on the TV, which was exactly the work of her own voice. Because it was broadcast in Cantonese in Hong Kong, Su Baili rarely had the opportunity to see Chinese version of her voice and never understood the audience's reaction to her dubbing work.
And this experience, the recognition and acceptance from the audience gave Su Baili a lot of shock. She began to realize that it was a career, not just a job.
After 2000, the focus of Su Baili's work gradually shifted to dubbing directors. Her previous outstanding performance in film and television dramas has also impressed many directors, including Stephen Chow. Subsequently, many of Stephen Chow's films, such as "Yangtze River No. 7" and "Kung Fu", were dubbed and supervised by Su Baili.
Due to physical reasons, Su baili left TVB in 2009. However, Su Baili, who left TVB, did not leave the dubbing industry. After a period of rest, Su Baili returned to the mainland and founded Beijing Liyin Liuxiang Cultural Communication Co., Ltd., which opened a training course to pass on her years of experience to the younger generation.
Being able to start from the beginning in your favorite industry and make some achievements is a rare and very complete thing. However, for Su Baili, although she has achieved fame, there are always regrets in her heart.
This regret comes from a classic Chinese movie - "Fancy Years".
Set in Hong Kong in the 1960s, Millennial Fantasia tells the story of Su Lizhen and Zhou Muyun, who began to contact each other and developed feelings after discovering that their respective spouses had extramarital affairs.
When she voiced the film, Sherley was only 29 years old. Although there are directors who are next to her to talk to herself, due to her young age and lack of corresponding life experience, Su Baili feels that she has not mastered all the inner things of the characters.
Years later, in the face of various interview shots, Su Baili repeatedly said that she "especially hopes that "Fancy Years" can be re-matched." And this has become a regrettable place in her entire dubbing career.
From the day she entered the industry, Su Baili has always been doing dubbing-related work, from voice actor to dubbing director to dubbing teacher, her life has only focused on doing one thing, and has done it to the extreme, making it a classic. This kind of concentration, this persistence, makes her life and light and shadow closely intertwined, blended, and ultimately achieved each other. Even if there are regrets during the period, it has become a kind of beauty, embellished with the most real life path when it comes.
In the 1990s, when The film and television industry in Hong Kong was at its peak, TVB produced a large number of excellent film and television dramas and variety shows, and paired them into Chinese versions for Chinese people in mainland China, Taiwan, Southeast Asia and other countries to watch. Su Baili, who entered the industry by chance, benefited from the opportunity of the background of the times and used her own efforts to shape countless screen classics.
From the moment she decided to stand behind the scenes, perhaps Sabrey su was ready to go into obscurity. For many viewers, perhaps this life will only remember those beautiful postures and good faces in the light and shadow. However, time passes, and when we regain our memories, the classics in our impressions must also contain those familiar sounds.
Behind the light and shadow, people as obscure as Su Baili, with their love and their persistence, have achieved light and shadow at the same time, but also interpreted their own wonderful life outside the light and shadow.
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