Shaping a railroad soldier in the disaster movie "Peak Explosion" is a big challenge for Zhu Yilong, who needs to complete rock climbing, drag racing and a lot of rain scenes. How to make his body adapt to the rhythm of the railway soldiers, in Zhu Yilong's view, there is only one secret: "Overcome the obstacles in your heart." After filming "Peak Explosion", Zhu Yilong said that he wanted to pay tribute to these old railway soldiers, and it was precisely because of their dedication and hard work that they laid such a solid foundation for the next generation.
Written by Liu Qian, a reporter of this magazine
Q: When you received the invitation to star in "Peak Explosion", what was your first reaction?
A: I'm still excited, because this is a subject I've never been exposed to before. This is also a play about the old railway soldiers, about the Chinese railway construction, there is a very interesting and very profound father-son relationship. I think this movie will bring you infinite power, infinite warmth. Before entering the group in Beijing, we would discuss the script with the director, visit the memorial hall of the old railroad soldiers, and understand the story of that year. After joining the group, we would go to the real construction site tunnel, talk to the real China Railway construction people, and collect a lot of materials. I also tried a lot of action scenes in this movie that I hadn't tried before.
Q: What are the characteristics of your character Hong Yizhou, and what is the biggest charm? How do you feel similar to him? What's different?
A: Hong Yizhou is the director of an explosives research office. I think he's a very professional guy who brings a sense of security to those around him. However, although he looks more powerful on the outside, in fact, there are still relatively fragile places in his heart, and he has always had things in his heart that he is worried about. To say that we are similar, I think we are quite tough. But the emotions between Hong Yizhou and his father, including many of his experiences, are things I have not felt, and many of them are completely different.
Q: What was the biggest difficulty you encountered in shaping the character of Hong Yizhou?
A: I think the biggest difficulty is physical. Because I have a lot of action scenes that need to be shot in real life, and while completing these action scenes, I need to have very full emotions, to deal with very delicate father-son feelings, because this drama is very dramatic. But when you actually climb on the top, when the cool water and the water of the waterfall wash on you in February, your physical function will lose a lot of mobility, but at the same time you have to overcome such physical function, which is actually quite difficult.
Q: Does the character of Hong Yizhou also have some personality differences with you, because he will burst out a particularly large energy, how do you mobilize and explode this energy feeling?
A: This has a lot to do with what I said before about the life experiences of caifeng, you have to know what the emotions here are, or you need to find a point, and your emotions in that place will be more real.
Q: There are some underground rescue parts in "Peak Burst", the environment is very narrow, have you noticed how the staff in this scene set up the lights and cameras? Then what do actors need to cooperate with in their performances?
A: Because all the roads in these scenes are very narrow, the choice of camera positions is very limited. In that situation, the actor actually has to cooperate with the camera more often, including the light source, and the flashlight in the actor's hand becomes a very important light source, so it must cooperate with the performance of the opponent, but also with the camera. In that stage underground, when I was playing with Huang (Zhizhong) and then we were often playing against each other, we not only needed to be real in the performance part, but you had to keep the movements in your hands, and it was to give each other a light as good as possible. A lot of times the light should also cooperate with the lens, when the lens is shaken to where, your light should be from which angle to enter, and then the lens language is to express what, many times have to be rehearsed in advance, rehearsal is still quite long.
Q: The scene in the cave felt very hard to shoot, how did you feel when you first went in? Does it feel particularly dark or shocking?
A: The degree of shock brought by the real scene is really different from that in the shed. When you really enter the real scene in those caves, it brings you that sense of oppression and reality, which cannot be replaced by other things, so it is good to feel really in there.
Q: You also have rock climbing and rain scenes in the play, is this a challenge for you?
A: People are really adaptable sometimes. At first I thought it was really hard to complete. But when you get used to it for a week, you find that it's actually okay, and after a week you find that you've adapted to this rhythm, and you've adapted to the state of going from morning to night every day. After this scene was filmed, I had developed a very strong interest in rock climbing, and I wanted to stick with it. Through this play, I also deeply realized that many difficulties or obstacles that you may not be able to overcome, after you continue to try, repeat, and then overcome some of your inner obstacles, in fact, you can achieve.
Q: Are you satisfied with your performance in Peak Burst?
A: Ok. "Peak Explosion" is a work of bitter pleasure. Although every day is in a very difficult environment, everyone is very happy, encouraging each other, and then joking, the overall feeling is very warm. I think this play from my point of view, whether it is the whole team or the actors, or all the departments, everyone in this play to bring the spirit of the railroad soldiers into it, everyone is working very hard to complete such a work, so I hope that the audience can finally feel this spirit in the cinema.