In the month before and after, the film and television circle had two more homes, one "An Jia" and one "Big Winner".
"An Jia" became more and more uneasy the further back, but "The Big Winner" started with a win.
A week later, Douban scored 6.8 points, which is a relaxing achievement for the domestic Japanese and Korean remakes that have been criticized repeatedly.
The first director interviewed yu Miao, the director of "The Big Winner" this week, just entered the year of confusion, the screenwriter veteran of more than ten years has the second directorial work of his career, he still insists on two things like the previous "Caller", 1, play group comedy, 2, please take the six words of "Yu Miao's director's work" from the beginning.
What's the point of taking it down? Guidance disputes? Isn't the adaptation ideal?
Of course not. In my opinion, "The Big Winner" touches on very hardcore views, some of which are unprecedented, that is, the anti-conventional character depiction of "Wu Jing wants to pull out a gun" and "Ding Sheng looks at the fight", which is a unique dialogue between personal will and system.
The reason why I don't want to call it "director's work" is because Yu Miao's first priority for the team's creation is respect. He especially thanked the supervising producer Teacher Li Xiao, who wanted everyone to be on the "first page" of the opening film, in addition to the "director's work", there were also "supervising production works", "photographic works" and "driver works", just like the intention of the whole play of "The Big Winner":
"A lot of young people will say that people's lives are too short. But your willfulness, there must be someone to guarantee you to do this, then should you turn back to respect him? ”
"We never want to mock any person or thing, we just put up a mirror and let the person who looks at the mirror correct his posture or body shape."
In order to set up a good mirror, Yu Miao, who came from a finance background, called out all his classmates who are now bank presidents to dinner, did not ask about financial management, and only thought about "whether it is possible to rob the bank in the end."
Yu Miao and his team sat at the door of the bank, observing the road conditions, studying the bank's work and rest, and the "criminal evidence" could be included in the camera.
Director Yu Miao
In addition, Yu Miao also talked about 5 important abridgements, each of which can produce new inspiration for the understanding of the film.
Yu Miao is also our first director to do the first director interview with the new film of theatrical standard after the epidemic, so we are more willful, do not talk about actors, do not talk about external industries, pointing directly to the "Big Winner" play itself, the adaptation problem you want to know, the gender relationship you want to know, and the author's contemporaneity, all mentioned.
Finally we can repeat our slogan again.
The directors who came here dared to tell the truth.
A bit nostalgic.
And pleasant.
<h1 class="pgc-h-arrow-right" >01</h1>
First Director: What was the creative rhythm between "The Big Winner" and "Caller" was, and I felt that it would soon appear.
Yu Miao: In fact, it was very coincidental. The grinding iron company has been getting the adaptation copyright for some time, and it has not been developed. One day the producer came to our company and asked us to help the staff officers, and my long-term partner, Mr. Li Xiao, was talking to them in the office.
I was a particularly unstoppable person, listening to them muttering in the house, as if it was quite interesting, I sneaked in to join the discussion, and suddenly my mouth did not hold the door, and I said a lot. After the conversation, they said, or you can do it.
First Director: Do you remember what core opinions were made when you entered the house, and you got it?
Yu Miao: For example, with a rigorous career setting, you know that this is very important. There must be one person in every office who hates mannerisms immensely, who could have passed easily, and he was more real there, causing the whole group to leave work late. But this kind of person, is he wrong? Is he seen as a monster by us, or should he be respected by us?
Many young people will say that people's lives are too short and they are afraid of a fixed life, but you must not forget that freedom is freedom within the boundaries of the frame, in fact, your willfulness, the passion you pursue, must be someone to ensure that you do this, then you should not turn back to respect him.
First Director: I have seen the Korean version of the movie, but the Japanese version has not been found.
Yu Miao: Yes, there are no subtitles, and you can only "guess" to see.
First Director: From the original novel, to the Japanese version of the movie, to the Korean adaptation, you have all referred to it, right?
Yu Miao: Yes, yes.
First Director: Because I have not seen the Japanese version, I am curious about the difference in the Adaptation of the Original Japanese Novel in the Korean Version.
Yu Miao: In fact, like us, it is to make it more local.
The first director: The original novel was born in the 80s, when the Japanese economy was booming, and Japanese aunts went to Manhattan to buy a house or something, but the original book was first adapted into a movie in 1991, just in time for their bubble to burst, and some of the texts and the feeling of the era are very interesting.
Yu Miao: Actually, I will also put some things with the background of the times. I am a student of finance, most of the students are working in the bank, and now the bank is laying off employees, it is not called layoffs, called changing the business model, all use robots. The teller who used to sit inside the counter and serve you may now be a lobby guide, teaching you how to use those AUTOMATed terminals.
Five years ago you would have thought this bank lobby was built to great quality, but now you go to any bank, there is no popularity, it's all machines, so we have this robot in the movie. The movie "The Big Winner" may be our last impression of the bank, and this is the iteration of the times.
<h1 class="pgc-h-arrow-right" >02</h1>
"Look at the world correctly and the world will be warm. Many people say to follow the laws of survival, but civilization itself is not like that. ”
First director: The three words of the title "The Big Winner" are reflected in the lines, what personal expression do you have in it?
Yu Miao: In fact, you see the Japanese version of the earliest called "The Game Never Ends", it is aimed at events, the Korean version is called "Spontaneous and Live", it is more focused on the protagonist itself, but we use "Big Winner", is to say, who is the winner, whether it is a single win or a win-win or a win-win.
Our English name is not Winner, but The Winners, and all the characters, no one loses, get it. The "big winner" is first and foremost this perspective.
First Director: "Winning" is something that the utilitarian era is particularly eager for, is this the first thing you criticize?
Yu Miao: I don't think so, you have to look at what the object is to win or lose, in a period of competition for fame and profit, facing yourself, this is more difficult.
First director: Win yourself, for example, this film must have a higher rating than "Caller" .
Yu Miao: Haha, no. When I was very young, I practiced high jump, but you will find that the high jump project, no matter whether you win or lose, even if you take the first place, you will end up failing.
First Director: What is this philosophy?
Yu Miao: Because in the heart, there is always a height that you can't overcome, even if this game is won in the end, I am left with myself, but there is still a height that I have not reached, so I will always fight under a height.
First director: In fact, it is a kind of self-motivation, positive energy.
Yu Miao: Yes, people's hearts are impetuous now, that is, people born in our era, our parents have taught us since childhood, you must know how to compete, know how to take shortcuts, adapt to society, we take these as a matter of course.
The spirit of stepping into society at the age of twenty and competing with themselves will slowly be wrapped up in the skills we need to survive in this society, and the more they are wrapped up, the more strict they are. Finally turned into a greasy middle-aged man, unrecognizable.
First Director: Well, it's the kind of "I became the person I used to hate the most" I ever did.
Yu Miao: Yes yes yes. There's a song that's pretty popular, "Teenager" yeah, I'm still the teenager I used to be.
First director: Rigorous and surrounding there is a "cognitive" reversal, before feeling that people around you are not good for you, and then found that everyone cares for each other. Do you really think so?
Yu Miao: When you are full of hostility, the world you may see is only narrow, and Ge You in "Big Shot" said to Guan Zhilin, you can see so far, I can see so far, Buddha is here, Buddha can see so far. He is a process that always makes people stand one step higher to look back.
You have seen "The Terrorist", his ending, at the beginning, he thought that the male protagonist shot everyone because of dissatisfaction, but when he woke up, no one died, he committed suicide, and he did not even have the courage to kill those people. That's the big difference between reality and the environment we've created or the world you think.
"The Big Winner" is the same, look at the world correctly, and the world will be warm. Many people say that the world is cold and follows the laws of survival, but civilization itself is not like this.
First Director: This is the theme of your complete movie this time.
Yu Miao: Right.
<h1 class="pgc-h-arrow-right" >03</h1>
"When we saw the scenery, we stood on the side of the road, crouched in front of the bank, looked at the terrain outside, and everyone discussed how to grab the bank."
First director: From the time you "broke into" the office to chat with the producer, to the final film, did you have many ideas to give up?
Yu Miao: The biggest change is that the emotions of the male protagonist have been greatly deleted, and our first cut is twice the length of the current time, and they are crazy after watching it.
First director: If the core is there, it is a pity to give up part of love, right?
Yu Miao: It's not a pity, it's a necessary job, I especially understand a lot of directors, the film is cut very long, too wonderful and too good B, reluctant to delete.
First Director: Is the process of adapting the script long, or is it done quickly?
Yu Miao: It is not fast nor long, I started writing from the summer of the previous year, and completed it on New Year's Day last year, a few months. New Year's Day should be the third draft.
First director: Did you go to the bank to collect wind during the adaptation, or do an interview with the police or anything?
Yu Miao: A lot. I have a convenience, just said, my college classmates all work in the bank, all the major banks have, and now they are all Wu Xiaojiang's role, all of them have done the middle leadership position of the branch president. When I went to Nanjing to see the scenery, I called out all my classmates who could call out. We sat down to have a meal together and discussed the possibility of robbing a bank now.
First Director: Had this experience?
Yu Miao: There is no real robbery, but every year there will be anti-theft drills. Including the internal structure of this bank, the process of alarming has been explored. When I watched the scene, my whole team stood on the side of the road, crouched in front of the bank, looked at the terrain outside, and everyone discussed how to grab the bank.
First Director: Then you were suspicious.
Yu Miao: Yes, the production director pointed to the camera next to him, and everyone spoke quietly, which had already been noticed.
First Director: Real exercises, how did your classmates set up the role of robber? Or is it the police to arrange it?
Yu Miao: There are many kinds, generally speaking, it is a drill within the bank, finding one person from the bank to play the robber, and then others divide the remaining roles. The alarm bell may be ringed during the exercise, so greet the local police station in advance, and if the alarm bell rings today, you don't use it, we exercise it. I have also experienced a lot of firefighting or geological disaster drills, and everyone is laughing and laughing, like participating in a school sports day.
First Director: I was wondering, when you portrayed Tian Yu as the president of the bank, all kinds of sleekness and prevarication, would the students feel uncomfortable when they saw it?
Yu Miao: No, no. The reason why he can be called a character is that it must be meaningful to be him, not to blindly show his smoothness, in fact, I want to wake him up. There are many people around me in this state, you see there are bigger leaders pressing on the top, and below you have to unite these subordinates of him, some new people who are not so obedient, he is pressed up and down, this is what I mean by the so-called life skills wrapped up to even recognize themselves.
In fact, in the command car, du Yuanyan's old police chief said, strict and such a good young man, you want to fire him? Tian Yu actually had a line at this time, "Why have I become like this now?" Later, when editing, it was deleted, leaving only one expression for him.
First Director: Isn't this line quite off-topic?
Yu Miao: Too blunt, any role or bridge section has a substitute for different audiences, once it is put too directly, it can only represent one kind of person, I hope Wu Xiaojiang can represent more people. The audience will feel that the place is a little unclear, but there are more things that can be thought of.
First Director: Are you like Wu Xiaojiang yourself? I felt that I had become the kind of person I had ever hated the most.
Yu Miao: I think fortunately I don't have it now. I'm ok. Because our work is relatively simple. You see our team, whether it's our screenwriters or our director's team, it's actually always behind the scenes, not too much forward.
When you don't want as much, your mindset can always be very simple. If you want everything, your mentality will be driven by desire to rise layer by layer.
<h1 class="pgc-h-arrow-right" >04</h1>
"In fact, the old director and the 'robbers' are in the same gang."
First Director: Ask the core question, sticking to the logical motives of the characters, and pursuing a particularly fierce dramatic conflict, which of these two do you prefer, or trust more?
Yu Miao: For us, these are the two stages of drama learning and creation. The first stage is the intense conflict of pursuing things, one thing after another, and you have to know how to take a strong drug, how to fill the event, and then push it to the end at a certain rhythm.
But the other one you said, the inevitability of character logic, is more difficult, and this is the second stage. Even the short dramas done abroad now, it is deduced through the mood of the characters, when he is faced with a very small thing, he has an inevitable choice, and then because of this choice, the next thing happens, one link after another.
What I'm more about now is to set up this character, and I like this model.
First director: That is, for example, the role of Xing Yunzhu, played by Dai Lele, she wanted to end the exercise quickly at first, because she asked the doctor to go to see the dental, but then she saw a few handsome men from the SWAT team, hurried up to talk, and she didn't have a toothache, what is the internal logic and exaggerated dramatic relationship here.
Yu Miao: Your question is relatively vague, the toothache is the direct reason why she wants to leave the exercise, it is a reason for her irritability, this is her internal logic. This aspect of her obsession is actually a manifestation of gender equality between men and women. In the past, we often showed a man seeing a group of beautiful women, no, no way to walk. Why can't we show that the handsome guy who looks like a woman can't walk.
You see there are a lot of vibrato, do you say you are hungry for men? I'm not hungry, but I drool as I speak. And I think the young guy, he must be attractive to the opposite sex, why should we avoid this, why bother?
First Director: I understand your intentions.
Yu Miao: In the past, when we female comrades saw that the beautiful guy only wanted to secretly stare twice, we thought in our hearts, why? I can't just say that I like this, sister, why can't I find a younger brother?
First director: In the past, Hong Kong films had many such performances, such as Wu Junru and the like.
Yu Miao: At that time, when I was talking about swatten police, I found that the female colleagues in the group had their eyes narrowed, and I thought that this might have a certain real representation.
First director: After filming, you can also add a WeChat.
Yu Miao: I think they have this heart and not this guts.
First Director: Is the SWAT in the film real, or is it an actor?
Yu Miao: They are all specially selected actors, the appearance is a little tougher, there is a little sunshine, the police, handsome is also a reality, you see our honor guard, the troops stationed in Hong Kong, the young man is handsome! I did look at the guy in the local CO-OP team, one more than the other. It's not the era we remember, it's not the era of the rough guys.
First director: Just talked about SWAT co-production, the tactics in the film, is there real guidance, or is it just imitated from other movies?
Yu Miao: There must be a SWAT scene to ensure the rigor of our film, try to minimize flaws, once the audience starts to correct your mistakes, this matter is a bit difficult to do.
The first director: The Korean version is the protagonist through the pipe exhaust caused by the lack of oxygen of the SWAT, then we are here through the ceiling fire spraying caused by the SWAT ground electrocution, this can stand up to scrutiny?
Yu Miao: At this plot point, we are more in the position of "robbers". Our country's branch banks generally do not have vaults, no airtight, and no exhaust system, but the police will definitely break in through the back door, how to trip the police, dig a pit for them, this is what we do. Through trade-offs, only electrocution may be relatively valid.
We went to the electrician and asked if there would be an electric shock here, if that would cause a trip, if there was any danger. I also asked the fire, what is the principle of the sprinkler, how much force is needed to support this thing, what will happen when the water is sprayed out, and we have all filmed these, in a more fun way to show it, but the final editing is simplified and simplified, and it is not put into the film.
The first director: There are two officials in the police area, the biggest officer is the director of Du Yuanyan, and then there is the detachment leader played by Zhang Fan, the relationship between these two characters is a sense of opposition, how do you determine this relationship, everyone knows that we are more careful when we describe this aspect now.
Yu Miao: The police chief and the detachment leader are actually superiors and subordinates, but they are nominally subordinates, but the internal relationship feels like a master and apprentice or a father and son.
I believe that the leader of this detachment must have handled countless major cases, and is a very proud person who has no disadvantages. Then he will feel pediatric about such an exercise, so when he arrives at the beginning of the movie, he will say this point to the police, solve the battle in half an hour, and then take the bulletproof suit and say, give me 5 minutes, I will pull the boy out for you.
This director may be close to retirement, trying to dissipate your sharpness and teach you a lesson. In this attitude, the director looks at the overall situation and will be slightly biased towards "robbers" in his mentality.
First Director: But sometimes you will find that the "robbers" have also been the director of the first army.
Yu Miao: I will reveal to you one more point, we also shot it, but the material was deleted after a long time - in fact, this old director is in the same group as Yan Yan.
First Director: Emma Duck.
Yu Miao: There are many ways that this director taught rigor, what you can do at this moment in this place.
This is a dark line, that is, after choosing Rigor to be a robber, the old director and Rigor have a dialogue, and finally it is reversed. None of us put this content out because we were afraid of affecting this storyline of rigorous singles.
In fact, if you think about it, a police chief, choose a person who is not a policeman to play a robber, do I want to censor him? I said you guard me well, don't let them take it down so quickly, give you two moves, do you think this is possible? I'll reveal one more thing to you...
First Director: And what else!
Yu Miao: Have you ever seen a real case on Weibo, a robber who went to rob a bank, and then very dead-eyed with a hammer to knock on the glass of the bank, knocked for 5 minutes, and finally knocked a hole, climbed in, and finally stuck in the glass of the video.
In 2011, a robbery case of a postal savings bank in Baodi, Tianjin
First Director: I can remember as soon as you say it.
Yu Miao: OK, we have filmed all the details of this case, it is the story of the beginning of our whole film, and the script is also presented in this way. Now you think about it, how difficult it is to rob the bank, and when you smash the glass, people will already hide the money, right? Considering the rhythm of the film, the scene was deleted.
<h1 class="pgc-h-arrow-right" >05</h1>
"Never deliberately play with images, why should I use my weaknesses to compare with other people's strengths."
First Director: Have you ever thought of letting rigor fail in the end, and everyone will practice as usual without principle and make a reverse criticism?
Yu Miao: You want to say "Hot Day Afternoon", "Hot Day Afternoon" ultimately failed. In fact, the original "Game Is Not Over" that buddy directly on the helicopter, and will never end. The Korean version is desperate and chooses suicide. That is to say, in this bureaucratic system, his weakness and his weakness, choosing to resist is also a dead end. This may have something to do with their social structure.
Korean version of "Live Casually"
But when we're here, we want to explore whether I can change the world on my own. Or maybe I don't want to change the world, but the world has changed because of me.
First Director: Has "The Big Winner" finally reached the level of ridicule of people or things in the film?
Yu Miao: When we made films, we never wanted to mock any person or thing. We just set up a mirror and let the person who looks at the mirror correct his own manners or body shape.
I've used an analogy before that anatomy laid the foundation of modern medicine, why? Anatomy is really very cruel, seemingly immoral, a person dies you have to open your stomach, the public to pull out, the intestines here, the stomach here, the tumor here, but our film and television works are also like this, I want to dissect the reality, let everyone observe, and then let everyone know what is in it, this may be a meaning of our doing this line.
First Director: Finally, back to you personally, both films are adaptations, if others ask about your originality, what do you say?
Yu Miao: It's really a coincidence. Many people ask me if it is easier to adapt the script, and I replied with certainty that adaptation is not simpler than the original, and in some places it is even more difficult, you have to avoid some things, but also have your own innovation, and you have to be in the same framework, which is more difficult than doing pure originality. On the other hand, "Hot Day Afternoon" is also an adaptation of real people, and the source of the original is multi-dimensional.
First Director: Do you have an original on hand now?
Yu Miao: Pure originality has ah, there are reserves. But incubating a movie sometimes requires a little luck.
First Director: Have you ever thought about playing with a little bit of video stuff that doesn't always put storytelling first?
Yu Miao: At the beginning, we all had this idea, we all watched a lot of bullish films directed by bulls, and we all wanted to arm ourselves to the teeth, but when I was shooting the first "Caller Boom", director Zhang Yibai gave me a supervising producer, and he warned me that as a new director, you have to grasp what you are best at, and the plot is solid. Whether a story is good or not, and how much technology you photograph shows, or how different your image is, are two different things. I still take this as a warning to this day.
First director: "Caller" can indeed play some images, like "Shudder Space".
Yu Miao: Yes, we rented an empty venue, made an indoor model, and then every day we took the stuntmen in various camera positions, all kinds of techniques, and even some cameras through the wall, and then the wall pushed towards the camera, which was very good. But then you suddenly realize that what you really need is a powerful story, and you put your energy into that, and you might as well communicate with the actors.
I've been a screenwriter for many years, and I'm a very senior screenwriter, but when I came to directing, I was a new director. From the screenwriter to the director, it took a long time to lay the groundwork. So when I make a film, why should I use my weaknesses to compare with other people's strengths, or use my weaknesses to lead a work?
Although I like to watch the kind of movies that shoot very well, you will find that in the former Soviet films, there was no strong image style, but the story was very powerful, like making fox chong practice the lone nine swords, you learned it and forgot it, became your self-awareness, and then expressed it in the way you wanted it most.
First Director: From "Caller" to "Big Winner", is it easy to solve the problem?
Yu Miao: In fact, every problem needs to be re-solved, and there will be new problems in a different environment. Fortunately, everyone is willing to work with you and rely on you.
At the beginning of the subtitle, the film side was very considerate of me, typed a "Yu Miao director's work", I said thank you, sorry, help me remove it. Why I never say that "The Big Winner" is "Director Yu Miao's work", even if it is the third and fourth parts, I will not put a few words on the opening of the film. If you have the ability, you should put everyone's name on it, this is Li Xiao's supervising work, Wang Si's screenplay work, this is Gao Hu's photography work, this is the work of which driver, I want to get it.
I've only made two films now, and if I want to make them in the future, I'll probably make a dozen or twenty films, and this thing is supported by faith.
Interview, Writer/French Film