Sohu Entertainment Special Article (Lin Zhenxin/Wen) "Dream Hualu" has recently ended as a member.
The 8.3 Douban score, the enthusiasm of the whole people to chase the drama, and the atmosphere of life and death have prompted everyone to repeatedly study the "explosive code".
Sohu Entertainment also invited screenwriter Zhang Wei to chat with us about the creative ideas of "Dream Hualu" and share the creative concepts and experiences of more than 20 years.
Screenwriter Zhang Wei
From writing about young girls growing up after being frustrated, to many "sister and sister" stories in recent years, Zhang Wei's works always convey a strong femininity. In her view, this has a deep connection with personal experience and the era in which she lives.
As a result, she also believes that "Dream Hualu" is loved by the audience "probably because we have experienced the same era, and we are sensitive to the same things."
But more, for the success of the series, she boiled it down to "good luck": "'Dream Hualu' is a very lucky script. ”
Zhao Pan'er "anti-quotient high", Gu Qianfan "imperfect"
Sohu Entertainment: "Dream Hualu" has been recognized by many audiences as a blockbuster drama out of the circle this summer and a high-scoring drama in the first half of the year. Many people appreciate the female group portraits in the play, Zhao Pan'er played by Liu Yifei, Sun Sanniang played by Liu Yan, and Song Yinzhang played by Lin Yun, all of which have received different degrees of praise. The role of Zhao Pan'er is deeply loved by the audience, can you analyze the character from the perspective of the screenwriter?
Zhang Wei: Zhao Pan'er was the daughter of a carefree petty official before she was 9 or 10 years old, born in a border city, with a cheerful personality, but she was not admitted to the music and became the lowest woman.
Mother Zhao and Song Yinzhang's sister taught her some self-preservation methodologies at this time, which were actually the crystallization of this kind of female kindness and wisdom from the bottom.
Then after she left the country at the age of 15 or 16, she first made a living in the restaurant, learned business experience, sold tea in Qiantang on her own, experienced the ups and downs of life with strong winds and waves, and was kind by nature, so her psychological endurance and empathy for others will be particularly strong.
Sohu Entertainment: What about the role of Gu Qianfan?
Zhang Wei: Gu Qianfan and Zhao Pan'er are actually intertextual in the setting of the characters in a sense.
Gu Qianfan's identity and experience made him feel broken. His kind of twisting, his kind of pain, whether it is his grandfather, his uncle, or his relatives living in this world, colleagues, subordinates can not fully understand and understand, he has no one to tell him. Naturally, he did not fall in love with the ability and conditions of a person.
Sohu Entertainment: What is the difference between him and the traditional costume overlord and perfect lover?
Zhang Wei: I actually think Gu Qianfan is not perfect at all.
My middle detective class also talked to Chen Xiao about the role of Gu Qianfan. Chen Xiao said to me, "Sister, you feel as if Zhao Pan'er is old enough to comfort him when you write about this person." "I said yes. Because Zhao Pan'er has a strong ability to empathize, she is well-informed and has a high contrarian quotient.
Sohu Entertainment: So many people think that Gu Qianfan has been helping Zhao Pan'er materially, but in fact, Zhao Pan'er's help to Gu Qianfan is the deep spiritual salvation?
Zhang Wei: First of all, Zhao Pan'er has saved Gu Qianfan several times before and after, so she has not only redeemed Gu Qianfan psychologically.
Secondly, because the Song Dynasty did not have a psychologist like now, Gu Qianfan, such a person, he suppressed these words in his heart, who could he talk to? Who does he dare to talk to?
The one in Zhao Pan'er's heart that did not accept was not to accept the identity of having once had a happy book, but Gu Qianfan's one who did not accept it, did not accept his present, and was not self-consistent.
Therefore, from this point of view, it is not Gu Qianfan who is helping Zhao Pan'er, it is Zhao Pan'er who is helping Gu Qianfan.
In addition, in addition to the difficult moment, Gu Qianfan had to go to his father, who he had not seen for decades.
After that, whether Zhao Pan'er opened a restaurant in business, she relied on her own ability.
The three thousand guan that Gu Qianfan gave her didn't spend a dime, and she didn't even see it.
Zhao Pan'er borrowed Gu Qianfan's money, in the script it is clearly said that "flying money and golden collar will be handed over to Gu Qianfan together", instructing him to redeem the jade sword head by himself, Zhao Pan'er did ask Gu Qianfan's help in difficult times, but this is borrowing money, not taking money, the two are completely different.
Sohu Entertainment: Many people think that Song Yinzhang's late awakening is a highlight, and they also like the role of Song Yinzhang.
Zhang Wei: Song Yinzhang is only 17 years old in my setting, in my mind, she is very talented and well protected, so she is a bit arrogant and does not understand human feelings very well.
At that stage, the person she could refer to the most in her growth process was Zhao Pan'er.
Zhao Pan'er was "relying on his father's old ministry to get rid of his nationality" at that time, and after self-reliance, he "cultivated a Tanhualang", which was a life example for Song Yinzhang.
So she had been diligently asking: I want to get out of the country. This appeal may be translated as "I want to be the same as Sister Pan'er."
Sohu Entertainment: What kind of feedback from the audience impressed you this time?
Zhang Wei: I think the audience still likes to watch the plots of adults falling in love.
Even my own students are advising me every day to write more emotional dramas in the future and not to write so many career lines.
I understand that the expression and presentation of the matter of loving and being loved may really be a very important viewing need for the majority of the audience, no matter what age level they are, and I have a deeper understanding this time.
Sohu Entertainment: The series has also received a lot of praise, how to view these praises?
Zhang Wei: "Dream Hualu" is a script with good luck.
It meets good producers, good platforms, excellent and serious directors, very good actors, very professional creative teams, and everyone gives their own professional standards. "Dream Warrior" is really lucky.
The creative concept of "femininity"
Sohu Entertainment: Have there been any changes in creative thinking in recent years?
Zhang Wei: In my previous plays, there was often a young girl who encountered setbacks, experienced feelings, and then grew up after she first entered the workplace.
But in recent years, there will be a control group in the works: a young girl and a relatively mature girl shine together.
In recent years, "Dream Hualu", "Buy And Leave I Love You", and "Lonely World" have set up such a control group: there is a big sister, she is relatively mature, but has her own hidden pain; There is a little sister and she needs to grow.
The little sister is under the protection of the big sister at first, but in the end she will break free from the protection of the big sister and live herself, while also helping the sister heal her wounds.
In the process, she may have some conflicts with her big sister, but in the end, they will realize that the foundation of their relationship is very strong.
Sohu Entertainment: Many viewers will feel that the works of female creators are delicate in touch and exquisite in brushwork, do you think this has something to do with gender?
Zhang Wei: I don't see it that way. I've seen a lot of male screenwriters write particularly delicately, and I've seen a lot of female screenwriters write majestically.
I think the style of writing should be specific to the individual. I'm a mother myself, I have a mother, and I have a student. My students range from 18 to 28, and as I grow with them, I grow up.
I have written plays for more than 20 years, from a little girl in her 20s to a middle-aged woman in her 40s, the life I have experienced, the era I have experienced, the road I have traveled, and these feelings of mine, they will definitely become my life, which is completely personal and the imprint of the experience of the times.
For example, like "Dream Hualu", there are many viewers who like it, probably because we have experienced the same era, and we are sensitive to the same things.
Costume dramas will inevitably be subject to the "limitations of the times"
Sohu Entertainment: I have my own creative methodology for costume dramas, have I been influenced by classical literature?
Zhang Wei: My family has three generations of teachers, my grandparents have all worked in universities, and my parents have also been university teachers and middle school Chinese teachers, so our family has a lot of literature and history, and I grew up in these books when I was a child.
Growing up in such an environment, the influence of the family is definitely there, it should be said that I am a lover of literature and history, plus many friends who have been in the family since I was a child are teachers, which also develops the habit of asking questions if I don't understand, "have questions to find experts".
Sohu Entertainment: This also affects personal creative habits?
Zhang Wei: I have a long time to have a cognition, the script is higher than life, but it must come from life, it must be rigorous and true, in order to be convincing.
My creation involves many fields, although I will also learn, but it is impossible to master each field in depth, so I will ask various expert advisory groups as support for each work, so let them help check and pick faults from beginning to end.
Like when I wrote "Dream Hualu", I myself hired four consultants, including historical consultants, Song Dynasty food consultants, and tea order consultants. My father also helped me review the script. It can be said that within my ability, I did my best.
Of course, a TV series cannot be a documentary, and I can only say that it is inevitable to strive for the sincerity that can be achieved on the level of personal ability, and some flaws are inevitable.
Over the years, I have asked myself to consult in the field of expertise. I think screenwriters should ask more consultants to help themselves.
After all, we make up a story like a frame, and we want to make the scenery characters in this frame come alive. To make that background thing from virtual to real, it takes a lot of polishing, and the finer the polishing, the better.
Personally, I think that the better the screenwriter gives the director something, the better the director will present it.
Sohu Entertainment: There is a saying that a good costume drama should see the logic of real life in it, there is fireworks, how to look at this statement?
Zhang Wei: I think it is good that the series has some of the ideological spirit of modern people, and this kind of thinking and expression of modernity is a good thing.
But this character is after all a character who has settled in ancient times, and if you are completely unconstrained by this narrative framework, then you might as well write a fashion drama.
There is a shell of ancient costumes, and we have to respect what the ancient characters respected.
If you are not at all limited by the ancient world, I don't think it is necessary to write about costumes.
I think this is actually a very interesting topic, including where the boundaries like adaptations are, like costume dramas, where are the boundaries used in ancient times and today, which are quite valuable for academic discussion today.
Sohu Entertainment: Is Shuangwen Shuang drama the result of market orientation?
Zhang Wei: I think there are many readers and moviegoers who may need to experience this kind of alternative psychological satisfaction in the process of reading and watching movies, so Shuangwen Shuang drama must meet the psychological needs of some readers.
In fact, a big function of popular entertainment is to provide this kind of entertainment, decompression, so that the audience can watch happy and relax.
Although I don't think "Dream Hualu" belongs to the category of cool dramas, I also think that it is a dream that everyone works together to create for adults, but we make this dream less golden finger and make it more real through the sense of reality that appears from time to time in the dream.
Sohu Entertainment: Will the identity and experience of producers and producers give you a deeper understanding of the creation of film and television works?
Zhang Wei: It will definitely help, I really empathize with the producer now.
I understand the producers who have given me a lot of script advice before, it's really not easy; In the front line with a lot of actors, talking about the script, I also understand more about what kind of performance space actors need to provide in the script.
Because after doing these jobs, it will be easier to understand people in other types of work.
They have their own wishes and demands, and their starting point and purpose are sometimes to help the play to get better, but the angle of everyone's cognition is different, which does not mean that the starting point and purpose of wanting the work to be good are different.