The wave of views and discussions set off by the TV series "Crazy" at the beginning of 2023 can be shocking, and the aftermath has not been there for a long time.
Director and screenwriter Xu Jizhou said several times in interviews with the media that this is a story that describes the "accident" and "unknowability" of the world, and the people in it, whether they know it or not, are struggling to resist a powerful fate in their own ways.
In fact, not only the people in the play are like this, but also the people who created this "crazy universe", stubborn, unwilling, and shaft.
Everyone around him knows that Xu Jizhou is doing this with the belief that "I want to write "Crazy" into my epitaph". So it was "exhausted of oil" and "a great success".
He repeated the words of joy over and over again, but who knows what kind of untouched land the wind on this higher mountain will take him.
"Crazy" poster
01.
"Whoever plays each role is whom."
Xu Jizhou once had a big fire on the filming site of "Crazy", and the object was the character "Lao Mo", "scolding him".
The reason is simple: the actor "did not understand the scene correctly", "had a somewhat narrow understanding of the characters", and "was a cognitive thing, and made a joke".
Actors Li Jian (played by Li Xiang in "Crazy"), Su Xiaoyue (played by Gao Qisheng in "Crazy"), Gao Ye (played by Chen Shuting in "Crazy"), Lin Jiachuan (played by Tang Xiaolong in "Crazy"), and Feng Bing (played by Chen Jinmo in "Crazy") who was "scolded" that day are all talking endlessly in the back-to-back side picking, Xu Jizhou's "free play and expression space", "absolute trust" and "let everyone fly" working methods.
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But at that moment that day, Xu Jizhou still decided to stand up and intervene and control. He split his head and covered his face and asked Feng Bing several questions: "Have you understood the script of this scene?" What are you playing now? It's humble! Are you so humble? Are you Gao Qiqiang's "slave"? What do people at the bottom need most? Not mercy and money, he needs respect!"
It was not a single daughter and father relationship drama, two pairs of children and parents, a little verbal conflict implicated in a toy and their respective coping and resolution methods, in fact, reflected not only the identity and emotional connection of the four people present, but even brought out the entanglement of many people who were not present with their position.
Xu Jizhou stood up and made this anger, the root cause is that "the handling is superficial" and "trapped in his own expression", "which will also make my foreshadowing and development of the front and back plays unreasonable."
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For most of the time of creation, Xu Jizhou has given enough space for actors and colleagues in various departments to play, of course, he hopes to get enough richness and complexity from the collaborators themselves, but as the helm of the entire creation, he cannot allow the expression of "too much deviation" or even "completely full screw" to appear.
Lin Jiachuan, who worked with Xu Jizhou for the first time, used a metaphor: "Xu Jizhou mostly gives a lot of creative freedom to the two actors (Zhang) Songwen and Zhang Yi, allowing them to grow in their roles, and these two people infect their energy to the people around them - the old factory street and the Jinghai City Public Security Bureau around them." Then like a creeper, everyone climbed a wall, instead of a single plant swaying in the wind, and all the leaves joined together to support each other."
At the beginning of the play, the first conflict scene between Lin Jiachuan and Zhang Songwen was improvised by the director and the two of them on the spot. Gao Qiqiang gave gifts to his family over the past year, wanting the two brothers of the Tang family to continue to rent the original fish stall to themselves next year, so that it didn't work, Zhang Songwen opened his mouth and came: "Along, we grew up together in Old Factory Street, do you remember that when your family first moved in, my father also helped your father..." Before the words were finished, Lin Jiachuan copied the seat cushion at hand and smashed it on Zhang Songwen's head. Xu Jizhou was very excited, surprised, and wonderful. "He asked me how you could catch the ode so quickly, and I said I've known him for 20 years, and I have to shut his mouth immediately, otherwise I'll 'die' after he continues!"
Actor Lin Jiachuan plays "Tang Xiaolong" in the play
The role of Gao Qisheng, Xu Jizhou largely pasted to the selected Su Xiaoyue in his writing, and even dug out the "melancholy" and "a vigor in his heart" in his true colors that he usually does not reveal in his creation.
Later, Su Xiaoying wanted to design some details for Gao Qisheng in terms of appearance, such as the changes in glasses in three different units: "The black-framed glasses of well-behaved college students, the gold wire glasses are Sven scum, and there is also a borderless design." The director's reply to him was very simple: "Xiao Yue, you can pick the glasses yourself, you can just show me a look after you pick them."
The scene where Gao Qisheng "went offline" was Xu Jizhou's only hesitation in this character, and the final result was that he respected the ideas of Su Xiaoyue and Zhang Songwen, abandoned the plot in the original script where Gao Qiqiang called his brother back to turn himself in, and changed it to the younger brother in the film now in the film to save his brother and pay for his own death. Su Xiaoyue is grateful to the director: "Thank him for putting our will first. It's a sacrifice made by the director."
Actor Su Xiaoyue plays "Gao Qisheng" in the play
Everything Feng Bing did for Chen Jinmo—experience, immersion, and even most of his own "self-expression and interpretation", those ways that the actor saw as "adding three-dimensionality to the character", Xu Jizhou agreed and accepted, "including lollipops and some improvised line design". "People who know or have worked with Director Xu should know that he is a very direct and decisive person, you can give him whatever he wants, just enjoy it."
Actor Feng Bing plays "Lao Mo" in the play
"Crazy" is the 11th play of collaboration between Li Jian and Xu Jizhou, and they know each other's creative methods and styles. "Generally, directors with script creation ability will be somewhat resistant to actors modifying their own scripts, but Director Xu is not, he is very tolerant, as long as your plan or opinion is reasonable and in line with the logic of the character's behavior, he will support you." He will also adjust according to the characteristics of the actor himself, his on-site creation speed is too fast, and he will improvise a lot of surprising solutions to help you improve and optimize the plan you propose."
Actor Li Jian plays "Li Xiang" in the play
Gao Ye was very impressed, and after Xu Jizhou chose her to play the role of "sister-in-law" Chen Shuting, he gave her a word. "He said that he had an imagination for Chen Shuting, so because he asked me to play, he let me create as much as I wanted, because - 'Every role, whoever plays is whom'."
Actor Gao Ye plays "Chen Shuting" in the play
02.
"Recruited a bunch of shaft people"
Xu Jizhou is very clear in his heart that for the play "Crazy", he "recruited a bunch of axis people", "did not find actors who are too "obedient" and too "honest", and "looked for people who are commonly known as "not funny", because "this play just needs a lot of people with personality to enrich it".
"I want to shoot pyrotechnics, isn't it purely possible to shoot by the lens, just get the scene, put up props, and scatter two extras? Not. It depends on living people to bring out pyrotechnics, so the actors I find can't just rely on hard acting."
Xu Jizhou knows that he has been studying and studying since he was a child, and he directly became a director when he left school, and he has hardly experienced and seen so many life situations. "At most, I was a paranoid, very 'nervous' and marginal guy when I was in school, but many of my knowledge of all levels of society were my intellectual blind spots. In addition to relying on watching materials, watching films, and interviewing relevant people to supplement my learning, on the other hand, I have to rely on actors - many actors do these things better than me, and rely on their energy to get together to shoot a real human fireworks, and I can't all output it alone."
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Until the play was filmed and broadcast, Lin Jiachuan still had something to say: "I still don't know who "Lao Mo" (the actor) is... I think he's an acting 'madman', the kind of person who will sink himself deeply into the role."
On the day the director was angry, Lin Jiachuan was not on the scene, but after listening to his colleagues retell him, he sweated. "Suddenly I'm scared, won't you scold me later?" He knew that Xu Jizhou and Feng Bing had been friends for many years, "Scolding is also scolding in the way of good brothers, others look afraid, but only they understand the feelings." So who do you say I am? I just joined his team... Is the director so scary?"
Feng Bing did understand Xu Jizhou's "delicacy under his grinning exterior". "The emotional expression of the characters is very similar to the hands grasping the grain of sand, many directors will let you grasp the grain of sand when telling a scene of emotional release, but Director Xu's works are usually expressed and released slowly. It is difficult to put, and Director Xu is mainly talking about "put", not about "grasp tight". Letting go slowly, I think it's a good experience."
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Lin Jiachuan said that Xu Jizhou has the ability to unite people and forge a "group soul". "You look at the Jinghai Public Security Bureau and Old Factory Street, all these people have a group spirit. Even the father and son of Li Youtian and Li Hongwei have a group soul." Lin Jiachuan chatted with Xu Jizhou several times seriously and deeply in the crew, "When he contacts you, he must let himself out, and then open you up in this way." This is the basis for the formation of a group soul: faith. Do you believe me? Believe. I believe in you too. Then let's do it, come on!"
Gao Ye "countless times" asked Xu Jizhou during filming: "I like this role too much, can Chen Shuting not die?" The director insisted on his initial choice and told Gao Ye that he would give her a "shocking ending". Facts have proved that Chen Shuting brought Gao Ye much more than a "glimpse of the city".
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Su Xiaoyue is still learning and improving by Xu Jizhou's side. During the filming of "Crazy", Su Xiaoyue learned the most from the director: "Don't act in the result." As an actor, Su Xiaoyi naturally cannot escape a certain "occupational syndrome". "I really want to act out what I am acting, so that the audience can understand it." But directors sometimes tell me, 'Don't act so clearly. My whole macro plot will make the audience understand, from your small point, you will play it to the audience, you will run, and you will leak... Don't rush to the result, and don't add so many broken things." 」
Xu Jizhou in Su Xiaoyi's eyes is a "sensitive, fragile, person who wraps himself in his powerful shell." It is also because of this that Xu Jizhou is "particularly sensitive to the scene of each scene, he especially knows what this scene wants, shoots it and cuts it in". Privately, they both love to play games and watch anime, "we both like things that burn and blood." This may also explain from an angle why Xu Jizhou has been very enthusiastic about the theme of brotherhood and criminal investigation genre for many years. For Xu Jizhou's ideals or ambitions, Su Xiaoyue is reluctant to say so "big": "I think he wants his works to look good."
"For more than ten years, we have experienced setbacks, and we have done many, many works with our hearts, but all of them are not so good because of some inconsistencies in the right time and place, or because of our lack of a certain level. But in the end, we brought "Crazy", and we are still sticking to it, persevering, responsible for our own work, our performance, our director." Su Xiaoyi and Xu Jizhou both agree that the current luminescence is not only the completion of individual ideals, but also the victory of collective will.
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About a week after the broadcast of "Crazy", the attention skyrocketed, and the details of the dramatic twist and the creative anecdotes of the main creators became the object of heated discussion. Xu Jizhou also ascended extremely quickly in a short period of time.
Lin Jiachuan stood not far away, staring gently, he felt that Xu Jizhou, who was surrounded by thousands of attention and praise at the moment, was more "calm" than the person at the time of creation.
"It's like at sea, you fly a sailboat. When there is no wind and no rain, it is the hardest, because without motivation and unable to gallop as you like, you will be poor and desperate. When the wind comes, you become calmer. And when the wind comes, you will not immediately go with the wind, but begin to observe, where does the wind come from? How is the wind? Then you can choose, whether to go against the wind or come with a fresh breeze and walk slowly."
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"BAZAAR in Conversation with "Crazy"
Director and screenwriter Xu Jizhou "
Q & A
Harper's Bazaar: What do you mean when you say you were "marginal" when you were in school?
Xu Jizhou: An Xin and (Gao) Qiqiang first generation, right. It's more colorful, not innocent at all, more angular, and people will think I'm not easy to socialize. I took the directing department for three years, and when people saw me, they said, "Why is Xu Jizhou here again?" For the first three years, I focused on this thing, which was to be a director.
I have to express that I can't give what I write to someone else, it's something I can't stand it. What makes me most uncomfortable is to screw this thing, it originally meant this, it became another meaning, and Low, this I was very painful, I could have gotten here, and you made it shallow.
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Harper's Bazaar: These people in "Crazy" all have a kind of knowing that fate is very strong, but they are...
Xu Jizhou: Still resisting fate. An Xin, Gao Qiqiang... All the people, yes, very persistent. They are all under great pressure, Gao Qiqiang to the third unit everyone saw him desperately "whitewashing", he didn't want to land safely? Of course he wanted to. He also has to resist his fate, from the moment you did this, you know that it is illegal, can there be a good end to breaking the law? He also knew that he would kill himself if he did more unrighteousness in the end, and he also wanted to get rid of his fate, wanted to land safely, raise so many people, and build a nursing home... But you can't get rid of it. Everyone wants to get rid of their fate. Gao Xiaochen is also, the second generation of black, blind tossing, in order to attract attention, he wants to prove himself, but the way to prove it is very clumsy and stupid.
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Harper's Bazaar: So what are you resisting? Can you control more freedom in your own hands by doing art?
Xu Jizhou: Impossible. If the artist is completely left alone, someone has to clean it up, and I really think so. Too much ego is okay, especially for people like us. A very good friend of mine, I also watched "Crazy" in this paragraph, almost finished watching, sent me a message that day, saying that Xu Jizhou still wants people to "abuse you" so that you can produce good things. I agree that you just can't make yourself too comfortable.
I still have to resist fate, I don't believe so, yes, I have to resist. And constantly experience new realities. Up to now, this play has such a great influence that I stand on a higher mountain, the scenery is different, and the wind is particularly strong.
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Harper's Bazaar: There are a lot of people who now see Crazy as a super IP, what do you think?
Xu Jizhou: This kind of "IP-only" theory, I doubt that it is too scary to put the entire creation into the computer for digitalization.
I watched the trilogy of "A Brief History of Mankind", "A Brief History of the Future" and "A Brief History of Today" before, and I was so desperate to watch, and the Israeli buddy said it quite well. There's a chapter about artists who will one day be replaced. You counter that algorithms can't write Mozart or Beethoven, but the public doesn't need to listen to Mozart every day, and the goal of the computer is to surpass Britney Spears. The more I think about it, the more desperate I become. I thought, I'd better try not to let algorithms replace my storytelling craft. But after the entire Internet management of entertainment, algorithms and IP have indeed become an important indicator. In contrast, originality becomes an uncontrollable thing - original means innovation, innovative things mean no means of evaluation, anything that is not supported by previous data, it does not believe in anything. "Originality" is suddenly marginalized.
So today's "Crazy" - I wrote it with Zhu Junyi, is a pure original thing, and it is also a thing full of personal expression, and now I can achieve this result, I think it is still an inspiration for the industry. The spirit of craftsmen that we embody, do every scene solidly, don't be wrapped up in data and algorithms, don't use computers to intervene in how to perform and statistics, don't be guided by the barrage how to perform.
So this may be a return to traditional craftsmanship and an encouragement of originality. Just like Anxin, return to the original intention and do not forget the original intention.
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Harper's Bazaar: Why has Anxin not changed?
Xu Jizhou: He looks like an artistic youth, don't you think? Literary films.
Harper's Bazaar: But in fact, literary and artistic young people are quite fragile...
Xu Jizhou: I'm also quite vulnerable. But we all compete, and you can't break back when we fall into what we know.
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Harper's Bazaar: You asked An Xin to say to Meng Yu in the pavilion in the park at that time, "I never loved you", turned around and left, can you really be ruthless?
Xu Jizhou: I can get it... I want to think ah, An Xin's life trajectory, emotional logic... Well, I can get down, really, you just asked, I quickly went through it in my head, and then I tell you, I can get down.
Since Meng Yu was kidnapped, An Xin rescued her, and seeing her scared like that, he knew that this matter could not stir her up again. Because of sweeping the black, the opponent must hit you in the soft underbelly. An Xin is an orphan, as long as he has no intimate feelings, he has no weaknesses, he can shrink all other desires, he will fight with you. Unless you physically destroy him, he can carry it down. Think about Li Xiang's letter again, and say to An Xin: If you don't do it, I understand you; You have to do it, brother I tell you that it is not easy behind, it is better for you to hide your own weaknesses. The road to martyrdom is difficult.
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Harper's Bazaar: In the scene of the commendation meeting, An Xin said to Li Xiang over the phone, saying that the meaning of the profession of police is to give some people the opportunity to re-choose at a critical moment...
Xu Jizhou: This is the core of the drama, and my story will be about choice and destiny. Perhaps from a higher artistic level, I feel that all works have to talk about people, human nature, destiny, and it is a problem of "choice", so at each end I went to shoot that crossroads and staggered away.
After An Xin said that paragraph, in fact, the most difficult choice to make was Li Xiang. At that time, it was Li Xiang, An Xin, Cao Chuang, Xu Jiang, Gao Qiqiang, and Lao Mo, all made a choice, and since then it has been completely doomed, and everyone in the entire game is gambling. The building where the scene was filmed, I thought it was fantastic, all circles, layer by layer. That episode, to this day, I think it's so cool that I and the screenwriter can make that episode in my scripting career. In terms of the structure of the play, in the fate of the characters, in all the big reversals, this is the best episode of all the scripts I have written.
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Harper's Bazaar: There are a lot of scenes in the play that are dramatic.
Xu Jizhou: I would like to commend our art team, which has done a lot of work in the early stage. I opened my head and said that I would not go to the places I had filmed - Northeast China, Chongqing, these places where police and bandit films frequented, I resolutely did not go, and then they found Guangdong and took me to see arcades and fishing ports by the sea, and the image style of this film suddenly stood up.
The setting of the old factory street, later we also discussed a texture, that is, in the memory, it was the most prosperous part of the place where we lived, but when you grow up and look at it, you will feel very little. The world you see is bigger, and when you look back, you will feel that the glory of childhood has become dilapidated. In terms of props, we also selected the most typical things in three units and three eras, and tried to find connections with the public in terms of emotions and memories. In fact, it only takes a small point to touch people, and everyone can "go back" at once.
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Harper's Bazaar: Is this process of building art scenes also a new learning for you?
Xu Jizhou: That's great. I just have to learn, if I have mastered it before, I won't shoot it yet. I set myself new topics every time, and I think it's quite fresh. For example, in the vegetable market, when I arrived, I decided, how to design and arrange each stall, which one and what shape the group of actors, manage a stall unchanged, everyone divides well, performs their own duties, and lives in it in real life. Gao Qiqiang's fish stall is our reference to five or six particularly good fish stalls, and put the best features in them together, and the combined is Gao Qiqiang's fish stall. The color of the vegetables and meat opposite the fish stall should also be exquisite, and Cantonese sausages should be hung in front, because the color can be richer.
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Harper's Bazaar: The small stir-fry stalls in the market are also quite special.
Xu Jizhou: That's (Zhang) Songwen Ti. The first time we chatted, he watched three episodes of the script at the time, and asked me if Gao Qiqiang sold fish if there was any special setting behind. I said yes. He said to me, can you change Gao Qiqiang to do small stir-frying? He said that in Guangdong's vegetable markets, there is usually a stall in the center, stir-fry some flour, stir-fry some Niuhe, the stall owner is generally exquisite, see who says what, and everyone exchanges information here.
But at that time, I finished writing the following plays, and I felt that what he said was a little interesting, and I was reluctant to let it go, so I put it in the vegetable market, and also put An Xin to find him, they ate, An Xin opened a book list for him all put here, those details - such as Gao Qiqiang desperately showing off, some words said loudly and some whispered, all these designs, the two actors all got it. The design of the stall enriches the character and relationship unfolding.
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Harper's Bazaar: The styling seems to be very painstaking, Su Xiaoyue told me that he tried it for 11 hours, and Li Jian also said that he tried it all day...
Xu Jizhou: I have always told the styling and art team that your two departments are one, don't go it alone. We also look in three stages. In the first unit, I want to shoot two words: grass recklessness. So the colors are humble to dust, but the flowers are green, a bit like Y2K, and the light is strange. The second unit I decided to call Jianghu. Gao Qiqiang came out again to be poor and rich, it must have been Chen Shuting who cleaned up for him, where did he know how to clean up? Chen Shuting's words to clean up were secretly in her own heart - Chen Shuting had to give Gao Qi a strong courage. I'm going to clean you up beautifully, prove that you're young, you're still attractive, and then he'll look like a villain, shaking around. At the same time, the Mangcun side should be particularly arrogant, and the shape must be able to reflect the huge class difference. So the first time to eat, a table in Mangcun, a table in Gao Qiqiang, a conflict in color will arise. The third unit, which I decided to call the temple hall at that time. They have already relied on power, power has also come to clean them up, it is a competition for power, and at this time the whole way of struggle is also implicit and undercurrent, so everyone's dress is also simple and subtle.
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Harper's Bazaar: Did you already act all the plays when you wrote it?
Xu Jizhou: When I write it, I must have acted it all over again, and how can I do it if I don't perform it all once. And then the actors came, they had their way and style, and it would definitely be different from mine. The script provides the basic framework, character relationships, and character direction, and the rest depends on the actors to enrich it. Not every play is suitable for such a method, but realistic dramas I think are needed, and actors are required to contribute their life accumulation and experience.
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Harper's Bazaar: When you pick actors, do you care about their own life experiences?
Xu Jizhou: I'll just look at this! These people look strange, and they are by no means obedient, and when they come to see you, they have no intention of fawning. What is the use of light fawning? After coming, you can't add to this matter, so what are you bringing them for? Just obedient? No way! The play "Crazy" really needs people with angularity, personality, their own desire to create, and the desire to express, and they will add points to this matter.
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Harper's Bazaar: How can you express so vividly many specific contradictions?
Xu Jizhou: Screenwriter Zhu Junyi will provide some of his ideas, and I will ask again. We originally wanted to write about demolition, because this paragraph seems to be less talked about in the original play, and most of the talk is a glimpse of light. I have an opportunity this time, and I have the opportunity to explain it more thoroughly along with the sense of age, and I don't want to leave regrets. Why everyone in the second unit "scolded" particularly fiercely, feeling that the police were too weak, is because they are very constrained between the power agencies, basically they are overturning the case, solving the case, overturning the case, receiving the police, going, a lot of subjective initiative can not get up, really the relevant departments are quite protective of us, a lot of things I felt very sensitive when filming, have been reserved for me, including the difficulty of grassroots law enforcement. Many public security friends especially liked my play, including those within the system, saying that we showed a lot of difficulties in grassroots law enforcement, which inspired a lot of resonance
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Harper's Bazaar: Did you hesitate when you wrote it?
Xu Jizhou: This is once in my life, don't care, let's get it out first. During this period of interview, I repeatedly said that I really felt that my life was very good, and what I wanted to say the most, let me shoot it, and stay. All aspects have given great support. I think as a creator, it's really comforting.
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Harper's Bazaar: You also mentioned in previous interviews that many scripts are written and written, and actors almost don't know what their own ending is when they play the front.
Xu Jizhou: You don't know how you are when you are old, so can't you live normally now? Do you know what you'll be like in ten years? The actors always have to act in the results, and I am especially annoyed to only act in the results, and they can't break them back. Add a bunch of eyebrows, and I'm particularly annoyed with this. Real life is when you don't know what will happen tomorrow and what will happen in the future. So are you okay today? Normal, tomorrow if something happens, it will be explained tomorrow. Anyway, uncertainty is absolutely there, so what else do you have to be afraid of?
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Harper's Bazaar: People sometimes become what they don't like when they live and live, are you wary of this?
Xu Jizhou: To be honest, I feel as if I haven't grown older since I was 21 – on a spiritual level. They kept saying that I refused to grow up, that I would never grow up, that I was like a child. I'm just a little better now, and there are a little more things on the "rivers and lakes". The collaborators and team around me are still quite protective of me in all aspects, protecting my little original intention and conniving at my willfulness.
The overrun of "Crazy" is very serious, you can't think of it, it is very serious, and my producers are really thoughtful to everyone, so I am very grateful to them.
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Harper's Bazaar: After you read A Brief History of the Future, are you pessimistic?
Xu Jizhou: Pessimistic, quite pessimistic. But I think our Rush, even if it is replaced in the future, should be networked or may remain on the hard drive, as part of human memory, it has this value. The ultimate goal of every creator is to fight aging, death, change, and time.
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Harper's Bazaar: Now that the wind is blowing quite strongly, what will be your next choice?
Xu Jizhou: I want to make a comedy, really. I must make a comedy! The creative atmosphere of comedy is different from this kind of literary and artistic youth screwing hi.
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Harper's Bazaar: But even if you make a comedy, you will definitely put your own traits and ideas, self-expression into it...
Xu Jizhou: Yes, but let me go slowly? (laughs) I'm forty-six seven, let me shoot for a few more years, don't finish it all at once, like a squeezed sugar cane, and then be abandoned, this can't work. I can't let people squeeze me dry.
Executive Producer/Sherry Ning
Planning/Ge Haichen
Interview & Written by/Lu Yanni
Editor/Timmy
Graphic typesetting/River