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Wen | A Quan
The movie "Cloister Pavilion" was released, another film and television work adapted from Keigo Higashino's novel.
Readers familiar with Keigo Higashino will say that the novel "The Long Corridor" is not his most famous work, but it has been adapted into various media forms in Japan and China.
Keigo Higashino's work is a typical social mystery novel, and the social reality behind it is far greater than the detective reasoning itself. However, in the process of adapting film and television works, the requirements for localization are particularly important, and even in the eyes of some book fans, that is the "soul" of the work.
With this premise, adapting Keigo Higashino's work is really not easy. "It will definitely be controversial, there is no way around this," Wen Ning, the screenwriter of "The Cloister Pavilion", couldn't help but sigh in an exclusive interview with 1905 Film Network.
What's more, although "The Cloister Pavilion" is a story that many people know, and at the same time a typical suspenseful work, how to ensure the watchability of the film as a genre film, Wen Ning has also done a lot of effort. Although after its release, the film is still controversial, and many viewers have questions about some of the settings.
Through this interview, Wen Ning and we broke down "The Cloister Pavilion" and Keigo Higashino, trying to "disintegrate" the pressure behind the adaptation of Keigo Higashino.
01.
Before Wen Ning took over, there had been several versions of adaptations inside the movie "The Cloister Pavilion", but everyone always seemed to feel that something was wrong, "They made a good reference for me and avoided taking a lot of detours." ”
Wen Ning did not rush to create, but first found the original "Long Corridor", as well as various versions of film and television works. He even read Keigo Higashino's various novels, "In the horizontal comparison, I see Keigo Higashino's creative growth, and study why he has such a brushwork, especially how to balance reasoning and socialism." ”
It seems to be a study of literature, but it is actually a peek into the writer's thinking about society when he wrote this novel. This interpretation is even more helpful for the landing of the work.
"After getting this project, I did an objective theories of the play, and based on the current audience needs, I conceived a story that belonged to us, with plot elements preserved and developed according to the basic national conditions and the experience of previous films of the same genre." Wen Ning is very clear that this film must first be understood by the audience, rather than blindly close to Keigo Higashino's original work.
In fact, in the original script, "we wanted to peel back the cocoon and follow this way of solving the case to tell the story again." But thinking along the lines of this play, this form will weaken the space for character expression, not to mention that "The Cloister Pavilion" is not an unpopular story, many readers know the ending of the story itself, or, "Seeing the cast, even if you haven't read the novel, you can guess who the murderer is." ”
If you simply cling to murder reasoning, the story will become very thin.
What's more, the ratio of murder and revenge stories in the novel is 1:1, but this form falls on the movie play, and the rhythm will seem very strange and even chaotic. And viewers familiar with the novel know, "The reason why its external conflict is so fierce is because the final landing point, revenge, with a fire, wiped everyone out." ”
Such a story direction must be straightforward and good-looking, but it is not what Wen Ning and the creative team of "The Cloister Pavilion" want.
After thinking about it, everyone chose to abandon the original creative method, "It does not focus too much on the subtlety of reasoning, but we pay more attention to how to place the audience's emotions and the outlet of emotions in the process of reasoning." ”
02.
The motivation of the characters, as well as the emotions, became the creative breakthrough of the movie "The Cloister Pavilion".
In the novel, the heroine's character is not pleasant, it is about an ugly woman who cannot be happy. "This is not my value, and this view is very old, I can't accept it," Wen Ning said, avoiding inappropriate settings in the novel as much as possible.
Although Wen Ning made some adjustments to the setting of the heroine, he did not deviate from the motif of many of the characters in Keigo Higashino's works, "loneliness".
"The mathematicians, including the Dedication of Suspect X, are also lonely. And here, Ye Tong (played by Star) in the past, or Zhou Yang (played by Ren Suxi) who returned are excellent, but she is drowned in work and often presses her emotions just to complete the work. ”
It's just that for the setting of the heroine of the movie, there are still many audiences who have doubts about this. Why did he have only one seemingly ordinary assistant before, but in just one year, after a makeover, he became a lawyer?
"Zhou Yang was a senior assistant beside the boss of the group before." In Wen Ning's observation, many people in this type of position in China themselves take into account a lot of skills related to business management, so this group of people will take some certificates to improve their work quality, "She came back as a lawyer's assistant, but I prefer to call her 'Avenger.'" ”
Who she came for, for Du Yu (played by Hou Wenyuan). Because of the appearance of this boy, the heroine has an answer to life, "Although we can see it, it is actually a lie in the end." ”
"The subtext of our film is, if all your hopes and efforts in life are based on a lie, then how do you face life and find new value in this life?" In Wen Ning's view, this is an emotional continuation of the novel "The Long Corridor", but in this version of the film, the emotional processing is closer to the Chinese expression, "will be more convergent and avoidant." ”
At the end of the movie, Wen Ning left a line, which was his wife's idea.
That scene ended Zhou Yang's characters' emotions, and she found Du Yu and said, "In your plan with Lin Zhenhui (played by Liu Mintao), the only thing you should not expect is that I can survive." "It is true that the cause of the story is it, and the emotional climax is also it.
Du Yu responded, "The only thing I didn't expect was that you rushed into the fire for me. This sentence also explained the follow-up relationship between Du Yu and his biological mother, "This line is my wife's inspiration to me, which is what moved her the most after reading the whole story." ”
Wen Ning admitted that although he is a male screenwriter, "I have been observing the women around me, and I even substituted myself for Du Yu, and I don't want to talk about the negative man like in "The Long Corridor". ”
At the end of the story, the two people actually saved each other, and the heroine also completed the transformation. As the English name of the movie, Revival - "Reborn".
"Instead of talking about "The Cloister Pavilion", we are telling a story of walking out of the "Cloister Pavilion", a story of rediscovering oneself in the emotional dilemma in "The Cloister Pavilion"."
03.
Although Wen Ning handles the emotions of the film more universally, the background of the story is based on the inheritance dispute of a wealthy family, "The concept of the consortium behind it is natural in Japan, but it is easy to distort and levitate in China." ”
"We were thinking about how to make this family credible, use a scene to activate their chicken thief, to activate this family's individual reactions when the crisis comes, their beings are like." Under Wen Ning's communication with the director, the two decided to use a "hidden corpse" incident to mobilize the story.
At least in terms of Wen Ning's playmaking, I hope that this play will look light and allow Zhou Yang to quickly integrate into this group of people, "and at the same time let this interest group fall apart internally, and cover up the crime in an extremely ugly and comical way." ”
This kind of background of events is actually the difficulty of adapting Keigo Higashino's novel, how to get close to the Chinese audience, and how not to destroy the essence of the original work.
Much of Japanese literature, including Keigo Higashino, was created after experiencing social events such as economic bubbles and a large number of suicides under work pressure, implying hidden pains in society, "which is completely different from the current impassioned development of China's economic boom and endeavor." ”
Pure copying and adaptation will never work.
Wen Ning took "The Dedication of Suspect X", "Manslaughter and Concealment of the Sky" and "Manslaughter" as examples, the three stories are all using time difference and fake scenes, but the emotional logic at the bottom of the story is completely different, "The most important thing is to dig out what belongs to us at the moment that can soothe the audience, how do we define this entry point, how to narrate from this entry point, help the audience or give the audience a touch of warmth." ”
At least after he got the project "The Cloister Pavilion", he paid the most attention to, "In this play, whether the audience can have a slight soothing for their emotional dilemma, especially women's, is enough." ”
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