It's hard to be a well-known actor, and it's even harder to be a well-known screenwriter, but in the entertainment industry, it's harder than these two to become a well-known director.
Most of the people who can become "famous directors" for a long time are film directors, and there are very few TV series directors who can rely on their works to get out of the siege, but Xin Shuang is very strange, he is not from a science class, he still played rock before, but as an online drama director, he became the leader of "Shuangmen".
A total of two works were filmed, one is "The Long Season" with 9.4 and the other is "Hidden Corner" with 8.8. Is he a career koi, or is he rewarded by heaven, or is he talented?
Although there may not be a single answer, in Xin's first video interview, you can still find some clues about "why he can make such good works".
Honestly, do you guys really look at the ratings?
In "Where to Start", Xin Shuang is wearing a hat with a ball of wool, cute wool + big gold chain + casual clothes and pants, with an innocent pair of eyes, if not for that long curly hair, it is difficult to judge that Xin Shuang is a real literary middle-aged.
People who are too literary and artistic often give people a "clean" and "ungrounded" temperament, and people in the entertainment industry often give people a stereotype of "good face" and "only half of what they say".
But the host asked "When "The Long Season" first started, the online discussion was not so warm, would you be nervous", Xin Shuang actually confessed directly:
The online score is 9.0, and a person lies crying for half an hour.
Many times practitioners in the film and television industry are afraid to expose that they care about ratings, because once exposed, they will be guessed that "it turns out that you will also break the defense." And Xin Shuang confessed that he cares about the score, but also mentioned another hidden corner that belongs to the heart of practitioners:
Career value.
Everyone wants the crew they work for, and the final product can be highly evaluated by the audience. Not only the actors, but also the big and small in the team, working hard for a project for countless days and nights behind the scenes, not everyone holds the idea of "can earn a wave is a wave", some people very much hope that the drama they make is valuable and meaningful.
To what extent is the crew's sense of professional conviction?
The filming location was Kunming, but it was necessary to grow corn that was taller than a person like the northeast, so I went to the hotter Xishuangbanna and selected a large field and sent the art group to plant corn that could be Tibetans.
I think art teachers who should grow corn must have never thought that one day they would carry a hoe to experience nature for the sake of faith.
Seeking the satisfaction of professional value is a difficult thing to balance:
The filming of "Hidden Corner" was indeed very successful, but it was also very sinful, and I also thought about whether I could use some "skills" and "methods" to avoid the work process of being too guilty, but I didn't expect that "Long Season" took longer to shoot than "Secret".
I thought that with more experience, I could bypass the creative limit that was close to collapse, but I didn't, and because the ideas were richer, this continuous pain was refilled for free.
But blindly "hard work for nothing" is not enough, like "The Long Season" is obviously not just a film about the past of the Northeast and small people, it needs a lot of detailed materials to enrich every inch of hair. If there is a heart for pursuing quality and is the bone of doing a good job in film and television, then the right detail material is the "spirit" in it.
It's not just a nightmare nursery rhyme maker
Some people say that Xin Shuang's director has enough "bad fun", and previously made "Little White Boat" a horror nursery rhyme, and this time made "Little Star" a Northeast Soquiem.
Using music to inject soul into suspense films is also a refreshing strength. But Xin Shuang is not a person who likes to take the highlights on his head, he said that "Little Star" is actually the actor of Shen Dongliang, and Mr. Hou Yansong hummed a small tune by himself, which happened to be left when he felt good.
Xin Shuang will certainly enrich his works with his own musical aesthetic, such as the final "Looking Back" is an interlude, but in addition to music, he will also imagine a lot of "haha" that transforms abstraction into concrete and turns clay figures into living people.
Just like Gong Biao's wife, the role of Huang Yuru, her setting is "factory flower". The factory flower is a very vague concept, and when Xin Shuang embodied the factory flower more than ten years later, he made Yuru's actor have a fake chin and a lower mountain root on his face, as well as dark blue eyeliner.
There is no need to deliberately create how she is an "undefeated beauty over the years", but to show that "she has also used many methods to maintain her proud appearance", a middle-aged woman who is not financially rich but still loves beauty, she was immediately filled with the reality of the character.
The host was also a little curious if it was because Xin Shuang was born and raised in the northeast, so these designs came from his memory fragments. However, Xin Shuang put forward a very "creator" perspective:
"Half a meter off the ground".
Although the chat between the male protagonist Wang Xiang and his wife Luo Meisu, Wang Yang wearing a snowflake denim jacket reading poetry in the cornfield under the warm autumn sun, is directly related to Xin Shuang's own memory anchor, but Xin Shuang does not want to use these "own memories" to influence the audience's memory——
The sky in the northeast may be overcast and cold, or it may be blue under the crisp autumn air; Northeasterners may be "earthy", or they may be wrapped under the appearance of earthy taste, a kind of humor transformed by positive optimism in their bones.
In the northeast of 1997 and 1998, perhaps in some people's memories are bitter, and some people may be spirited, these have not the only possibility, the director is only responsible for creating a perspective, and does not require all audiences to accept only this kind of perspective.
If you overemphasize the expression you want to design, in Xin Shuang's view, it is called "self-drowning".
This is also a point that I feel very comfortable watching "The Long Season". There can be many different interpretations, but the director is controlling the overall direction, leaving the audience with a space suitable for thinking without not understanding the work.
He is very good at thinking from the audience's point of view, which may be the reason why Xin Shuang can always accurately find the character's "aura". And this leads to another problem:
The creator does not strictly prevent being "maliciously interpreted" and "misunderstood", and all are handed over to the audience to analyze, is it really OK?
"Audience aesthetics are not enough"? This is also too arrogant
"Long Season" is a story about the impermanence of life is the norm, as a high-level feature film, naturally there are a large number of details mentioned earlier, prop composition, character design, the pace is bound to slow down, and the "fast" of suspense is contrary.
Especially whether it is "Hidden Corner" or "Long Season", Xin Shuang likes to intersperse a sense of fate in the form of foreshadowing in the work, but many audiences may not understand these slow shots and abandon the drama prematurely.
Especially now that short videos are on the rise, short and fast content is easier to be captured by the audience, and the setting of the grass snake gray line is easy for the audience to lose the desire to watch it before entering the reveal.
If the hard work is not detected by the audience, will it not be angry, and feel that the audience is "too bad aesthetic" and "mountain pigs can't eat fine bran"?
Xin Shuang's understanding of this problem is:
First of all, you can successfully make some plots that can resonate with the audience in a short time, and you can feel the creator's intention in the short video, if you can do it, it is also a kind of "work is not in vain" success.
Secondly, all literary and artistic works will encounter "misinterpretation", but there will be many audiences who will understand the intentions of the creators.
Creators need to find ways to make the audience resonate with you, or get a new sense of beauty in the metamorphosis that occurs in the transmission, rather than blindly accusing the audience of being inferior to themselves.
Xin Shuang carries a very non-rock and non-literary attribute: he has a "self-consciousness of service" for the audience, and his works should have a spiritual tribute to the audience across time and space.
It's not just about respecting the audience.
In the interview, Xin Shuang answered positively the rumors about "not wanting to be a particularly successful director", in his cognition, "success or not" is not a necessary condition for pursuing resonance with the audience itself, and the most important thing is that defining who is a "successful director" is beyond his control.
Don't take yourself too seriously, take your work and the audience more seriously.
postscript
I have always been very curious about what kind of person Xin Shuang himself is, and after reading his interview, I am not very curious——
It is not that he talks too much, nor that he talks too little, but that he speaks too truthfully.
He will explain to the audience that the last snow in "The Long Season" comes from the past; Some readers sent themselves private messages, saying that when the male protagonist called his son's name to the moon, he also missed his deceased father very much; It seems to be talking about family life, but also setting off a corner of his own spiritual world:
Some time ago, his father died, but Xin Shuang was afraid that during the broadcast update of the series, telling this incident would cause the audience to have some conjectures that had nothing to do with the series, and even felt that it was deliberately guided, or sold miserably, so until the end of the series, he dared to say these things publicly.
He will break down his spiritual choices, why he chooses the way, and the criteria he thinks of to the audience.
In this case, you will no longer be so curious about Xin Shuang itself, because you will know that in his creation, there is no need for the audience to figure out what he is thinking, just at that time, at that moment, the work he created makes the audience understand for a moment.
However, there are some surprises.
Xin Shuang he can do nail art ahhahaha!
This is his unique way to decompress, because if you do nails, you can't play with your phone, and the whole person tilts to the seat, stretching out his hand for the manicurist to toss.
Although this is usually a project that girls consume, it is refreshing to have a sense of happiness in various identities, and lo and behold~
Resonating with pain, resonating with happiness, resonating with the emotions generated in each identity, and always reminding yourself to respect the audience, this may be the exclusive secret of Xinshuang's ability to stabilize the quality of production.