"I never expected that one day I would bump a pair of middle-aged and elderly CPs of sugar." Ni Dahong and Jiang Wenli, the "middle-aged and elderly CP", played the "braised couple" who accompanied each other in the period drama "Little Woman Under the Gate of Zhengyang", and successfully conquered the audience with their acting skills.
"I'd rather grind the skin than let them act", Hao Jinming, the show's chief producer, has a resolute attitude. He believes that a good performance will make the audience forget about the skin grinding.
The performance of the show since its broadcast also verified his original persistence. The ratings have broken from the first strong break of "1", to the double station to break "1" and then to the multi-day break of "2", the popularity once climbed to the first place in the whole network, and it was also honored with the highest score domestic drama in recent times.
At the end of "Little Woman Under the Gate of Zhengyang", Spicy Fish exclusively talked to Hao Jinming, the "cow master" who was the chief producer, screenwriter (one) and actor, listening to his analysis and dismantling from multiple dimensions of the project, which was a vivid creative teaching lesson.
▲ Hao Jinming, chief producer of "The Little Woman Under the Gate of Zhengyang"
Temperament is inherited
"Little Woman Under the Gate of Zhengyang" is the second part of the TV series "Under the Gate of Zhengyang" broadcast in 2013. The play takes the decades of changes in a tavern as a clue, reflecting the life imprint, social changes and commercial development of the hutongs in the old Beijing city.
Producer Hao Jinming, director Liu Jiacheng, screenwriter Wang Zhili, three old Beijing groups over 60 years old, are the "iron triangle" behind this Zhengyangmen series.
In "Under the Gate of Zhengyang", the prototype of the protagonist Han Chunming is actually Hao Jinming himself. Personally experienced the era in the play, Hao Jinming, as the beneficiary of the times, he bravely advanced in the tide of reform, and later became a well-known collector in Beijing, also worked in real estate, and now he is a member of the Beijing Municipal Committee of the Chinese People's Political Consultative Conference and vice president of the Beijing Chamber of Commerce.
But Hao Jinming has no intention of establishing a biography for himself, what he wants to do is to express the group portrait of the "generation" of his contemporaries in the wave of reform and opening up.
In "The Little Woman Under the Gate of Zhengyang", Hao Jinming also integrated his own personal experience. The protagonist of the story changes from a young man to a female manager of a tavern at Daqianmen, telling the story of how in the tide of public-private partnership, the female manager Xu Huizhen is unswerving, defying public opinion, leading relatives and friends to struggle hard, and finally to success.
As we all know, the old Beijingers called the Zhengyang Gate the Big Front Gate. Coinciding with the fortieth anniversary of reform and opening up, Hao Jinming said that this tavern under the big front door is like a window in society, although the window is small, it reflects the changes of the times, witnesses the cold and warm of human feelings, and reveals a whole chapter of beijing's civilian life style.
At the same time, in the macro and micro contrast of "little women do big things, small taverns and big worlds", the second part of "Little Women Under Zhengyang Gate" continues to "dig a deep well", further explore the Beijing flavor culture, intertwine the fate of the characters with the changes of the times, let the stories of the little people carry more historical and humanistic content, and form the regional cultural identity of the "Zhengyang Gate", thus highlighting the cultural accumulation of old Beijing.
Hao Jinming revealed to Spicy Fish that the third part of the Zhengyang gate series is being created, named "Young People Under the Zhengyang Gate", which is still handled by the "Iron Triangle". It mainly tells the story of how the creative generation under zhengyang gate and the rich second generation have a conflict of ideas due to ideological differences after the reform and opening up, how the creation generation infects the "rich" second generation with their entrepreneurial spirit, and how the rich second generation has taken over the class of the first generation after the adjustment of the ideological system, and finally grown from the "rich second generation" to the "rejuvenation second generation".
"Our three 60-year-old Children in Beijing, who are 180 years old together, have the responsibility to pick up and fish out this bit of Beijing culture and pass it on." Hao Jinming said with emotion.
Creation is truth-seeking
Based on the work plan launched in the 40 years of reform and opening up, "Little Woman Under the Gate of Zhengyang" abides by the "four originals" creation guidelines of "originality, prototype, original juice and original taste".
Hao Jinming said that although the creation of TV dramas has to go through a certain artistic processing, the real power of moving people often comes from the truth. Many of the stories that happen in the plot are based on the personal experience of the main creative team, and various characters and characters are also based on the reality samples of the neighborhood.
For example, the excellent qualities of Xu Huizhen, the owner of the tavern, who is strong, intelligent, kind, and assertive, actually synthesizes the characteristics of a successful female entrepreneur in life, and strives to find a perfect state of integration in Xu Huizhen.
In the play, which involves the issue of how to verify private property after the end of the ten-year socialist transformation, screenwriter Wang Zhili repeatedly consulted his mother, who was once the deputy director of the Beixinqiao Street Office, and then consulted a large number of political and historical materials to make the incident have a history to follow.
Hao Jinming's view of the inevitable event nodes in such a long span of time between 1955 and the Third Plenum of the 18th Central Committee is that these events are part of the times. For example, he said, "If there is a road you have to take, and there is water on this road, you can't turn a blind eye, you will definitely step on the water, but it is just a matter of stepping more and stepping less." ”
After skillfully dealing with the political environment factors that really happened in the length of the series, the market environment factors are also the issues that Hao Jinming attaches importance to, and when facing "The Little Woman Under the Gate of The Sun", he firmly believes that for the audience of this project, "yesterday's experience is today's experience".
Hao Jinming further explained that the real quality of life in that era can arouse the memories of many people who have come over, and it can arouse the interest of young people, and "Little Woman Under the Gate of Zhengyang" tells the story to people with experience and people who need experience, so both groups of people are covered. The post-screening data shows that the audience of the post-85 and post-90s of the drama has reached 39%, which once again supports Hao Jinming's judgment.
He said that yesterday's experience may be wrong and may be right, but looking back today, we can turn these wrong and right experiences into experiences to tell young people, and the older generation will naturally feel something.
Specific to the filming execution, the crew set up a shed in Fangshan, built 3 yards, 5 streets, and other utensils such as tables, chairs, benches and benches that need a sense of age in the tavern, which were directly pulled from Hao Jinming's personal 5,000-square-meter museum, which were all ancient utensils he had collected for many years.
"If you want to make a good scene, is it really okay not to play?" Hao Jinming said that the real scene and physical object of the crew are the advantages and our pursuit, and it is more conducive to the bringing in and releasing the emotions of the actors.
"There are two major laws in artistic creation, follow the laws of art, follow the laws of the market, and already half of the success." Hao Jinming concluded.
Thus, in the span of 50 or 60 years, "Little Woman Under the Gate of Zhengyang" has made different choices with the changes in the environment and events, forming a moving and living group portrait of the Beijing citizen class. "The three words 'storytelling' sound very simple, but telling a good story and telling a story well, these two points are actually very difficult to do."
The characters are alive
In "The Little Woman Under the Gate of Zhengyang", in addition to the combination of the breath of life and the background of the times, another point that makes the audience praise is that "the characters of the three religions and nine streams are real and cute whether good or bad."
"A flower in the front door" Xu Huizhen is undoubtedly the most vivid and three-dimensional, she is reasonable in everything, everything is more true, not only is the heart of the people good at attracting people's likes, but also in the eight-sided exquisite and transparent heart.
In the view of screenwriter Wang Zhili, Xu Hui is really a person with a sense of power, just like the "wind-like woman" written by the Tang Dynasty poet Li Zhao. "Dissolve the three autumn leaves, and you can bloom February flowers." Cross the river thousands of feet of waves, into the bamboo pole oblique. ”
She took the child to take on the responsibility of raising the family shortly after her new marriage, arranged her ex-husband's daughter to the side to implement the work out of goodwill, and she could also "needle the tip to Mai Mang" at a critical time, fight for her own interests, and eventually become a strong woman in her career, relying on this "wind" sense of strength.
In addition to praising Jiang Wenli's acting skills, when asked why she did not find a Beijing actress to play "Beijing girl" Xu Huizhen, Hao Jinming said that using only Beijingers is too narrow, do not forget that her profession is an actor.
In his view, using the concept of geography to circle actors is just "material". He then gave a visual example: "On the material can make pants, make pants, can make coats, why don't I just choose the right material, need to make pants, need to make coats to make coats?" ”
In the episode, the evaluation of "a woman like the wind" came out of Cai Quanwu, who knew Xu Hui the most, and it was enough to see the ingenuity of the screenwriter's arrangement.
Compared with the small belly chicken intestines of "Fan Jinyou", the "Cai Quanwu" who has a strategic approach is a real person who does not show his face, he looks silent and taciturn on the surface, but he is willing to be a green leaf that "listens to your commands", but in fact has great wisdom.
▲ Hao Jinming starred in the play "Cow Ye"
Hao Jinming said that each character name and role in "Under the Gate of Zhengyang" has intertextuality and relevance, "nothing" and "Jin You" are not casually blind, and Xu Huizhen's four-character combination of "Truth and Heaven" with good hopes is even more prominent in the Xu family style of "seeking truth and seeking reason".
"Whispers on earth, heaven hears thunder; the dark room is heartbroken, and god's eyes are like electricity." Hao Jinming used several idioms to summarize his understanding and interpretation of "truth and heaven".
As the character archetype of "Niu Ye" in the play, Hao Jinming played this old Beijing character who was full of Beijing flavor and had a face. Xu Huizhen set a rule for the tavern not to pay credit, except for "Niu Ye", because he knew that "Niu Ye" was not bad at all, and what he wanted was noodles.
Hao Jinming self-analysis said that "Niu Ye" is actually a representative of rules, a representative of traditional culture and inheritors, a reasonable, a righteous person, and there are 5 kinds of integrity in him, harmony, righteousness, bureau, arrogance, righteousness, and sometimes a little domineering.
Cow Ye "lives"! Hao Jinming said that in fact, every artistic image that comes from life and is higher than life benefits from the strong blessing of script ingenuity and actor interpretation. The biggest charm of creation is to let the characters "come alive" without a trace in the play.