"See You Again Nara" "Ozawa" version of the poster.
Produced by Naomi Kawase and Jia Zhangke, directed by Pengfei, and starring Wu Yanshu and Hidezawa, the movie "See You Nara Again" is being screened. The film is the third cooperation between Pengfei and actor Hidezawa, after experiencing the two films of "Underground Incense" and "The Taste of Rice Flowers", both of them have become more mature, Pengfei's expression of the film is more thorough, Ande is also more and more eager to make greater breakthroughs in acting, in order to better shape the role of Ozawa, a second-generation orphan in Japan, she studied Japanese in advance and constantly refined her performance. "I remember when I was playing, whether it was Chinese colleagues or Japanese colleagues, everyone hugged and cried together, because the atmosphere of the crew was so good, and I was reluctant to see them later. Even if the language is not the same, everyone can understand what the other party is expressing, which is a tacit understanding. Yingze told the Beijing News reporter that his biggest gain is to have a grandmother outside the play: "Wu Yanshu (played the grandmother who went to Japan to find relatives in the film) Teacher is really a particularly good predecessor, we often contact outside the play, and now whenever I encounter any difficulties, she will help me without reservation and give me a lot of advice." ">>> "See Nara Again" to go to Japan to find relatives, director Pengfei said that it is more like a road movie 丨 unveiling
Three weeks of learning Japanese from scratch, very torturous
The film "See Nara Again" focuses on the orphan group who returned to Japan after the war, telling a foreign bloodless mother-daughter relationship spanning 60 years, and Grandma Chen, who has not received a reply from her adopted daughter for a long time, can't help but miss it, she went to Nara, Japan, and embarked on a search journey with the help of the second generation orphan Ozawa and the Japanese retired policeman Kazuo.
In the 10 days before the filming of the film, Hidezawa traveled to Japan to experience life, and she lived in Ozawa's simple "home" in the film, which reminded her of her hard years of studying in the UK. For her, there is nothing more difficult to play in this role than to perform in Japanese. "When performing, if you keep thinking about the lines in your head, it will affect your performance, and if you can't say the lines very naturally and fluently, your performance will be greatly reduced." In addition, other actors will bring me in when they are acting, and I have to understand what they are saying and give my own appropriate reaction to immerse myself in the plot, which is a very torturous acting experience for me. Hidezawa sincerely expressed her true feelings about participating in "See Nara Again", and she needed to complete an almost impossible task: to become familiar with japanese with zero basics, after all, Ozawa, the second-generation orphan in the film, needed to speak fluent Japanese.
Ozawa, played by Hidezawa, speaks fluent Japanese in the film.
Director Pengfei remembers that when she accepted Hidezawa's Japanese before filming, as soon as she opened her mouth, all the Japanese colleagues in the crew were stunned: "We all know that she is a very hard-working actress, without any Japanese foundation, but after three weeks of hard training, he memorized all the lines, and did not have a little accent, and her requirements for her performance were too harsh." Asked what secret is there to digest a language in such a short period of time, Hidezawa laughed and said that the most important thing is to listen, listen during the day, sleep and listen, constantly recite, repeated practice, in addition, she also has to face the situation of constantly changing the lines every day, often on the spot to get the final Japanese lines: "The whole shooting process is too high-pressure, there are variables in the lines, at that time I was under a lot of pressure, I needed to memorize on the spot temporarily, and I also needed to perform skillfully, because I didn't want to affect the progress of the shooting." ”
In the film, Hidezawa has a lot of Japanese dialogue scenes with Hayabusa Kunisaki.
One of the scenes that made Hidezawa perform the most stressful was in the izakaya, where she told retired police officer Kazuo Yoshizawa about the background of her grandmother's search for her adopted daughter Lihua, a large number of Japanese lines, and the urgent and limited shooting time, and she felt that she was going to suffocate: "At that time, we were shooting until it was almost 12 o'clock, and I was worried that my mouth misunderstanding would affect my grandmother's rest, but Grandma Wu Yanshu had been encouraging me, and she held my hand and told me, 'Ozawa, don't worry, I will do a good job', at that moment my tears fell, my biggest gain after filming this play is to have a grandmother, and later, if I encounter difficulties in any shooting, I will think of the expression of my grandmother at that time. ”
Not wanting to be "light" anymore, I tried to play a hot female truck driver
Ozawa is a second-generation orphan, Grandma Chen and her are not actually related by blood, but Grandma is kind to their family, Ozawa's father asked her to take care of her in Japan to find her adopted daughter Lihua's grandmother, and took Grandma to find her adopted daughter Lihua. In Hidezawa's view, at first, Grandma's appearance was an intruder for Ozawa, and she needed to survive in Japan, but Grandma insisted on finding an adopted daughter who had been missing for several years, disrupting all her work plans, and she could not understand and was a little impatient. But in the process of searching, she gradually understood the deep mother-daughter love between them, and she was even more persistent than her grandmother in the second half of the film, and she must insist on finding Lihua. "Because Teacher Wu Yanshu's acting skills are too exquisite, I have a strong sense of substitution, and when I made "The Taste of Rice Flowers" before, many of my emotional expressions needed to be grafted on some feelings and experiences in my private life, but this time I didn't need to use external forces, I just needed to really immerse myself in the plot. Because director Pengfei has always been very restrained in his requirements for performance, I remember that there was a scene in which the deaf and mute played by Mr. Nagase Masatoshi was more deaf and mute than to draw the whereabouts of Lihua, that scene I was brought into a very deep, I did not know how to control my emotions, I have been shedding tears, coupled with Nagase Masatoshi's acting skills are too good, my grandmother and I can hardly control myself, in Ozawa, her emotions have been suppressed for a long time in this search process, in fact, she has not been fully integrated into Japanese society, she has also been reflecting on her own identity problems, She had been rejected and aggrieved, and when she knew that she might never find Lihua again, her emotions were completely released. ”
The second half of the film has a lot of emotional scenes.
Entering the performance industry is also a mistake for Yingze. She was born in a non-science class, before acting, she was interning in an investment bank, and her initial dream was far from acting, and after graduating from working, she found herself a little rebellious in her heart, and suddenly felt that she did not want to sit in the office anymore and wanted to change her lifestyle. Coincidentally, she met a friend around her who was preparing to make a movie, and she also wanted to submit a resume to try to be a producer, and it was through this opportunity that she met Pengfei, who was filming "Underground Incense" in France. Pengfei thinks she is very suitable for being an actor, and Yingze has since started her life as an actor. Yingze said that although her family initially had reservations about her acting, watching her progress in recent years, she was increasingly encouraged to continue to be an actor.
The pictures above and below are stills of "Underground Incense" and "The Taste of Rice Blossoms".
At the same time that Hidezawa participated in the "See Nara Again" project, there were two other films that asked her to participate, she pushed it away, she said that she only wanted to do this thing to the extreme, and more and more thought that being an actor should always be full of awe: "Before, I wasn't sure if I really wanted to do the job of an actor, and then from "The Taste of Rice Flowers" to the current "See Nara Again", I made a few more plays, and gradually I had some ideas about this profession, if I want to shoot this play, I can really do it with a lot of energy and time, and after choosing one, I want to be able to do it to the best of my ability. Referring to her future plans, she said that she did not want to repeat herself, but to meet more new roles and new challenges: "Last year, I made several movies that were different types, and even played a particularly hot truck driver, I am really looking forward to this film, because it is so different from my previous light screen roles." [Laughs]"
【Interview】
Hayabusa Kunimura thinks my Japanese is very online
Beijing News: It is the third cooperation with director Pengfei, is this participation out of old friendship or interest in the script?
Hidezawa: All of them. Because we had a tacit understanding of cooperation before, now, we have all grown a lot and changed a lot. Looking back, when filming "The Taste of Rice Flowers" was completely different, like Pengfei was in the filming location for about a year, I also went a few months in advance, there was a lot of communication design in the early stage, polishing the script, everyone ran into each other, racked their brains to discuss how to get it, and the pre-preparation time was also very abundant. But this time filming "See Nara Again" did not have much early communication, Pengfei knew that I did not know much about this history of Japanese orphans, so he sent me a lot of books, each preparing their own, independently to understand the history behind the movie.
Beijing News: You have a lot of dialogue scenes with senior Japanese actors like Hayabusa Kunimura, will you be nervous?
Hidezawa: At first, I was very nervous, after all, I am not good at this language, he is such a senior actor, in the early stage of shooting did not have the opportunity to do a Japanese script reading, you need to communicate fluently to shoot as soon as you arrive at the scene, fortunately, Kunimura Hayabusa teacher they are very patient, but also gave me a lot of encouragement and support, I was very surprised when I first started speaking Japanese, because I was really zero-based, but he thought that what he said was quite online (laughs), after shooting the first scene I gradually relaxed.
Stills from "See You Again Nara".
Beijing News: The international students you play in the film are very real and natural, how to do it?
Yingze: In addition to using some of my previous experience of studying abroad, I will also immerse myself in the lives and emotions of locals, I studied in the UK before, this experience will allow me to reach the state of studying abroad more naturally, but I will also go to further understand the plot, such as I visit the families of many orphaned descendants to see the status of the younger generation. Coupled with the fact that the era in the film is set in 2005, I will refer to interviews from that period or online materials to make myself more involved.
Beijing News: How do you think about the scene where the three people walk together at the end of the film, do you like this ending?
Inzawa: I prefer this kind of semi-open-ended ending, so that there are more possibilities and everyone understands it differently. My personal understanding is that everyone may be tacitly aware, and Grandma may have guessed the harsh truth, but she did not want to puncture it. Not to say that breaking is also a good wish, everything is still full of hope, the three people must continue to move forward, and life must continue.
Beijing News: The final movie is an open-ended ending, have you ever imagined Ozawa's life in Japan after that?
Hidezawa: I personally feel that she will continue to live in Japan, even after such a long search journey, but life will continue. I may be a more pessimistic person, like the mother played in "The Taste of Rice", many people ask me whether my mother is gone or staying, I think she will definitely go. Although what happened in your life has caused some changes to you, it cannot change the trajectory of your entire life, many real problems will still be the same as before, you must also face, so Ozawa will continue to follow the previous path, but the mood is different.
Beijing News: This time filmed in Japan, the most impressive actor is?
Hidezawa: I was very impressed by the dedication of Mr. Masatoshi Nagase. He plays a deaf-mute in the film, only for one day, but in order to play this role, he wears headphones a long time in advance and then puts himself into the state of deaf-mute. After filming, he also joked that he lost a lot of opportunities to make friends because he wanted to play this role and could not communicate with other people, even if he had not yet started shooting or entered the group, he began not to communicate with people, try to communicate with pen and writing, he really can do this for only one day of drama, which is admirable.
Masatoshi Nagase plays a deaf-mute man in the film, and his dedication is deeply admired by Hidezawa.
Beijing News reporter Zhou Huixiaowan
Edited by Huang Jialing Proofreader Wu Xingfa
Source: Beijing News