On July 13, produced by the Film and Television Center of the Supreme People's Court, Maoyan Entertainment and Youku, with Fingerprint as the screenwriter and gold medal director Zhang Li directing, the TV series "Blind Zone" was completed in Xiamen!
The legal drama "Blind Zone" tells the story of Lu Nan (Xia Yu), a young judge of the Supreme People's Court, who is temporarily dispatched by the president of Nanjin City to help with a strange mutilated corpse case for many years during the death penalty review of a criminal case. Lu Nan (Xia Yu) rushes to Nanjin only to find that this bizarre corpse case is inextricably linked to Tian Yang (Li Xiumeng), the general manager of starley Import and Export Trading Company. In order to pull out the fog and explore the truth within the time limit, Lu Nan (Xia Yu) relies on his own extreme operation, with Tian Yang (Li Xiumeng) as a breakthrough, and even follows the vine to restore the truth of a case that makes everyone stunned and the international smuggling group behind it.
The reporter recently came to the "Blind Zone" crew in Xiamen City to visit Li Xiumeng, the main actor of the play. In order to describe the plot and his performance in this play, Li Xiumeng first raised his hand in front of us, then put it down, drew a high and low undulating wave at the low place, and then he said calmly: Probably like this.
The following is Li Xiumeng's self-statement.
Text: Yu Enhuai
Edit: Xiqing
Around May of this year, one day I was going to sleep, and the agent Sun Liang called me and said that there was such a thing: "Your file has been submitted to director Zhang Li's candidate, shooting half of the characters into prison, you need to shave your head, if you are selected, are you willing to shave your head?" I almost didn't even think about it and even said at least ten I would like me to do so... [Laughs]
It seems like another week, I forgot about it, and one night I was going to bed again, and the phone rang, and it told me that the director and the producer finally decided it was you. I asked, "When is filming going?" The colleague said: "Shoot you the day after tomorrow, you read the script again overnight today, and the crew will arrange for you to fly to Xiamen tomorrow." In this way, the next day I got off the plane and immediately began to try on makeup, and at eleven o'clock in the evening I met director Zhang Li for the first time in the crew office, and I bowed deeply to Uncle Li.
In May 2003, not long after I graduated from the Beijing Film Academy, the SARS outbreak broke out, and I had nothing to do with a few friends, wandering around the exhibition hall and the Houhai area all day long. One day when I came home and turned on the TV and saw that the TV station was broadcasting "Towards the Republic", I watched it for less than ten minutes, and I can't describe what kind of inner shock and emotional shock those ten minutes brought to me. At that time, I seemed to have the habit of writing a little diary, and I should have written in my diary about the aftermath of "Towards the Republic" and inspired myself with this play. Since then, I and my generation of practitioners have actually paid attention to all the movements of director Zhang Li all the time, which probably means that Uncle Li's works are equal to the absolute yardstick of the industry.
The next day I started filming at noon, the first day on set in a club, and when I entered the scene, I found myself nervous. In fact, to be honest, as a professional actor, I will have a sense of tension in any scene, but I like and can use this tension, because tension can make me more focused and engaged, and entering the performance state can also immediately release excess tension. But this time I found myself without direction, and the distribution of power in front of the camera seemed a little clumsy and obviously sluggish.
I don't know why, it feels mixed. But I immediately told myself that the film set was the place I was most familiar with, the lights, the camera, the moving tracks, the dramatic logic, everything had changed, just the people working together and the story I was going to present had changed. I just need to work with a dedicated heart, and the rest is completely under the command of Uncle Li. Sure enough, the adjustment was done quickly.
And this is not the first time I have worked with a fifth generation of filmmakers, I know very well that this generation of filmmakers has a strong and obvious sense of mission, and I even feel that they are demanding themselves by the standards of the level of national pillars. When you go to see their work and now you're here to get up close and personal with them, the feeling is very clear and intense. This spirit and standard is now fully embodied in their fine polishing and wind bones of the work.
You asked me how I felt about working with Uncle Li this time, but it was actually very simple, I had come to learn. On set, I felt that the director was very energetic, he was always shuttling between the monitoring and the scene, and any detail would be personally demonstrated, tireless and tireless. I was born in February 1979 and he was supposed to be in his twenties, but I felt like he was much more physically energetic than I was. [Laughs]
You should know that he is the most outstanding cinematographer in China, and I understand this this time. There are very few fixed camera positions during the whole shooting, the camera is always in a state of motion, the on-site photographer carries the camera around, and I feel that the photographer of this scene has a larger amount of movement and range of motion than the actors. In fact, his camera and lens language are also involved and assist the actors in their performances.
The most important thing about working with this kind of master-level senior is to learn the requirements of others for yourself and the standards of how to treat your work, in fact, what kind of quality do you plan to make? How much sweat are you willing to put in for this quality? How much loneliness and hardship do you endure? This is really, very important. I think that the experience and experience of these aspects will always be imprinted on me.
Having seen Xia Yu twice on different occasions in Beijing but not familiar with it, watching his "Sunny Days" as a child was one of the important elements that touched many people into the film industry, including me, who is an actor I admire very much.
I was the kind of person on set who said very little, and a work environment that wasn't very nagging suited me. Because I don't know how to use language to describe to others how I should work, this is my weakness and weakness. But I know exactly how I should do it. Then there is the fact that I always feel that colleagues should maintain a "beautiful distance and measure", which may bring out more sparks and inspiration.
Xiamen, (immersed in contemplation) The climate in Xiamen is too unspeakable, too unsearned, too unhelpful. What survival of the fittest, what competition seems to have no market here. (Laughs) Here I have hardly seen a mournful face, everyone feels very calm, and the level of civilization is very high, can feel the happiness index of people here, people living here are lucky, I hope I can come often in the future. (End)