【Hao Lei & Chinese Creators Full Record】
Tangerine Zijun selected 10 directors and creators who have completed different types of works in different fields: Wang Jing, Yang Yaya, He Pei, Liu Heng, Meng Jinghui, Jia Zhangke, etc., the fifth issue of the Complete Record of Chinese Creators, listening to Hao Lei tell the story of the creation of that year.
The following "Hao Lei: The Complete Record of Chinese Creators" is a complete version of the unabridged text:
"Seventeen Don't Cry": I didn't expect this role to affect so many people.
Tangerine Zijun: Let's first talk about Yang Yuling in your first "Seventeen-year-old don't cry", how did this script find you in the first place?
Hao Lei: Before I went to college, I worked as a voice actor in Beijing. One of the TV series directed by Wang Jing was dubbed, and he still liked me a lot, so when I was in my first year of college, he remembered me when he wanted to shoot this drama, and he found me and let me shoot.
Tangerine Zijun: Did you talk to screenwriter Li Fangfang about this role during the period?
Hao Lei: Actually, everyone didn't talk about anything, at that time, Li Fangfang was the same age as me, and she was also a child. I seem to have seen her once or twice, but at that time she was going to study abroad, and she was very shy, so she just said hello.
Orange Zijun: When you made "Seventeen Years Old Don't Cry", what did this role and this play mean to you? Looking back at the many TV series you made from 1997 to 2002, what does it mean to you?
Hao Lei: Actually, when I was filming, I was already in school in drama, and I myself would prefer to play some more profound characters. But the character of Yang Yuling is a teenage high school student, and she can't express something profound, so I don't even like the role very much. So when I was shooting, I didn't think it was such a sensational play, for me, I was just normal to play this role, but I didn't expect this play to affect so many people.
Looking back on the TV series in the past few years, I think for me, it is a kind of accumulation of experience.
Tangerine Zijun: I remember that after filming "Seventeen Years Old Don't Cry", there was a play called "Sisters", and I thought that this role would definitely be won?
Hao Lei: At that time, I was playing a female boss who grew up in her thirties, which was actually a little challenging. Because I was only 19 years old at the time, all the teachers I played with were my current age, but they needed to play my down tree, which was indeed a bit challenging for me at that time.
"Young Wong Fei Hung": A good performance is actually "you are always playing a person, not a so-called drama"
Tangerine Zijun: I remember when I was watching Aunt Thirteen, when you came out with a box, looking back from the downtown area and smiling, it was particularly beautiful, what is your feelings about Aunt Thirteen now, looking back now. Because the day before it was also on Weibo hot search.
Hao Lei: My impression of Aunt Thirteen comes from the role played by Guan Zhilin. At that time, the creative team was all Hong Kong, so it would look less like Chinese mainland style to the audience. During that time, everyone was cooperating with Hong Kongers or Taiwanese, and even everyone's performances were relatively externalized, in today's terms, there were many stems. At that time, I really felt that this was far from what I learned in college, that is, I entered a different kind of performance system, and I was thinking about how to perform in a More Natural Way with Hong Kong-style drama every day.
In fact, this kind of play is easy to perform, because we did not grow up in the big environment of Hong Kong, and if we just purely imitate this performance style, it becomes very scary. But now that I think about it, it's actually okay, because I've been working with them for a long time, I can understand what they want, they actually want to add a little drama to life, nature, and comfortable acting, and they need you to exaggerate and be funny. So I feel like it's good to have that experience in my life.
Tangerine: Is there a big difference between the Hong Kong crew and the mainland crew?
Hao Lei: It seems that the scene was filmed for two or three months, and at that time, the Hong Kong crew did not take people as people, and they were really tired. They are divided into ABC groups, the staff can rest, you finish work from Group A, you run to Group B, Group B finishes work you still have to go to Group C, completely no rest state. And they don't do much research on creation because they don't have the time. So it's actually difficult to be able to play a good character in such a high-pressure situation.
Orange Zijun: When you were filming a TV series, you were already able to feel what a good performance is?
Hao Lei: I have been able to distinguish between good performances and bad performances since I was in college. A good performance is "you are always playing a person, not the so-called drama".
Tangerine: Do you sometimes watch TV at random, when you see that an actor's performance does not reach a good level, you will suddenly be laughed at by the actor's performance, or have other emotions?
Hao Lei: I don't laugh, I think it's very sad, I'm going to be very angry, I'm very angry. This is an industry issue.
Orange: Have you ever seen an actor or actor on the set who is not professional? How did you behave?
Hao Lei: Too much.
First of all, I am an actor, and even if I am a great actor, I have no right to tell my opponents, and this work is still left to the director. If the other person can't do it, you can only rely on yourself. If we can teach each other to perform on the spot, then the performance is too simple, but there are many things in it, and it may be said that "performance theory" may have to be said overnight. So there is no such simple thing, the only thing that can be done is only yourself, try to drive the other party.
Tangerine: Then I'm curious, if the acting is not good, doesn't the director shout the card?
Hao Lei: Not all directors can see the good and bad.
Tachibana: I think you've also heard of the variety show "The Birth of an Actor". There are a lot of actors, but they perform in the studio, and they often present it in a very dramatic way, do you think that is a good performance?
Hao Lei: This question cannot be considered alone. It is like this, performance is an understanding of space, the understanding of performance space and our relationship with space, which is a discipline in performance science. Such a show, with an audience and a judge, is like a medium to large theater. At this time, there is a machine in the close-up position, how do you let the actor play? This is too embarrassing, because even if it is a drama, if you are a small theater, how much you have to put it, the Middle Theater and the Big Theater are very different. Then there is no way to make a judgment in this case.
"Young Heavenly Son": Is it possible that trying to play a "crazy person" will make you appear to have explosive power, or the so-called acting skills?
Tangerine Zijun: Jingfei in "Young Heavenly Son", directed by He Pei and screenwriter Liu Heng. What was the chance of receiving this book?
Hao Lei: He is the producer of "Young Wong Fei Hung", and everyone has worked together, so he will come to me.
At the beginning of "Young Heavenly Son", I was asked to play the bouquet of flowers, and she was the female number one. At the beginning, Teacher Liu wanted to write a person at the bottom, and in the process, he kept climbing up, similar to the stories of some plays like today. Later, because of some executive producers and other factors, he felt that I was not bitter enough, and then said that you go to play the queen is actually very unhappy, a total of 40 episodes of the play, the queen only accounts for half, and then I don't want to act.
Tangerine Zijun: Have you talked to Teacher Liu Heng about this role?
Hao Lei: We often talk, Teacher Liu Heng is our general director, although he does not direct on the spot, but cut the film or something, he will come over.
Once, I was more impressed that we first went to the dam to shoot a scene of horseback riding, and after shooting for more than ten days, we returned to the Beijing shed to shoot. Then Teacher Liu asked me a question alone, there was a scene where the emperor came to me and asked me if I had pushed a concubine into the river?
He said "I don't think you're afraid enough of the emperor" and I said "Where is not afraid enough?" Then I kept arguing with Teacher Liu, and then I said, "Teacher Liu, I said very unceremoniously, this fear-type method you are talking about is that I chose a more common one among more than 20 methods, so I will not choose it." I also discussed with the director, if a bad person knows that she is bad, will she still do bad things? ”
Therefore, in my discussion with Teacher Liu, Teacher Liu did not comment. I said, "Teacher Liu, you first look at the back and back of several scenes, and then see if there is a problem with this scene." If there's a problem remake, if it's okay, you know why I'm acting like this. "Later, there was no reshoot, and after he watched it, he felt that this treatment was right.
So I can't stand the current actors now, playing some costumes or palace fights, especially like to play a "crazy person". I don't know who taught them, two days ago I was still scolding in the circle of friends, is trying to play a "crazy person" will appear to have explosive power, or the so-called acting skills? That's not true.
Tangerine Zijun: I remember there was a scene where you seemed to tell a particularly terrifying story to the emperor, and the emperor felt fear, what do you need to prepare for this performance?
Hao Lei: There is too much to prepare. We are professional actors who study acting, and everyone who has gone to college knows that you have to have four main courses: sound, stage, shape, and table. The sound, stage, and shape determine your performance, and the performance is comprehensive. Where is your voice and where is your pronunciation position? Your body, do you have the physical ability to shape a character? It determines how good or bad your performance is. This is just a part of the base energy, or technical problem. What you need to prepare is how you can understand the character, how you can present him in some way.
Especially a play like "Young Heavenly Son", it has a sense of history, and you really have to prepare too much before. So people have a habit of shooting and shooting, such as the next day there is a scene to be filmed, and in the evening I will go to my opponent for rehearsal. Yang Rong came to the crew relatively late at that time. I was her sister-in-law, so I would run and knock on her door, and she was very surprised, she said that this crew is like a school, and there is such a tradition.
Tangerine: In fact, some wonderful scenes, in addition to your own performance is very good, the actors are also very important to play. Are there any controversies or disagreements between your actors when discussing?
Hao Lei: Of course there will be, and the most discussed thing is not how you should act, but how you should understand this character.
For example, what I remember very clearly is that Shunzhi came to me after he left home, before Princess Jingfei died. Teacher Liu said you must pay attention to the fact that he is a pseudo-Buddhist. Because everyone was twenty-four or five years old at the time, you didn't know what Buddhists were, how do you know what a fake looked like, so people would discuss such a topic.
There is also a scene such as the death of Dong Efei, even without me, other actors will also discuss, the usual treatment is all kinds of sadness, but better handling must be more than sadness. So it seems that they remade the scene a second time, because after everyone discussed it, they may not think it is very good.
Tangerine Zijun: Do you think that because when we watched "Young Heavenly Son" at that time, we probably liked the role of Huo Siyan more, because she was very beautiful and kind. So now with the continuous changes of the times, everyone's aesthetic will also be different. Including "The Biography of Zhen Huan", we love Concubine Hua more, and "Yanxi Raiders" may love Noble Concubines more. Then do you think that if "Young Heavenly Son" is put in the present, we may love you more for playing this role, and do you think that you may have some roles too early?
Hao Lei: No matter when you pick up, acting well or badly is the focus.
First of all, "Young Heavenly Son" is not a genre with the palace fighting dramas you just mentioned, it is a Qing palace drama with historical heaviness, most of them are about politics, and it has the existence of these things. And Teacher Liu Heng is such a big writer, he is not an ordinary screenwriter. All of our performances were uniform, dramatic, and different from today's. I don't think there's much about acting early or acting late.
Maybe everyone keeps mentioning "Young Heavenly Son", and constantly mentioning the role of Jingfei, I think that is a good thing, indicating that the audience is growing. I also read an article, now I don't like "Mary Sue", I don't like the plot is simple, but I like characters with some thickness, which is of course a change in the aesthetic orientation of the times. But for me, I don't think there is such a problem.
Tachibana: When you played the role of Jingfei, did you feel anything at the performance level?
Hao Lei: I have summed it up myself, and it changes every 3 years.
Not only in the play of "Young Heavenly Son", it may have been divided into 3 years, 3 years, and 3 years before. This is a summary of myself, and it is difficult for me to say that after I have spent 3 years to have a very good performance system, I will make it a little more advanced.
It was at the stage of "Young Heavenly Son", I think it is a summary. Because as I just said, since graduation, I have filmed a lot of Hong Kong and Taiwan dramas. When I went to shoot "Young Heavenly Son", Mr. Liu Heng was particularly interesting, he initially thought I was a Hong Kong actor, I was very happy, because I was obviously an actor with no overseas experience, but in that kind of Hong Kong and Taiwan group environment, I can still integrate, I think this is a skill. So when I returned to "Young Heavenly Son", it was not very difficult for me, and the creative state was also very good, so there was "Young Heavenly Son" that everyone sees now.
Rhinoceros in Love: When I acted in a play, I felt like I was the god of the audience and a hypnotist.
Orange Zijun: Next is the drama "Rhinoceros in Love", why should you go to the drama?
Hao Lei: I am a theater actor, A theater background, and I act in drama very normally. Because I am an actor in the National Drama Theatre, this is also a project of the National Drama Theatre.
Tangerine Zijun: How does it feel to cooperate with teacher Meng Jinghui?
Hao Lei: The feeling of working with him is more abundant. I knew him when I didn't graduate from college. When we first worked on Rhinoceros in Love, I didn't know much about what he wanted and couldn't understand what he was saying, so there could be contradictions. I am the one who, if everyone can't agree on the creation, in fact, don't go on, I think that is a very disturbing thing for everyone. Later, they actually made some compromises with each other, but they didn't expect to be very successful.
When I was soft for the second time, I thought he was soft too, because he was older, and he might be more willing to try to find some way that others could understand to communicate, then I also grew up, and I think I was more willing to explore his inner world, what worldview he wanted to express, so it was very smooth. So the second time we worked together, we barely really rehearsed, and I think the two of us had been chatting and talking for more than a month, and then it naturally formed what the play would look like later.
Orange Zijun: Is there any difference between acting in a drama and acting in a movie or film or television drama?
Hao Lei: In fact, from the perspective of performance, there is no difference in fundamentally speaking. But the drama is more direct, the drama does not have the director to stop, no matter what you have to hold on to yourself for two hours, it is equivalent to controlling the rhythm of more than a thousand audiences, so it is to see yourself, I think you like that feeling, you should go to the drama, but if you feel too much pressure, it may be counterproductive.
Tangerine: When you stand on the stage of the drama and the light hits you, how do you feel?
Hao Lei: I feel like I'm God, I feel like I'm the God of this thousand or so audiences. Because they were first surrendered to what I had expressed, because they did not go, they sat there waiting for the last moment to applaud. And then there's the fact that I think I'm also a hypnotist, and I hypnotized them.
"Love on the River": Everyone has a certain understanding of aesthetics, and this cognition has certain similarities, so it is not necessary to say more.
Tangerine Zijun: The next one is a short film directed by Jia Zhangke, "Love on the River". How did you feel about working with director Jia Zhangke? Although this is a short film.
Hao Lei: He's funny, I think Jia Zhangke is a very interesting person.
Because Jia Dao is not very tall, so I told him, I said Jia Dao, have you ever seen a hamster? He said what's wrong. I said you're particularly like a hamster. His state is not the kind of big director that everyone imagines, very casual, very comfortable.
Orange: Did he talk to you about the drama?
Hao Lei: No, this kind of director is not very good at talking about drama, he may talk about position, but he is not very good at telling you how to understand anything.
I don't think I need to say anything between me and him, like when he came to me to play "Love on the River", it was very fast. He said I wanted to talk to you, I said I already know, Lou Ye introduced it to me, I said let's shoot it. Then we went to shoot, and there wasn't much communication, and I think everyone has a certain understanding of aesthetics, and this cognition has a certain degree of similarity, so there is less need to say more.
"Chapter 4 Painting": I told my agent at the time, take this play, it will definitely win the award.
Tangerine Zijun: The next one is directed by Zhong Menghong in "The Fourth Painting". At that time, I took the Golden Horse Film Distribution, what is the difference between cooperating with Taiwanese directors and cooperating with mainland directors? Especially for directors like Zhong Menghong.
Hao Lei: I think it's the same.
First of all, when I received the script, I only had five scenes, and I didn't know who the director was or what I was going to shoot. After I finished reading the script in one sitting, I told my agent at the time that I would take this play and it would definitely win the award. He said it was too sloppy, do you want to go and see his previous work "Parking". Then he helped me find out his last movie, Parking, which I thought was good.
Then we went to Taiwan without a single phone call. They were already shooting. After saying hello between us, the next day I went to the set for 3 days in a row, and he didn't say anything, I didn't ask.
By the third day, there were a few lines that were more Taiwanese, and I was not comfortable speaking, so I ran to him and asked him, did I say that the director deliberately said this? Or can I translate into a language I'm familiar with? He said you can say whatever you want. I was curious, the two of us didn't know each other, we didn't even talk to each other, why hadn't we talked to me about anything in the past three days? He said Lou Ye told you about the drama, I said of course not, he said then why do you want me to talk. I think there's something in common that people can know what his way is when they go to the movies.
Director Zhong Menghong is a very emotional person, on the day I finished, everyone said that you finished shooting, very happy. I found out why the director wasn't there, his assistant director said, and the director ran to the back of the grove to wipe away tears. Because this team is going to leave separately, he will be very sentimental. He is a very interesting person, and he is a more childlike person, so there are often such metaphors in his films, such as crawling over a caterpillar.
Tangerine Zijun: I actually watched "The Fourth Painting" including some of your previous performances, although there were not many scenes, but as soon as it came out, I felt that this character felt particularly storylike. How is this done?
Hao Lei: In fact, there are many theories to do it, not that I am a natural actor, it is not so. Maybe divided into two kinds of it, the first is that an actor should be a person with a story, these stories come from a lot, not necessarily experience, then how many books you have read, how much music you have listened to, how many paintings you have seen, how much understanding of the theory, all of which make up whether you are a person with a story.
The second is that the less I play, the more I have to bring its causes and consequences to the role, rather than superficially completing her actions in the play.
Tangerine: In fact, in addition to the recognition of the Golden Horse Awards, what does this movie mean to you?
Hao Lei: I don't think it means anything, I think it's one of the plays I've played.
"Floating City Mystery": My growth must be thanks to two directors, one is director Lou Ye, and the other is director Meng Jinghui.
Tangerine Zijun: The next one is "The Mystery of the Floating City" with director Lou Ye, do you remember how you felt when you first met Lou Ye?
Hao Lei: I liked "Suzhou Creek" very much before I met Lou Ye. Two years before I met him. That movie kept asking me to meet the director, and I said who is the director? Then they said a name I hadn't heard of —the famous photographer Zeng Jian. But at that time, Zeng Jian was a newly graduated student.
Because I was very tired of filming at that time, I refused for about a month. One day I happened to be driving home, and my agent said it was actually the director's office at the last intersection of your house, so I went. He came out of it, and others said, saying that this is our director Lou Ye.
I remember the first words I said to him in my life were, "It was you, didn't I come earlier?" He himself was there, and he didn't know why I was saying such a thing.
Tangerine: Did Lou Ye say anything about the performance that impressed you?
Hao Lei: Lou Ye said that you acted very hard and hard for 100 minutes, which is not as good as your real feelings for one minute. I think it's very good.
Orange Jun: In this movie, there are often a few words expressing a scene, what should I do in this situation?
Hao Lei: "Floating City Mystery" is quite a lot, "Floating City Mystery" has a scene is that I watched Qin Hao and another little girl into the hotel, that script is to write Lu Jie five thunder boom. I said at the time that these five thunderbolts were going to make the makeup burn my hair? It's hard, and I don't think the writers can say anything more, that feeling is too special, right. I think every actor may not express herself differently.
Orange: On set, if the director didn't ask for what he wanted, what other ways would he tell you?
Hao Lei: It is always another one, another one.
In fact, I have to thank two directors for my growth, one is Director Lou Ye and the other is Director Meng Jinghui. They're all devils, they don't say much to you, they're squeezing you like a juicer. So working with them is painful and extreme pleasure. Because I still have that potential, but that process is very painful, and not everyone can resist it.
Tangerine Zijun: If when shooting, the actor often feels that the character today is not playing very well, will he often say that he will not shoot today?
Hao Lei: He has such times, but what he is more powerful is that he will be good at using your current emotions. He felt that the sentence you just said, whether you are angry, sad, weak or whatever, this is true, the real should be used well, this is my understanding of him.
Tachibana Jun: Did you have any arguments on set?
Hao Lei: There was a dispute, at the first time.
I ignored him for a week as the finale, because I think people understand the character differently, that's all.
Orange: Later you convinced him?
Hao Lei: I didn't, no one convinced anyone, just he took the picture, I did the acting, I played my own.
Tangerine Zijun: Did you have any communication with the screenwriter Mei Feng?
Hao Lei: Yes, Teacher Mei Feng is a good friend of mine, and we will often discuss some things about movies and about life. Most of Mr. Mei's creative ideas must be consistent with director Lou Ye, but some of the understanding of emotions may not be so consistent, and everyone's emotional world is different, but I always think that the two of them are a perfect match. It may be presented in a different way, and a different effect will appear.
Tangerine: You worked with director Lou Ye, what do you think he taught you?
Hao Lei: I don't know what he taught me, Director Lou Ye is a very relaxed person, in him you don't feel that anything is extremely important to him, even unimportant, and he doesn't like to talk much. Let's say you're talking about someone and they suddenly talk about how Coke came about, or something else. Probably because he is a Pisces, he will always fly in the sky.
"Golden Age": Xu Anhua is a director with great respect for his partners.
Tangerine Zijun: How does it feel to work with director Xu Anhua?
Hao Lei: Xu Dao is a very nice person, very polite. At that time in Shaanxi, it was quite cold to shoot in the cave, and it was also very hard. The director is not young, but the director will always come from a long distance and talk to you very quietly, she is a director who has great respect for her partners.
Tachibana: How did you feel when this script came to you? In fact, Ding Ling's role is actually very small in this.
Hao Lei: I like Ding Ling a lot. When I watched "The Biography of Ding Ling" and saw her last resume, I shed tears. This man was too strong, strong enough that she could live to be in her 80s. So I think it's good to play such a person, and I've hardly ever played this kind of history of real people, and it's still modern, which is actually a challenge, and I think it's quite interesting.
Dear: I can never see my preparation.
Tangerine Zijun: The next one is "Dear" director Chen Kexin, does the script have some challenges for you? When you appear, it is necessary to give the character an emotion.
Hao Lei: How to say it? You want me to come up with a good table, but you don't give me materials, and this script is in such a situation for my character.
During this period, screenwriter Zhang Ji and director Chen Kexin had a separate meeting with me. They'll think it's a little unfair to me because the so-called drama is not on you, so what can we do for you? I said I didn't. Because there is no essential difference between the father who lost the child and the mother who lost the child, then I played a father and a mother with Huang Bo, and I said that my task was to assist him and let him shine on the final scene earlier. Drama is always performed by everyone, not by one person.
Like you said just now, I am responsible for controlling the overall emotions, which is actually not difficult for me. I don't think it's difficult for the technical level, but the psychological level is very depressing.
When I was filming this scene, I had only been having a baby for a few months, and you would think the experience was horrible. So I call my mom every day, and I say don't take my kids out of the community during my filming, which is very stressful for you. Fortunately, this play is quite good in the end, and there are also changes to the law.
Orange Jun: At the fountain, the child holds your hand. Including saying that you and Huang Bo were on the stairs, he said that the child called mom every time. There's also a kid who says he wants the police uncle to arrest you for that line. Does this need to do any psychological construction or something?
Hao Lei: The scene where the fountain pulls the child, that is, a few days before the scene was filmed, was supposed to shoot the scene, it was very quiet, it was very good for me, and it was also very good for everyone to cooperate. As a result, I changed my plans that day due to rain, so when I shot again, I felt a bit broken as soon as I got to the fountain.
Because it is a shopping mall, at any time there will be people wearing gangs, the fountain does not know when to spray, is it the director's ideal spray, children do not know whether to remember the lines, can they keep up with the Steadicam focus they carry? In this case I almost 10 minutes to build once, but I can't stay in that emotion forever, I have to ease, and then I go to the act, the fire and then the relief, it's terrible.
We probably have 3 more successful ones.
At the time of the first article, Chen Kexin had already said OK, and in my heart it was completely impossible to pass, and that kind of passing was even worse than the rollercoaster-like ups and downs I had just experienced. So in the second article came a more successful one. Because he built a monitor shed, and then he ran out, and he could see that he was quite excited, and he could see that his eyes were old and red, and he said that it was really too good, and everyone in the shed was in tears. But I said to him, can you give me another chance? I said because the culmination I wanted hadn't been reached yet, and then we came a third time.
Tangerine Zijun: Understand, what kind of director is it to work with Chen Kexin?
Hao Lei: I've known director Ke Xin for a long time, and when I have the opportunity to have a coffee, I usually tell him some of my ideas, or what kind of films I want to make when I become a director in the future.
I think he's a man who thinks a lot and is very determined about it. But when I worked with him, he was the director I'd ever liked to ask people advice, and he would really ask the people next to him, maybe the actors, the cinematographers, the first execution. It surprised me, I was wondering what the hell was he thinking, he was such a big director, was he not sure what he wanted? I think it's definitely not, he's not sure, I think he's probably sure what he wanted.
Tangerine: Actually, when I was preparing your interview, you said that a good actor should be irrepressible, so what are the criteria for a good actor you think you have now? Do you need any traits?
Hao Lei: It's still like this.
Orange: Do you think an actor needs to know what the standards of good performance are, and what are the standards of good performance?
Hao Lei: First of all, we just said that this technology must be completed first. You can only talk about what your performance is if you are qualified in the basics.
Our actors, for example, deal with lines and speak Mandarin badly, how can you expect him to have lines? Not to mention that acting is really too complicated, this performance is called action psychology, I am through my actions to explain this person, this character, or this director his psychological condition. Our current actors don't know what they're thinking, can he figure out the role?
There is also the problem of vision.
At every turn, the Chinese actress's favorite is Meryl Streep. Streep is indeed a very good actor of the previous generation, but she is a technical actor. The best today should be Isabelle Huppel, which is not controversial, but can we only see Streep? That only means one thing, your technology is not up to par. Does anyone know that there is a very great actor in Japan named Hideko Takayama? Can we take a look? Maybe it's a long time ago, right? Then you can also go to see a very good actor in Asia, Kim Min-hee, why can't that standard be a little higher, or a little more diverse? This is a terrible thing.
And what is the so-called explosive acting?
It's ridiculous, the so-called big explosive power and so on, is what a sophomore in drama school should do. Today, a mature actor still has to take the results of the second year of college to show off as a benchmark? So how far will Chinese acting science degenerate in the future?
Tangerine Zijun: In fact, your recent works now, it seems that the ratings are not high, how did you want to take these scenes at that time?
Hao Lei: First of all, the actors are very passive, and the resources are not what you want to have.
Second, we've tried our best to pick out what we think is OK, but they're so irresponsible in the process of creating. I'm not a director, I can't control it. That producer, he's going to make money, and I can't say no, you have to love some art.
There's really no way to control this. No problem can exist alone, no good actor can save the whole situation, the actor is only one part of the whole film industry, and too many important things behind it cannot be controlled.
I see that some people also asked Mr. Liang Chaowei, "Are you short of money to take over the play?" ”
If you question an actor in this way, first question the industry, first ask how many Chinese films can be watched within 3 years? Let's ask this question first, and then we question a certain person's choice.
Tangerine: What adjective do you hope others will have when they mention Hao Lei in the future?
Hao Lei: Before, I would have liked to be an "actress" or a "female artist", but now I don't care.
The day before yesterday, when I was talking to a teacher about movies, he said what is the legacy of personality? As an artist, the legacy of personality is the work. Every time we might mention a painting, you say van Gogh is too powerful, Cézanne is too powerful. We mentioned a piece of music about how great Bach was. That's because through works, he was reborn in a world where he didn't exist. I think it's good, but that's just what I knew 3 years ago.
Today I feel that it doesn't matter, I came into this world because I am self-aware and cognitive, and have nothing to do with others, so as to what other people should say, it has nothing to do with my perception.
Orange Jun: Okay, thanks.