Wu Mingyue is the one who is really sick (prognosis) in the whole play, and the one with the least disguise, while the novel she writes hides the key to the truth. The Beijing News reporter recently interviewed the actor who has cooperated with Meng Jinghui in many dramas and has begun to get involved in film and television dramas in recent years.
Character Profile: Wu Mingyue
Identity: Writer
Age: 32 years old
Address: Manchester City skyscraper, Room 2004, Building C. Zhong Meibao's next-door neighbors have spare keys for each other's homes.
Works: The fantasy novel "Xiangyun Phantom Record", the first and second parts have been published. But she would rather default than publish the third part of the finale. And "Xiangyun Phantom Video" is the key to unlocking the mystery of Zhong Meibao's death.
Actor Profile: Kong Yan
Age: 34 years old
magnum opus:
Drama "Hanging Garden Murder", "Amber", "Dream Like a Dream"
TV series "Skyscraper", "Animal Bureau"
Movie "Winter goes to spring and comes again"
Short film "A Blue Shrimp"
Choose & Collaborate:
"Good directors are hermaphrodites"
"Skyscraper" is Kong Yan's second collaboration with director Chen Zhengdao. Previously, she played "a professional lawyer in a more traditional sense" in the film "Secret Visitor" directed by Chen Zhengdao, who is capable of Zhou Zheng, which is far from the neurotic and bohemian Wu Mingyue. During the preparation of "Skyscraper", Chen Zhengdao's casting team looked for Kong Yan to play Wu Mingyue, feeling that there were more possibilities to be tapped into her.
The structure of the play "Skyscraper" is quite attractive to Kong Yan, and each supporting role has an average and full play space in their respective units. In Wu Mingyue's two episodes, she is the actual protagonist. The second cooperation with Chen Zhengdao's team also made Kong Yan feel very at ease, especially the screenwriter responsible for Wu Mingyue's unit, who was also familiar with her, it was the screenwriter of "Secret Visitor".
Although the filming scene of "Skyscraper" was present by Chen Zhengdao, Wu Zhongtian and Xu Zhaoren, Kong Yan, as an actor, was not confused. In Kong Yan's view, the three directors have a tacit understanding of cooperation with each other, and each person mentions different points, but they can listen to each other's opinions. "I went to shoot the scene for 20 days, and every day I went to work at five or six o'clock in the morning and finished at four or five o'clock in the afternoon. It's so fast, so efficient, so professional. ”
The female theme is another point that attracts Kong Yan to star. As a male director, Chen Zhengdao has such a profound observation and presentation of the plight of women in the play, which surprises many viewers. Kong Yan admired this, and she felt that good directors were hermaphrodite, such as Ang Lee and Xu Anhua. "They have another gender in their bodies, so that they can have great love and truly be called artists."
Courtesy of respondents
Challenge One: Generalize the "psychological patient"
Everyone in "Skyscraper" hides secrets, and the audience looks at the past with the eyes of the police in the play and thinks that they are all a little strange, and Wu Mingyue is the most eccentric of them. She stayed at home, and the fantasy novel "Xiangyun Phantom Video" written by herself was very popular. She was perennially clad barefoot and sallow-faced, wandering the house in bohemian clothes, as if she were going to take out a crystal ball for divination at the next moment. Such a strange and lonely person, but with Zhong Meibao became good friends, the scene where they held out their hands to each other across the door is one of the most moving pictures in the whole play.
The scene of Wu Mingyue and Zhong Meibao holding out their hands to each other across the door.
After Kong Yan read the script, she liked the character of Wu Mingyue and thought that she was not so white (referring to single and pale). Wu Mingyue did not go out, not because staying in a well-arranged home could produce more inspiration for writing, but there were deeper reasons why she could not go out. Kong Yan feels that she can play Wu Mingyue, first, she is also more sensitive and delicate in her life, which is very similar to Wu Mingyue, and second, her age group (34 years old) is also in line with Wu Mingyue (32 years old), and her life experience is just right. "My moon sign is in Pisces, it's much easier to think about, and there will be times when you're upset or anxious. I could find the feeling she (Wu Mingyue) had in my heart. ”
In a medical sense, Wu Mingyue is a mentally ill patient (proclammobia), who relieves tension by constantly pressing the automatic pen every day, and when the disease occurs, there will be symptoms of difficulty in turning his eyes and breathing, which requires professional treatment. Taking over this drama, Kong Yan also heard about "prognosis" for the first time, but she did not intend to portray Wu Mingyue as a typical psychological patient, but wanted to get close to Wu Mingyue from the perspective of ordinary people. "Psychological illness, sometimes is that the emotions are not unblocked. She saw her boyfriend die suddenly, into a dead end, and the more she thought about it, the more she felt guilty. I didn't want to deal with the horrible illness of her, I just wanted to soften it (prophagobia) and embrace such a psychological discomfort. ”
Challenge two: The sweet scene with the "boyfriend" is the most difficult to perform
Most of the time, Wu Mingyue indulges in self-blame for the past.
In wu Mingyue's unit of "Skyscraper", she most of the time indulges in self-blame for the past and the pain of mental illness, only the friendship with Zhong Meibao will make her feel really happy and warm. Because of Zhong Meibao's relief and encouragement, she stepped out of her own home; in order to testify to Zhong Meibao's murderer, she overcame the pain caused by "prodigy" and rushed out of the unit building to stop the police car. But Kong Yan told the Beijing News reporter that the most difficult and deepest plays to play Wu Mingyue have nothing to do with these plays that show "pain", but about "sweet".
"The deepest impression is the sweet scene with her boyfriend in the flashback of Wu Mingyue's memory. There are a lot of NG in this scene, much more than the scenes where I play out of control. If this scene is a two-person argument, then I certainly don't have to brew, three two one, just come. But to play the sweet feeling, that small eyes, small ambiguous feeling, my God, will not ..." Chen Zhengdao pointed out on the spot that the sweet play was not natural enough, Kong Yan could only grit his teeth in the end, desperately thinking about the feeling when he was in love.
Chen Zhengdao sighed and said that domestic actors are quite good at acting sad and painful, and how to act in a sweet drama will not be. Therefore, Kong Yan also reflected: everyone is learning to act, how bitter and uncomfortable the role is in the abyss, and can perform well, but why is it easy to feel unnatural when acting sweetly? "Probably because of the education and growing environment we grew up in. For this kind of 'small luck', that is, the daily little sweetness, whether it is friendship, family affection or the beautiful feeling of love, we forgot to preserve it. I just remember god, how much I have to repay this month's mortgage, how much performance to complete! It seems that usually everyone really doesn't know how to enjoy life. ”
Challenge 3: Differentiate between stage and film and television performances
Kong Yan has rarely appeared in film and television dramas in the past, but in fact, she is a very mature stage actor, starring in many plays directed by Meng Jinghui, such as "Hanging Garden Murder", "First Love", "Amber", and also acted in "Breathing", "Dream like a dream" and other dramatic works. Kong Yan graduated from Chinese opera in 2008, just when the small theaters in Beijing and even the whole country were thriving and developing, and the pressure on all aspects of "North Drift" was not very great at that time. In addition, the predecessors of Chinese opera have the tradition of first going to the stage to temper and then act in film and television dramas, such as Zhang Ziyi and Yuan Quan, Kong Yan watched the brothers and sisters come this way, plus he really liked the stage, so he focused on this.
From focusing on stage dramas to now taking over film and television dramas, Kong Yan frankly said that one is related to income and remuneration, followed by just having such an opportunity, which is a more smooth choice. In Kong Yan's mind, the stage is always the place that nourishes her, and performing on the stage is different from performing in front of the camera, there is no post-production assistance, nor is there a lot of cuts that are the most appropriate one, but it is completely to see how many things the actor on the scene has, "there will be a feeling of being stripped out." Asked whether she would focus more on stage plays or film and television dramas in the future, she replied very frankly: "I have enough ability to solve the situation of food and clothing, and I will definitely return to the stage and return to the furnace." Food and clothing is a very real problem. If you can't open the pot yourself, it's a bit unnecessary. ”
Beijing News reporter Yang Lianjie
Edited by Tian Kaini Proofreader Wu Xingfa