When "Twenty Not Confused" was broadcast, in addition to Guan Xiaotong and other four young protagonists who were well known and hotly discussed by the audience, there was also a middle-aged actor who was also frequently searched.
She's the actor Curran.
In the play, Ke Lan played Luo Yan's lawyer mother, who is also a "little three" who intervened in other people's marriages.
But she wasn't humiliated and insulted by the audience for this unpleasant role.
The reason is simple, she interpreted this role well with superb acting skills.
Losing his partner in his early years, under the long-term high-pressure work, he was lonely and helpless inside, and there was no emotional sustenance. In the process of getting along with business partners day and night, psychological dependence gradually formed, and later ignored morality and became a little three.
After the matter was revealed, her apology to her daughter, her self-reflection, and her helplessness to public opinion made her finally choose to be a normal woman who could see the light at any time.
At the same time, the audience also gave understanding.
But what made Conan completely out of the circle in the acting world was not "Twenty Not Confused", but in "The Name of the People", the iron-faced selfless, pursuit of fairness and justice.
At that time, with this role, Ke Lan circled countless fans, and the play path became wider and wider.
After the fire, her old friend host Dou Wentao invited her to be a guest on "Round Table Pie" and talked about some of the chaos of the current entertainment industry.
Ke Lan is very strong, like an indignant hero, saying a lot of things that most people in the industry dare not say.
She said that there is no threshold in the film and television industry now, most people make a few months of fast money, and the mobility of personnel is particularly strong, which also leads to the majority of the crew being unprofessional and irresponsible.
A post-production crew said that if you don't do it, you won't do it, leaving a mess for the whole crew to wipe their butts.
The most frightening thing is that some directors who take money in name do not understand anything, and the camera lighting does not know anything, but they have to intervene in the actor's hand when filming, pretending to be ridiculously "smart".
Curran gave a personal example.
She was playing a major role at the time, and the emotions brewed for a long time before filming began, and halfway through the performance, the director shouted "click".
Then with a big wave of his hand, he said to her hair, "Your hair is not good, your hair is not very good, comb me." ”
The strangest thing is that the director has no idea what happened to the scene, and he hasn't even read the script.
In this way, the efforts of the whole group for that scene were in vain.
She believes that the worst part of the show business now is that adults don't make rules for their juniors.
In 2005, Curran decided to resign as a host and ran to become an actor who was 33 years old, a middle-aged female artist.
But at that time, no one in the show business circle would consider your age and background, and when you entered a new industry, you had to learn new rules and follow the rules.
Don't accept it, go on your own, there is nothing to say. This also ensures the quality of the film that year, and cultivates a lot of excellent old drama bones.
But the current show business no longer cares about the rules.
Finally, Curran sighed: "Every time there is a bad film, you will say fresh meat, but sometimes it is not." Who gives money for small fresh meat? Who can get the most out of the real benefits on small fresh meat? ”
The two questions directly expose the deepest hidden insider of the entertainment industry, directly to the essence of bad films.
A new actor comes in, the director does not teach him the rules of the set, does not guide him to train his acting skills, does not strictly require him to eat the script thoroughly, will only blindly perfunctory or flatter, how can he play a good role?
For example, actor Wei Daxun.
Ten years after his debut, everyone mentioned him, and the first reaction was that Yang Mi had a scandalous boyfriend, and he couldn't remember a masterpiece.
People who have watched his drama know that his acting skills are not good, his expression changes are unnatural, and the traces of memorized lines are serious, just like a tool man.
Regarding the rotten acting skills, Wei Daxun once exposed the reasons for this in the show:
"It's the director's reason, he let me live."
The implication is that I know that I can't do it, but the director didn't ask me highly.
For example, Zhang Liang.
In 2017, Zhang Liang talked with guests at a variety show about "why TV dramas are getting worse and worse now", and he said that he was filming.
Zhang Liang is an Aries himself, and he especially loves to compete with himself. Once, he shot a 1.5-page scene nine times because he wanted to be in the best condition and stand up to the scrutiny of the audience.
But the director felt too much trouble and did not give him another chance, but told him:
"We can edit it later, and if you don't have a good line, you can cut some of the expressions of other people."
Another example is the actor Sun Feifei, who once had the title of the first "first beauty in ancient costumes".
In 2016, she posted on social platforms accusing director Zhang Hanjie.
Because of her serious work, Sun Feifei believes that the script is inappropriate and can be modified appropriately.
Unexpectedly, Zhang Hanjie not only did not listen to the advice, but also directly called out to his nephew and the deputy director to beat Sun Feifei together.
Such a director who is obstinate, solipsistic, and has no high requirements for the film, do you say that the quality of the scenes he exports can pass? Can the actors' acting skills be guaranteed?
Not to mention the new actors, old drama bones are destroyed in the hands of directors everywhere.
For example, a generation of male gods, the film emperor Liang Chaowei, who won the Cannes, Golden Horse and Golden Film Awards all over.
633 in "Chongqing Forest", Zhou Muyun in "2046", Li Yaohui in "Spring Breaks"... A smile, a word and a deed, are all lonely scenes.
As soon as he appeared, the loneliness came, and no one could break away.
Who could have predicted that he, who was enshrined by the audience, presented an awkward acting and exaggerated posture in the film "Ferryman" directed by Zhang Jiajia?
Another example is Deng Chao.
In Zhang Yimou's movie "Shadow", one person plays two roles, gaining 20 pounds in a month, and then quickly reducing it.
Zi Yu's wildness and fierceness and Jingzhou's heroic uneasiness were vividly interpreted by him.
But you see him in his own director's "Villain Angel", it is an empty and boring, pretending to be funny neurosis, disgusting.
Therefore, whether a film or television work is good or bad, whether the actors are angry or not is of course very important, but the key is to see the degree of the director's requirements for the work.
The advent of a good work, the director's effort and energy will never be less than that of the actor.
When Zhang Yimou first filmed "Jinling Twelve Chao", the image of the lead actor Ni Ni was completely incompetent, and the speech and acting had been holding on, which was very unnatural.
Director Zhang came up and knocked out Ni Ni's broadcast voice, asked her to figure out the role, and took her to read the script carefully. Finally, I asked the etiquette teacher of the Republic of China to take Ni Ni to retreat and cultivate, and give an image of ten thousand styles in half a month.
When filming "The Love of hawthorn trees", Zhou Dongyu was also the one who couldn't even walk.
Zhou Dongyu's scene for a few minutes, Zhang Yimou spent a few days, only filmed her alone, shooting 30 times is not enough, just shoot 50 times.
From these dozens of times, the most flexible clips of one shot after another are re-edited, and only then have the final pure JingQiu role.
Wong Kar-wai's "A Generation of Grandmasters" took 16 years from conception to shooting.
Since 2008, Wong Kar-wai has traveled all over China, visiting more than 100 folk kung fu masters of Wing Chun, Bagua, Eight Poles, Shape And Meaning, and Tong Arm in three years.
In the play, the actor Zhang Zhen's Eight Pole Quan, Liang Chaowei's Wing Chun Fist, and Zhang Ziyi's Bagua Palm are all taught by the descendants of various factions personally.
Hou Xiaoxian spent eight years in order to make "Nie Yinniang". Insist on not faking the scenery, always waiting for the best weather. Wait for clouds, wait for sunshine, wait for fog, wait for wind, every detail strives for perfection.
What the lead actor Shu Qi has to do every day is to repeat the sword swing. There are no lines, not even too many expressions.
But can we blame the director for all the bad work?
No, it's not true.
In a crew with insufficient reputation, the director's status is not the highest, but the investor behind it.
In 2010, the producer of the movie "Savage Girlfriend 2" sent a news message to the media, accusing director Ma Weihao of being irresponsible.
For a time, Ma Weihao became the target of public criticism.
But what is the truth? The producer completely disregarded the quality effect of the work and blindly demanded that too many advertising shots be inserted in the film.
As a dedicated director, Ma Weihao could not edit and add drama irresponsibly, and finally did not meet the interests of the producer, and he was maliciously slandered.
During the filming and post-production of "Savage Girlfriend 2", there were several problems with the funds, until after the release, the producers still owed director Ma Weihao's remuneration and the salaries of the editors and post-production team.
So you see, the success or failure of a drama is made up of many factors.
There are buyers who watch actors watch directors estimate the flow of films, investors who strongly support a star, actors who have difficult schedules, and they also face the dilemma that the crew may be short of money at any time.
Directors are burdened with layers of pressure, but where can directors who are not well-known and have a strong will withstand multiple tortures?
So the result is that everyone also saw that the bad film was full of bad movies, and the reputation of all the people involved in the production of bad movies was getting worse and worse.
Is there a solution?
Yes.
Think about it, no matter which party operates, the ultimate goal is to make profits.
So who is the terminal exit of this money? We, the audience.
Only when the audience likes it and is touched, can the box office rise, and they can make money.
So the solution now is that the audience should improve their aesthetics of the film and stop making any excuses for bad films.
We can tell the market with actions (buyers, investors, directors and actors)
——If you want to make money, you have no problem, and you can speak with the quality of the film.
Otherwise, everything is off the table.
It is considerable that the current flow of works has been thrown on the street, and the young students have broken the situation and sought changes, which is already a good start.