Chapter 600 Zhao Liying
"Director Wang, didn't you say you would treat me to dinner? When are you going to treat me to dinner?" Yang Mi called Wang Shu and said with a hint of resentment in her voice.
"Legend of Sword and Fairy 3" has already been aired. Although it is only a trial broadcast on terrestrial channels and has not yet landed on satellite TV, the ratings on terrestrial channels are soaring, making it a hit drama.
At the end of the year, her contract with Rong Xinda expired,
She wanted to climb up, and she knew that staying in Rong Xinda would be great, just to take on some TV dramas, most of which were not very good.
The ceiling was like that, she felt like she had touched it.
Therefore, she will follow the example of Rong Xinda’s senior Zhou Xun and change jobs.
In this era, although the Hong Kong industry is in obvious decline, it still controls many film resources.
The inherent understanding, or the only choice, of mainland actors is that only by working in Hong Kong can they go higher and further.
Yang Mi then chose to sign a contract with Hong Kong Island Meiya Entertainment.
In the original timeline, after she signed a contract with Hong Kong's Meiya Entertainment, she met many famous directors and producers in Hong Kong non-stop.
I licked many famous directors and producers in Hong Kong, but to no avail.
Later, he participated in the fantasy film "Empire" co-produced by mainland China and Hollywood, and starred in the thriller "Far Cry".
The movie "Far Cry" is produced by Hong Kong Island and produced by Meiya Entertainment.
Again, Yang Mi was asked about the unspoken rules for female artists in the interview, and she clearly said that if you want to get something, you have to give something.
She was able to say this precisely because her movements in the industry were well known to everyone.
Since I can't hide it, it's better to answer by hinting.
Rumor has it that in 2015 she established a joint venture with two managers, Jiaxing Tianxia, and signed many female artists.
She is the madam.
The perception of many artists in the entertainment industry is that "what you want to get, you have to pay for" and unspoken rules are two different things.
The former is an exchange of interests and belongs to an "equal relationship."
The latter is someone taking advantage of the gap in status to get prostituted on and off the show.
Therefore, in the eyes of many artists, "exchange of interests" is not an unspoken rule.
It is an unspoken rule to be prostituted for free on the basis of one's status both on and off screen.
Understanding this, you can suddenly understand why many female artists keep saying that they have never been raped.
Because "exchange of interests" can be euphemistically called falling in love.
If the other party has a married woman, you can also call it the feeling of being deceived without knowing it.
"It's not that I won't treat you to dinner, but I'm really busy right now and can't spare the time." Wang Shu responded helplessly.
He has never been a scumbag who doesn't recognize people when he puts on his pants. After all, he and Yang Mi have been honest with each other and they are in love.
As the saying goes, one day brings a hundred days of kindness to a couple.
He had sex more than once.
If you throw him away in the blink of an eye, that would be too much of a scumbag.
He has never been a scumbag, he has always been a good person.
"Okay." Yang Mi felt that Wang Shu's tone didn't sound like he was lying, so she sighed.
Then he said, "Then I will go to your company to find you?"
When Wang Shu heard this, he instantly noticed the other person's thoughts.
Not only did she take the initiative to hook up with him, but she also wanted to use this to make the outside world think that the two had an unknown relationship, hype up their relationship, and ride on his popularity.
It's best if you can hook up with someone, but if you can't hook up with someone, it's not bad to get a wave of popularity.
Not to mention, if this kind of heat continues, it may turn false into true.
For Yang Mi, there is no loss in blood.
But for Wang Shu
He said: "I don't have time to entertain you even if you are here."
In order to prevent Yang Mi from immediately answering, "It's okay, I can entertain myself," she then added, "On the contrary, it will cause me trouble."
Yang Mi really planned to say that she didn’t need to be entertained by Wang Shu, and that she could entertain herself casually.
Hearing Wang Shu's last sentence, he suddenly choked on the words that came to his lips, and answered aggrievedly: "Okay, then I won't go."
Wang Shu had no choice but to say again: "When I'm done with this period of time, I'll treat you to hot pot."
“The weather is getting cold, so it’s time to eat hot pot.”
"Yeah." Yang Mi responded softly.
Yang Mi relied on Wang Shu to continue chatting for a while, then hung up the phone.
As an Oscar-winning director, Wang Shu has a lot of worries.
Many actresses in the industry who have his contact information often contact him via mobile phone.
Some of them are in the nature of harassment and teasing, and they want to use the film and television resources they have for free.
Some of them are polite greetings, hoping to leave an impression on him and win his favor.
Due to his usual personality, he couldn't ignore it.
The establishment of a personality sometimes has a good side and sometimes a bad side.
Very annoying.
evening.
Wang Shu went to a hot pot restaurant, opened the door and walked into the private room.
There was already someone waiting inside, it was Zhao Liying.
Yesterday, Wang Shu received a call from Zhao Liying, thanking him for the opportunity and guidance for his role in "The Night the Comet Came" and inviting him to have hot pot.
Ying Bao is outspoken, tenacious, and introverted, which is quite admirable. In order not to undermine this girl's confidence, Wang Shu agreed.
"Director Wang!"
When Zhao Liying saw Wang Shu come in, her eyes lit up and she quickly stood up and shouted respectfully.
Seeing this, Wang Shu smiled and said: "We are about the same age, there is no need to be so polite."
In conjunction with this reading and the three days of filming, the two parties actually spent a lot of time in contact with each other.
In addition, Zhao Liying is a newcomer and knows little about acting in movies, so she was guided by Wang Shu during the process.
Therefore, not only did the two get a lot more familiar with each other over this period of time, Zhao Liying also knew that Wang Shu was an easy-going person and didn't care about these things.
Then he smiled back and said naively: "I have been thinking about not being so polite."
"What if Director Wang is angry with me if I'm not so polite?"
"After much thought, I think it would be better to be polite."
This sounded very upright, and Wang Shu laughed after hearing it.
Zhao Liying greeted him to sit down, and then asked him to order food.
Wang Shu didn't stop her and ordered as she pleased.
Zhao Liying is now a small star. Even if she takes on the role of the fourth female lead in "The Night the Comet Came", her income is very limited.
In the early days, she even frequently traveled back and forth from the capital to Langfang. When there is life, I go to the capital, and when there is no life, I go back to my hometown of Langfang.
As the most prosperous place in Beijing, not only house prices have been rising, but rents have also been rising.
For young actors, living there is not easy.
As for renting in the suburbs.
For Zhao Liying, it is better to rent a house in the suburbs than to go further back to her hometown of Langfang.
Wang Shu knew that if Zhao Liying paid for this meal, it would be a big expense.
Therefore, he had already thought about finding a time to go to the toilet later and then paid the money.
For him, this meal was nothing more than water.
But for Zhao Liying, physical pain is inevitable.
"Director Wang, thank you for giving me the opportunity."
"And thank you for taking the trouble to guide me."
"I learned a lot from participating in "The Night the Comet Came" this time."
"Thank you very much."
Zhao Liying stood up with the drink in her cup and said sincerely.
She asked Wang Shu if he drank, but Wang Shu refused and drank the drink.
Wang Shu motioned her to sit down, and then said: "You are an actor on the crew, and I am the director. It is my job to guide you to act in a good movie."
This is the truth. It is the director's job to guide the actors on the crew, and it is not a special favor.
Because the director's purpose in doing this is to present a better effect for the film, not for the actors.
Having said that, Wang Shu was able to choose Zhao Liying, a newcomer, and also mentor her. The nature itself is different.
Zhao Liying knew this.
For the role of the fourth female lead, Wang Shu could have invited actors with more qualifications and better acting skills to play the role, but giving the role to her was a support in itself.
Zhao Liying answered seriously: "But without Director Wang looking for me, I wouldn't have had the chance to star in this movie, and I wouldn't have learned a lot through this experience."
"Haha." Wang Shu smiled softly and did not deny it, but said with relief, "You are a very good actor. Your attitude towards acting is better than many people, but your acting skills are a bit worse."
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"Even if I don't look for you this time, I believe someone will look for you in the future."
Wang Shu has always disliked actors on the crew who have a bad attitude towards acting.
An actor like Zhao Liying, who has been working hard to improve, only lacks opportunities.
She blushed a little when she heard Wang Shu's words.
She was embarrassed when Wang Shu praised her for her good attitude, but also blushed when Wang Shu bluntly said that her acting skills were poor.
Zhao Liying knew clearly whether she was from a major or not, but whether her acting skills were good or not. She knew Wang Shu was right.
Wang Shu saw Zhao Liying's expression and then added: "Actually, it doesn't matter whether you are from a major or not."
"In other words, actors who are not educated in majors are more creative than actors who are educated in majors."
"Actors with professional backgrounds often have strong traces of performance, giving people the impression that they are performing step by step."
"Usually you're not playing a role, you're performing a role."
"The non-professional actors are different. Their performances are very down-to-earth and more life-like."
"Of course, it is relatively difficult for a non-professional actor to become an excellent actor."
"But as long as you get through the two channels of Ren and Du, you will be an actor with extremely good acting skills."
"As for professional actors, it is often easy to get started, but it is more difficult to transform into an excellent actor."
This is not Wang Shu's wild talk, but the conclusion given by many well-known non-scientific actors from both sides of the Taiwan Strait and three places.
Looking at actors from across the Taiwan Strait and three places, most of the classic film and television roles are played by non-professional actors.
In short, it is easy for a professional actor to get started, but it is difficult to transform.
It is not easy for non-scientific actors to get started, but as long as they get started, they can have endless shaping potential.
In fact, this is the difference between the experiential school, the method school and the expression school.
Of the three major factions in the performing arts, the experiential faction is the most difficult.
Since non-scientific actors have not received systematic study, their performance can only rely on life experience. This method is experiential.
Therefore, many non-professional actors have been on this path, and those who can stand out have extremely powerful acting skills.
For example, Zhou Xun and Sun Li are experiential actors.
This is not to say that non-technical actors are all experienced actors. Some non-technical actors do not have enough understanding. In order to improve their acting skills as quickly as possible, they will conduct systematic study and use method and expressionistic performance methods to quickly improve.
These two groups mostly come from professional actors.
Among them, the method school is inherited from the experiential school.
The actors are also required to achieve a subconscious and true reaction, but there is one significant difference, that is, the method school allows the actor to replace the communication object, while the experiential school does not.
For example, a straight man plays a gay man and has him fall in love with a man.
The method school allows straight male actors to imagine the opponent as a woman, while the experiential school requires that you must find the part you love from this person of the same sex.
This is because the experientialists believe that changing the communication partner is not conducive to capturing subtle changes in the opponent's reaction. Especially for stage performances, where a play is performed for dozens or hundreds of times, changing the communication partner can easily cause the actor to lose the freshness of the scene during repetition. Finally, the performance becomes rigid.
However, in movie shooting, actors do not always have a real communication partner, and the most realistic performance only requires one line, without repeating it over and over again.
So in movie shooting, it doesn't hurt if actors change communication partners sometimes even if it is necessary.
For example, American film actors have many successful examples of using method.
However, the United States is open and Hollywood is free to play. This is one of the reasons why American film actors can succeed through method.
Not to mention, as far as American culture is concerned, many Hollywood actors are both male and female.
Therefore, what may appear to be a method school is actually an experiential school.
As for expressionism, it does not emphasize starting from the self, but emphasizes constructing a "character image" in the heart and emphasizing imitation.
At the same time, expressionism does not advocate subconscious living in situations, but emphasizes "jumping out" to grasp and design.
Some people say that the experientialist is Stani and the expressionist is Brecht.
The first half of the sentence is correct, the second half is incorrect.
The "alienation" advocated by Brecht is a performance effect, which is achieved more through screenwriting and directing methods, rather than a performance method.
In his own acting practice, Brecht hoped that the audience could be alienated, but he still required the actors to experience it.
In order to find a theoretical basis for their own performance methods, some domestic performers just used Brecht as a banner. Many people were deceived.
As for some people who say that the experientialists work from the inside out and the expressionists work from the outside in... they are also wrong.
The experiential school requires the "subconscious" to be completed organically both internally and externally. When performing, the actor's attention should neither be on his external actions nor his own heart, just like most of the time in life, people's attention is not on themselves. When it comes to opponents and the environment, neither inner feelings nor outer behaviors are deliberately generated, and the same should be true during performances.
The "body-psychomotor method" used by Stani in his later years was actually a method used by the director to lead the actors to improvise in order to help the actors reach their subconscious. It was not the "from the inside out to the outside in" approach that some people used as the name suggests. ".
In order to show that they are capable, to pretend to be better, and to find a basis for their own performance methods, many people in mixed academic classes in China make various conjectures and "innovate" the existing theories of Brecht, Stani and others.
(End of chapter)