Cant understand? Director of Changan: Adhere to the need for audience growth

 Cant understand? Director of Changan: Adhere to the need for audience growth

Cao Dun, director of Changan Twelve Hours, was interviewed by the Beijing News on July 10. Cao Dun didnt ask any investors for money. Cao Duns company (Muren Media) paid for it. He said, If everybody wants to surpass, if we surpass, I would especially welcome it.

Changan Twelve Hours, adapted from Ma Boyongs novel of the same name, tells about the crisis faced by Changan City on the day of Shangyuan Festival. Cao Dun revealed that the title they wanted to use was a suspenseful story, but later felt that the way of one drum, twelve hour signs, two drums, the name of the time was very clean and clean and full of Chinese culture, so they adopted it as the title.

In the process of the original film and television, Cao Dun hoped to have his own Zhang Xiaojing, the script of the first episode, he asked the scriptwriter team to write 23 versions. Cao Dun also added elements not found in the original works. For example, in describing Li Bis struggle with Lin Jiulang Group, it means the struggle between Legalists and Taoistspolitical schools of thought, which is not found in Ma Boyongs original works. Cao Dun believes that if only the power struggle between the two groups falls into a rut, and the collision between the two political and ideological schools is the cultural foundation behind all this. ?

Narrative? Employees need to grow, and some audiences need to grow.

New Beijing News: Some audiences complain that they cant understand it because of editing. For example, Zhang Xiaojing was still in a tense rush one second ago, and he was watching Xu Hezi dance the next second. He didnt understand the relationship between it and the plot of the main line. Is this a need for narrative style?

Cao Dun: Our title is not Zhang Xiaojings twelve hours or Li Bis twelve hours. Our title is Changans twelve hours. Our protagonist is Changan. This city is the real protagonist. What we want to talk about is the crisis in Changan, not that of Zhang Xiaojing. What we want to look for is the feelings of Changan. Although Xu Hezi appears to be performing on the surface, in fact, with this person going on, every performance of her is a war. Only when she stands at the last position, the people of Yongxin County will be honored. So this plot is as important to us as Zhang Xiaojings. What is the living condition of a hero when he is desperate? Thats what I want to show, because he saves these people, and thats the way he wants to live. If you cant see the way of life, save becomes a slogan? So we have to show that. ?

New Beijing News: Every scene in the play is fully displayed in detail, and it is taken as a major play to shoot, but for the audience, it will cause too many narrative clues. How did you think about it at that time?

Cao Dun: I hope that the audience will be surprised every time they see it. They will find something new. How boring it is to see it at one time. Only by constantly exploring it can they have a new experience. This is a chewy thing. Someone began to find out that it was interesting to ask me a lot of things in private when I was painting the second play.

New Beijing News: Buried so many foreshadows which are not easy to find for the first time, this may challenge the viewing habits of some audiences?

Cao Dun: Some audiences use two standards when watching domestic films and imported films. I hope the final standards can be unified. There is a very interesting phenomenon. When a foreign play is too brainstorming to understand, there will be a lot of audiences who like it very much. The score is very high, the reputation is very good, and it is also called a divine play. Ive always been very curious about this. I think not only the professionals need to grow, but also some audiences need to grow.

Beijing News: How can we enrich the charactersbranches without affecting the sense of urgency of the plot?

Cao Dun: Now the progress is consistent with the progress of the novel. The progress of our whole big node is basically consistent with that of Mr. Ma Boyong. We have three chapters to shoot. Teacher Mas novel has four chapters, so the end of our second chapter is to catch up with the end of Teacher Mas third chapter. The last chapter, our collection is relatively short, so it coincides with Teacher Mas last chapter. The rhythm should not be much worse than that of the novel, and some viewers complain that our first episode was pushed faster than the novel and did not understand it well. Because teacher Mas novel should also show some words, write a picture of the Tang Dynasty and so on, put in the play only one lens to see the scene.

New Beijing News: There are many flashback narrative methods in the play. flashback will cut off the audience from the rhythm of the play. Is it necessary to review it?

Cao Dun: It is necessary. Retrospect is a supplement to the characters and why he made this choice at that time. For example, when Zhang Xiaojing recalled the scene when he was a soldier, his final destination was that reinforcement would not come, which was related to his mentality and situation at that time. Is it possible that he will die there? Can the reinforcements arrive? His previous experience hinted at his inner activities at the moment. I can only use these methods to illustrate the supplement, so that you can experience his confusion. In the end, he became a hero because he persevered after hesitation and hesitation. So flashback is his hesitation, fear, he had faced the same situation, every day in anticipation of the arrival of reinforcement and adhere to. But every day his beliefs are falling apart, in line with what he is facing right now. I think flashback is helping the audience understand the characters.

How? The last episode of each episode is a metaphor for the next episode.

Beijing News: There are a lot of elements of Chinese traditional culture in this play, but the narrative rhythm and way which are obviously different from other costume plays make many audiences first react to it as like American drama and regard it as 24 hours of Tang Dynasty edition. How can this style of integration of Chinese and Western be determined?

Cao Dun: At the beginning, when we received this play, some people said why we didnt make it like 24 hours. This is because we cant shoot 24 hours, we cant use the concept of minutes to shoot 12 hours, and we cant jump out a subtitle in a moment: 5 seconds, so you will think its too strange, how can Tang Dynasty operas have stopwatches? And we cant divide the picture. What do we have? Time, lunar calendar season, this is our own way of timing, is unique to our nation. So we shoot at twelve oclock. Its only when we shoot our own things that we can be different from 24 Hours in the United States. This is something unique to our culture. There are differences in culture, so we can only shoot our plays.

New Beijing News: At the beginning of the original work, Li Bi (renamed Li Bi in the play) killed his teachers position. Why did the plot be deleted in the play?

Cao Dun: Li Bi in the book knocked out He Zhizhang and took over the command forcibly. I dont particularly understand the fact that he knocked him unconscious. I dont think its reasonable. And I think its not his complexity that Li needs to accomplish at twelve oclock, but his growth.

New Beijing News: Is the last episode of each episode in the play a forewarning of the next episode?

Cao Dun: Its a hint to the content of the next episode. I want to find a metaphorical way to make a prediction of the next episode. The platform originally asked me to cut a trailer for the next episode, saying that the audience might not understand it at present. I refused. If I cut the trailer for the next episode, I would give up my small design.

Actors? The Oscar mens rating is very reasonable.

Beijing News: Why did you ask the black actor German Hansu to play Gelao this time?

Cao Dun: Kunlun Nufan refers to people with dark skin. At that time, a large number of Kunlun slaves came from Indonesia and Malaysia. Why did we not choose Indonesians or Malaysians to play Kunlun Slaves, but the current actor German Hansu, because I hope this film will have a chance to go out. Moreover, one thing we can not deny is that there was a road called the Silk Road in the Tang Dynasty, and a small number of black people from Western Asia were also there, which was reasonable. ?

New Beijing News: The black actor German Hansu has twice been nominated for best supporting actor in the Oscar. But Gelaos play is not so large in the book. Is it because Gemman Hansu is more expensive? So he didnt want to cut his part?

Cao Dun: Actually, its OK. I think the price he really offered at that time was much lower than we thought, and it was a very reasonable price. I first got an impression of him, watching his Blood Diamond, which I like very much. Later, we found him and told him that Gelao was an African in the Tang Dynasty. He was a slave and gained a place in the city by his own strength. He was very willing to play.

Beijing News: Is the voice of Ge Lao in the play Chen Jianbin?

Cao Dun: It is indeed Mr. Chen Jianbin. After all, Gemman Hansu is an actor who has nominated for two Oscars and cant casually find a voice. Looking ahead, Chen Jianbin was the only actor I could catch. So I called him. ?

New Beijing News: Some audiences said that when they heard his voice dubbing, it was a bit dramatic, and it was easy to recall the biography of Zhenwei. ?

Cao Dun: I didnt expect this effect. I thought you couldnt hear it. I didnt expect you could hear it. It shows that the image of Mr. Chen Jianbin in the audience is very tall and shining.

Beijing News: There are many minority actors in this play. Do they intentionally want to use minority actors to play the roles of foreigners?

Cao Dun: No. I hope that all the actors in this play have diverged in style. Everyone has his own unique temperament. These temperaments should not be too different. They must have different tastes in them.

New Beijing News: There are powerful actors like Zhou Yemang and Yu Yueling as supporting roles in the play. Do you prefer to find some actors who can live in town in the choice of supporting roles?

Cao Dun: I hope that every actor is a professional actor. One omission of details will lead to the whole thing unreasonable. If the role is played by a non-professional actor who cant meet your requirements, then the play that equals the starring role will be abolished, which is a loss. We are shooting Changan Twelve Hours. The protagonist is Changan. Everyone is a supporting role. It is for the establishment of Changan. Changan is a bit of these people, these things. If everyone in the life level is real, the city will feel real.

Garments are self-woven, self-dyed and old, but not embroidered.

Beijing News: How can this play restore Tang culture as much as possible?

Cao Dun: We have reservations about restoring Tang culture. We should spare no effort in places like clothing. All the clothes are made by ourselves, many cloths are made by ourselves, and the patterns on them are printed and dyed by ourselves. The only thing I didnt want was embroidery, because I thought weaving and dyeing were the most important means of making clothes at that time.

Beijing News: The characters of this play are also praised by many netizens. As the daughter of Akira Kurosawa, Akira Kurosawa and Zi are relatively unfamiliar to the domestic film and television industry. What do you think is her advantage in making characters?

Cao Dun: When he was young, he acted with his father, Kurosawa Ming, and had a set of things of her own. I want to learn these excellent experiences and techniques from my team. For example, the clothes in the play are all newly made, but for the characters in the play, it must be an old dress. To make a dress old, how old it is, and what is the form of damage, all need careful craftsmanship to decide. She has a lot of experience in this respect. ?

New Beijing News: There is a signal transmission grid on the Wanglou in the play. Every time the lattice appears, it changes constantly. Is it meaningful to change the composition of these lattices?

Cao Dun: We have made a complete password system, which can reflect every word in detail. Although the audience cant understand it, we cant tear it apart. Our consideration at that time was that Li Bishi was a Taoist thought, so he designed this set of passwords according to the Eight Diagrams and Six Days. There are several types of drums.

Liu Wei, Chief Reporter of the Beijing News

Source: Jiang Siqi_NBJS8579, responsible editor of Beijing Newspaper