Fu Zhengjia bears the inscription of film and television King Ma
China Youth Daily reported on December 4 that he has been dealing with film and television dramas all his life. Fu Zhengyi has won many titles. The most famous one is Wang Mazi in the film and television industry. Thats from director Xie Tian, because in the film and television circle, his scissors are the most efficient.
He is an editor. When cutting the film, he always has a watchmakers magnifying glass on his eye. He cuts it and clicks it on the most accurate editing point. After cutting the beginning and the end of the film, he took off his left hand and threw a long piece of film into the air. The apprentice standing behind reached for the film and put it in the basket on both sides, he cuts the film very fast and moves very handsome..
As early as the 1950s, scissors rarely appeared in the editing room of the film factory, instead of hand-held editing machine, electric editing machine and mouse, but Fu Zhengyi still hung the scissors in his heart in his old age, I love scissors, just like I love my life..
The first time he picked up the scissors and cut them independently was in Shanghai, when he was 24 years old.
On November 15, he died of illness at the age of 94. He has cut out a rich world: from films such as three Mao wanderings, little soldier Zhang Ga to sad death, bosom friend, and TV series such as dream of the Red Chamber and Romance of the Three Kingdoms, about 600 films and TV works have been entered into the screen of Chinese people by his hands.
He can cut 7 shots with different contents into 25 short shots to make the slow rhythm become fast. It can also be seen in the clips of the death of Sister Feng in the TV drama a dream of Red Mansions, in various scenes of dragging Wang Xifengs body in the snow, the proud appearance of Sister Feng in the past can be flashed back for many times, forming a contrast, adding music, and rendering sad emotions.
His clip has deceived countless viewers. In the TV drama a dream of Red Mansions, Deng Jie, the actor who plays Wang Xifeng, is not tall and does not match her opponents play, Jia Lian. The makeup artist puts Deng Jie on a pair of three inch shoes. When passing through the door, Deng Jie raised her foot and crossed the threshold, revealing her stuffing.
At the moment when Wang Xifeng raised her feet, he cut it, plugged in the reactions of the mid-range and close-up scenes of the characters in the room, and then picked up the scenes of her entering the room. He succeeded in pretending to be true.
Another time, in the production of martial arts film the mysterious Buddha, director Zhang Huaxun found that one of the martial arts movements was not fast enough, not real enough.. Fu Zhengyi went over and over the editing stage to review the samples, and finally used multiple lenses to cross group and adjust the rhythm to make the play more real.
Zhang Huaxun commented that his clip made up for the lack of actor performance. Under his magical scissors, my kung fu has become very strong, said Liu Xiaoqing, the star
In his opinion, a high-level editor must keep the audience from seeing the traces of the film clip, which also means that few viewers will remember the name of the editor. He became a celebrity known only to directors and studios.
Zhang Huaxun said that he can not only think and portray characters and express themes from the perspective of the director, but also protect the beauty of the picture from the perspective of the photographer. Once he finds something wrong, he will put forward his ideas as soon as possible.
At that time, there were not many editors who chose to present their ideas directly to the director. Because Chinese films are director centered, for a long time, editors were acquiesced to do purely technical auxiliary work. But he would tell the director, youre not right..
His brain is spinning so fast that some directors cant even keep up with his fast pace. His apprentice, Zhou Xinxia, remembers that sometimes after repeated communication, the director still insists on editing according to his own ideas. He will leave his face impatiently, mumble stupid, and then sit back on the editing platform to realize the directors ideas.
Liu Xiaoqing once recalled that when she went to the film factory, she met Fu Zhengyi and a big director to make a table argument, and then she went away without hesitation. I heard that the big director came to the door in person, and invited him back.. Liu Xiaoqing commented that many big directors regard him as a bosom friend.
The foundation of making a table comes from his efforts to study every script. After reading the script of the mysterious Buddha, he immediately went to Zhang Huaxuns house to exchange ideas. When shooting in Leshan, he reminded Zhang Huaxun to take more shots of the local scenery. When editing the looking for strange people clip, he asked Zhang Huaxun to make up some short scenes of torches and imps to create a tense atmosphere. He said to Zhang Huaxun, the first independent director, this is your first son. You must get it right.
As the first audience of the film, he regards each film as his own child. Every time before cutting the film, he should put on white clothes and white gloves. Sun Xiuying, a director who once worked with him, said that he never mechanically edited for the director according to the script of the split shot, but used scissors to express what he wanted to say after integrating into the film, so as to improve the quality of the film.
For this, he has put a lot of hard work. The young editor tries repeatedly to find the exact editing point. He cuts one accurately. According to Zhou Xinxia, he is used to looking at the lens with a magnifying glass. His eyes are extremely sharp, and he can find the corresponding fragments directly on the film.
Due to the complexity of film splicing process, he always ponders over the editing points in his mind before editing, considering the mood and rhythm of two shots after splicing. One more shot needs to be cut off, and the other one less needs to be filled back, so as to ensure that the shots are connected perfectly and can have chemical reactions.
Zhou Xinxia said that the film he cut was clean enough to have no extra scenes, no procrastination, and smooth as satin.
He demanded that the film be free of stubble.. For this reason, he repeatedly pondered over the film. His hands were often torn by the films burr, rough to the touch and calluses.
In his early years, he practiced other skills: delivering newspapers, showing films, cooking Western food At last, he grasped the scissors. After liberation, these hands successively waved scissors on the editing platform of Shanghai Film Studio, Changchun Film Studio and Beijing Film Studio.
He once recalled that in the mid-1950s, the use of film was strictly controlled. In the early stage, one shot could only be taken three times, which required a high level of editing work. He often rummages for lens materials in the film box that accumulates like a mountain, and throws them at the same time. The film box is everywhere all the time. When cooperating with the song of youth, director Chen Huaiai once joked: Fu Zhengyi cuts the film and the box flies all over the sky!
Liu Fang, his apprentice, concluded that the film he edited was neat and clear-cut, with distinct rhythm, and told the story clearly, like his character.. In his time, the traditional knife technique of Chinese films had a conventional template, and the rhythm was relatively slow, but his films were not dull and refreshing.
In his autobiography editing life, he recorded that the original sample film had a pause in the segment of the song of the three knot in the peach garden of the TV drama Romance of the Three Kingdoms, using a scene of peach blossom falling in the water and drifting with the tide, which was harmful to the character characteristics of Liu, Guan and Zhang.
When he retouches, he selects close-up scenes and close-ups that show the psychological activities of the characters, and then selects the peach blossom in full bloom motion scenes from the supplementary empty scenes, so that each scene can be transformed in the strong shot of music, rendering the emotions of three peoples life and death. The play came out.
He doesnt smoke, drink, have too many hobbies, and dont have too much housekeepers business. After retirement, he doesnt even want to go for a walk in the park near his home. In the eyes of his son Fu Guoliang, he is a silent father. Two old colleagues said that he spoke very carefully and rarely talked about his life, which may be a common fault left by the old artists have been impacted.
But as soon as he entered the editing room, his movements became sharp, eloquence is better.. The old editor with Hubei dialect sat beside Liu Fang in his old age to guide him. He could not help but raise his voice, speed up his speech, and express his thoughts eagerly, he has seen the material once, and has already thought (how to cut it) in his mind.
Whenever I talk with Liu Fang about how he fixed the parts that didnt have a play, he cant help but dance and get excited. Later, many film and television practitioners from other places came with the film and asked him to help diagnose as a doctor. He gave them Prescriptions and told them: art creation should be refined, and do not make do with it.
He once put down the scissors. He once recalled in his autobiography that after the beginning of the cultural revolution, Beiying studio had not made a film for many years, and the production of film creation was completely stopped. He lost the draft full of editing experience.
It was not until the 1980s and 1990s that he began his golden age. In 1982, he became the first winner of the Golden Rooster Award for best editing in history. In 1987, the TV drama dream of the red chamber made him the first person to win the Golden Rooster Award and the flying sky award.
On the ninth day after his death, at the Golden Rooster Award Ceremony, Fu Zhengyis name was repeatedly mentioned in the best editing award. Eight years ago, he won the lifetime achievement award on this stage.
This old editor who has cut different kinds of films can always find the fun of scissors from different films. Some editors think that its not easy to play the editing skills in cutting musical pieces, opera pieces and art films, but in order to edit the opera film Yangmen female general, this rural editor from Hubei Province taught himself the tune of Qupai and gongs and drum classics of Beijing opera.
He always loves new things. When he was a child, he sat in front of his fathers grocery store and watched people come to market from all the towns and counties. He thought it was fresh, weird and fun. In his later years, he and Liu Fang said that he also wanted to learn how to cut films with computers.
When cutting a piece with artistic value, he would tell Zhou Xinxia to write down the editing ideas. These materials were later compiled into his four monographs. He had this idea long before the Cultural Revolution and hoped that Chinese people can have a real film editing textbook. After the cultural revolution, Fu Guoliang, his son, saw him sitting on the bench, spreading out all the materials he had arranged, lying on the bed and starting to write books.
Tu Jiakuan, a national first-class cinematographer, has also seen him ambush in the editing room. He once counted his fingers and told Tu Jiakuan that he had read only four years of books off and on, not enough strength.. But he finally wrote four books that summed up all his practical experience. Among them, film and television editing is the introductory textbook for many film and television editing practitioners.
This made up for the regret of his apprenticeship. Because there is no professional teacher and editing materials, he can only stand beside the teacher Fu when learning editing and ponder how to face the scissors under the film. After work, he bought a pancake, carried a bucket of water, went into the screening room to watch Hollywood movies, and continued to ponder how Americans cut scissors. After working, he took advantage of every opportunity to work with the big director.
He used to say, editing needs people who understand the play. Before the 1980s, however, most of the editing industry used the mode of master and apprentice to guide, and the general level of culture was not high. Most of the film industry regarded the editors as the craftsmen of cutting and splicing.
He was thinking about improving the artistic quality of young editors. He participated in promoting the Beijing Film Academy to open a special course for film editing cadres. In 1987, 25 film editors entered the university campus.
This group of students later became the mainstay of film and television editing. Qian Ling, a student of this class, said that they learned the relevant theoretical knowledge of film in University, so as to know how to create again on the editing platform and become a creative film editor.
For this scissors, he also gave up the opportunity to go to people. Cui Wei, the director, found that he had rich artistic imagination and suggested that he should be a director instead. He replied honestly, Ill be satisfied if the film is cut well..
In the early 1990s, many film factory employees were ready to move to make money in the world. He taught Liu Fang not to seek fame and wealth, if you like editing, you should stick to it, and put Liu Fang on the editing platform.
Few people know that his first job in the film studio was as a busboy cleaning tables and chairs, mopping the floor and pouring spittoons. At the age of 15, he saw the film factory put an advertisement in the newspaper for trainee students. Only in the open air environment to see silent films and childrens films, he was moved.
After entering the film factory, he had to do a lot of work as a handyman. Many of the trainees quit. Only he stayed because he liked movies. He was found to be diligent and quick, so he was apprenticed in the editing room.
Many years later, he also gave many young people opportunities. In 2001, sun Xiuying had a small film love is clear, the time is relatively fast, ask him to help edit.
In order to help sun Xiuying save money, he didnt go to the editing room. Instead, he took the editing equipment to sun Xiuyings house and began to use scissors. The 76 year old editor sat in front of the film, cutting from 9 a.m. to 10 p.m., unwilling to stop, never shouting tired, skillfully feeling that you can operate with your eyes closed. He also urged sun Xiuying to make up for the camera and refused to go out for dinner for fear of delay.
The film later won the second prize of the first film channel TV film Lily award. This is no surprise to Fu Zhengyi. After cutting the film, he said to sun Xiuying, take it, and make sure you win the prize.
How can I thank you? Sun Xiuying is always worried that her small films will cause trouble to the master.
Make me stewed pork. The answer is short and the voice is clear. (Wei Xi, trainee reporter of China Youth Daily and China Youth Net)
Source: editor in charge of China Youth Daily: Li siou nbj11322