makes the story suitable for expressing through images, which is what Lu Jing was doing in the initial project development. For example, in the establishment of the screenwriting team, from the beginning of the project, she hired the screenwriter Sun Haoyang to rewrite the original novel into a script outline, retaining the most exciting characters and story segments of the original author Zijin Chen , laying the foundation for the entire adaptation Good foundation. American screenwriter Joe Kakashi is a member of the screenwriting team of "House of Cards". From the story type and script structure, he has done a good job of turning the whole story into a 12-episode series. Since then, Pan remained as the first screenwriter, responsible for the overall story and characters of the script, and the script planner Hu Kun added a lot to the specific plot and the details of the specific characters.
, as the executive producer of " Undocumented Crimes ", Lu Jing, who graduated from Beijing Film Academy, has formed a deep friendship with the main creative team of the show, and the main creator of "The Hidden Corner", many of them are I have collaborated in "Undocumented Crimes", such as photography director Chao Ming, art director Li Jianing, styling director Tian Zhuangzhuang , editing director Lu Di, and casting director Li Junting. These excellent main creators who have worked side by side make Lu Jing feel at ease about the quality of the drama.
has such a mature team, no feature film experience but a serious and talented director Xin Shuang that has the opportunity to directly become the director of "The Hidden Corner", "The creative team is very strong and I trust them Xin Shuang also understands me very well, and understands that these people are also a guarantee of safety for him. I believe our experience can help him. What we want is the talent and style of the director, which is very suitable."
As the chief creator and director, Lu Jing still needs to adapt the director and actors. In the creation of the story, the casting team is constantly looking for actors, and Lu Jing has two candidates in mind. One of them is Qin Hao, who plays Zhang Dongsheng. Lu Jing believes that after cooperating with "Undocumented Crime", both she and the creators have a grateful heart for Qin Hao and hope to continue to cooperate with him. The other is Wang Jingchun , who plays Lao Chen. Lu Jing said that this new character that is not in the original work was written according to Wang Jingchun at the beginning. They did not cooperate successfully in "Undocumented Crimes", and they also had some Unfortunately, this time she especially hopes to cooperate successfully. The excellent actors of
are also very cautious about the project. In addition to playing a murderer, Qin Hao also "struggles", and also considers the overall change logic of Zhang Dongsheng very carefully. When Xin Shuang, Lu Jing, and the casting team with 10 pages of information visited Qin Hao for the first time, Qin Hao discovered a problem with the character logic as soon as they talked about page 3 and did not immediately take it. Fortunately, Xin Shuang and the screenwriter team worked together to polish the role many times, discussed with Qin Hao again, and finally let Qin Hao decide to join. Wang Jingchun also received the invitation after he won the best actor at the Berlin Film Festival. Thanks to his agent’s approval of the script of "The Hidden Corner", he finally helped the team persuade Wang Jingchun to join, and he became the whole show. Here, the first actor confirmed to participate in this role also helped the entire team in the future.
scheduled a 75-day shooting cycle, which actually took 77 days, and Lu Jing also stayed on the scene for 77 days. For a rookie director and rookie producer, such on-site control has been very successful. The rains, typhoons, and tides in Zhanjiang, including the shooting of child actors who are mostly protagonists, have all been overcome by them one by one. After "The Hidden Corner" was released, one of the key points in the enthusiastic response was the "film texture". The efforts of Lu Jing and the entire team she built were not in vain, creating a brand new "popular" of domestic dramas.
interface cultural dialogue Lu Jing:
interface cultural entertainment: the adaptation of "The Hidden Corner", it is difficult to put the tone of the scriptControlled, how did you find the screenwriting team and determine the direction of the adaptation?
Lu Jing: The style of the film was completed in the planning case before entering the script, and it probably set the tone. Adaptation is difficult, and the hardest part is finding a screenwriter. Because of this project, I met no less than 30 screenwriters, and everyone read the novel and talked to me about the outline. It is necessary to find particularly accurate screenwriters and discover what they are good at in this project, so as to save time later. Finally, it was determined that the four screenwriters I saw now, Kakashi, Teacher Hu Kun, Pan Still and Sun Haoyang, they all have their own clear division of labor.
Kakashi is a professor who teaches screenwriting in the United States and has participated in the creation of "House of Cards". When I know I have the opportunity to meet, I will email him to talk to him about the form of joining our project, and also translate the whole novel into English to him. After all, he is an American and doesn't know much about Chinese culture. It really allows him to enter the plot and characters. He is not what he is best at, and he is not necessarily better than Chinese screenwriters. His advantage lies in the script structure and the judgment of the script type. He helped us make a complete script manual, including the genre positioning of the entire play. The first question he asked me was very impressed. He said that the producer must make a choice. The first option is that the story line A is the growth of three children and family emotions, the story line B is suspense, and the second choice is A. , B story line in turn. I basically did not hesitate to choose the first one. I prefer to explore human emotions and family. Teacher Kakashi told me that the first option is slow, and the audience is more difficult to tell the story. The second option is a strong plot and fast-paced, which may be more acceptable to the audience.
Teacher Hu Kun is my master brother, has family and children, has rich life experience, many specific plots and specific characters, he will share a lot of his stories to us. For example, he pointed out that Zhu Yongping could not be so peaceful when he lost his daughter or his son was kidnapped. It is also his own story that Yan Liang’s father lives in a mental hospital, because his father was admitted to the mental hospital when he was very young. When he and his sister went to see him, his father’s mental state was very unconscious and he didn’t know them, but his father remembered He loves to eat pears, so he climbed a tree in the yard and picked pears for him. He always said that screenwriters cannot write scripts for life, and they must have a sense of true feelings. He is very good at capturing small details in characters.
Pan is still our number one screenwriter. The structure of the script and every character are her creations. For example, Zhou Chunhong wiped off the lipstick when she came back from a date with Director Ma, including her eating oranges and letting her son drink milk, all of which she wrote. She is very good at laying out characters, so when I decided on the first type of family, I thought she was the most suitable. She also experienced childbirth in the process of writing, and she also experienced some of the mother's emotions, and used it on the two mothers in the story.
Sun Haoyang is actually the earliest screenwriter who entered this project. She wrote the first draft outline of the entire project in April 2018. At that time, there was nothing to talk about, so he read the novel and wrote it. Because he loves Zijin Chen very much, also likes "Undocumented Crime", Yan Liang and the characters in it. His work is mainly to refine the wonderful links in the novel, and to guard the part of Zijinchen.
interface entertainment: viewers may see the biggest adaptation, is the new addition of the role of Lao Chen, Yan Liang also merged with another role, why did you change it like this?
Lu Jing: Many viewers at asked why Yan Liang should replace Ding Hao. In fact, on the one hand, because the platform has project planning, I hope we can have a role like "Yan Liang", which can have some linkage with previous works; more importantly, our entire production team is also very excited about this idea. I think the addition of such a character will make this show more interesting.
In the beginning, the creative team’s first impression of Yan Liang was still the same as the detective in "Undocumented Crimes." However, judging from the original story at the time, it was not suitable for such a role. He was very easy. It will make solving the case the main thread of the whole story, which breaks the script positioning that we set for the family to grow into the first type and suspense into the second type. That is not what we want to express. We thought about it for about two weeks, and one day suddenly came up with an idea: Since it is about a child's story, why can't Yan Liang be a child? Then they communicated with the platform, they were also very surprised and excited, and found it a bit interesting.
We have also written a version of the story of four children, three of the original works, and a little Yanliang like Detective Conan, who may be Zhu Chaoyang’s neighborHome, but after finishing it, I found it was too ugly and completely broke the main story line. After pondering for a long time, we merged Yan Liang and Ding Hao. Yan Liang in "Undocumented Crimes" is not necessarily a detective when he was young. Maybe he wanted to be a policeman after experiencing this summer. We only need to deduct the question at the end and don't be too constrained.
Lao Chen decided that family drama was the first type very early, which means that we can't use the detective Ye Jun as the main character. If it is the detective, the suspense is the first type. At that time, we thought that it would be interesting to be an old film cop who was about to retire. Lao Chen and Ye Jun have a division of labor, the development is set, Lao Chen is responsible for protecting the good and beautiful things in the world, and Ye Jun is responsible for punishing the evil in the world. We also think that every child has an adult who helps him grow, and Lao Chen also undertakes the social care part and is responsible for guiding Yan Liang to grow up.
Interface Entertainment: Why did choose to let director Xin Shuang, who has no experience in dramas, come in as the director after the outline of the 12 episodes of the story is completed?
Lu Jing: is amazing. Like everyone, I met him through "City of Fantasy Music". Later, a producer from iQiyi found me and said that I like a new director, Xin Shuang, and wanted to work with him, but he didn’t think it was appropriate for him after passing 20 or 30 projects. He asked me if I had any good projects for him. He took a look. At that time, I thought to myself that he must be very swollen at this time, so I was polite and gave him a script that had been developed for three years. The story is very niche, more about characters, and many directors are unwilling to do it because they feel that there is no traffic and commercial value. I was in a relatively cohesive state and gave the plan to Xin Shuang, but he said that he wanted to read the original novel the next day, and he wanted to meet me on the third day. At that time, I had a good impression of him, because generally looking at the plan in this way, it would be good to be able to reply in half a month. After the conversation, we found that we were in a tacit understanding. The director is a very pursuer. He likes to pursue content and what he wants to express. He doesn't care much about big investment and the joining of traffic stars.
We worked on that project for half a year, and Xin Shuang and I became friends. At that time, I was working on the outline development of "The Hidden Corner", and encountered difficulties in the process, so I asked Xin Shuang to help me look it up. He said that he would give him one night. When I saw him the next day, I found that the outline was full of notes. After talking with me for five or six hours, I was very moved and felt that he was very righteous. Later, I was the director who decided to create the main creative. Xin Shuang said that he also liked this story, so I put the previous project aside, because "The Hidden Corner" is relatively more complete and mature, and the market is better. Do this first .
Interface Entertainment: In "Undocumented Crimes", you are the executive producer. This time, "The Hidden Corner" is the first time a producer-identity work has been released. Isn't it the pressure? I heard that many of the main creative teams came from "Undocumented Crimes", who are the main ones?
Lu Jing: Yes, the pressure is quite high, and I am very happy, because there are many brothers from the time of "Undocumented Crime" who are willing to help me. Photography director Chao Ming, art director Li Jianing, styling director Tian Zhuangzhuang, editing director Lu Di, casting director Li Junting are all.
interface entertainment: how did you get them back?
Lu Jing: First of all, has to thank Qi Kang, the producer of "Undocumented Crimes", for bringing me into such a crew. The creators are all my senior brothers. I am two levels younger than many of them and I know each other in school. , The first cooperation is "Undocumented Crime". When I made "The Hidden Corner", I felt that looking for them would give me a sense of security. I am very familiar with their working status and video style. And when I looked for them, I didn't confirm the investment of the entire film. I hope that when we form the team, we will regroup and give the platform and the company a sense of security.
Because everyone watched the Zijin Chen trilogy when I was doing "Undocumented Crimes", I probably know in my heart whether they like it or not. The first one was art director Jianing. He called him at that time and said that the script was almost done, and he wanted to come. He asked, do you still go to Harbin? I said to make a sunny thing, he said that it is not the same, you can come. He didn't ask who the other people were at all. I was particularly touched. He just wanted to make sure that he could do something different from "Undocumented Crime", something new.
, then, is the editing director Ludi, and then the modeling director Zhuangzhuang, they are also at the time of "Undocumented Crime". At that time, Zhuang Zhuang didn’t have much room to play, because the crew didn’t have that big investment, and it was winter again.hard to do. His aesthetic is very good. He is not only doing film and television projects, but also a personal stylist for first-line stars. He also said that he has read the book "Bad Child" for a long time and wants to make it. He is very familiar with it.
is more difficult to hire Brother Chao Ming, there were many good projects looking for him at that time, there were 5 or 6 in line behind. I just sent him the script little by little to talk about our goals and what we want to do. I gave strong support in creation, after several rounds of discussions, I finally chose to trust us in 5 or 6 projects. The casting team of
also cooperated during "Undocumented Crimes". The casting of the three children is very important this time, fortunately everyone knows what they want to do. The recording director Zhang Nan is my elder brother. He has cooperated with the school. He has never done a drama. They are all movies and documentaries. He has never read a novel, and I told her for a long time what project we are going to do. He was the last finalized main creator.
I remember that after talking to Brother Nan that day, I drove home, and the car stopped downstairs. I actually cried for half an hour. I don't know how to describe that feeling. I didn't expect that they would really be willing to help me. How could they trust me so much and like this project? It was very touching at that moment.
Interface Entertainment: Xin Shuang, director of , does not have any on-site shooting experience in feature films. Are you and the creative team worried?
Lu Jing: is not worried that it is fake. After all, he does not have feature films, but because the main creative team is very strong, I trust them very much. Xin Shuang also understands me very well and understands that these people are also a guarantee for him. Every one of my main creative team is a friend, including the two of the production team, who were shooting together when they were in school. I believe that our experience can help him. What we want is the talent and style of the director, which is very suitable.
I go to the studio every day. Although I am also sitting next to the monitor, I don’t want to see whether the filming is good or not. It’s more about the director’s mood and the need for something. I chose him, all I have to do is believe him. As a producer, I may have to make many choices every day, but I only need to see what Xin Shuang wants. This is what our production department should do with the director, not reduce what he wants to express.
interface entertainment: I heard that the 77-day production cycle is only two days longer than the scheduled 75 days, which is already a very good shooting schedule for the new director.
Lu Jing: was completed safely. There were no major accidents in the middle. The team was very united and the director was considerate of me. Everyone had the same goal and there would be no conflicts. In the entire 77 days, I asked the creator to trust the director and the director to trust them too. It was very fast to get together. After all, we have been over two days, because it is a southern city and a seaside, rainy, typhoon, and what we have not experienced is the tide. The little white boat is swaying in the water most of the time and will stand up when the tide is low. On the beach, it might go back an hour and then go up again, and then go back two hours and then go up again, making it very difficult to film. Many times we took a small rowing boat and transported the equipment to the boat for arrangement. We also encountered a very big typhoon in the middle. We were very afraid that the small white boat would be blown away because it was modified by ourselves and could not be driven out. When the typhoon came, we could not go to a safe haven, so we had to stay there and stare. The ship is afraid of flying or falling apart.
also has a fishing period and a fishing moratorium. During the scene survey, Yan Liang took Pupu to find a place to live. There were many beautiful boats. It was set in Zhanjiang because of the scene. The texture was too strong. There were so many fishing boats, fishermen and suspension bridges. As a result, it happened in July. It was a fishing moratorium, and the last time I stepped on the scene before starting the machine, I found that a boat was gone, and I felt very broken. Finally, we started contacting the fishing boats and the village, rented a boat from the whole village and let them drive over, and paved fifty or sixty boats.
interface entertainment: is going to be restored to 2005 as a whole, right?
Lu Jing: Xin Shuang is a director who has extremely strict requirements on the screen, and is about to "force his art teacher to death". Our main color has been set a long time ago, and the representative color is bright yellow, just like the yellow of the egg yolk pie, and Pupu's clothes, including every important prop or one thing, will appear bright yellow. Then there will be positive green, positive blue, positive red, and positive yellow in the film. My personal guess is that the director’s intention is that he believes that very clean and simple colors are the colors of children’s world, and there will be no pink, purple, or orange. Neutral turbid color.
includes the seventh episode of Yan Liang when he was a child, riding a bicycle and watching his father being taken away, connecting passers-by through the alley.The colors of the clothes are carefully selected. In fact, many details (very particular about it), including the styling teacher, all the sweat you see is made by him, a little bit of spray.
interface entertainment: iQiyi's investment in your drama should not be small, and the degree of cooperation is also quite high, including the special cases of agreeing that the ending song of each episode is different.
Lu Jing: Yes, iQiyi gave us a lot of creative space this time, including the ending song, thank you very much, and also helped us to tune all the clients of the whole platform to "Cannot skip the ending song" "Because the theme of each of our episodes is closely related to the ending song. I know it's difficult, no one has done it before, it's very complicated, it has to deal with TV, mobile phone, iPad various clients.
made 12 ending songs, so I know that I must trust the director, and his advantage will be able to play well. And the director has his own feelings, after all, he has played in the band before. Directors at certain levels are very supportive of me. For example, he trusts the main creator, and we must also support him. As long as the budget is well controlled and the money for the ending song is not a big problem. During the filming, I would tell Xin Shuang, "You can't exceed the deadline, the money for the extended ending song will be gone" (laugh).
interface entertainment: performance is also one of the focuses of audience discussion. Not only the selection of small actors is very difficult. It should be quite difficult to invite Qin Hao, Wang Jingchun, Zhang Songwen and others to join.
Lu Jing: Yes, such as Qin Hao, acting as a murderer is a big challenge for him. When developing the project, I wanted Brother Hao to play Zhang Dongsheng. Why? The script of this role is very exciting. There are many people with high traffic who want to play this role, but I insist on using Qin Hao. Many people do not understand, saying that I obviously have a "better" option, and he still has a schedule problem. But because not only me, including the creative team, have very special feelings for Brother Hao, we are very grateful, because when we filmed "Undocumented Crime" we were all a group of children, and we didn't know what a web drama was at that time. At that time, Qin Hao was a literary and artistic male god who walked the red carpet every day in our eyes, and he was actually willing to act for us and help us hold up a whole play. What I thought in my heart is that as long as he likes this role, it must be given to him, and if he doesn't pick me up, then convince him.
Brother Hao was filming at the time. Me, Xin Shuang and the casting director went to Hengdian to visit the class and discussed the script with him in the RV. Xin Shuang is a wonderful person. Seeing that every creative and actor works hard and earnestly, he never sits here and talks directly, he always holds dense notes, or the analysis of the characters clearly drawn on the iPad. When I talked about this character to Brother Hao, the 10-page note was astonished by the third page, saying that he was logically inaccurate and the character was inaccurate. I knew that Xin Shuang had something in his stomach, but he didn't excuse him, so he turned off the iPad and listened to Brother Hao. I was so disappointed at the time. I came out and asked him why he didn't say it. He said that Qin Hao was right, and I didn't need to argue. Xin Shuang's absorption ability was very strong, and it was quickly converted into motivation. Later, when he had a new script, he went to Qin Hao to discuss it, including the bald spots that collided with each other. So Qin Hao trusted our team, and the only struggle at the time might be playing a villain.
Interface Entertainment: How did invite Wang Jingchun to join? His image as a policeman does not require much struggle.
Lu Jing: We wrote Lao Chen based on teacher Wang Jingchun. At that time, "Undocumented Crimes" approached him, but for various reasons did not cooperate. When we wrote the script of "The Hidden Corner", Teacher Wang took the best actor at the Berlin Film Festival. I was very happy for him, but at that moment my heart was broken and I was over. He would definitely not pick it up. Moreover, Teacher Jing Chun has a particularly good agent who understands the content very well. He will read the script over and over again, study the main creation, and chat with me a lot of in-depth things. She helped Teacher Wang make a judgment first, and felt that we were a good team, and helped us to convince Teacher Jing Chun. In addition, Teacher Jing Chun knows that we are the team of "Undocumented Crimes" and has certain trust.
I told him that Lao Chen is a new character. We are under pressure and need good actors to help us make the character shine. And what touched me most about Teacher Jing Chun was that when we had nothing, he was the first actor to be appointed in the whole show. At that time, all the actors including Brother Hao were undecided. He also waited for us for more than a month, from June to July to start. He is not embarrassed, and he is unwilling to run around to make a few plays at the same time. He just wants to devote himself to the creation of a work. I guess, Teacher Wang tookThe movie emperor's talented actor, the online drama market is so good, he may also want to do more different attempts.
interface entertainment: what do you think of the audience discussion on social media? Now it seems to focus mostly on stories and characters. The amount of discussion is particularly high.
Lu Jing: For a drama, the audience's first contact must be performance and narrative. This is where the drama may be different from the movie. If we really have a small budget and cannot take care of all departments, the first thing to keep is the performance and the script. It's just that we are lucky, with a good platform, we can have space to do more things.
is now even better than I expected. Seeing Douban score of 9.2 really moved me. I think our audience is so good? Know us better than I thought. And this group of people in the industry also moved me very much. In those days or two, I saw good friends in the film and television industry who were in the circle of friends, regardless of you or me, to help this show call, which made me more comrades-in-arms. I am particularly touched.
Interface Entertainment: As a producer, will try to continue developing short drama projects in the future?
Lu Jing: will, but I certainly do not reject long dramas and movies. I think it’s just that the audience is different. Now I have experience in making short series, and I have tasted the fun in the process of making short series. If I continue to do the next one, of course I am willing and feel safe for me. But it's not that the audience needs what we give them. It still depends on how many episodes the story itself is suitable for. Maybe "The Hidden Corner" is just right for 12 episodes. Some people may say that the pace of life is fast now, and everyone is impatient to watch long dramas, but I think it should be a few episodes suitable for a few episodes. Once the filming is completed, the audience will watch it. If one can only shoot 12 episodes, and must pull it to 36 episodes, the audience will definitely have to scold it. If you squeeze more than 40 episodes into 12 episodes, you can't explain it clearly and you will be scolded.
