On October 16, at Pingyao International Film Festival, Chen Chong attended the "Chong Ah, Female Filmmaker" New Wave Forum, hosted by Jia Zhangke. The following is the forum record. Jia Zhangke: Good morning, viewers, thank you for coming to the Pingyao International Film Festival this morning. Today is our dialogue academic activity-Teacher Chen Chong’s sharing. We now invite Chen Chong with warm applause. Teacher Chen Chong is also the judge of Fei Mu's honor this year. I would like to thank the audience who came in the rain, and the audience standing behind, for your hard work.
Let's ask sister Chong to say hello to everyone. Chen Chong: Audiences, children, friends of the Pingyao Film Festival, hello everyone, I am very happy to be here today to chat with you. Thank you Director Jia for inviting me here. Jia Zhangke: It is our honor. This event is also jointly organized by us and Sina Weibo. The full name is "Chong Ah, Female Filmmaker". It is such a sharing event in cooperation with Sina. So our topic may have to go back to many years ago, because Mr. Chen Chong entered the film career very early. It should be said that he started his film career in his teens, and then recalled that he has experienced many times today. Chen Chong: I entered the factory for more than seven years, because when I entered the factory it was for another movie called "Jinggangshan", which was later cancelled. Jia Zhangke: Then I started to enter the film system from that time, and then experienced the changes in the 1980s in that environment, and then went abroad and studied in the United States. In the United States, I first became an actor and gradually became a director. Returning to China under the conditions of a market economy in 1991, it can be said that he has traveled across all ages and regions, and has cooperated with many directors. Some directors are already indelible names in the history of film. So let’s start with "Youth" in 1976. What was the opportunity at that time to make you a filmmaker. Specifically, "Youth" is the work of Director Xie Jin, so you have some experience in cooperating with Director Xie Jin. Especially after many years, you are also a director yourself. Under the early planned economy system, the old working methods of the studio, today can you recall your feelings at that time.
Chen Chong: I was 14 years old when I started acting. At that time, there was a film crew in Shanghai. At that time, the whole country wanted to shoot the Long March trilogy. A prestigious director, he came to Shanghai, and because he was in a shooting team at school, and he was tanned outside all day, like a female guerrilla, he recruited me. At that time, it seemed like Zhu Shimao played the leading actor and asked me to act as a small guerrilla. I stayed in the group every day. I didn’t know what I should do. The group said that I should read the script first. He said with tears, "Old Uncle Luo, Jinggangshan is lost." Then I practiced there all day, how can I get tears in my eyes, how can I get it right. Then in our preparatory stage, before filming started, the movie was cancelled. After the cancellation, I was very frustrated, which means that I am going back to high school again. At this time, it turned out that there was an old senior in Shanghai Film Studio who was also a very good actress back then. She organized a training master class to train actors. At that time, she had seen me practice my lines so hard all day long, using various tones, asking all kinds of people for advice, she said with tears that she thought I was very serious. Just say otherwise. Don’t go back to middle school. You have been here for a month. You can go to the actor training master class with me. That’s it, you went to an actor training session with them. The master class starts like this. Later, I stayed in the training master class for almost two or three months, and then let us rehearse the drama, and then learn to play allegro and read poetry. At this time, Director Xie Jin, Director Xie Jin was going to make his movie "Youth". At this time, he came to our training class to find actors. This thing is very strange because I always felt that I was not auditioned by him. I think There were five female students in our master class. The other four female students all went up to perform and said I was too young. You don’t need to go. Just stay by the side. Later Xie Jin saw me on the side and gave me Called, my memory has always been like this, but chatting with a classmate a few days ago, she said no, you read allegro for Xie Jin, so I don't know what happened. That’s how Xie Jin chose to go. After he went, this was my biggest luck, because he was really good at using newcomers and was good at training actors. I didn’t have much genius at the time, and I was not alone. This littleKidling will play when he comes up, not such a person. After he chose me to go, he wrote 20 or 30 sketches in addition to the script, and then put me in the East China Sea Fleet, in the countryside, let us rehearse every day, let us find the relationship between the characters, and let me know about the life in the countryside. Some familiarity is that such a luxury is impossible today. It was after rehearsing for a month and then started filming. At least for me, there is no such thing as stage fright and nervousness. Because I have been rehearsing for so long and it is not a rehearsal of the movie, there is still a sense of freshness in the film. But to learn some aspects of the entire character relationship, it is equivalent to a fast acting master class. At that time, Zhang Yu already had some acting experience, so I learned a lot when rehearsing with me. That's it. Jia Zhangke: From the time when "Youth" emerged in 1976 to the film "Little Flower" released in 1979, Mr. Chen Chong became a well-known actor, and it was also because this film became a famous actress. That film does indeed seem to be a revolutionary work before China’s popularity today, because I remember that there were electronic music, and then there were a lot of zoom lenses, the structure of the film was also very interesting, that is, he had a lot of changes started. As an actor, and you entered the era of reform in China in 1979, how did you work after entering this crew as an actor, do you feel that it was a work of change at that time? Chen Chong: I didn't have this kind of consciousness at the time. In fact, I was a particularly naive person at the time. I believe that I was deliberately naive forever. In fact, I am very old today, but I am still naive. At that time, I didn't think so much, I just wanted to work hard to perform this play well. But looking back, I was infected by the surrounding atmosphere. I know it was a group of young people. Everyone was very young at the time, but you can feel that I can remember what they were saying, saying that we are color film, and the factory did not dial. Give us so many, because they are all newcomers, not a blockbuster, so we have domestically produced, Fujifilm, and expired ones, that is, all kinds of completely different kinds of film, what should we do? Then I said that it was not enough, and there was a title, and then I said that it was not enough to use black and white. At that time, I made some memories in black and white. It is also due to certain restrictions that caused the result of the film. And it was also exciting. The director and the photographer were very excited, and we actors were also very excited. They said that we had to use a bipolar lens for this movie. This was a very new approach at the time. So although I don't understand it, it is in this exciting creative atmosphere that I can feel a creative atmosphere at that time. Wang Ming, the composer at the time, had been with us all the way from the first day of filming. In every location, he was feeling the movie, he was thinking. If this movie did not have these two songs, it would not bring people the same memory as it is today. These two songs have been covered by countless people until today. This vitality and appeal are the same as the composition of the time, just follow us The whole creative atmosphere is connected. I remember it very clearly. When everyone finished eating together, Wang Ming was a male duck voice, but he composed such a great song, and then excitedly told us, I have come out, this song comes out , And then just sing to us there, stomping to us while stomping, we think what it is, why is it so ugly. It was such a complete work when it came out. It was true that few war films that year focused on human relationships, sibling relationships, and family emotions. This was a breakthrough. So this is a kind of luck. It’s that I joined the group when I was 17 years old, and to this day, someone still tells me that the person who played "Little Flower" has returned. I remember this drama very clearly. It is a person who can have such a lucky one and do it all his life. For such a movie, it really is. I didn't think so before, but now I think about it, this is a godsend.
Jia Zhangke: The story experience of Chong Sister still shocked me. In that era, I would follow the whole process of filming and composing a movie. I am afraid it is very difficult to do it today. It is estimated that the composition will not even go to the scene once. Write after cutting. Therefore, behind the success of a movie is the spirit of that era, and the cooperation of staff from various departments is very important. So in "Little Flower", Sister Chong mentioned earlier that bipolar lenses, including early French New Wave films, used a lot of experimental methods such as zoom lenses. In the end, Sister Chong starred in another film, which may be even more experimental. So today young people don’t really know the existence of this movie, but it was an exploratory movie at the time. It was the "Awakening" directed by Teng Wenji, which is a step by step you can watchTo Chinese filmmakers are trying to change the language of films. At that time, as an actor, Teng Wenji belonged to the fourth generation of directors. During this creative process, including today, you have become the director. Looking back at the creative experience of "Awakening", how do you feel about it, or how do you feel about it? What kind of perception. Chen Chong: Actually I don’t remember much. I said that Director Teng Wenji was less than 20 years old when he came to see me, but this role should be almost 29 years old. I lack life experience, so today If I think about it, I definitely didn't act well. But director Teng Wenji was really trendy at that time, ahead of the time. My deepest impression of that filming experience was that it was my first exposure to classical music, because director Teng Wenji was a lover of classical music. I was in Xi’an. In his dormitory, we listened to Beethoven with a few actors. That is to say, the shock to me and the shock to me are not utterable in words, that is, they are shocking power. What I heard at that time was the surging in my heart, and then the music can be like this, and music can bring such purity and sublimation to your soul. This is unforgettable in my life. This is what I got from filming "Awakening." . So far, it’s the first time I was directing myself. I remember that I’ve been thinking about these music all the time, so that I can still love classical music so much today. I think it’s from the months I spent with director Teng Wenji. Start. Jia Zhangke: Thank you Sister Chong. In the early 1980s, probably in 1981, Sister Chong chose to study in the U.S. when she was the hottest one. At that time, the country had just opened. What kind of opportunity made you choose to go to the U.S.? You choose to study film, or have other life plans, how did you come back to film? Chen Chong: I have been such a person with a sense of anxiety since I was a child. When I was a teenager, I said I was ignorant, at a loss, and ignorant, but there is still such a worry in the depths of my soul, so I think this The sudden state of being famous day and night makes me very disturbed, very disturbed. As soon as I resumed the college entrance examination, I immediately felt that I had to participate in the college entrance examination. If I wanted to go to college, I felt deeply ignorant. Then suddenly people give you so much love day and night, it is very inexplicable, because you know in your heart that you are the same you yesterday, why are so many people around you today? So this thing caused me to think, and I couldn't trust this thing, very distrustful. So I felt that I had to go to college. I had already left high school at that time. I left high school when I was 14 years old. I was 17 when I recovered from the college entrance examination. Well, I haven't studied hard for so many years. Our training master class was in a broken courtyard. There were several buildings at that time, and the Shanghai Film Actors Troupe was there. Then I saw that I was sitting in the room reviewing my homework. All my classmates were older than me. The youngest were three or four years older than me, and the oldest was ten years older than me. Then they saw that this child still had this opportunity and this child still had this dream, so they took me a thermos, or opened the water to make tea for me, just like this, they have been supporting me. In this way, I was admitted to the Shanghai Foreign Languages Institute, but without seduce, I went to shoot "Little Flower" again. After I finished filming "Little Flower", I filmed "Awakening", and then I knew that if I stayed in China, it was actually subconscious. I knew that the film was attractive to me. I just thought it was not credible. It is not something that should be done in a lifetime, I have to go to university. So at this moment, I had the opportunity to study abroad. At that time, I felt that this was something I had to do. I should continue to go to school. It was such a simple wish to study.
Jia Zhangke: After arriving in the United States, I have also undergone American film training. From the newly opened country to the United States, whether the two cultures, including film education or social aspects, have any impact on you. Chen Chong: Actually going abroad was not like it is today. Many people can travel today. It was a very big and difficult thing back then. I remember very clearly that it was very difficult to apply for a passport and then get a visa. One of the purposes at that time was that I wanted to go to the United States to study, but when I arrived in the United States and got out of the plane, I was blinded again. The kind of culture shock is incomparable with today, because the only United States we knew was the United States. U.S. imperialism, and then saw two or three Western reference films, I remember watching "Waterloo Bridge" ("The Soul Broken Blue"Bridge"), it was British, not American, and I saw a "Juliet", but I didn't understand it, nor did I understand the specific meaning of the movie. So I arrived in the United States. After I arrived in the United States, I felt that kind of discomfort. This is too unaccustomed. In fact, when I was in China, I lived very hard and poor all the way. But I never felt that I was poor. I never felt that I was poor again. I always felt very rich. Even if I wanted to eat something delicious, it was not easy to find an egg to eat, but I never felt poor. When I arrived in the United States, I suddenly felt poor. I had to pay my rent and buy food by myself. This was a task I hadn't done before. I suddenly felt too unsuitable. I woke up in the morning and went to brush my teeth. , Toothpaste tastes different, totally unaccustomed. From Shanghai, from brushing your teeth in this life, until the age of twenty, it is Megajing toothpaste, we only have one. Then when I arrived in the United States, it was the first time I entered a supermarket. It scared me. Suddenly I had a choice. This is not just a supermarket choice. It means that there are 6 kinds of rice, 12 kinds of oatmeal, and 23 kinds of toothpaste. This is not this, it symbolizes the sudden emergence of unlimited choices in life. The panic at this time is very big with culture shock. In fact, it means that after a person has a choice, you will truly mature, because you have to decide and you have to choose. This is a shock. After all, I am a person who is very easy to be extreme, and the emotions are very fierce. After arriving in the United States, you have received all kinds of shocks. Before going to the United States, I just met a first love boyfriend and felt that I had first love. After arriving in the United States, these two biggest impacts were the first, the question of ideals, or the death of ideals, and the question of love, the death of love. These two things made me mature suddenly, and with this one, it took me almost ten years to digest these two deaths. Jia Zhangke: From Sister Chong’s account, we can see the pressure in the heart. People often say that if half of the residents in Hollywood become actors, why not be a female filmmaker who just arrived from the mainland? , Then what was the process at that time, allowing you to go from "Taipan" to "The Last Emperor" bit by bit, and then back to the big screen, especially to "The Last Emperor" to achieve such a huge success, so A history of Hollywood struggles, to share with us young people who have movie dreams today. Chen Chong: It's very different from today's situation. When I arrived in the United States, I did a lot of chores. At the time, I said that I have no money, no money at home, and no money, so how can I live by myself? I often go to the library to work, or to help people with children, or to the restaurant to serve dishes, that is, I have done these things after I got the best actress. At that time, I moved from New York to a university in Los Angeles. At that time, there were a few Chinese professors at the university in Los Angeles. They hosted a Chinese film festival. There were four films in total. They borrowed from the Chinese consulate, and there were two in it. One was "Little Flower", one is "Awakening", two movies starring me, invited me from New York to their school. Once I arrived in California, I said that the weather was so good, the sun was so bright, and the sky was so blue. Then I took me to Disney for a round of fun. I said I didn’t want to go back to New York, so I stayed in this school in California. At the same time, the professor is also very good. He found a family for me. This family can let me live in their home for free and have a room for me. At the same time, I had to live in California and work in restaurants. So when I was in class, I was one or two years older than my usual classmates, and I had experienced more, so I looked old and couldn't tell them. There was another classmate in the class who was two years older than me. The two of them started talking. I think he was a stuntman in Hollywood. He specializes in riding motorcycles, riding horses, and driving for people. He is a stuntman. , A stand-in for action, and then the two of them chatted, both with a background in the film industry. Then he said, you have acted in a play, and I said you didn't know that I had ever won the best actress. He said you talk nonsense, why are you still working in a restaurant? Saying that you are going to try it, you go to a restaurant for a week, and after a day or two, you will come out. As soon as I heard, then I have to try it, I will come out after one or two days of doing it, that is, the money. So it was really for money to go there. There was no big ideal, so I said that I don’t have to go to a restaurant to work. It’s tiring to go to a restaurant. And the restaurant works part-time, the local largest Chinese restaurant, the manager inside, at that time there was a huge beer garden next to our restaurant, the beer garden’s headquarters, and then there were often guests coming to entertainYes, the manager said, you see that this is our best actress from China. It makes me feel so embarrassed that I don’t know what to do. I don’t feel like working as a part-timer. But when he says that, I don’t think so it is good. I'm not good, so let me try acting. Then I went to inquire and said that the entire Hollywood face of Oriental people, including Burmese, Japanese, Chinese, Korean, Vietnamese, Mongolian, as long as it looks like an oriental face, is the agent. I took the bus for almost two hours from my university and arrived at that person’s office. Then I told him, I said I had acted in a movie in China, and I asked if I could act in a movie here, he watched At a glance, he didn't believe a word. He looked pretty good, so he said that. I'll give you a name. Go there and take a picture. After taking the picture, send me a try. That photographer is a special avatar, said you go back. That time has passed, I think it might be out of play, and there is no call. Suddenly one day I called and said you should go to this address. The address was given to me. They said that there was a fried chicken advertisement. They could use the so-called different nationalities at the time and said they needed a girl. Go ahead. I was nervous, excited, and didn't know what to do, so I put on makeup, combed my hair, and put on my best clothes. When I got there, the beauties, novices, who looked like a herd of cows and sheep in that place, were waiting there. When I got there to see Wuyang Wuyang, I turned around and took the bus for two hours to go back. I didn't even dare to go in. Later, when I was there, my family called me and said that you were absent and you didn't go in. I said I see so many people, I am not used to it. Because our education in China back then was to be modest. You can't be better than them. Those two thousand people can't do it. I don't have this mentality. They said that you can’t do this. If you do, then forget it, and don’t go anymore. I will give you a chance if you don’t go. I say that is OK. I will go next time. I say I will overcome it next time. Then I received another call, saying you go. There was a popular TV series in the United States at that time. I said yes, I will definitely go this time. Just showed me a script. There was a beauty pageant scene in which there was a Taiwanese lady wearing a cheongsam, just this role. I said yes, and their one day's salary is indeed my one week's salary, I think this is pretty good. So this is my first role in Hollywood. Without a line, I just walked on stage, from left to right. This is my debut. Then I was inspired by my debut, saying that this girl was pretty good. Another drama was also a very popular drama at the time. It was also a few years old. I needed a girl. I said you should try it again. This one has a line, I said there is a line this time, and then I went. The play is called "Simon Simon". After I go, let me try a line, "Do you like some tea?", and then after the audition, because in general, many girls audition, you may audition ten times, you may have to accept it once. It's said that rejection should be commonplace for actors, although I am not used to it, because I am in the mainland, and I am all assigned to me in China, and I are all leading actors. When I got there, I got the movie again, so I went up and said such a sentence, because these two TV shows entered the Actors Guild, just like that. Later, I did a lot of similar TV shows. They have coherent characters on TV, and then there are guest appearances in each episode, and they played a lot of this. After that, "Taipan" appeared, because in "Taipan" I went for a Hawaiian character. At that time, they were looking for a Hawaiian girl, and then I went, and after walking into the office, I said you Chen Chong , Are you Chinese? I said I am Chinese. No, let's find a Hawaiian and just veto me. When I was walking into my car in the parking lot, a passing tanker followed me for a while. What do I think about this guy, who do I think about this? After he followed, suddenly the window was rolled down, saying, do you know how (in English) was caught? This is an American movie star in the 1930s and 1940s. He was seen by scouts while buying medicine in a prescription. I don't know what he was talking about. I didn't know the allusion at the time. I just want this bad old man, what do you want? Later he handed me a business card, and he said you ask your agent to call me. He said what my name is. He was in Hollywood, a very famous Italian producer, and a very successful producer in Hollywood. In this way, the entire recruitment process for "Taipan" has already passed. In this way I gave my agent, the agent said it was true, not fake. Saying that, I went there in the afternoon, and just like that, I was spotted in the garage all of a sudden, and I went to play "Taipan".
Jia Zhangke: What about "The Last Emperor"? Let me add that last year, it should be around November, director Bernardo Bertolucci passed away. The next day I saw sister Chong posted a Weibo, recalling their filming in Beijing in the 1980s. In fact, that Weibo was widely reposted by everyone, which was very touching. It can be said that this is an unforgettable creative resume for Sister Chong. So how did you get this role at the time? Chen Chong: It means that Bertolucci is actually looking for the faces of Orientals all over the world, actors who can speak English. I have already found a big circle, and I have also found a big circle. Then the actor, the deputy director separated me, and he told the director, he said that you don’t need to look for it anymore. This is the person. I know 100% that it is this person. So when I met Bertolucci, I didn’t have such an advantage like others. Because the deputy director knew me very well, I didn’t audition for Bertolucci. I had to audition. There is no. Bertolucci chatted with me from the beginning, it was such a kind of kindness. Then he went outside to raise funds and went to find actors. As long as we went to Los Angeles, we would sit down and chat. In this way, we got an opportunity like "The Last Emperor". An opportunity like "The Last Emperor" made me think, that is, you. All the effort you put in may be on that one thing, there is no one in the moment, but as long as you put in the effort, you must be useful in this lifetime, what you have experienced, what you have learned, even what you have The despair I experienced is also wealth, so this restored me a kind of confidence. Then the whole process of filming "The Last Emperor" is very long. It is impossible to shoot a movie like this today. The whole filming process takes eight months, and the part I participated in is almost half a year. In the past six months, what I have seen is really the best in the world. They are the top artists in terms of technology and talent in all departments, and stay with them. That’s how I was fascinated by it. I think it’s my emotions for movies, my love for movies. Maybe I won’t do anything else in this life, and I won’t run away anymore, maybe I got it from these six months. And when I will be a director in the future, this is the only thing I have most useful, it is equivalent to a director class, because I did not go to the film school, all I learned through practice, that is, this passion is from "The Last Emperor" "Started. Jia Zhangke: I really want sister Chong to talk about the creation of "The Last Emperor", especially you as an actor, how did you prepare for this role at that time, and for the script, did you have script study, data collection, as a case of performance? Share it with everyone. In addition, you have become a fellow director after you. What do you think of Bertolucci's method of directing or his working methods have an impact on you. So when I directed the first movie myself, I also experienced this. What else? Anyway, there is an atmosphere in the whole scene. I remember that our photographer was also the king of the film world. He was talking very softly. He was very calm and careful, but there was a kind of dignity in the scene. He was not here. That yelling, or losing his temper, he worked carefully with this mentality. This has also taught me that when I want my own live director, I hope or expect such an atmosphere. Jia Zhangke: After "The Last Emperor" is "Heaven and Earth", or "Shuangfeng"? Chen Chong: "The Last Emperor" will be "Shuangfeng" afterwards. I didn't actually act in another movie after "The Last Emperor". It was really silly at that time. When I was young, I did a lot of silly things and suddenly became An oriental vase is such a beautiful woman, and magazines will want you to be in magazines and take pictures everywhere. Then when I was with a bunch of actors, I said that I would break the frame and not appear in a vase like this. You need substance and difference. At that time, I tried to act in a movie that shaved my hair. It’s gone, and there are still many scars on my face. I think it’s a test of my strength if this is the case. It’s actually silly to do something like this. If you are asked to act the vase, you have the vase act. How happy and okay. Wouldn’t it be over if you could enrich the vase as much as possible, but I had to fight. There were martial arts movies at the time. I felt that martial arts movies were not artistic. I thought I wanted to act in dramas, but they were all stupid. what. Then I wanted to destroy my image. I took on such a scene, with all my hair shaved off and many scars on my face. After the movie came out, no criticsOften disappointed, saying that he acted very well, but this is not the one we want to see. After that, "Twin Peaks" appeared. At that time, the director of "Twin Peaks" had a girlfriend who was a very famous model, Isabella Rossellini. Then this character was written to her at the time. There was such a small place in one of his previous movies, just like a place like Pingyao. Everyone knew each other in a small place, and suddenly such a foreigner came here. , An intruder. So it turned out that Isabella Rossellini played such an element in that movie. So in "Shuangfeng" is also such a town, there is also an intruder in it. At that time, the director played with her, and after that, she stopped acting. If she didn’t act, she would have to find another one. Later, she said that it’s okay if she’s not an Italian. So she called me, and when she was asked, she said yes after watching. , Just her, is also an outside intruder. In this way, I played "Double Peaks". Life is really a lot of wonderful causes. If they didn't play, I wouldn't have this scene. Jia Zhangke: I worked with director Oliver Stone in "Heaven and Earth". At that time, Sister Chong was in full swing, and Oliver Stone was also in full swing. It was his most prosperous time. Of course, he was still very strong. Filming. Let's just talk about the creation of "Heaven and Earth" at that time. Chen Chong: "Heaven and Earth" is like this. One day I saw a book review in the Los Angeles Times. She wrote about a woman from Vietnam to the United States. She wrote an autobiography. I went to read this autobiography. I was deeply attracted. Although he was a Vietnamese, he was an Oriental and wanted to create a character for himself. So when I read it, I said this life experience was great, and I said I wanted to buy the copyright of this book, and I wanted to play this person. I went to buy the copyright. This was the first time I went to buy the copyright. I had to sign a contract with his book’s agent. Suddenly, he made a Cheng Yaojin halfway and said, I’m sorry, it’s true. I'm sorry. I said, I'll be there first, I'll talk first, I've been talking for so long. That can’t work. I don’t know if you can make this movie. If he buys it, he will be able to make this movie. So we are sorry, we still have to sell it to him, so I lose it. This copyright. After he bought the copyright, he put it aside for two or three years. When the sequel to his autobiography comes out again, it will be his sequel after he was in the United States. After he came out again, Oliver Stone felt that I could make this movie in my mind now. He had these two books and such a structure appeared in his mind. At that time he started to shoot. I was about 29 years old at that time, almost 30. Then I feel old and can't act anymore. It’s 30, and the heroine was 14 at the beginning. I only needed to have the courage of Liu Xiaoqing. Then think about it, then I wish them a good movie. Later Oliver Stone contacted me and asked if you could help me play her mother. Later, I thought, is it my beloved story, and such a good director, I said yes, I will go if you want me to act as my dad. In this way, I acted as a mother in it. Really, that makeup at the time, she was going to be old, seventy or eighty years old, how many things were on her face, the stretched skin, and the hair dryer blows you up and wrinkles. What, that's it. But I have learned a lot, because Oliver Stone is a particularly passionate and absolutely such a director. He is the same as Director Xie Jin and believes that he wants to live. So at that time, I, and a group of non-professional actors, were farming in the rice fields every day. My waist and legs were sore. You said that I am a person who usually exercises. I think I am a muscular and strong person, but I planted in the rice fields. The ground is another muscle, my body aches, that's it. Jia Zhangke: "Red Rose and White Rose" again.
Chen Chong: My thirtieth birthday is very grand. I went to Shanghai after I spent it in Los Angeles. At that time, I felt like a funeral for my youth. Really, there are many flowers like a funeral. At that time, I found a group of students from the master class in Shanghai to be with me, ready to have dinner. At that time, I didn’t know who introduced me to me. I said that Director Guan and his art knew that he wanted to come today. I said so? Okay, just come on. So just chat at our birthday party, and after that, we started "Red Rose and White Rose". I have an understanding of Guan Jinpeng and I also appreciate his movies. His delicate observation of female characters, so I was very lucky to play Red Rose. I was also very strange at the time, I thought I was more like a white rose, and then the two of themTell me how can you be a white rose, you must be a red rose. I said okay, let's have a red rose. There are many things I don’t know whether they came for me in Shanghai or for my party. I don’t know, this is how the opportunity came. Jia Zhangke: In 1994, "Red Rose and White Rose", and then in 1997, "Heavenly Bath" was only three years away. At that time, you had decided to be a director and decide on this theme? What is the reason for you to become a director from an actor's desire for another creative attempt. Chen Chong: I didn’t think about it at all. I actually liked the scene of "Red Rose and White Rose" very much. I remembered Red Rose’s house at that time. If you look carefully, there are strange mosaics on the wall. So in fact, his scene is totally abstract, but it is actually a very abstract scene, not a very concrete scene. So I can also feel a different atmosphere and a different way of making movies on the spot. Although our performance is delicate, concrete, and realistic, his scene is very abstract. So being in this environment was another feeling, and it was quite exciting to me. At that time, I never thought about filming. Later, I won the best actress, which aroused my thoughts. People in their thirties are now playing contradictory roles in Hollywood. They are the kind of dragon-shaped women who are particularly vicious in their eyes. The role of is no longer a vase of a country. So at this moment, I feel that it is meaningless, because after all, I love movies, and I have seen a lot of the possibilities of movies. If I say that I will go on like this, it seems that I am trampling on what I love, and I would be reluctant to play or perform anymore. At this time, he was invited to be a judge at the Berlin Film Festival. That is exactly the kind of atmosphere 2000 years ago. They are all very desperate movies. After I watched it, I felt that I had also experienced tragedies, and our nation had also experienced tragedies, and my feelings were different from theirs. , I think I want to tell a story of my own. So from this moment, my good friend Yan Geling told me such a story. The story she wanted to write was an experience of her friend. After listening to it, I was very impressed. She gave me this short story just before I went to Berlin. I read it all the way. After reading it, I was very excited. After the Berlin Film Festival, I will be back. On the plane, on the plane from Berlin to San Francisco, I kept writing for 12 hours. I almost pulled out the script in 12 hours. When I got to San Francisco, when Yan Geling lived in San Francisco, I said Let's make this movie. Is she serious? I'm serious, and then I showed her the script, and then she revised the script with me. Then I don’t know why I had such a big impulse for that movie. I remember that it is indeed like this, because when I was very young, when I was about nine and ten years old, my family was discussing such things, how can I keep it? My brother and I shouldn't go to Heilongjiang and Yunnan to jump in and settle down because the neighbors and classmates were very concerned about this issue. They were sent to far away places, and there were terrible stories. Although I am curious, I haven't traveled too much, so I feel that young people run out of Heilongjiang, Xinjiang, and Yunnan have this curiosity and fear. It is this curiosity and fear that has planted a seed, which is among my peers. Many people are the fate of "Tian Yu" as a Chinese show. Then I entered the Shanghai Film Training Master Class. I entered the Shanghai Film Academy when I was 14 years old, so many of my classmates came back from the farm. They also mentioned that after their teacher went to the farm and recruited them back, That kind of mood, the mood of returning to the city, the mood of being sent out. So I actually have a complex for this matter, a survivor's complex for this matter, and feel that I am a survivor. I know now that if I don’t make that movie, I can’t make any other movies. This is the youth of our generation and the sacrifice of that generation. So I have to make this movie. In this case, I actually don’t understand. I neither know how to produce nor write scripts. Apart from writing some scripts in class, I started with the urge to tell the story. Going out to raise funds, this fundraising is extremely painful for me, because in fact I am a very shy person, a relatively autistic person, so acting, I have been in the film crew since I was a child, it has been a habit that the film crew is a extended family. But when you want me to go out with a script to ask for money, this pain, you just bite the bullet and go to the rich.At that time, I wondered how this money would come from. This kind of rich man could lose 1 million dollars in mahjong in one night, so he asked me for this and that, to prove that my investment must be able to return to the capital. I thought to myself, how do I know how to invest? How can I get back to this? I don't know anything. In this way, the money was finally collected, and then the movie was made. So I think I came to Pingyao this time, why I like it so much, and then chat with young people I also like it, because I know what the meaning of this debut is, it is the preciousness of the debut, and its meaning, he will be in your lifetime It all started from this one, if you are a filmmaker. Then filming "Heavenly Bath" was such a passion at the time. I had never taken drugs or anything. People said that the feeling of hi, maybe it was this feeling, it was the special hi during that period. Under very difficult conditions, we rented several buses at the time, with half of their positions removed, equipment stored, and seats still available. There is no road on the plateau. Every day I bumped to the small slope we wanted. It was a long way back and forth, and the bumps were extremely severe. Listening all the way, watching all the way, you feel that the colors of the clouds in the sky are also something you have never seen before, and a certain flower that grows on the grass is something you have never seen before. You feel that everything in front of you is The colors are stronger, and your feelings about everything are so moved, the whole is a very special hi. I think this passion, the passion of the debut, is something I will miss all my life. Well, I don’t have much experience, but fortunately, the people around me are experienced. We were shooting on location for two months, and we went back to Shanghai to shoot for about two weeks, and then the whole process grew very large, which made me very excited. The most important and exciting thing for people is to make you feel the arc of your own growth. When you can feel the arc of your own growth, you are happiest. Jia Zhangke: After the completion of "Heavenly Bath", Sister Chong brought countless honors as a director. Since then, Sister Chong has been called a dual-track development. On the one hand, it is Chen Chong as a director and Chen Chong as an actor. The identity of an actor has made people even more amazed in recent years, because in the past there was a saying called Chang Qing Shu, Chang Qing is not easy, and then cooperated with director Jiang Wen, including director Li An, also Cooperating with Australian directors in Chinese films, the performance at this stage can be said to be easy and thorough. Especially in the "Sun Also Rises" directed by Jiang Wen, we see a very powerful Chen Chong. Then I would like to ask you to briefly talk about these recent creations with Director Jiang Wen and Director Ang Lee. Chen Chong: Not so recently. I have known Director Jiang Wen for a long time before that. I really appreciate him. But I didn’t expect to cooperate with him. So once in Beijing, he said that I would tell you a story. He doesn’t show the script to others. He always tells the script to others. After I finished telling it, I thought it was wonderful and good. I don't know what role I have in it. Suddenly one day I said, "Come on and act for me. I said yes. I don't know what he asked me to act. I haven't read the script. Then I booked the air ticket and said when to arrive in Yunnan, I said yes. I don't know anything. Then I delivered a script just before I left. I watched the script on the plane and said that you were going to act as Doctor Lin. I said that this is none other than you. You are such a person. After I read it, I found that Doctor Lin is Thirteen o'clock, it turns out that I had such a 13 o'clock in Jiang Wen's mind, and I was thinking about how this thing should be performed. In fact, acting this thing is quite amazing. Many of them are actually an instinct. You can’t have too many designs. You can understand why people say that this is me when they see me. I will try my best to find Dr. Lin’s. shadow. In fact, to be honest, whether we play a high-ranking person, a humble person, or a wicked person, we all have his seeds in our hearts. This is the richness of human beings. We must affirm our richness. . We cannot say that I am a good person, I am kind. You can’t be kind all the time, right? Impossible. You have had vicious thoughts. They are all human beings. Then I said I must have something from Doctor Lin on my body. Others have seen it. I don’t. Something recognized. That's how to find it. I can feel that I am a naive, but Doctor Lin is actually a naive. Who doesn't have this kind of yearning for love? There are people in their 70s or 80s, so I slowly accepted it in this way. This process is just accepting my inner Doctor Lin. It doesn't mean that I am going to act other people, or act a stranger I think. When I sawI was surprised, how could I be such a person. The surprise is that you have not acknowledged that part of yourself, and you will never understand yourself. You can see others, but it is difficult for you to see yourself. Even if you see yourself in the mirror, it is the opposite. So when playing each role, it’s not saying that I entered the role, but to find her in my heart, and then acknowledge it, and affirm it. If it must be something that I feel lacking, it may be in other self-literary works. To find among the characters. It was such an opportunity to act as Doctor Lin. Actually, it is not difficult for Doctor Lin to act, it is very easy to act. I have also worked with Director Jia. He is a good director. You will act in front of him. He knows how to guide you. Jiang Wen is a director who can guide actors very well. In fact, Director Jia is also, I told you, he doesn’t know it himself, you see me plug it in, I don’t say "The Sun Also Rises", I had a play with Director Jia, and I read it after taking the script. , I remembered, and then I arrived at the scene. After I arrived at the scene, it was a barber shop. I knew what this group of female workers should be like. After I went, I didn’t even know that the scene didn’t go. I didn’t seem to go very much. Then I set up the machine and started shooting. Then this person is like being interviewed. She is talking about her own affairs, but she is a female worker. You see, I am talking to you now. I am in this business. I have learned to talk to you slowly. When that person wants to talk to someone, tell someone their own story, she should have the kind of sensuality that she should have, in fact, I think I put me there, and then I start to say you shoot. I can feel it, because after all, the first day a person arrived at the scene was very jerky and a little nervous. He is nervous no matter how experienced an actor is. He still doesn't know how to act as a character like me, and there is not much communication. Later, I watched "Twenty-Four Cities", and I thought that Director Jia made sense. To say that this matter is always a little uncomfortable and a little nervous, I just want to tell people, maybe that kind of thing to strangers. That feeling was born naturally, and if you rehearsed me more than a dozen times, it would be gone. So with Director Jiang Wen, I remember the inspiration he gave me. I forgot what was this person's name and what the man's name was. Huang Qiusheng, when he played this character with Huang Qiusheng, what was a reminder Jiang Wen gave me? What? What you can't think of, really can't think of it, he said you think about it, the feeling that you won the Oscar for Best Actress after you got on stage, the excitement when you got on the Oscar stage, you want to cry and laugh, and you can’t breathe. , The feeling of winning an Oscar and then the award-winning testimonial is the feeling of showing love to him. That’s great. So it's actually very enjoyable for you to work with such a director. There is also a scene where they want to catch the person who touched her butt, who touched it after all, want to catch this person. At this time, let her feel whether this hand is a soft hand, or a hard hand, or what kind of pinching method, that is, let these suspects pinch her ass, and then there will be Dr. Lin's lens, people Behind the cloth, someone touched her ass. I was thinking about how you want me to act, and then I found his suggestion very interesting. He said that you are happy, and you really will be there forever holding your own smile, you know? This kind of prompt is very different. But it is very feasible, that is, he has been an actor himself. He knows that some hints are feasible. There are some hints. If the director tells you a lot but is not a task that can be completed, he is not a specific thing, then It's hard to get you inspired. Then he has this kind of very unusual, but let you understand it at a glance, he inspired you, so this doctor Lin is not simply happy there, but the word happiness is a seed, so the scene It's very interesting. This is to let me know how to talk to actors is useful, in my own experience, so at least I said that if I didn’t talk to the actors today, I couldn’t mention it all at once. I didn’t say it when I didn’t know how to say it, because Sometimes you will confuse the speaker if you talk too much. There are specific tips and you can say if you have a good idea, but if you don't, I won't say it. Jia Zhangke: Time flies quickly. Our one-and-a-half hour forum is nearing the end. Recently, Sister Chong starred in the latest work directed by Zhang Yimou, in Chongqing. Chen Chong: No, it's not a starring role, but a guest appearance. That movie should be coming out soon. Jia Zhangke: Yes, director Zhang said that it would be released this year. In addition, Sister Chong also directed her latest film "Ingrid" in Xinjiang. Then I believe that in the future, everyone will see this film on the big screen, including her latest performance, and they will have the opportunity to talk to Sister Chong.Come to communicate. Today, our activity is to cooperate with Sina Weibo. Thank you to the netizens before Weibo. There are some questions from netizens. Let’s ask Sister Chong. This netizen said, you can talk about you from your career. What is the most respectful thing for women and the most offensive thing that I have experienced in my memory. Chen Chong: It’s more difficult to have the most word. Jia Zhangke: Then change it to more. Chen Chong: It means that I must have been offended, but I am more able to... This is the offense, just like the raincoat I wear The water, dripping away, will not seep into me, so I won't remember it in particular. Respect for women. Most of the directors and staff I have worked with respect women, so there is nothing. I don’t think women should take you out to respect them. I think they should be people. There should be respect between people, but in fact, people should have respect. What I often see is not male or female. There is such a thing, and there is disrespect for women. But for example, superiors and subordinates, for example, to their drivers, assistants, and to all the people around them, that kind of respect should be a natural thing, that is, people should have a basic respect, and this basic respect is necessary. Yes, this is dignity. So when I saw such a situation, scolding subordinates or something, I felt very intolerable. People must have a minimum of respect, respect for personality, which should be an equal thing. We are a system and a country that emphasizes equality, and we should pay more attention to it. Jia Zhangke: The netizen Queen's Hat would like to ask, for female filmmakers, what is the biggest problem they face in creation. Chen Chong: There are too many problems in creation. It is women. I think... a reporter asked a few days ago that there are now many middle-aged actresses who are confused. What should I do next? The acting has become very skilled At that time, and I am old and there is no role to play, this is indeed a problem, that is, the hero is useless. Movies are a dream-making thing. If the audience particularly wants to see young and beautiful beauties, the producer has no choice but to do so. But I think it's a very old idea now. I have received many scripts, that is, those grandma and grandma roles are so stylized, so routine, routine to the extreme, too boring. In fact, women are not so boring at this age. No wonder people don't watch it, no wonder people want to look at young and beautiful people to fall in love. But no matter at which level or age level, human desires, human loss, human nature, human living conditions, human soul is unchanged, an interesting person is still interesting, and the richness that age provides There is no chance to be shown, so I am now thinking that it must be there, and it must be made very interesting, instead of the scripts I received today. Really grandma, mother-in-law, these characters, no wonder people I do not want to see. Jia Zhangke: I think Sister Chong answered another netizen's question, that is, I came from the mountain and I brought orchid grass to this netizen's question. I have already answered the last question. This netizen is called Occasional Bengda. He said there is currently a saying In the near future, the expression and art form of movies will override the content of the story. I have never heard of this statement. How do you view this statement? Chen Chong: The form and content of the movie should be combined. Because the movie itself is a form, the form of the movie is really important, just like the form of a novel is important, a screenwriter sees a brand new He will be excited, he will want to see it. We see a brand new expression in a movie. We also want to watch it. This form itself is part of the content, because the movie is not something that can be described. If I can tell you a movie well today, then I still Why did you shoot? To spend so much money, so much energy, everything, isn't it a waste of much? Then what we are doing is inherently unspeakable, it is impossible for me to tell you clearly, you have to see it to feel it. This kind of movie itself is a format, but of course I can understand the lack of content, because I think that the children nowadays, including my little daughter, can shoot and edit very skillfully and lack content. Why? She lacks life. To say that today’s content is indeed a little too lacking in a variety of things, life is so rich and varied, and there are indeed few things that can be seen on the screen. It is said that our imagination is good, and we digest the content. And understanding is good, I think it really needs to be developed. One more thing, I think the movie startedHajime was denied, and painters or novelists thought this was called. It gradually became an art form, and it has indeed become art. In recent years, it has been invaded by technology, and then technology has begun to occupy our field. So art is indeed threatened, content is threatened, and art is threatened. In fact, I think one of the goals of film festivals all over the world is also for Let the audience friends say that those who want to see different things can have the things and emotions that they want to express, and he can also have such a platform for display. So I think this is a problem. Jia Zhangke: Okay, thank you sister Chong, thank you all the audience present, and also thank you Sina Weibo. The Pingyao International Film Festival and Sina jointly organized a forum, which is also part of the New Wave program. This concludes today's forum. We thank Mr. Chen Chong for sharing with applause. Chen Chong: Thank you everyone!
