On the night of December 30, the live event "Hu Ge, Ma Yili, Chen Long Celebrate the New Year Together" hosted by Shanghai Library, East China Normal University International School of Chinese Culture, Shanghai Literature and Art Publishing House, etc. was held in the East Building of Shanghai Library. Several actors from the TV series "Flowers" left the TV series and entered the Yuandu Theater. With "Flowers", they walked out of 2023 and entered 2024 together with readers and audiences.
During the actors’ discussion session, East China Normal University professor and writer Mao Jian, who also serves as the host, contributed a lot of golden quotes. She said with a smile: "I feel a sense of national pride when I see Hu Ge. When I look at him, I feel like everything is going well." '. Can you still imagine a second person playing 'Po'?" The audience shouted: No. The atmosphere at the scene was immediately heated up.
What is the relationship between Mr. Bao and the three women?
Mao Jian asked about the subtle differences between "A Bao" and "Mr. Bao" in the play. Hu Ge said that the difference between "A Bao" and "Mr. Bao" is not only the difference in hairstyle and clothing. It has a strong imprint of the times. A Bao has a wild growth, freedom and fearlessness, and infinite longing for the future; while Bao has something more complicated.
"Some people say: Shanghai in that era was a 'cocktail'. The bottom layer was the simplicity of the 1980s, while the upper class already had a sense of glitz and prosperity as the economy took off. This statement is also true for A Bao, but no matter he is A Bao or Bao In short, he will always have the background of Ah Bao."
Hu Ge believes that the biggest similarity between him and Ah Bao is "fighting for breath": "I am the same as Ah Bao. The more others say I am not good, the more I have to fight for breath. "People say I'm good, but I can't stand it."
Ma Yili
Mao Jian asked Ma Yili, who plays the role of Lingzi, the proprietress of Night Tokyo, a question. In the drama version of "Flowers", the relationship between the three women and Mr. Bao all presents a kind of "Loyalty", and in the past Wong Kar-wai was recognized as a master of expressing female eroticism.
This question is difficult to answer. Ma Yili pondered and then said: "Boss Bao and Lingzi are first and foremost partners, so 'loyalty' comes first. You said that Director Wang is a master of lust, but it just so happens that the emotions in many of his works are 'seeking and seeking'." Only when you can't let go and have room for recollection can you ask for something but not get it. Mr. Bao and the three women are all like this: restrained, complicated, unavailable, and ambiguous, so they can think about it from left to right."
This article is related to The "considerations" of the three women were placed in front of Hu Ge. He smiled and said: "I asked the director countless times during the filming, who will I be with? I was also very scared and didn't know how to act. Until one time, I saw an interview with Ingrid Bergman, and she also encountered the same question: Who do I love more?" As a result, the director's answer to Ingrid Bergman was: I don't know the ending of this story either. Where will it develop.
Hu Ge believes that it is precisely because of "not knowing" that Ingrid Bergman's eyes when communicating with the two male characters in that movie were full of ambiguous uncertainty. You can't tell Who does her heart prefer? "This kind of uncertainty is exactly what makes this movie, so I also acted like this in my performance."
Stills of "Flowers"
Thirty or Forty ng, not ranked among the top ten here by Wong Kar-Wai
Talking about and When working with Wong Kar-Wai, Hu Ge joked that at first he often couldn't hear the director talking about the drama. "His voice was very quiet when he directed the drama. Later, we all got used to leaning in very close to listen to him narrating the drama."
And Ma Yili shared this once It gave her a very frustrating experience. One time when she was adding a scene, she shot six or seven scenes using her own acting method. Wong Kar-wai suddenly suggested: Act with a different feeling. But this kind of acting made Ma Yili doubtful. With this kind of doubt in her mind, she wore high heels from 11pm to around 2am, climbed up on a stool to change a light bulb, and took thirty or forty photos. Wong Kar-Wai I have always been dissatisfied and said: I can't see that "empty" thing in your eyes. Finally, Wong Kar-Wai said: "Okay, let's stop here today. Don't compete."
This made Ma Yili even start to doubt herself: this number of times and this director's reaction have never been seen in her previous career.But Wong Kar-wai persuaded her instead: "Thirty or forty points. I didn't even make it into the top ten here. They are all still alive and well in the top ten!"
That night, Ma Yili didn't even fall asleep. She tossed and turned, and finally I figured it out, "I think it's because I don't accept his performance style in my heart that I can't do it." I understood what the problem was, and the next day, I passed only five or six items. Ma Yili lamented: "He is very good at discovering things about actors that he may not even realize."
Another live host, Li Weichang, vice president of Shanghai Literature and Art Publishing House, shared another anecdote about filming. Jin Yucheng, the original author of "Flowers", has a guest appearance in the series. What is said is that his uncle has passed away for a long time, and Abao revisited his old place and met Jin Yucheng here.
On that day, Wong Kar-wai took more than 40 close-ups of Hu Ge's face until about two o'clock in the night. The two of them were so engrossed in it that they completely forgot about Jin Yucheng next to them.
Jin Yucheng couldn't stand it anymore and spoke in the 42nd paragraph: "Director, it's okay this time." Hu Ge and Wong Kar-wai turned to him at the same time and asked: "Why?" Jin Yucheng said very firmly that the paragraph just now was Hu Ge's expression and the lines at the corners of his mouth all sent a strong signal that what he was thinking about at the moment was not his brothers or women, but his uncle. I don’t know if Wong Kar-Wai was convinced, but he did another take and the scene was over.
The three actors unanimously mentioned Wong Kar-wai's "threat" to them - "If the performance is not good, I will cut it off", which prompted them to "roll up" in the crew.
Ma Yili was very honest and said: "I think my acting is pretty good, but I don't know if the director will cut it. To be honest, I just want to act until the director can't cut it." Chen Long said with a smile. : "Being 'abused' by the director is a kind of happiness."
Hu Ge has already figured out the ability to know Wong Kar-wai's dissatisfaction just by hearing the word "stuck" on the scene, and even imitated satisfaction and dissatisfaction vividly on the scene. Satisfied with the "card" difference.
The three actors are all old acquaintances, and they were naturally relaxed during the lecture. Upon hearing this description, it was obvious which of the three was strong, which was honest, and which was clever.
Hu Ge
What was it like in the 1990s?
Li Weichang also asked the three actors about their experiences and memories of the 1990s. Ma Yili talked about some of the proprietresses on the Yellow River Road that she met when she was a child. They were very capable: "Seven aunts and eight aunts all worked in her shop. One person supported a family, and one person became a team."
Chen Longze He mentioned that his grandmother used to live in the Jinxian Road area, and the alley market was very familiar to her when she was a child. His mother took him to a restaurant for dinner and gave him two big steaks. At that time, a watermelon was expensive, so she bought a cut piece and ate it on the way home. ""Flowers" really brought me back to that... era."
Hu Ge said emotionally that during the filming of "Flowers", he understood his father more and more. "I was in primary school in the 1990s. I remember that some of my father's friends often came to my house and talked about big deals, but they never saw him making any money. Fortunately, he didn't lose any money either."
"Flowers" In the play, little Ningbo clamored to jump into the Huangpu River, but he couldn't tell the difference between the Huangpu River and the Suzhou River and jumped into the Suzhou River. Mr. Bao jumped to save others, but was saved by little Ningbo instead. A scene that made the audience burst into laughter had just been filmed. When watching the playback in front of the monitor, Hu Ge was extremely moved.
"Director Wang has a habit of playing music when watching replays. That day he played the music of "Once Upon a Time in America". When I watched it, I was particularly moved and thought of my father." He said, "I used to think that what my father said was related to the music. His friend’s stories were ridiculous and funny, and I didn’t believe them at all. But at that moment I believed them, and I thought, just because I haven’t experienced them, it doesn’t mean they don’t exist.”
Hu Ge said that “Flowers” complemented his understanding of his parents. The jigsaw puzzle of youthful years is no longer just a fragment of childhood narrative. "In the past, the media often asked me, 'Why did I take on "Flowers"? I think it's because part of my life is in "Flowers.""
