China News Service, Beijing, January 18 (Reporter Gao Kai) The TV series "Flowers" that will be broadcast at the end of 2023 has become a major cultural hot spot during the New Year here.
A seminar on the TV series "Flowers" sponsored by the China Television Arts Committee and the China Television Artists Association was recently held in Beijing. Jin Yucheng, the author of the original novel of the same name, screenwriter Qin Wen, starring Hu Ge, Ma Yili, Tang Yan, Xin Zhilei and other creative representatives gathered together with well-known industry experts and literary critics to discuss the inspiration and significance of "Flowers" to domestic dramas. .
Jin Yucheng. Picture provided by the Television Arts Council
Regarding this adaptation of his work, Jin Yucheng quoted William Faulkner that day, saying that people sit in a Mercedes-Benz car with their backs turned, and the only clear and visible part is the past, so "preserve" The past life, maintaining the image and color of the past, (Wong Kar-wai) is very consistent with my own literary concept."
"Wong Kar-wai asked me, 'The first thing you see in "In the Mood for Love" is What?'" Jin Yucheng said, "Later he told me it was a rice cooker." Wong Kar-wai had been looking for this rice cooker from the late 1960s and early 1970s for a long time. "He had to find this rice cooker because he had With it, Hong Kong women at that time had time to go out in the afternoon, and the subsequent story would happen. The audience may not see it, but that’s what he is, and he must have it before he can start."
Jin Yucheng said that Wong Kar-wai's role in "Flowers" The same is true in creation. He insists on "keeping" every bit. "He needs this kind of truth and concreteness. To sum up, he is a person who is not afraid of trouble." Jin Yucheng said.
"When I first started discussing the script with the director, he asked me when we met, 'Where do you think Li Li (the character in the play) usually stands on which floor of Zhizhen Garden and looks out the window?'" Qin, who is a screenwriter, Wen bluntly said that she was "confused" at the time, "Because there was no story at the time, and we didn't even know how many floors there were in the Zhizhen Garden. But later I learned that he was actually using a three-dimensional method to bring me into that place." "Go inside the picture."
During the creation of the TV series "Flowers", Qin Wen received many exquisite picture albums prepared by director Wong Kar-wai. The pictures and texts were combined, and they were as detailed as a stamp or a certain floor of Zhenyuan. "For example, Lingzi ( When the character in the play) was in Japan, it looked like the Japanese club where she worked. All the houses had their own booklets." Qin Wen said that these "booklets" further made her feel the vastness of three-dimensional creation.
"These booklets are useful for me as a screenwriter, useful for art, and then also useful for actors." Qin Wen believes that it is all kinds of "intentions" that enable the entire creative team to collaborate better in terms of aesthetics and execution.
Hu Ge. Picture provided by the TV Arts Committee
When talking about this creation, Hu Ge said on the same day that the reason why he was so close to the characters this time was precisely because "there is himself in Abao." Before filming, Hu Ge had many exchanges with Wong Kar-wai. “Most of the time we didn’t talk about characters, but about myself, my growth, family, school, including emotional experiences. I later discovered that he I crushed up all the things that belong to me and added them to the characters."
Hu Ge said that the scene that impressed him most was when Abao pulled Miss Wang (the character in the play) running on the road in Nanjing. Miss Wang Bao's bag fell to the ground, and Po stopped and looked back. "He (Wong Kar-wai) told me that when you look back and see the sunset at this time, it may not be Miss Wang. What you see is the memory that you can't go back to." Hu Ge said frankly that he later seemed to return to that moment. When I was a child, I saw my deceased mother holding hands with me as a little boy in real life. “I was touched in an instant. It can be said that my deepest pain in reality replaced the unspeakable pain of Abao in the play.”
“ Therefore, I am particularly grateful to the director for allowing me to be so close to the characters in the play during the entire filming process of "Flowers", and at the same time, allowing me to be so close to the most important person in my life," Hu Ge said.
Ma Yili.Picture provided by the TV Arts Committee
Ma Yili, who plays "Lingzi", bluntly said that she did not know the position of the camera lens most of the time during the filming, but it was precisely this that achieved the most natural performance. "The director knows each actor very well. He has seen almost all of my previous plays. He can really learn from each actor's strengths and weaknesses according to their characteristics and shoot in a way that best brings out the actor's brilliance." Ma Yili said, "In In the current era, it is very meaningful for everyone to see that there are still people who insist on making such a drama."
Tang Yan. Picture provided by the TV Arts Committee
Tang Yan, who plays "Miss Wang", said that three years of dedicated filming have benefited her a lot. During this time, she learned to figure out the meaning behind the characters' lines and listen to the hidden meanings. "I think the characters' The layers are like a layer cake."
Xin Zhilei. Picture provided by the TV Arts Committee
Xin Zhilei, who plays "Li Li", said, "Through the filming of "Flowers", I realized that white space is another kind of beauty. This is a charm that I have not felt as an actor before."
An industry expert analyzed the success of "Flowers" that day. Li Jingsheng, vice president of the China Federation of Radio and Television Social Organizations, said bluntly, ""Flowers" is a bomb that blew up a balance. It has transformed the Chinese TV drama industry that has formed over the years. A relatively stable creative situation and creative ideas that everyone is accustomed to, caused a huge shock with this bomb."
Professor and writer Mao Jian of East China Normal University analyzed the Shanghainese language in film and television works and pointed out, "After "Flowers" , Shanghai dialect will no longer be the geographical identity of people in the world or their cultural baggage and cultural credentials; Shanghai dialect will no longer be a self-statement of local culture. After novels and TV series, Shanghai dialect will not only be a realistic A sharp tool. From now on, film and television dramas will also usher in a new interface."
Wang Yichuan, vice chairman of the Chinese Literary Critics Association, believes that the drama uses movies and TV dramas, realism and impressionism, era and cross-era, drama and comedy, personality and symbolism, The intermittent combination and blending of progress and nostalgia jointly create the beauty of a cultural form focused on Shanghai, that is, the "beauty of retrospection."
Yin Hong, vice chairman of the Chinese Literary Critics Association and professor at Tsinghua University, believes that as a TV series, "Flowers" transcends storytelling and reaches new heights in aesthetic and artistic levels with its outstanding literary and cinematic feel. (End)
