On the big screen, bitter love movies have been around for a long time.
How to create a love movie with a sense of life step by step?
"You Who I Lost" is not only about retrieval, but also about time, changes, and watching again after retrieval.
stands at the node at this moment in the space-time coordinate system. Looking back ten years ago and facing themselves ten years later, screenwriter Zheng Zhi and director Han Yan, including the leading actors and team, worked step by step and improvised, not only in the face of realistic and modern commercial romance films, but also in... Face yourself.
Poster of "I Lost You"
Zheng Zhi's novel
Ten years ago, he wrote his own novel, and ten years later he created a script, from "I Lost You Twice" to "I Lost You Twice" ", time passed through the gaps in life, and Zheng Zhi was no longer the same as before.
was once a representative writer of the "Northeast Renaissance". His creation was difficult and his life was turbulent. In recent years, he has entered a "rare and cherished" peaceful period. On the phone, the child's childish words came from behind Zheng Zhi. Now that he is the father of his child, when faced with the creation of a love motif again, his life, circumstances, and mentality have already changed.
"The You I Lost" poster
"Reading a novel again seems to be a very far away thing." He said. The reason why this movie had to be made is that it "signed a contract." Really loud. The
script was actually in the works a few years ago, but was shelved midway, and even the investors became friends. "My habit is to fulfill my promise when I promise to others." Finally, "You Who Lost Me" was launched.
Writing scripts and writing novels are two different things. "When I write novels, I feel like a dictator who enjoys it. When I write scripts, I become an open collaborator." For Zheng Zhi, this must be separated. "Commercial films must be written in a commercial film style."
Before "Lost", from "Coward" to "Hedgehog", Zheng Zhi had also gone through the road from a famous writer to a mature screenwriter, and there was no longer any barrier. "I have been writing scripts... for 56, 78 years!"
Zheng Zhi is not a nostalgic person. After finishing the novel, I will put it down. Before "Lost", when he created "Coward", an adaptation of "Swallowed Alive", he had already finished expressing his nostalgia and obsession with youth. "Lost" is the exact opposite of "Coward". "It is a movie about moving forward and looking forward."
Poster of "I Lost You"
When "Lost" was adapted, his novel "I Only Care About You" about his father many years ago was republished , quite a coincidence. ""I Only Care About You" is like repairing old doors and windows, and "Lost" is a brand new creation. Completely different things." Although
's representative works "Swallowed Alive" and "Fairy Disease" are regarded as works describing "marginal people", they are For young Zheng Zhi, that was the mainstream life he had faced. At this time, when making commercial films and romantic films, he had to face the market of young people about 10 years younger than himself. Zheng Zhi did not deliberately be "egoistic". "I am alert, not to express myself, but to face the audience."
He broke the habit of "staying at home" and deliberately observed the social reality faced by today's young people. Someone told him that this is the "era of three no's": no love, no marriage, and no children. “Everyone’s sexual desires are decreasing, and so are their material desires.” The experience of those born in the 1980s and 1990s, who devoted themselves wholeheartedly to pursuing unforgettable love, seems to have lost its appeal to today’s young people. Why?
Stills of "You Who Lost Me"
" They no longer think love is a necessity in life. When in a relationship, there is not so much intensity and high sense of experience. These thoughts make me very interesting. . Young people are gradually paying more attention to their hearts and living smaller, and it is becoming more difficult to create deep connections. "
" On the surface, they are lowering their desires. Do they really not want it, or do they think they can't get it? Forget it, I pretend that I don’t want it? This is actually a big topic of the times.”
Zheng Zhi once said that although people’s pain is different, human nature is equal.. Bai Xiaoyu and Wang Jinjin, "They are ordinary people, eager to love, eager to be loved, eager to be recognized, eager to realize themselves."
Stills of "The One I Lost"
When writing the script, Zheng Zhi also paid attention to "openness". In addition to observing young people's concepts of love, we also want to understand their lives and social styles, such as from the werewolf killings that were popular in our own era to the secret rooms and scripted killings in previous years.
script writing has gone through twists and turns. He has to face many opinions one by one: how young people view love, whether it ends in be or he, and what algorithms and big data say "very scary". Xuanfa Company said that now women's attention is 100% How many topics are there? Everyone likes bosses and loyal dogs - "Of course I have wavered and deliberately listened to many people's opinions, but there is a limit. cannot listen to everything. It must have autonomy and set a valve. If the water flow is too Sometimes it needs to be closed. ”
Zheng Zhi’s final choice is to seize the key. "The shape of love is changing, and the ideas of young people are changing at every stage, but there must be something that remains unchanged, which is human nature. Love itself is imaginary and needs two people to fill it. It is one person falling in love with another person. . So, don’t write about two people who are in love, but write about two specific people, real people. "
Stills of "I Lost You"
Zheng Zhi is a movie fan and has a director whom he has loved for many years. Such as Hou Hsiao-hsien, Li Cangdong, Kore-eda Hirokazu. Sometimes, when I see a director I love making a new film and I am disappointed, I will curse it in private. "I really like the feeling of sitting with everyone in the dark and watching a movie, especially in this era of great media changes. I endured a lot of hardships and experienced many twists and turns to finish a movie, as if it was just for this moment. Even if someone Even if they scold you, they are serious about it."
Han Yan's article
As a director, when being interviewed, Han Yan talked about so many details about the movie that it made people think that he was a master of memory. Due to space limitations, Han Yan's descriptions cannot be shown one by one, but the movie itself is the best display - the heart-stirring, instantly inspiring, and profound echoes of will all be in one movie, through details, through performances, through Photography, through everything, the temperament is fully presented.
It is worth mentioning that "Lost" was shot with a single camera and was shot by the famous photographer Li Pingbin (" In the Mood for Love ", " The Best Time ", " The Assassin Nie Yinniang " " Yangtze River Map "wait). In an era when AI, algorithms, intelligence, and new energy have become hot topics, there are still people who are dedicated to photographing and depicting the rough edges of life, which is itself a comfortable thing.
Poster of "You Are Lost"
When encountering "Lost", Han Yan first saw the completed script of Zheng Zhi. Later, in the face of many opinions, including his own, Han Yan and Zheng Zhi also polished and revised it many times.
includes modifications to movie names. Wang Jinjin was discarded first because it was too specific. Later, I discussed whether to give up "twice" and decided to give up. "Make it more accessible to the public." In the industry of two people, Wang Jinjin went from being a lover of literary creation to investing in the film and television industry, and Bai Xiaoyu went from designing to starting a business, doing werewolf killing, and then writing scripts. "It's a state where two people are getting further and further apart, and it has been changed to be closer to the profession."
What's interesting is that from the secret room to the script killing, it has also experienced the trend and the changes in the direction of the reality. "What we want to show is that Bai Xiaoyu has a very down-to-earth mentality, but in fact he has great ideas and has caught the wind. From haunted houses and secret rooms to script killing and Edgar Allan Poe's Castle, he has made money at every point. Although later on when the epidemic came, many secret rooms closed down..." But in Wang Jinjin's eyes, Bai Xiaoyu was standing still. Learning design sounds very respectable, so why did he want to build a haunted house?
Stills of "The You I Lost"
The script is a small world with exquisite design structure and logic. Later, faced with opinions from all sides, Han Yan and Zheng Zhi also faced greater choices."I also had some 'lost things' in the process, my mind would waver, and I also went through a stage. How do I find balance?"
will not be launched until May 2023. The film traveled through the ages, experienced winter and summer, and was shot in Qingdao and Beijing. Even in the first stage, when most of the winter shooting in Qingdao was over, Han Yan couldn't help but chat with Zheng Zhi about the details of the script. grows freely in the movie. No matter what you do at this moment, it is reasonable.
Starting from "The Sky of the Wind Dog", Han Yan made a series of juvenile movies. In "Lost", Han Yan's focus naturally changed, focusing more on adulthood and the heart.
Stills of "The One I Lost"
Among the actors, the protagonists Zhang Jingyi and Tan Jianci have admirable performances and a tacit understanding of each other. In the scene of holding hands for the first time, Tan Jianci suggested that Bai Xiaoyu could pretend that Wang Jinjin's mother had not left and not let go. Zhang Jingyi understood instantly and immediately planned Wang Jinjin's reaction: she found out and patted Bai Xiaoyu. This is all entirely in the characters.
includes Bai Xiaoyu sitting in a broken car pulling props and passing by Wang Jinjin's high-speed train. It was an infinitely sad scene. In addition to the visual impact contrast between the high-speed train and the dilapidated trucks, Bai Xiaoyu's unkempt image also fits the scene of the scene. On that day, Tan Jianci suggested that he happened to have half-eaten breakfast, could he take it out and take pictures? "In many scenes, he wears no make-up and fits the character perfectly. He has no baggage."
Zhang Jingyi also does the same. Wang Jinjin smokes, but Zhang Jingyi does not. Smoking was suggested by Zhang Jingyi. Many times, on the rooftop, in the wind, Wang Jinjin lit a cigarette, silent and speechless. "After the filming was over, Zhang Jingyi immediately stopped smoking. She said that smoking was what Wang Jinjin needed."
"I especially like actors to have a vague performance." Han Yan said, "There is no such clear direction. On the contrary, it will be sublimated." Such as the stitches of outline and the rough edges of life, the parts that are not emphasized and presented in the drama can truly have the reality of life.
Stills of "I Lost You"
Not to mention the summer scenes shot in Qingdao in winter. "The actors worked very hard. They had just celebrated the Chinese New Year and filmed scenes where they wore short-sleeved shirts. In one scene, they went back to their hometown on the beach to eat at a food stall. Zhang Jingyi was wearing a black gauze top and short-sleeved shirts. The sea breeze that day was too strong. “The physiological reaction of goosebumps is uncontrollable, what should I do? I figured out a trick, covered it with a tablecloth and placed a brazier under the table. "The temperature came up. We have been using this trick since then, and it has always worked."
After Wang Jinjin and Bai Xiaoyu broke up, there was an encounter scene with Lao Cai, which took place in a supermarket. It was also an inspiration for Han Yan and Zheng Zhi. They were having a headache about the place where it happened and happened to pass by the supermarket. "We hit it off immediately, and we were released that night."
The lazy Jasmine and the humorous and loyal Lao Cai also match the temperaments of Liu Lian and Jiang Long. "They all added bright colors to the movie, and they looked like real besties and buddies."
There was a scene that coincided with the Chinese New Year, and the filming took a long time until fireworks burst out of the window. At that moment, everyone stopped in tacit understanding, and Han Yan also took a photo . "At that moment, I felt very beautiful. Movies and fireworks are the same. They bloom in an instant. Everyone is watching it and finishing it."
Just like what was said at the end of "Lost", we must love each other well in life. , live well in love.
Stills from "My Lost You"
Combination Chapter
"Harper's Bazaar": Romance movies are easy to blur, so where is the starting point of "reality"?
Zheng Zhi: The novel "Wang Jinjin I Lost Twice" talks about a topic that I was quite passionate about when I was in my mid-twenties. Now, in my mid-thirties, I am interested in telling love stories about people younger than myself. The starting point of "reality" is to understand what people 10 years younger than you are thinking and what they are experiencing in love.
Han Yan: The script is a story about two adults who have traveled through time, and their characters are not perfect. Each has its own confusions and shining points, but it becomes very real. The story itself has a lot of fireworks, and we also want to explore the problems that lead to lovers and couples slowly becoming separated or lost, rather than simply saying that one party cheated or something.
"I Lost You" poster
"Harper's Bazaar": How did it feel for you two to work together for the first time? What is the concept of cooperation that matters most to you?
Zheng Zhi: I didn’t know each other before, but we got along very happily and harmoniously. What I value most when working with people is mutual respect—respect for people and respect for the profession. I think we all did it. When (what exactly is it?) encounters problems, or encounters opinions from all sides, we all face them together, including our producers and actors. Everyone sat down and communicated patiently, based on basic respect and a positive attitude towards communication.
Han Yan: When I first met Brother Zhi, I thought he was talkative, and he was very simple and real. He would tell me his thoughts very frankly, including his worries, without hiding them. I think the two of us are very similar in this regard. Although I am not that expressive, I am also more direct. I will tell him directly about everything that I think is problematic, and he will tell me directly about anything that he thinks is problematic, and there will be no obstacles in discussing it.
Even in the later stages of the script, the executive brother would sometimes call me at night: "Do you think the current direction of change is okay?" This is normal. I will waver, and he will waver too. How much we have to insist on and how much compromise we have to do with is all based on the first hope that it will have good market feedback, so that everyone's efforts will not be in vain. On the basis of commercial films, films that are realistic, human relations, emotionally connected, or have some characters changing over time, whether it is he or be, no matter what it is, it is a commercial film, and we cannot forget this. . The executive is a very transparent person and does not worry about not changing a single word of my script. When I said it would be better if I changed it this way, he would say: "Okay, no problem, I'll help you smooth out the lines."
Stills from "I Lost You"
"Harper's Bazaar": It went so smoothly. Have you ever had any creative conflicts or conflicts (laughs)?
Zheng Zhi: To be honest, there are not many contradictions in . I have to say that Director Han Yan is also more accommodating to me. We really respect each other (laughs). I will also be considerate of the director's difficulties, and I will think of him if he encounters some difficulties during the filming process. For example, if the scene cannot be solved in the actual shooting environment, or it is difficult to do, I will adjust the text. In fact, it doesn’t make much sense to talk about too many details. Respect is the main premise. Once respect is achieved, everything else is trivial.
Han Yan: There are many details added and changed in . We often discuss them. In this process, firstly, we understand each other's points better. Secondly, our goals are very clear and consistent: has self-expression. On the basis of this, the film will have better market feedback.
Brother Zhi is very open-minded and open-minded in his creation. I have met many creators who care about revisions. But I think Brother Zhi may have reached a stage in his life where he is very open-minded and completely open to adjustments during filming. This openness brings creative security.
Poster of "I Lost You"
"Harper's Bazaar": After watching the movie, I quite like its style. The fluff and romantic moments of life are all there, as well as the complications and contradictions, but at the same time, there is also beauty. . What is the texture and emotional expression that you both hope the film will achieve?
Zheng Zhi: reached a consensus from the beginning, hoping that this would be a realistic and realistic love movie that is truly close to life and close to young people. To be honest, our domestic romance films are severely stigmatized, but it’s not bad for the audience. I especially want to express this, sometimes everyone has to believe in some persistent creators.
Han Yan: From the beginning, I wanted to make a different love movie.It does not talk about the moment when love happens, nor does it lengthen the time when love happens. It talks about the years and the time after love happens. It's a life-style thing. It may not be so bloody or dramatic, but it has a sense of touch, and even the actors have a sense of life.
Stills from "My Lost You"
"Harper's Bazaar": The novel has a basis in reality, but also has a sense of romantic beautification that escapes from reality, so the movie is also like this?
Zheng Zhi: , you talk as if these two sides must be separated (laughing). In , both parties in love have lover filters. When you love someone, you romanticize and face reality. Romance in love is also a part of life. For example, if you have experienced short-term love, romance is real and realistic. Including a moment's heartbeat is also part of reality.
Han Yan: Wang Jinjin and Bai Xiaoyu met their soul mates from the beginning, and they were very passionate. Later, their romance wasn't about each other's vows or anything like that, it was about the little things in life. Wang Jinjin ignored those bits and pieces of , and then discovered again that their romance was all in life. In fact, many couples are like this - you go home at night and find that your boyfriend or girlfriend has cooked dinner. This is romance. It is also shown in the movie that every time Bai Xiaoyu comes home, Wang Jinjin will turn on the lights in the living room. Bai Xiaoyu says to turn them off because it wastes electricity. Wang Jinjin says: "No, your eyesight is bad." This has become their habit.
"I Lost You" poster
"Harper's Bazaar": Wang Jinjin and Bai Xiaoyu have gone through 2010, 2014 and 2018 together. What kind of existence and changes have they faced?
Zheng Zhi: This is going to be a spoiler for , can we talk? To sum up, is the most common problem encountered by two people in love, the inconsistent pace in love. All the delays, twists and turns come from this. This is not just an issue of love, but an issue of people themselves and relationships.
Han Yan: hahaha, we can chat. In 2014, they fell in love, but in the college entrance examination examination room in 2010, Bai Xiaoyu lost Wang Jinjin. Four years later we met again. Later, they experienced love, one person went further and further away, and the other stayed still, but are many things really like this? Wang Jinjin grew up in a broken family. She needs a sense of security not only from love, but also from career and money. Bai Xiaoyu comes from a relatively happy family. He has made it clear very early on that this is the life he wants, and the life he sees of his parents is also the same. In fact, the two of them have different pursuits in life. In this gap, they didn't not love each other, they just didn't know how to love, or because they were both too young, they always felt that they loved each other very much at that moment, so why did the other person do this? By 2018, both of them had grown up and matured. Wang Jinjin realized that no matter how high she flies or how fast she runs, there must be someone waiting for her when she looks back, and she will fly without any distractions. And Bai Xiaoyu realized that the life he wanted to give the other person a better life was not the life he thought was good.
"The You I Lost" poster
"Harper's Bazaar": What are you facing from 2010, 2014 and 2018 to now? How has time changed you?
Zheng Zhi: The problem of is huge and it changes every day (laughing). I am in my twenties, want everything, and feel that there are endless possibilities. Around the age of 30, I basically know what I want. Now, in my 30s, more importantly, I know what I don’t want. This is a process. In the process of change, know that life has limits and know that the threshold can be controlled.
Han Yan: In 2010, I had graduated for a while. My life was wasted and I was playing every day, but I was full of confidence in the future. It could also be said that I was very ambitious. In 2014, I filmed a web series at a very low cost. In the ten years since I graduated, I basically spent my time playing and wasting my time. I always thought there was still a chance, but later I found out that I had no chance (laughs). has discovered that in this industry, your ability is necessary, and then you need to fight for it. The 2014 web drama had too little investment and there were no props on set. That was also my first collaboration with Jiang Long, who was still in school. Although that show may not seem worth mentioning now, it was the beginning of everything. In 2018, I filmed " Dream Breaking Game ", which consumed too much energy. After filming, my whole life hit rock bottom, and I realized that I was overestimating my capabilities: I thought I could spend very little money to make such a film. Movies, in fact, are not good. They will lose both in terms of word-of-mouth and box office. But it was also at that stage that I met my current boss and the producer of "Lost", who gave me the opportunity to film "The Sky of the Wind Dog" together. Therefore, it is also a very special stage for me. When life is at its lowest point, it turns upside down.
I used to be more e-like, like to express myself in front of everyone, and like to be in the limelight. Now I am more "Buddha", I just let nature take its course, and I like things to happen naturally. I always feel that if I am awkward at the beginning, there is a high probability that things will not be done well. .
"Lost You" poster
"Harper's Bazaar": If "Lost" has a future, what kind of future do you want it to be?
Zheng Zhi: I am also a movie fan myself. When you see the faces of the two protagonists on the big screen, you will feel that they are these two characters in the story. Jumping out, if there is such a pair of lovers living together in life, I hope they will always respect each other. No matter whether they choose to be together or separate in the future, this is love worth experiencing in life.
Han Yan: They will definitely continue to quarrel and make up while living with daily necessities, three meals a day, four seasons, but I hope that after experiencing these things, they can truly learn to love each other well in life and live well in love. Once you learn this, eternity is actually not that far away.
Producer/Ge Haichen
Editor/timmy
Interview & Writing/Sun Sanhao
Typesetting/yiyi
