TV series " Mo Yuyunjian " is a hit, with high ratings and discussions. Among the three directors of the play, Ma Shishi is the youngest. He has served as the director of many online short dramas, and had never filmed a long drama before "In the Clouds".
Poster of "Mo Yu Yun Jian"
Three years ago, by chance, he directed Huanyu Film and Television's short drama "A Paper to Send Love to the Moon". After the filming, Yu Zheng recommended a novel to him. "At first I thought he was just 'sharing good books' with me, but a week later he asked me: 'Have you finished reading it? I want to change this book now. TV series, I want to find someone who knows short dramas to write this script."
This novel is the original work of "Mo Yu Yun Jian", "In this way, I became the first person to come into contact with this project except the teacher. People." Ma Shi said with a smile. In addition to the director, he first became the screenwriter of this drama. "Starting from the end of 2021, I will basically do the first draft of the script."
"Ink Rain Cloud" director Ma Shishi
No one is more suitable than Wu Jinyan Xue Fangfei
From the perspective of the emotional development model of the male and female protagonists, Ma Shishi believes that "Mo Yu Yun Jian" is also different from the more mainstream emotional development model of the same type of dramas. "A good thing about this creation is that we didn't receive too much external interference." Ma Shishi said, "For example, many dramas will require the male and female protagonists to give out sweets at the beginning, especially in the early stages of the plot, so that the audience can get started. To retain the audience, etc. But we didn’t think much about this in this creation. We thought more about how the male and female protagonists complete their respective career lines, and their interactions are also based on the changes in their personalities and relationships. "For the sake of sweetness."
Stills of "Mo Yu Yun Jian"
"Because of the big age difference between Wu Jinyan and Wang Xingyue, people were not particularly optimistic about their CP feeling at first," Ma Shishi said frankly. But Wang Xingyue fits the role very well and is good at "acting with his eyes". "The value of his eye scenes is very high, because this character is observing a lot of the time, conveying the dark and evil charm through his eyes and micro-expressions. He has a good grasp of the tone."
As for Wu Jinyan, he He was also generous with his praise, "I can say that no one in domestic entertainment is more suitable for Xue Fangfei than Wu Jinyan. She has the kind of stubbornness and unwillingness to admit defeat. At the same time, although she is seeking revenge, she does not have the kind of person to block the killer." Despite the murderous spirit, she is often soft, fragile, and broken.”
In Ma Shishi’s view, Wu Jinyan and Wang Xingyue actually have a strong sense of CP, “because they first fit their characters, and then the script sets up the characters. With various emotions and scenes, it’s logical. So maybe it’s not Wu Jinyan and Wang Xing who have a sense of camaraderie, but Xue Fangfei and Xiao Heng.” Ma Shishi said with a smile, “Of course, they have a very harmonious relationship on the set. They all communicate in dialect on the set, which is a bit like a code between the two. "This kind of daily tacit understanding is very good for the actors, and they will unconsciously bring it into the performance." "And they both like to think about and design roles. As long as I film their scenes, I will watch their impromptu interactions and create more good performances."
stills of "Mo Yu Yun Jian"
Director Director Bring Your Own Blower
Lu Haojiji, the chief director of "Mo Yu Yun Jian Jian", was best known for his previous work "The Princess's Promotion", and his personal style is very strong and outstanding. "Director Jiji is the chief director, Director Bai (Bai Yunmo) and I are unified under his aesthetic style this time." Ma Shishi said.
In his opinion, Lu Haojiji is extremely good at filming scenes that exaggerate emotions and burst out. "His style is very suitable for Xue Fangfei's surging emotions. Moreover, many characters in this play, such as the eldest princess and her ex-husband, often have to express emotions that are wide open and closed, so at this time In addition to relying on the actors' performances, the atmosphere of audio-visual language is also very important."
Stills of "Prince Concubine's Promotion"
In order to complete the presentation of this kind of emotion and atmosphere, Lu Haojiji is extremely meticulous in his work. In Ma Shishi's observation, for example, how the actor lays his clothes when he is lying on the ground. He had to do it himself; when the wind blew up the clothes, he had to ask people to use fishing lines to pull them to his ideal position. Hao Jiji brought his own, Ma Shishi revealed, "This is the first time I saw a director bring his own blower to the set, because he felt that the blowers on the set were not good enough, and the clothes would not flutter softly when they were blown, which could not meet his requirements. "Lu Hao Jiji used to do fashion photography, and the blower he used was used in fashion photography scenes. "The blower of that brand is quite magical. For example, it can blow clothes until they are hovering in the air, but it is not very strong or hard. Feel. Ma Shishi lamented, "Before coming into contact with Director Jiji, others might think, isn't it just blowing with a blower? Who wouldn't? Once you get in touch with him, you will know that he is really different. "At the end of the interview with
, he mentioned the "Piano Test" scene that was highly discussed online. Basically, the whole presentation was the wisdom of Lu Hao Jiji. "For example, during the process of playing the piano, flying goddesses, demons, and butterflies appeared. , Grassland, these were not written in the script at the beginning. The script has some flashbacks of Xue Fangfei and Shen Yurong's past interspersed in it, which is equivalent to telling everyone the history during the process of playing the piano. But when Director Jiji read the script, he felt that the emotions were not enough, and he needed to use visual methods to better show the inner struggles of the characters. So the current presentation was written by director Jiji himself, and he put a lot of thought into it. "
Stills of "Ink Rain and Clouds"
Thinking of Short Plays to Make Long Dramas
In the creation of "Ink Rain and Clouds", Ma Shishi was very clear that the story itself was included in a mature genre, "The benefits of mature genres Yes, the audience is clear; the disadvantage is that there are many competing products and there are too many such works. "How to solve the problem, in addition to completing the prescribed actions of a type, find innovative points in the classic scenes.
He used the plot in the play where Jiang Ruoyao drugged herself to frame Xue Fangfei as an example, "According to the conventional writing, it should be the female protagonist. It's a show where a family of young and old are called together to engage in a verbal battle with a group of scholars in front of everyone to clear away suspicion. But when we were writing the script, we really felt that there were too many such scenes, the audience could guess them, and the narrative efficiency was not high. So we changed it to a closed-door deduction by Xue Fangfei and Jiang Ruoyao. "While not losing the amount of plot information, by "deducing" the plot, we can speed up the narrative rhythm and complete the dramatic tasks that need to be completed, but the plot is relatively novel.
In addition, another difficulty in script creation is the creation of villain characters. "Villains are difficult to write. We don't want to make them paper characters. We hope to show the life and logic behind the villains. We spent a lot of effort on how to write Shen Yurong, the eldest princess, Ji Shuran, etc. Whether filming or writing, the characters must be perfected. This is what Teacher Yu has been telling us. "
Stills of "Mo Yu Yun Jian"
Take the character of the eldest princess as an example. In the earliest setting of the screenwriting team, she is a flamboyant and unpredictable person. "Unpredictability is confusing, and talent is Create enough pressure. Even whether the princess loves Shen Yurong or treats him as a plaything is unpredictable. This is the feeling we want to present to the audience. The further you look at the character of the princess, the more you will discover the pain behind her cruelty and see her complexity. Madness is her protective color, and as the plot progresses, what she hides behind her madness will be slowly revealed. "
Looking back now, Ma Shishi admires Yu Zheng's foresight. "A long time ago, Huanyu Film and Television saw the rising trend of the short drama market and began to produce short dramas. Teacher Yu Zheng also had a premonition that the taste of the audience for long plays would change in the future, so he tried to incorporate short play thinking into the creation of long plays. "When writing the script of "Mo Yu Yun Jian", Ma Shishi admitted that he used a lot of ideas for short plays.
"Short plays generally last ten to twenty minutes, and the whole play lasts about two hundred minutes. Due to space limitations, a relatively complete story must be told in a relatively short period of time, which will train the creators of short plays to have to "Short dramas generally don't have star casts and the production cost is relatively low, so how can they attract audiences? Plot is the only weapon."
Tajima Poetry also emphasized that the plot is attractive enough and the story pace is fast enough, so it is not exclusive to short dramas. "American dramas have a lot of information and a fast narrative rhythm, but no one would say that American dramas are like short plays, right?" He pointed out that in the past, audiences were tolerant of long dramas, largely because of the star cast. But now, the audience has higher requirements for the excitement and narrative efficiency of the plot. "So in my opinion, it is not that the methodology of short plays is mechanically applied to the creation of long plays, but that long plays are returning to the correct creative model of relying on plot to attract audiences."
