A still from Zhao Siru's TV series "Once Upon a Time in Bianshui". Photo courtesy of the film crew Recently, the drama series "Bianshui Past", produced by Cao Baoping and directed and written by Mou Xincen, became popular on Youku. The play tells the story of Shen Xing, a young

Zhao Siru

drama " Bianshui Past Events ". Picture courtesy of the film crew

Recently, the drama series "Bianshui Past", produced by Cao Baoping and directed and written by Mou Xincen, became popular on Youku. The play tells the story of Shen Xing, a young man who came to "Sanbiangpo" in a foreign land.

"Bianshui Past" is a new type of drama. Mou Xincen believes: "This drama constructs a relatively fictional narrative space, but it also has a certain degree of realism." The three slopes in the drama are a fictional place, and the ultimate test faced by the protagonist is quite far from daily life, but it is The creator infiltrated the details of life into it, giving the plot development a certain degree of credibility and logic.

During the script creation process of "Once Upon a Time on the Bianshui", Cao Baoping provided Mou Xincen with a lot of help and guidance. For example, the script should go back to the characters and plot, why the characters did what they did, how they considered it, whether the plot advancement was logical, etc. , these should respect the audience's psychology. The most important thing is that the creator must pay attention to the depth and breadth of his writing, and the narrative logic must withstand scrutiny. The environment in the play subtly affects the actions of the characters. For example, the northern area of ​​the fictional grinding mine in the play has high terrain and little vegetation, so water has become a scarce resource, and there are containers for water storage in the corners. Where there are woods, there are houses, where there are mountains, there are mines, and where the terrain is relatively flat, there are cities... The establishment of the dramatic environment is the foundation, on which the relationship between the characters is built. Mou Xincen made an analogy: "Treat the script as a sandbox or a game, introduce realistic logic to construct it, and try to make the plot as real and credible as possible through details." For Mou Xincen, the starting point of his creation is to escape from some of his past high concepts. , highly hypothetical creations. ""Bianshui Past" gave me a new opportunity to incorporate more realistic creative thinking." Mou Xincen said. Talking about the original intention of creation, he believes that suspense is just a way of telling stories, and long series should carry and superimpose more effective information. What really attracts the audience is that the plot extends the story to reality, innovating in genre while being closely close to real life, allowing the audience to take on the role during the viewing process, resonate with the character, and realize the true feelings.

"In the past, the rhythm of dramatic conflicts in the first 15 minutes of the drama is no longer applicable. If the audience cannot retain the audience in the first three or four minutes of the current drama, the audience may abandon the drama. The creators have to rethink the first few minutes of the work. What kind of content needs to be presented?" Mou Xincen said. Take "Once Upon a Time on the Bianshui" as an example. A lot of thought was put into the drama settings such as the environment and characters, as well as the opening and closing credits, subtitle fonts and other details. The art and props teams have up to several hundred people working at the same time, and the opening uses a sand table perspective to present the regional features of each unit's story. Mou Xincen hopes that in this way, he can attract the audience from the beginning of the film.

A work takes several years to prepare, and in the end it still has to be presented to the current audience. It will not work if we still use things from a few years ago to express it.

"Good works must be in front of the audience and must be forward-looking." Mou Xincen said that in the Internet era, creators must learn to identify information while understanding information. With the emergence of new technologies such as artificial intelligence, creators must continue to learn, Only by constantly feeling the times, experiencing life, and understanding fresh people and things can we obtain a steady stream of creative inspiration. "Our generation of creators grew up in the Internet era, and there are more ways to connect with the audience. I hope that I can summarize something through my creation, and I also hope that more viewers can gain something, think, and learn from the work. I feel something." Mou Xincen said.

Today, the maturity of Internet technology and the widespread application of new media have provided a broader platform for film and television creation, promoting the innovation and diverse presentation of film and television works.

At the same time, online audio-visual platforms have continued to strengthen their efforts to support the growth of young director talents, providing creators with greater space and support in terms of theme innovation and project funds. Many young directors stand out with their personalized works.

"People's Daily" (page 19, September 5, 2024)