Tencent Entertainment has teamed up with the Film Island Awards to exclusively launch "People in the Movie", a self-narrative dialogue column with filmmakers - listen to them talk about themselves, their movies, and their love. We invited actress Deng Jiajia to hear her tell

"Wild Child" has a strong uniqueness for actor Deng Jiajia, both in terms of content and creative process. This time, the police officer Zhou Jiao she plays is indeed a real person, and even the name is the same. The prototype character provides Deng Jiajia with a starting point for performance. Of course, it also brings a certain amount of pressure. How to portray Zhou Jiao in a detailed and rich way? The appearance of the police officer's image on the big screen has become Deng Jiajia's biggest challenge this time. Fortunately, they became good friends in life. Deng Jiajia carefully observed Zhou Jiao's resolute and daring side, and applied the details into his performance.

In terms of creation, director Yin Ruoxin has very high requirements for performance. A scene often needs to be shot more than ten or twenty times, which is rare in Deng Jiajia's previous works. After running in, Deng Jiajia and the director worked together to find the state closest to reality over and over again. The rival actors, whether Wang Junkai or Guan Zixie, brought enough surprises to Deng Jiajia during the cooperation. In the final film, there were several scenes such as Zhou Jiao interrogating Ma Liang and Zhou Jiao's family taking Xuan Xuan to... The scenes in the amusement park are very touching, which is inseparable from the film's concept of "carefully crafted and restored to reality".

"Reality" is a word she mentioned many times in the conversation with Deng Jiajia. "Wild Child" can arouse her creative enthusiasm, to a large extent, it comes from the warmth and power generated by the prototype story. At this stage, Deng Jiajia also hopes that the audience can feel the authenticity from her. In the past few years, Deng Jiajia has been making new attempts in acting. She came to the stage and starred in 56 performances of the drama "The Life of the Disliked Songzi", challenging some fresh and high-quality roles in dramas and movies. Interestingly, she has My comedy instinct is rekindling, and I want to have the opportunity to play a comedy role again. Many viewers know her through "Love Apartment", but she feels that Tang Youyou only represents Deng Jiajia's views on love and friendship in her 20s. If she acted in a comedy now, I believe she would create a more different female character.

In Deng Jiajia’s previous interview, she mentioned that she was interested in learning screenwriting. Today, she is still learning. Her words impressed me deeply: “Writing good stories and scripts is also very difficult. , I feel that I am still lacking. Sometimes I may only have the expression of Jiajia, but not the expression of all sentient beings. "Deng Jiajia, who can have the consciousness of expression of all sentient beings, instead of being immersed in his own world, believes that "he has something to say." It will ultimately lead to creative works that are close to each of us.

The following is the autobiography of actor Deng Jiajia. She shared with us the story of the movie "Wild Child":

1

The first agent showed me the script of "Wild Child". I cried several times while watching it. I knew that having a prototype of the event would make the whole story more powerful, so I actively participated in the creation of the film. I met Officer Zhou Jiao in real life. We all hit it off immediately and are now very good friends. She is a very charming woman, resolute and courageous. She speaks quickly, has principles, and is very positive. She has the feeling of a contemporary heroine.Because I have a prototype, it will give me a big fulcrum in my creation. For example, when dealing with some emotions on the scene, I will have real images flashing through my mind, which provides a basis for my performance. Of course, because she is a policewoman, I have to be more realistic in terms of body shape, so I do some physical fighting training, which is also shown in the movie.

The real police officer Zhou Jiao is from Weinan, Shaanxi. The director set the background of our story in Sichuan. I am a Sichuan native, so the Sichuan dialect in the movie is still very friendly. Sometimes I play with some amateur actors in the play, and when I ask them to speak Mandarin, they seem to be unable to reproduce a very real performance. I say that I am from Sichuan, and we can use Sichuan dialect to express their performance. It will become very real, which is very helpful for a realistic-themed film like ours.

I was particularly impressed by the scene in the playground in the easter egg part of the movie. When I read the script and saw that scene, I was very moved. The language was very plain. What Zhou Jiao was thinking at that moment was that she had seen so many children. If we could do more for children like Da Mao, would it change some outcomes? This scene not only reflects the difficulty of Zhou Jiao's career, but also expresses her gratitude to her lover who has silently sacrificed her life behind her. In reality, Officer Zhou Jiao’s husband is also a police officer. The two of them are very busy and there are not many opportunities to take their children to the playground together. The director told me that we wanted to show a kind of conflict that has to be said. I originally wanted to have a good time as a family. She wanted to have fun, but the inner pressure made her choose to confide in her husband. It is precisely because of this scene that the character of Zhou Jiao will be more complete and more humane.

Working with Wang Junkai left a very unforgettable impression on me. I remember the last scene in the movie where Zhou Jiao interrogates Ma Liang. It was shot late at night, and we started working after dark. That scene was filmed many times. The director had very high requirements for the performance. It took more than 20 times for me and more than 20 times for Xiao Kai. Everyone was taking the trouble to find some more subtle and accurate states. . I remember there were several times when Xiao Kai looked up and his eyes shocked me, because this scene was really difficult to perform, both for him and for me. I have to gradually pry his heart to make him tell the truth, but he has almost no lines and relies entirely on his eyes to express his inner feelings. His level of completion surprised and surprised me. Although we didn't have many scenes opposite each other, I could feel his efforts in the limited contact on set.

Officer Zhou Jiao told me that when she first saw Ma Liang, she felt that the child was very thin and his clothes hung on him like a sack. When I first saw Xiao Kai on the set, I had the same feeling. He seemed to be wearing a sack. In order to find this emaciated state, he worked a lot to get close to the prototype of Ma Liang. In life, Ma Liang has some language barriers and some emotional barriers. He is unwilling to integrate into this society. When Xiaokai was filming, he almost didn’t communicate with others, especially me, because of Ma Liang’s attitude towards Zhou Jiao. It's still very complicated. I know Xiaokai is immersed in the role and doesn't let himself out. Instead, it was only after the filming was completed and we were doing some promotional activities that he returned to his own self and we had more communication. I think he has entered the role with the greatest sincerity, and I believe the audience can feel it.

Playing with young actors like Guan Zixie, there is some uncertainty about them, which means that I have to adjust my performance in time based on their reactions on the scene. For example, in the scene where I took Xuanxuan to eat burgers, he loved ketchup. It was not in the script, but during filming I would tear open the ketchup for him and squeeze him more. These are small details, but It will make the young actor's performance more natural.Guan Zixie is a very spiritual child. His sincere eyes make me feel very sad when I look at him. In life, he is very cute and has a desire to express himself. He often pulls me to chat, so I will be a good listener. , listen to him share various moods, as long as you maintain enough curiosity, he will be very happy. So a good performance is a joint effort between the actors and the director.

Director Yin Ruoxin is very powerful and gentle. It was quite difficult to shoot our scene. In the hot Luzhou, Sichuan, many scenes were outdoors in garbage dumps and unfinished buildings. It also caught up with the hottest summer in Luzhou 40 Duoduo, the director was sweating profusely, but he was still very focused on telling the children about the play. At that moment, I saw the powerful power of women. And she has very high requirements for performances. Many of the performances in our play are completed in more than ten and twenty lines. This is not common in other works I shoot. If her requirements are not met, she will come to you very gently. Saying I hope you can come again reminds me of a word: the best is like water. She has her own goals, but she also takes care of the feelings of her partners. At the beginning, I would be a little panicked when the number of shots was too many, and I was afraid that I would not be able to meet the director's standards, but she would patiently communicate with you and make it clear what she wanted. What is it, slowly we will trust each other more and adapt to this shooting rhythm.

After the film is released, in addition to social issues, I really hope that the audience can see the importance of family warmth to children. Home is the warmest harbor for children, and most of the children's sense of security is given by the family. We should Pay more attention to your own children. If you meet children with different problems in society and everyone pays more attention to them, their lives and choices may change greatly. Like Officer Zhou Jiao, I can see through her circle of friends that she is very busy and has been committed to helping more people. Her sense of mission drives her to persist in doing these meaningful things.

2

Not long ago I just finished the stage play tour of "The Life of the Disliked Matsuko". I didn't deliberately plan for the stage play. It was more like "Matsuko is looking for it" "Pine nuts", after I read the script, I was deeply impressed by this character and was particularly motivated to create it. I performed it 56 times in one year. The stage play is still very charming, it gives people a very strong sense of ritual and situation, and I unexpectedly found that there are audiences who can follow 20 performances. They showed me their ticket stubs. I can’t imagine that theater can have such a great impact on the audience. attractiveness, which is difficult for movies to achieve. This may be due to the non-replicability of drama. Every performance is different. Of course, there are also some on-the-spot problems sometimes, which is a great exercise for the psychological quality.

I will watch the video of every scene. The advantage of drama is that there is still a chance to do it again. Unlike a movie, it is the final film and there is no chance to do it again. So after I watch the video, I will summarize and take a look. Which part of the emotion has not been dealt with properly, strengthen this part of the feeling in the next scene. When the play reached the last two performances, I felt that Songzi must be the artistic image that I regretted the least, because I was constantly enriching her, completing her, and correcting her. Of course, the longer I get along with Songzi, I will avoid many of her weaknesses in life, because Songzi is weak in some aspects, and playing Songzi can actually help me become stronger.

When actors come to the stage at a certain time, it is like a recharge, and they will be greatly improved in terms of lines and performance rhythm.I like to be fully prepared before presenting the role, but nowadays film and television works do not allow such a long time to prepare. Sometimes you need to explore while filming, but dramas have relatively sufficient rehearsal time, and you can communicate with each other. How to say a line, the level of precision is still very high. In addition, "The Life of the Disliked Songzi" has a very good text as the basis for the play, which discusses the depth and diversity of human nature. For such a physically demanding stage play, I performed it alone on stage for 3 hours and 40 minutes, which is probably what I can complete now. She may be the character I met when I had the best balance between physical ability and understanding. If I were particularly young and didn’t have the understanding and life experience I have now, I wouldn’t be able to play Songzi well. After many years, I’d have enough experience and physical ability. Maybe it won’t be completed, so I was lucky enough to meet Songzi at this stage, and everything was the best arrangement.

Many viewers know me through the role of Tang Youyou in "Love Apartment". In fact, I still really want to act in a comedy. On the one hand, it is fun and I hope to have different attempts. On the other hand, everyone is under great pressure in life nowadays. The pace is also very fast. If we can really make a work that makes everyone happy, wouldn't that be a good thing? So now the comedy cells in my body are active again, and I want to give myself more challenges to see if there are more possibilities. Tang Youyou represents some of my understanding of love and friendship at that stage. It was what I was like when I was in my 20s. If I create now, it should reflect the different characteristics of women. I am very willing to get involved with some comedy works. Recently, I have been following "The Wonderful Night". Being able to see such a performance every weekend removes the pressure of the week and makes me more eager to go back and try comedy again. .

I am still learning screenwriting. This is a long-term plan. Learning itself is also a lifelong task. I don’t think about the results first, just learn. My desire for expression is very strong. This is an inner thought. Each of us has an inner drive. After acting for so many years, I still have the desire to create performances and new roles. I have never said that I want to retire. This shows that Film and television creation resonates with a certain part of me. I still hope to see more good works and continue to learn before starting to create. It is also very difficult to write good stories and scripts. I feel that I am still lacking. Sometimes I may only have the expression of Jia Jia, but not the expression of all sentient beings. Just like the movie "Ms. Sloane" I recently watched, I was very moved after watching it. The characters in it are multi-faceted and have firm values. They also promote hot social issues. It is really inspiring.

Acting is my most important job at this stage, and I feel more and more that it is irreplaceable. Acting has never been easy, but it is even more difficult now, because the roles are not repeated every time, even like Songzi. The content of each game is the same, but I am still looking for some new feelings. The work of copying and pasting does not exist here. It is precisely because there is no standard answer to it that I find it interesting and there are endless parts to explore. . In addition, the audience's mentality keeps pace with the times, and I cannot stay in my comfort zone. Staying in the comfort zone can only give me a moment of satisfaction, and then there will be a long period of emptiness. I hope the audience can see a real Deng Jiajia. Although sometimes my understanding of the character may not be mature, I did my best and I hope everyone can be more tolerant.

I will also see you in the next film "Win the Poker" starring me. I have a better understanding of working with director Liu Xunzimo again, and it is still a very interesting story. The background is the working life of a big factory. My character will be with Su Mengdie. It’s very different. I look forward to having the opportunity to talk to you about this work again later.