Reprinted from: Mr. Daniel | ID: MRDANIEL777
Chinese society seems to attach great importance to being young and beautiful. The aesthetic dimension mostly stays in the lower age group. Too many people spend too much time on face and make-up, but neglect to enrich their hearts. People and works of hollow beauty abound.
Don’t know, some foreign beauty pageants require that only women over 60 years old can participate. Because in their concept, " beauty is increasing with time, and beauty is decreasing with time. " The wisdom left by the years will turn into beautiful wrinkles on the face over time.
The bible's advice for women: " Don't wear braided hair, gold ornaments, and beautiful clothes as your makeup. Just use the long-lasting gentle and quiet heart inside as your makeup; this is extremely precious to God. "" This kind of beauty begins with the inner soul, and finally the outer eyes, exuding a fragrance from the inside out. There is a kind of beauty in
, which stems from "being brave to widen the boundary between life and freedom" , such as Yu Feihong.
There is a kind of
time beauty
called Yu Feihong
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This year 47 years old she
perfectly interprets the
beauty is in the bones
not in the sea of the microblogging
, not in the sea,
, and not in the sea,
zzzzz1,, and her microblog,
z4 A group of birthday photos
's neat short hair amazed all netizens
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Some people say: Time is especially gentle with her
Her eyes are getting clearer and brighter
nearly half a hundred years ago, but still beautiful
has a clear and refined Dignified and elegant
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Some people are arrogant and arrogant, but they don’t know what they are.
Yu Feihong is beautiful without knowing it. It’s extremely rare that
doesn’t need to be arrogant, but the light shines from
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Yu Feihong has only been in acting for nearly 30 years. In this age of traffic and exposure,
, the audience never forgot that she was almost a miracle
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The Thirteen Invites interview
had a walk in response to the vulgar questioning
Elegance and calmness
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The heart of a person is full of thorns
or clear and quiet, really can’t hide
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Yu Feihong, born on January 15, 1971 in Hangzhou, Zhejiang Province, is a film and television actress and director in Mainland China. Graduated from the Performance Department of Beijing Film Academy. When Yu Feihong was eight years old, he participated in his first film "Bamboo". In 1987, 16-year-old Yu Feihong played the leading role in the movie "The Murderer and the Coward" for the first time. During her college years, she starred in the Hollywood movie "The Joy Luck Club" and the Hong Kong movie "Heaven and Earth". In 1998, with the emotional drama "Hand in Hand", he emerged in the field of TV dramas. In 1999, Yu Feihong won more attention with the ancient dragon drama "Little Li Fei Dao". Since then, she has starred in many martial arts dramas.
In 2005, Yu Feihong began to transform as a director. In 2007, the feature film "Millennium Prayer" starring in him won the Golden Shell Award at the 55th Spain San Sebastian International Film Festival. In 2009, she won the Best Debut Award at the 17th Beijing University Student Film Festival for her self-directed and self-acted romance film "Love in the Future".
In 2014, Yu Feihong returned to the screen and gained attention again with the urban drama "Big Man". In 2015, starred in the spy war drama "Father's Identity" and tried the villain role for the first time. In 2016, starred in the urban romance drama "Little Husband".
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In Yu Feihong's memory, his parents said that the most impressive thing was "can't make an embroidered pillow straw bag." Therefore, from a young age, she has understood that "the skin is easy to decay, and it must not be in vain." When she was a child, she was a doll in the eyes of neighbors in the neighborhood. Everyone rushed to knit a sweater for her and pet her.
However, she was born in a typical intellectual family who completely ignores her looks. The educational philosophy is "Adults work hard, children study hard." Her father is a talented student who graduated from Tsinghua University, and her mother graduated from Zhejiang University of Technology. In a home full of order, she received an extremely orthodox education.
Every time outsiders praise her for her beauty, Yu Feihong only treats her as a greeting, and doesn't take her beauty seriously. She may also be grateful to her parents for such "snip". If she thinks she is very beautiful, she will inevitably fall into loneliness and self-admiration, or look down upon the crowd. Do not rely on appearance, will know how to focus on the temper of life quality.
is because Yu Feihong is "beautiful but not self-aware." She puts her mind on learning when she was in school. Her professional and cultural courses are the first in the class. I have a plan for myself, strictly control my work and rest habits, and never stay up late. When others slept late, she got up early to practice basic skills. Others are busy dating, she devotes her energy to learning English.
And "rules" is not Yu Feihong's label. She was admitted to a university in Hangzhou, but felt that she hadn't escaped the scope of family, relatives and friends, so she retake the exam and went to Beijing Film Academy. The foreshadowing of this step began when she was selected by a youth film studio in elementary school to participate in the feature film "Bamboo". Although the parents hesitated for a long time, they let their daughter go. In this way, 8-year-old Yu Feihong was electrocuted for the first time. After the movie was released, Yu Feihong also gained a little fame. When the teacher saw her, they said, "You, you should learn acting in the future." But from the parents' point of view, it is more reliable to learn and do research.
Yu Feihong listened to the advice of his parents and studied in Hangzhou for a year. The power in his body finally awakened. Just like her apostasy, Beiying graduated successfully and stayed in school, using the only place in the department. In the eyes of everyone, this was really a safe and good job, and she chose to leave again.
She chose to study in the United States, first to learn English, and second to escape from familiar circles again. She cannot find security and freedom from the praise and help provided by the outside. She said: "If I stay in school and have not experienced any storms, but only learn to teach others based on scripts, how can I teach others?"
This time I chose
to work hard to broaden the boundaries of life
for the soul And free wisdom
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When Yu Feihong was only 20 years old,
already had a clear head
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Yu Feihong participated in the Hollywood movie "The Joy Luck Club"
Yu Feihong won a chance in his junior year. The Joy Luck Club, one of the four best-selling books in the United States, will be made into a movie. She was selected because of her excellent aptitude and profound skill. At that time, the producer and screenwriter asked her if she wanted to stay in the United States, but she resolutely refused.
Facing fame and opportunity, Yu Feihong was very indifferent. Because at that stage, the most important thing for her was to complete her studies. Her sober and unfavorable energy will continue into her acting career and life choices for the next thirty years.
Many people say that Yu Feihong's greatest charm is not beauty, but the kind of indifference that never goes with the flow. Knowing what you want, you will not be overwhelmed by desire. The "beauty of order" brought about by self-discipline is vividly reflected in her.
The most important thing is that public figures are always remembered. But Yu Feihong has never been obsessed with this. She said: "No one needs to be remembered forever."
This gentle and firm
is often the most powerful
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In 1997, Yu Feihong came back from the United States and took the first place in filming. One play is "Holding Hands". The filming party and the director wanted her to play Xia Xiaoxue, the female number one. She read the script and chose the female number two Wang Chun. Wang Chun, a pretty girl who has just graduated from university, is the third person in the marriage of the hero and the heroine, and is not very pleased.
Yu Feihong’s thoughts are simple and straightforward: "But I feel that I had just returned to China at the time, and she was in a situation very similar to her. She had just started her career and could find a fulcrum in her performance." After "Holding Hands", she starred in "Little Li Fei Dao" and achieved success. A brilliant and beautiful, graceful fairy Jinghong. At that time,
could be said to be popular across the country.
Since then, all kinds of opportunities have come in. During that time, she played many costume roles. In addition to "Little Li's Flying Sword", there are "Riding a Horse to the West Wind" and "Three Young Master's Sword".
In the late 1990s, Chinese films and TV series had just been marketed, and everyone was desperately making money. The actor's working standards are not perfect yet, and they often turn around. "I don't feel like I'm creating at all. I'm just repetitive work mechanically. I have to stop and find the pleasure of creating." The
showbiz is an exceptionally cruel circle. Everyone is in danger and fears that they are going to die. Always take advantage of the heat, take as many plays as possible, and quickly realize youth and beauty. However, Yu Feihong chose to pause, rejecting most of the performance invitations, and freeing himself into life.
She said: "When I was very young, I knew that all the splendor should belong to the ordinary. If you can enjoy the ordinary, whether or not it has ever been gorgeous, when it is gorgeous, it is no longer a kind of pressure." She once said to herself He is a person who treasures himself so much that he will not give his whole life for acting.
seems to be "indifferent" in the acting career, but in fact it knows how to follow his own inner persistence. The play is very cautious and low-yielding, but he is willing to "empty himself" for each role. Desperate to shoot the story you love. After ten years of self-direction and performance of "Love Has An Afterlife".
She said: "Ten years,
may be the best time for a woman,
but I don’t regret dedicating it to a movie."
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Yu Feihong directed and acted in the film "Love in the future"
in 1996, traveling to and from the United States On her flight, she read "Ginkgo, Ginkgo" by Xulan. I was immediately moved by this short story. The story is buried in the bottom of her heart, and she tirelessly recommends it to people around her. When she met a good director, she went up and said, "Why don't you try to film such a good story?"
Finally, Wang Shuo gave her a word: "Since you like it so much, you should shoot it yourself." It is not easy for newcomers to make a movie with a novel of less than ten thousand words. I bought the copyright in 2001 and spent more than three years concentrating on polishing the script at home. It is really painful for her, who rarely writes in her diary.
In this way, Yu Feihong, who has always been unobtrusive to many things, pushed himself to the limit for the first time, telling himself that no matter how difficult it is, he must make this movie. In order to start the capital, she did not hesitate to mortgage the property. After the funding was settled, she took the crew to Yunnan, where she spent more than eight months.
Those eight months were a sublimation for her. For Yu Feihong, who is in her 30s and has never experienced the vicissitudes of life, the greatest significance is that she feels despair. "Before making this film, I was very smooth, and I have not suffered any crime. This film has a great influence on me." Yu Feihong said.
She was afraid of meeting strangers, and her taciturn personality had to change a little bit. Every day, I argued with various departments about the internal structure of the scene with the art team half a meter and a half meter, and hooked up the pots and pans in the house one by one with the prop master. She said that she was never a leader, but as a director, she can lead by example. When looking at the scene,
walked in front of him awkwardly, and climbed up to the kilometer-long mountain in one breath. The people who followed did not dare to complain. "I'm not lazy, I confess myself to all, then I have no regrets, otherwise I have a guilty conscience, I never like the feeling of guilty conscience."
in the "Thirteen Invitations" interview, she described Yunnan that year That rain. In the beginning, it rained off and on, and I could take a few shots every day. Afterwards, the rain kept on. Every day, the crew had to lose hundreds of thousands of yuan in vain and faced the dilemma of having to withdraw...
Yu Feihong worked for this film for almost ten years, and experienced capital divestment and temporary change of actors. , The local heavy rain caused mudslides and other difficulties. She did it all by herself, taking the entire crew with her meals and sleeping together, and even her girlfriends said why she had to toss herself so hard, "a lot of years old."
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From thirty to forty years old and experienced the golden ten years of life
40 million investment for 2 million box office without any regrets
Because "has obtained priceless spiritual gains"
Yu Feihong directed and acted The movie "Love in the Afterlife"
is nearly half a hundred years old, beautiful, talented, and has an excellent reputation in the industry, but he is unmarried. People are willing to impose a lot of speculation and imagination on her. In the face of doubt, Yu Feihong only adopted: ignore it. For her: a man has never been a way for her to broaden the dimension of life.
sense of security comesFrom the inner peace and perfection, from the strength and abundance of oneself. It's like facing the question of whether red is red or not, and said lightly: " I don't care about red or red. Those problems have never bothered me. What I care about is my life, my mood, and whether I grow up. "
Accept everything you have calmly and calmly, not caring about gains and losses. Treating one's own face is also careless. She allowed herself to have wrinkles, just as she said lightly: wrinkles have nothing to do with beauty, but with youth .
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She said: No one is perfect
I also have weaknesses and will be vulnerable
, but I also accept the real self
because the real is more moving than perfect.
