As of press time, the box office of the movie "Returning from a Thousand Miles" has exceeded 1.5 billion. Maoyan pre-box office exceeded 1.6 billion. Not only did this film become the box office champion of the National Day file, but also rushed into the top five in the annual box office rankings.
Before watching the movie, many people did not expect that the main theme movie can be made so hot. Many people have also scored high scores on Douban, and the current score is 7.4.
has a lot of high-scoring comments, and Poison Jun picked a few representative ones to share with you.
"Returning thousands of miles, everyone really wants to see it, my heart rate is still very high now, Zhang Yi, the cow is so realistic, Wang Junkai , I really cried to death, the lines are really powerful Show them all to me, it's not a main theme, it's more like a commercial film."
"The last two fireworks sounds are too advanced, and there will be such a luxurious pastime in peaceful times. Fireworks are so light in the air, the price is too high. But it is very important."
"The rhythm of the whole film is tight, and the war scenes are immersive. Although I know that the evacuation of the overseas Chinese was successful in the end, I watched it with all my heart, and the backlog of emotions caused Wang Junkai to lead his compatriots. He was released when he walked out of the desert. As the main theme of the blockbuster, there was no empty slogan or random sensationalism. It was the biggest shock to tell the story in a down-to-earth manner. In addition, Zhang Yi's acting skills were once again praised. After watching the movie, walking out of the theater and looking at the bustling streets, there are Passersby who are laughing and talking can't help but sigh, peace is really good."
is of course very dazzling in terms of visual effects, but if the film has long-term vitality, the story is very important. Poison Jun interviewed Mr. Qin Haiyan, the first screenwriter of the film. In addition to the screenwriter, Mr. Qin has also transformed into a director in recent years. The new film "I Pass the Storm" is now in the later stage. Let's hear what she has to say about her creation.
Poison: What major changes did the script's storyline undergo?
Qin Haiyan: The origin of writing "The Journey Home" is like this. In fact, in 2016, Wan Juan and Zhang Ning, the producers of Huace and Kujing, found me wanting to make a movie with related professional attributes. Since then, director Guo Fan and Wang Hongwei teacher have led the way. following us. For the next two years, I spent almost a year looking for a direction. In 2018, I called on Huace executive producer Xiao Nan and other friends to conduct some interviews about the translation profession. Until July 2018, on an ordinary summer night, we interviewed a former diplomat. Ministry staff, told us about his personal experience.
He tells the story of eating hot pot the night before in Beijing and then going thousands of miles away without firing a shot and bringing back tens of thousands of compatriots with communication and faith. With a little sarcasm, he recounted that he would encounter wars sooner or later when he learned Arabic, "no way", and said that he had done this in his life, "it's worth it". Every word and every detail at that time touched me deeply because of the truth. What impresses me the most is the person in front of him. He is an ordinary person just like us. He has a father and a husband. He also said that if it wasn't for a strong country, he wouldn't be able to do such a thing. It moved me and I felt very burning. There was also a small episode in the interview that day. Because they all worked on the same floor, Director Lu Yang was also attracted by this story and joined the conversation. His affirmation of this story also encouraged my confidence.
At that time, I immediately had faith, as if I saw the hope of this project, I discussed with everyone and set this direction. After setting this direction, we conducted a large number of interviews, only to find that such stories are not special for diplomatic staff. In fact, the Zong Dawei in the current story is a fusion of many Zong Dawei stories. The current evacuation incident is also a combination of many evacuation incidents, derived from real stories and handled in a dramatic way. It is the method that Lu Xun said of "mixing all kinds of people and synthesizing one". At that time, a first draft was sorted out, with a framework for the evacuation story, and the core events and character relationships were also determined.
A project has an opportunity for a project. The producer Guo Fan persuaded Rao Xiaozhi director to enter the project, and the project seemed to be launched.Speed up like clockwork. The director and I have conducted two more retreats in 2020 and 2021. Until the start of filming in 2022 and during the filming, the director will lead the writing team to continuously adjust the script. In particular, the big event of Zong Dawei and Cheng Lang returning to save a hundred people was added to the structure, and many extremely dramatic bridges were added. Even to the post editing stage, it contributes a lot to the rhythm and structure of the script.
The creation of a movie is an organic and flowing process, in which, whether it is from the original story to the technical improvement of a story, everyone needs to work hard, not to care, and to be selfless and unrepentant. I am very happy that there are still a group of creators around me. Everyone gathers because of love, gathers together for warmth, and strives to create a good work.
Poison: How has the exploration of the theme changed in development?
Qin Haiyan: During the initial discussion with producer Guo Fan, the theme was "communication". In fact, the film has also continued this value now, believing in communication and faith, giving people hope, and wanting peace, not war. Be cooperative, not confrontational. At the end, the Easter egg supervised by Guo Fan, I think it is a magical stroke and the finishing touch. I can explain this movie in one sentence. We didn’t have guns, we didn’t use force, but we brought back so many people and evacuated overseas Chinese with words.
Poison: This is an original script that you've done before. Do you think there is any difference between these two creations?
Qin Haiyan: The fulcrum of this creation is because of the contact with real people, things and emotions. Take my writing "Find You" as an example. Producer Chen Jie approached me to adapt the story. The reason for that story. One is that when my daughter was three or four years old, she was lost in a very large supermarket. I looked for someone through the radio, and was found by a waiter. The child was attracted by something else. At that moment I was thinking about solving the problem, restraining myself and not breaking down. When I found her, I hugged her tightly and didn't cry. In that short ten minutes, I experienced the feeling of going from heaven to hell, which is a heart-scorching feeling. The second is that we have an aunt who has been in our family for more than ten years, who is already like a relative. She sent her children back to their hometown to go to school, enduring the separation from her own flesh and blood, but she has been taking care of my children as if they were her own. I think when my work and life are the most vulnerable, this aunt is my pillar. She will say, "Haiyan, don't worry about working outside, I have me at home. It's not easy for you, you have to take care of yourself." That way, it gives me a lot of support.
Therefore, whether it is an original or an adaptation, I think what is more important is a real emotion. When I have a real emotional connection with my own life, the person I interviewed, and the person being described, it is creation. The beginning of the origin. In the final analysis, I think the film story is to resonate and connect one's own emotions with the emotions of the audience. Until now, I still push myself to tell the truth and to be honest.
Poison: Your new film "I Through the Storm" is also about domestic violence. What is the origin of this project?
Qin Haiyan: "I Passed the Storm" is also a realistic theme. In the script stage, I interviewed about two or three hundred domestic violence cases. In the process, I experienced the pain of the interviewees and saw their strength, so I really felt a sense of mission when I wrote the script. At that time, the producer of Maoyan felt that since I was so dedicated to this story, I was most familiar with this story, so I might as well be the director myself. So it is indeed to make such a movie, because I love this story and want to realize it, and I want to be a director. Being a director is just a means, not a director for the sake of being a director.
Poison: From screenwriter to director, but also from text to video. In what ways do you feel this transition is very different? How has the way of thinking changed?
Qin Haiyan: When I became a director myself, I realized more deeply the joy of many original creations. For me, it is still in the early and later stages, as a screenwriter and editing stage, when you have a direct relationship with the content, the threshold of happiness at the moment of creation is extremely high, and this happiness can overcome a lot of dealing with human relationships or some trivial affairs. the power of. The director is very hard, because the director is facing an organization production executiveThe process of doing business involves dealing with many people, involving too many trivial and complex things, and it is not just a simple and pure creative process. However, after becoming a director, I found that I still have a lot of incomplete understanding of the film, and there are still many things to learn, so I can continue to be a director and learn more.
There is one point I want to emphasize, from screenwriter to director, not from text to video, but from the drawing of the image to the realization of the drawing. Many people misunderstand that screenwriting is equal to writing novels. In fact, these are two completely different things. Screenwriters first record a movie in the form of drawings with visual thinking.
Poison: What are your main points of interest in different topics?
Qin Haiyan: I started writing in 2003, and I have been writing for 20 years now. I have tried everything from love, comedy, suspense, crime, and even fantasy and science fiction. In the past two years, I have indeed found myself on the road of realism better. In fact, I think realistic themes can be innovative. For example, "The Disappearing Child" written by our team is realistic and suspenseful. Some types of attempts to graft reality will make it more visible. The "I Passed the Storm" directed by myself is the practice of realistic themes. I interviewed two or three hundred cases during the script stage before they were compiled into one movie story. It may also be that I am a very down-to-earth person, and I will be moved by real things. I can't touch it if it's too suspended, and I can't write.
At present, I have indeed found a way for myself, that is, to do field research first, to have face-to-face collisions and feelings with real people, and then to find and write stories from them. Still like to write real things, sincere things.
Poison: You have done a lot of realism-themed works before. Lots of female themes. What is your understanding of the female perspective?
Qin Haiyan: Feminism no longer emphasizes the opposition between men and women, but strives for the harmonious development of both genders, solves specific problems more pragmatically, fully respects individual differences, and fully realizes individuality. Now women have more opportunities to speak out, such as in The field of film and television creation.
As a woman, I can only say that I observe myself with my heart, look at others with my eyes, live my life seriously, keep my feet on the ground, feel my emotions with my heart, and try to grow from it.
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