1905 Movie Network Special Article The movie "Article 20", which is currently being screened, is a hit at the box office. The characters played by Ma Li, Zhao Liying and others have very different identities, and the costume styles are also very different. In the "Behind the Scen

1905 Movie Network Special Article The movie "Article 20", which is currently being screened, is a hit at the box office. The characters played by Ma Li, Zhao Liying and others have very different identities, and the costume styles are naturally very different. In the "Behind the Scenes" section of this issue of

, follow the movie channel host Luo Man and take you closer to Chen Minzheng, the styling director of "Article 20", and listen to him reveal the secrets of choosing costumes for different characters.

Chen Minzheng introduced that director Zhang Yimou’s requirements for the costumes of this film were to be “lifelike, natural, simple and simple”. With this creative idea, Chen Minzheng led the team to collect styles from different homes in the village and observe the different clothes of people in the market. After

went through the creation process, they found that some shapes were different from what they had imagined before. "The most typical image is Zhao Liying. We originally drew a pair of round-mouthed cloth shoes, which looked a bit like the way they were worn in rural areas in the 1980s. After we finished the collection, we found that they had disappeared."

Therefore, the creative team created a new design for the entire film We have made a basic setting for the character's shape - "What kind of character and the origin of all clothes should be purchased in his environment."

For example, Ma Li's clothes are selected based on the character's economic income and the environment. , so I basically choose them from department stores in the county town, and they are more high-end.

Zhao Liying's clothes were found in a big market, but she did not use ready-made clothes directly. "I couldn't get all the clothes back, so I just put them on, so I used their raw materials and changed the styles and sizes." Chen Min Zheng revealed that because there was only one piece of this outfit left and I was always sweating during the summer, I found similar fabrics and printed many more pieces. “I remember her clothes cost 40 yuan each. After they were made, The cost of clothing may be multiplied by tens."

In addition to clothing, Zhao Liying's skin tone has also been deepened by two levels, and some emotional makeup details have been made. For example, in the scene where she runs at a long-distance bus station in the summer, she will be made up Sweaty and a bit dusty. Because she can't sleep all the time, the color of her lips will also turn whiter.

In the original script, Ma Li played the role of a head nurse at a county hospital. She quit her job to study with her son, so she had more free time to take care of herself. For example, in a quarrel scene with Zhang Yi, Ma Li wore a green, stiff dress.

“We call it Teacher Ma Li’s evening gift, because I think that dress is for when she is seriously going to have a dinner with the dean of the Academic Affairs Office. In addition to the loose clothes in life, she should also have something that she can control a little bit. Such powerful clothes."

Based on the early design, Chen Minzheng believes that real-time control and adjustment of the character's appearance on the shooting scene is also very important, which will make the colors of the entire movie richer and more accurate.

The clothes Lei Jiayin was wearing while lying on the massage chair were the same color as the clothes on the massage chair. As a result, the character's image was not prominent, so he had to change to another piece of clothing that could distinguish the color.

There are some construction site worker characters in "Article 20". The styling team first bought a lot of new clothes, and then went to the construction site outside the Fourth Ring Road in Beijing to trade in real buildings using the "old for new" method. The clothes worn by the workers were given an old texture, and nearly 80 sets of clothes were eventually exchanged.

In addition to the increasing work experience, film styling design requires serious and rigorous ingenuity. Chen Minzheng said, "If you work in this industry, you must like this industry. Because you like this industry, you can pay for it. When you pay, you will feel that it is valuable."