The suspense comedy film "Nothing That Can't Be Solved by Hot Pot" directed by Ding Sheng and starring Yang Mi, Yu Qian, Tian Yu, Yu Ailei and Li Jiuxiao is currently being screened nationwide. The film tells the story of four people who don't know each other in the theater. The story of dividing the stolen goods in the backstage warehouse was unexpectedly involved in a murder case.
Yu Qian's character version poster of "Nothing Can't Be Solved by a Hot Pot".
In the film, Yu Qian plays Jiu Bing, the owner of a Sichuan Opera theater and the initiator of the entire story. Regarding the character's behavioral motivations, Yu Qian sorted out the character's mental journey before getting the script. He enjoyed the process of the crew creating while filming.
Having been engaged in stage performances for decades, Yu Qian has been given many labels other than cross talk. In addition to being "Vice President of the Beijing Rock and Roll Association", he also has three hobbies that are always mentioned by his partner Guo Degang: "smoking, drinking, and perming his hair." However, returning to the film and television stage, these imprints on the body have become obstacles to shaping the characters and can make the audience feel uncomfortable. Yu Qian clearly knows that as an actor, he has to remove himself from the role, lose the style on the cross talk stage, and avoid elements about him as a cross talk actor from appearing in the script. Yu Qian emphasized to the Beijing News reporter, "I spent a lot of time It takes so much effort to bring the audience into the character, and your sentence or a joke makes people jump out of it, so why should I go to such lengths?”
outlines the history of the character: Running around the world, what can I endure? In the film "The Bottom Line"
, Jiu Bing, played by Yu Qian, summons three strangers through a text message to plan a case. While the four people were dividing the stolen goods backstage, they were involved in a murder case. Yu Qian feels that this story finally comes down to good and evil. There is a saying in Buddhism: one thought will make you a Buddha, and one thought will lead you to become a demon. Several characters in the film also have good and evil sides in their hearts. Sometimes when people face pressure or difficulties, they have an unkind thought and make a wrong step, which leads to repeated mistakes in the future, but there is a good side in their hearts. I stuck to my bottom line and didn’t make any more mistakes. Just like there is a line in the film: "In a moment of thought, darkness becomes light." This is actually the mental journey of the character Jiu Bing.
In order to ask the director of the demolition office (played by Tian Yu) to do something, Jiu Bing gave him a watch. In fact, the watch was fake, and the so-called bribe of 200,000 yuan was also fake. The reason why Jiu Bing spent so much energy to save up In Yu Qian's opinion, the character's motivation in this game was not because of the watch, nor because of the 200,000 yuan, but because of the old house that was about to be demolished, which was the property left by his ancestors.
Yu Qian plays the role of Jiu Bing, the owner of the Sichuan Opera House. He has always wanted to preserve his ancestral property.
After getting the script, Yu Qian outlined a character history for the role of Jiu Bing: Jiu Bing’s ancestor was a performer in the north. He traveled around with a small drama club and made a living by singing, and finally landed in Sichuan and won this film. Industry, maintaining a group of audiences. In the eyes of most people, when they hear Jianghu people, they give the impression that they walk with their arms sideways, are covered in tattoos, and are bald. But Yu Qian believes that the biggest characteristic of Jianghu people is: tolerance. "People in the Jianghu have no power, money, and influence. If they can't bear it, they can't run into the Jianghu." Yu Qian said that Jiubian's ancestor was a Jianghu person. When it was passed down to him, he had to endure a lot. For him, he can tolerate everything, he can eat a little worse, and live a little worse, but he has his own bottom line - to protect the inheritance of his ancestors. In his generation, he cannot carry forward the traditional culture of Sichuan Opera, but he will never throw away the industry left to him by his ancestors.
Therefore, facing the possibility of demolition of the theater, Jiubian used various methods, including giving watches, running around to take care of things, but in the end he had no choice but to resort to this trick and steal things from Director Fu's house. "Even if it's just to vent my anger, I can retaliate and make you speechless. It also gives me a break. If I really get some money, I can do more." Yu Qian said, these may be The subtext of the character Jiu Bing and the motivation behind his actions.
The details of the fight scene with Yang Mi were discussed on site
The script of "Nothing That Can't Be Solved by a Hot Pot" is very rich and complete. Yu Qian said that this was the reason why he wanted to act in it after getting the script."It's a suspense film, and the script is very meticulous. Every line, every sentence, every action is foreshadowing, and there are hidden threads."
However, sometimes in the scene, the big guy sits there, the props are in hand, and the lines are right, and the scene feels wrong. "Our filming process has always been a creative process. We create while filming. Every scene and even every word can be changed. The director's words are: the script can be changed by others."
Jiu Bing, played by Yu Qian, is the person who saves the game. The entire plot basically revolves around Jiu Bing's theater development.
Regarding the "improvisation" that is often referred to in performances, Yu Qian believes that improvisation can be done on the stage, but in cross talk it is done spontaneously. However, in front of the movie camera, if the director does not know and you improvise and say a few more lines that are not in the script, you will not have much respect for various departments, especially for the opponent actors. "After you say it, what will others do?" pick up". What Yu Qian understands as improv is that before the director calls to start, everyone expresses their thoughts and thinks this should be like this, and this word should be added. After communicating with the director and approving it, everyone fixes the words. Go shoot.
Yu Qian feels that this is a feeling that all actors may rarely experience. Because the scene of the film is relatively simple, and the main story takes place in the theater, the director used smooth shooting. For Qian, smooth shooting greatly improves the emotions of the actors. Everything is coherent, so everyone during the filming, including All functional departments are involved in the creation.
There is a scene in the film where Jiubing and Yaoji, played by Yang Mi, fight and tear each other's hair. The script of this drama is not so detailed, it was all discussed by the director on the spot. "Yang Mi and I are not martial artists. We can't pull each other's hair and tear each other's hair. Although our martial arts instructors are very good, they are all supported by Jackie Chan's family class. But you can’t trick us, so just use the king’s eight punches in life.” Yu Qian recalled with a smile.
"Smoking, drinking, and perming your hair" cannot appear in the play
"Nothing Can't Be Solved by a Hot Pot" has a lot of comedy baggage. In Yu Qian's view, these comedic things appear in the plot and characters, "Comedy is not Only comedians can act, and any good actor can act in comedy." Because the elements of comedy come from life and are extracted from life. As long as the characters are well portrayed and the story is told well, you can act in comedy. .
However, only crosstalk actors can perform crosstalk. Yu Qian said that cross talk uses some techniques and some things in the script to create a comedy effect, which requires skills.
Having been engaged in cross talk performance for decades, when he came to create characters in film and television works, Yu Qian admitted that he had a particularly strong desire to restrain his cross talk performance skills. The skills Yu Qian mentioned are the style of a crosstalk actor on stage. This style is necessary for a crosstalk actor. "But this kind of style is not suitable for use in film and television performances. It will look very funny and very funny." "Abrupt and out of character." In film and television performances, Yu Qian consciously controls this style.
In film and television performances, in addition to controlling the skills on the cross talk stage, Yu Qian also controls some performance scales, especially facial performance scales. "When you take a close-up in front of the camera, your eyes are bigger than people. If you wink exaggeratedly and make your expressions as large as possible, the audience will feel uncomfortable." With this awareness, Yu Qian even let the characters in the movie The scale of the performance is smaller than life so that it can be suitable for the big screen.
On the cross talk stage, it is another kind of performance. Yu Qian said that the scale of the performance on the cross talk stage should be as exaggerated as possible so that the audience in the back row can see clearly. It doesn't matter even if they can't see clearly, the audience in the back row can feel it. This is an issue of scale control that every stage actor must pay attention to when facing TV series, movies, especially big-screen performances such as movies.
Yu Qian made guest appearances in many film and television works in the 1990s. He guest-starred as a policeman in "The Story of the Editorial Department", played a Tang Dynasty scholar in "Little Dragon Man", and played a prefect in "Li Wei Becomes an Official" Wei Minzhong. In 1995, he also completed further studies in the Film and Television Directing Department of Beijing Film Academy. When director Ding Sheng first approached Yu Qian, he was worried that as a folk actor, making movies would be a "fun". Unexpectedly, Yu Qian was in awe of movies, had a professional understanding of movies, and was very involved.
Yu Qian said that when performing in film and television, he has a particularly strong desire to restrain his cross talk performance skills.
As an actor, Yu Qian knows very well that he has to take himself out of the role to shape the role. Therefore, every time he shoots a movie, he has to discuss it with the director and screenwriter to avoid elements about him as a crosstalk actor appearing in the script. "Many of my friends are willing to use words like 'smoking, drinking and perming' or 'rock and roll' in their plays when writing scripts or filming, as if Yu Qian can act in a play with us. In fact, this is not the case. I Communicating with the director is also very simple. I just say: I have worked so hard to bring the audience into the character. If your sentence or a joke makes people jump out, why should I work so hard? ? How about I go on stage and talk about cross talk? I said you should take off all these things and I don’t want to show them at all.” In the eyes of some viewers, there is no sense of disobedience when watching Yu Qian's acting. "When Teacher Yu is acting, I usually realize when I see the cast list at the end, oh, this turned out to be played by Teacher Yu."
[ Dialogue]
Eat hot pot, I like to pack it with soup
Beijing News: Some viewers feel that the movie is very similar to script killing. Has Mr. Yu ever done script killing? Do you think the story looks like the logic of a script?
Yu Qian: I have never played , but I have heard of it because there are many friends around me who play it and many friends have opened script-killing shops, including many friends who write script-killing books. Because I haven’t played it, I don’t know whether it looks like it or not. It doesn’t matter whether I agree with it or not. The most important question is whether the audience can accept the story and characters. If you accept it, then it is a good script, but if you don’t accept it because it looks like a script, this logic does not hold.
Beijing News: In the film, Jiubing has a Sichuan Opera scene where it changes its face and breathes fire. As a crosstalk actor, I have experienced speaking, learning and singing. How did it feel after experiencing Sichuan Opera's face-changing and fire-breathing scene?
Yu Qian: I didn’t perform the face-changing scene in , it was all processed by the camera, but the figure on the stage and all aspects of the performance were all done by me. We perform in a variety show all year round, often performing on the same stage with Sichuan Opera actors, and have more contact with each other, which makes it easier for us to learn. What's more, we also took several years of basic opera lessons when we were young, and these things are easy to learn. As for changing one's face and breathing fire, that is an intangible inheritance and can only be done by professionals.
Yu Qian interacted cordially with the audience at the premiere press conference in Chongqing.
Beijing News: Do you like Sichuan hot pot?
Yu Qian: Like it, I like to add minced garlic, sesame oil, salt, MSG, coriander, and chive flowers when eating Sichuan hot pot dipping sauce. People say you are not authentic. I can't help it if it's not authentic, I just like to eat it that way.
Beijing News: What are the three must-order dishes when eating hot pot?
Yu Qian: I will order all , because I think eating hot pot is an atmosphere. If you eat the pot alone, it will be boring. If two people eat the pot, it will be less. You have to eat it as a group. To eat a pot, it must have an atmosphere of excitement, friendship, reunion, and celebration, so even if I can't eat it, I still order a table and invite a group of people. If you can't eat it, pack it back, including the soup, and go back for a second meal. As soon as I set up the pot at home, not a drop of soup would be left. In the end, I would have to cook the noodles and even drink the soup. Fortunately I don't have gout.
Beijing News reporter Teng Chao
editor Huang Jialing
proofreader Chen Diyan
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