Author / Qiao Miaoer
Good news: Qingzhou copy is opened, and He Hemei will be reunited soon;
Bad news: Sugar distribution is stopped and the abuse continues.
Since the premiere of "Spring Flowers", the mental state of fans of the drama has repeatedly jumped between "not crazy yet, please continue" and "already crazy, please don't disturb". The market popularity of ancient puppets has also increased under this extreme emotional pull.
Love is a long-lasting narrative theme in film and television dramas. The ultimate sadomasochistic love or the deep affection is the only way for many ancient puppet dramas to leverage the emotional resonance of the audience. No matter how exquisite the delicacy is, it will be boring if you eat too much. The audience is like a glutton, always waiting for new flavors.
The appearance of "Spring Flower Flame" just satisfies the taste buds, adding crazy excitement and realistic aftertaste to sadomasochism. New Drama Observation (id: xinjuguancha) recently had a conversation with the three screenwriters of "Spring Flower Flame", Wen Yan, Yang Xiaohan and Wang Yizhao, to get a closer look at the textual level and dismantle the intricacies of the ancient puppet show and modern audiences. Emotional resonance.
Looking for a grip for "madness"
"Spring Flower Flame" starts with madness, and the mental state is far ahead:
As the third prince, Murong Jinghe showed himself to be dissolute and uninhibited. When he appeared, he was surrounded by stars, dressed in red and white. Mao wore a big cloak and even spread paper money to greet the beauties. People along the way knew his reputation as "General Human Slaughter." When the Cai gang said hello to him, "Ren Tu" was unmoved and instead grabbed the steamed bun that hit his face. When he started chewing, he smiled with disdain, as if he didn't care about the people's rejection and scolding at all; One mission was to assassinate the third prince Murong Jinghe, but she didn't know that the owner of the secret factory who gave the order was Murong Jinghe himself.
Since then, the successive "famous scenes" have become more and more explosive: Yaoquan pinched his neck and bit his lip and kissed him, which turned out to be "murderous". "It is best not to anger a madman" is simply a wise saying; Jinghe saved Meilin from being bitten by a snake. The vulnerability and embarrassment at the end even made the audience scream, not to mention the "whipping of corpses and digging up graves" and "ghost scenes" that shocked the audience even in the trailer.
When asked about their mental state during creation, the screenwriters were like pouring beans into a pot. In the process of countless overthrows and reconstructions, Wen Yan, Yang Xiaohan, Wang Yizhao and the creative team are well aware of the dilemma between preserving the original famous scenes and making the audience accept it. In Wen Yan's view, life can be illogical, but drama must have logic. Blindly pursuing "madness" may turn the characters into hollow people with only bodies. They can only capture people through sensory stimulation, but cannot make the audience go away. Enter the character's inner world.
Therefore, in the early stage of preparation, the screenwriters filled in Murong Jing's history and explained that he bears the stigma of "human massacre general" and kept a low profile to avenge the officers and soldiers of the Weibei Army. The core storyline further strengthened Mei Lin's tenacity, optimism and respect for life. personality background, and using the "undying" little flower as the character symbol. On the premise of establishing a relationship between the two of them as both "Avengers" and "chess players and chess pieces", it lays the foundation for the subsequent "different paths to the same destination" and emotional warming. Base.
In the view of the screenwriters, "madness" is the protective color of Murong Jinghe and Mei Lin as "characters with a low starting point" or even "characters with a negative starting point". "Characters with a negative starting point" actually give the characters a more complete background experience and richer experiences. Flesh and blood is also a realistic emotional relief for normal people after a sudden man-made disaster.
If Murong Jinghe’s madness is disguised as a “world-weariness” on the surface, Mei Lin’s madness is hidden in the heart of revenge that is not afraid of death. The same "living toward death" not only unites the two people in motivation, but also creates an emotional bond. Jing He treated Mei Lin's sense of taste precisely to make her feel that there is not only revenge in life, but also all kinds of bitter, spicy, sour and sweet tastes; Mei Lin used a more stable spiritual core to pull Jing He out of "hell" , he also understood that devoting all his energy to play such a big game would not only bring justice to the Weibei Army, but also every innocent life involved in the game deserved respect.
In the context of "Spring Flower Flame", it exactly corresponds to the sentence "Love is seeing".
Yang Xiaohan explained that as a female creator, she understands that it is difficult for women today to be tempted by "beautiful, powerful and miserable". Only after finding common ground and entering each other's world can there be two-way support and redemption. In Wang Yizhao's view, the two people who were originally in different worlds came together because they were in the same trough and shared the same pain. Every time they went through a difficult time that was explosive or crazy, it invisibly pushed the two people towards each other's world. Murong Jing and What he sees is the suffering of the people as individuals; what Meilin looks at is the helplessness and dealings of the "superiors".
From not wanting to live or fearing death to "living a good life with the one you love", "Spring Flowers" adds a bright and tender background. It is also because of Ben Tou who deserves to be cherished and protected that the ancient doll with "deep sadomasochistic love" is no longer tortured just for the sake of being tortured, but has been given a new flavor and vitality.
is a footnote to "destiny"
"Joy is fun, parting is painful, and there are even more idiotic children." Yuan Hao asked about the word . The word "idiot" highlights the touching point of love.
In "Spring Flowers", "Insanity" arises from obsession, "abuse" becomes strong due to obsession, and obsession is born from fate. The screenwriters reached a consensus in the creation. The Qingzhou Fire completely changed the fate of the characters in the play. Not only Murong Jinghe and Mei Lin were involved, but also the elegant Prince Yue Qin of Xi Yan, the first female general Yin Luomei of Dayan, and the instigator Crown Prince Murong Xuanlie and the charming and innocent Princess Zigu of Xi Yan have more or less changed their destiny trajectories due to this man-made disaster, creating an emotional tension that pulls against each other.
In the minds of the screenwriters, "good or bad" or "positive or negative" are not the basis for the characters to take sides, and the "love brain" cannot contaminate the characters at all. The so-called "sadomasochism" may be due to the staged "can't get what you want and can't let go", but ultimately it points to personal choices in the face of great rights and wrongs.
Before opening the Qingzhou dungeon, Murong Jinghe took the initiative to "displace his horse". Meilin learned his true identity as the owner of the secret factory. The relationship between the "chess player" and the "chess piece" became apparent. The relationship between the two broke down again, which tortured the audience. Enough. This heart-wrenching feeling is of course not only due to a "misunderstanding" at the dramatic level. Just like Yang Xiaohan said, Mei Lin will not really hate Jing He for hiding his identity as the owner of the secret factory. Mei Lin is well aware of Jing He's plan to protect her, but from the perspective of a lover, "compared to being loved by you To protect, I hope to be by your side." The desire to be honest with each other is Mei Lin's view of love. The emotional pull that goes deep into the conceptual level is more powerful than abuse for the sake of abuse.
Correspondingly, when dealing with the emotional relationship between Luo Mei and Murong Xuanlie, the screenwriters also admitted that even a person who regards human life as trivial and a heinous "bad guy" has the right to have love. Good guys and bad guys, his underlying logic must first be a person. From a "human" perspective, Luomei's hesitation and decision are equally distressing: in terms of emotions, she loves Xuan Lie; in terms of planning, she is responsible for the future of the Yin family, and the situation in the court is changing, and the prince can help the family. To provide solid support, the cruel reality forced her to make a choice. Only by writing about love without being divorced from human nature and the character's own situation can abuse have a source and a destination.
In addition, Yue Qin, who made a "deal" with Murong Jinghe and took Mei Lin westward in times of crisis, also showed a faint trend of "blackening". Wang Yizhao explained that from Yue Qin's perspective, his wish was very simple - to protect the people he cared about. Apart from that, not even power could tempt him. Until fate pushes him into a situation where he has no choice - without power, he cannot protect his lover, and collapse and a new choice are almost a foregone conclusion.
In the narration of the screenwriters, the outline of the "fate" motif gradually became clear. Wen Yan said that after seeing comments from the audience that "the screenwriter understands metaphysics," the foreshadowing of fate laid in the play is being seen by the audience: the kiss between Murong Jinghe and Mei Lin when they were in love, the sudden appearance of Murong Jinghe The phrase "Don't bite" simply proves how lustful you are before falling in love, and how pure you are after falling in love. Legend has it that two people can fall in love when they see a red fox at the same time. Luomei and Xuanlie are destined, and they also face the twists and turns of fate. People...
Because of this, even in the last third of the story, the real endings of the protagonists in "Spring Flowers" are still heart-wrenching. In this story, no one is a preset NPC. In the face of the common "enemy" - fate, the mystery can only be revealed through experience.
Perhaps this is the source of the long-lasting "abuse" of "Spring Flower Flame". There is no golden finger or God's perspective, so that the people in the game are coerced by fate, and it also gives them the background to make a comeback against the wind. When necessary, they can be punished Destiny strikes back.
Extension in "Image"
Film and television creation is a team job. What the screenwriter completes is desk work. The transformation into images also requires the full cooperation of the director, actors, modeling, art, photography and other departments.
Since the launch of "Spring Flower Flame", the unique charm of Chinese aesthetics has been highly praised by the audience. As a professional audience, when talking about the second creation of image transformation, the screenwriters all said, "I want to give praise to the teachers behind the scenes."
Wenyan introduced that the popular saying of "eating mushrooms and lying on the bed" and the hallucinations that would occur after general anesthesia surgery provided them with inspiration, so they had Mei Lin who used Jing and her hair as spring flowers and shouted Jing loudly. And the famous scene of being the "master of the secret factory". Subsequently, Jing and Xiang Meilin decided whether what they saw was an illusion or reality. The script stated that the two touched a pole while pulling and the curtain fell; but in the on-site scheduling of directors Huang Weijie and Cheng Lu, the originally relatively static scene was changed Processed as moving dynamics, the flow of the picture suddenly gives life beyond words. Art director Dong Zhiliang's ingenuity also impressed Yang Xiaohan. The beauty of Chinese symmetry in Prince Jing's Mansion can be seen everywhere. In order to increase the sense of transparency, the crew also knocked down a wall to form the depth of the picture with the corridor.The fight scene in the bamboo forest was also praised by the screenwriters. For action scenes, the hints that can be provided in the script are actually very limited. The screenwriter makes rough cuts based on the rhythm. The final image presentation requires more precise design of the shooting scene. Wang Yizhao mentioned that as the first "team battle" between Murong Jinghe and Mei Lin, as a screenwriter, I hope to show the trust between the two in leaving each other's back; it is also the highlight moment for General Pang and others' "offline" breakthrough. Yang Xiaohan observed that in the final film, action director Wang Deming designed moves for Jing He and Mei Lin that fit their identities and characteristics: Mei Lin has received rigorous training in the secret factory and is agile and ruthless; Jing He and Mei Lin are quick and ruthless; Due to the old illness left by the Qingzhou Fire, melee combat is limited but the crossbow firing is accurate; the differentiated action design not only looks good, but also highlights the tacit understanding and complementarity between the two.
They also mentioned that the least prompted part of the script is the styling and costumes. In addition to props closely related to the plot, such as Jing He’s finger ring, Shang Sijie’s mask, etc., the specific visual presentation comes from the ingenuity of styling director Li Meng. In terms of clothing, it not only widens the differences between Dayan and Xiyan, but also designs clothing styles that match the character background and destiny stages of different characters. During the rare time that Jing He and Mei Lin spent together in Laowozi Village, the two people in a paradise rarely lived a life of firewood, rice, oil and salt. The fresh and simple pastoral feeling made people cherish and aftertaste it.
Of course, there is also the "current hexagram" of the actors that must be mentioned. Liu Xueyi played Murong Jing, who was called "General Momo" by the audience. When he appeared, he was thrown with debris by the people along the way. Take the smashed buns The taste of the food is also the actor's own design; while Mei Lin's movements of smearing mud on Jing He's face and lifting his chin made the audience sigh "Wu Jinyan himself ran out", it also made the screenwriters express that the actor's replacement The audience accomplished what they most wanted to do, and the characters became more fleshed out.
With the screenwriters remaining tight-lipped, reporters regretted not being able to obtain "spoilers". But regardless of whether it is sweet, sad or joyful, "Spring Flowers" is destined to start in a crazy way, heating up the antique puppet market in late autumn and early winter; as for the ending, according to the personality background of the characters, they will eventually overcome the fetters of fate and reach their respective shores. Author / Qiao Miaoer Good news: Qingzhou copy is opened, and He Hemei will be reunited soon; Bad news: Sugar distribution is stopped and the abuse continues. Since the premiere of "Spring Flowers", the mental state of fans of the drama has repeatedly jumped between "not crazy yet, please continue" and "already crazy, please don't disturb". The market popularity of ancient puppets has also increased under this extreme emotional pull. Love is a long-lasting narrative theme in film and television dramas. The ultimate sadomasochistic love or the deep affection is the only way for many ancient puppet dramas to leverage the emotional resonance of the audience. No matter how exquisite the delicacy is, it will be boring if you eat too much. The audience is like a glutton, always waiting for new flavors. The appearance of "Spring Flower Flame" just satisfies the taste buds, adding crazy excitement and realistic aftertaste to sadomasochism. New Drama Observation (id: xinjuguancha) recently had a conversation with the three screenwriters of "Spring Flower Flame", Wen Yan, Yang Xiaohan and Wang Yizhao, to get a closer look at the textual level and dismantle the intricacies of the ancient puppet show and modern audiences. Emotional resonance. Looking for a grip for "madness" "Spring Flower Flame" starts with madness, and the mental state is far ahead: As the third prince, Murong Jinghe showed himself to be dissolute and uninhibited. When he appeared, he was surrounded by stars, dressed in red and white. Mao wore a big cloak and even spread paper money to greet the beauties. People along the way knew his reputation as "General Human Slaughter." When the Cai gang said hello to him, "Ren Tu" was unmoved and instead grabbed the steamed bun that hit his face. When he started chewing, he smiled with disdain, as if he didn't care about the people's rejection and scolding at all; One mission was to assassinate the third prince Murong Jinghe, but she didn't know that the owner of the secret factory who gave the order was Murong Jinghe himself. Since then, the successive "famous scenes" have become more and more explosive: Yaoquan pinched his neck and bit his lip and kissed him, which turned out to be "murderous". "It is best not to anger a madman" is simply a wise saying; Jinghe saved Meilin from being bitten by a snake. The vulnerability and embarrassment at the end even made the audience scream, not to mention the "whipping of corpses and digging up graves" and "ghost scenes" that shocked the audience even in the trailer. When asked about their mental state during creation, the screenwriters were like pouring beans into a pot. In the process of countless overthrows and reconstructions, Wen Yan, Yang Xiaohan, Wang Yizhao and the creative team are well aware of the dilemma between preserving the original famous scenes and making the audience accept it. In Wen Yan's view, life can be illogical, but drama must have logic. Blindly pursuing "madness" may turn the characters into hollow people with only bodies. They can only capture people through sensory stimulation, but cannot make the audience go away. Enter the character's inner world. Therefore, in the early stage of preparation, the screenwriters filled in Murong Jing's history and explained that he bears the stigma of "human massacre general" and kept a low profile to avenge the officers and soldiers of the Weibei Army. The core storyline further strengthened Mei Lin's tenacity, optimism and respect for life. personality background, and using the "undying" little flower as the character symbol. On the premise of establishing a relationship between the two of them as both "Avengers" and "chess players and chess pieces", it lays the foundation for the subsequent "different paths to the same destination" and emotional warming. Base. In the view of the screenwriters, "madness" is the protective color of Murong Jinghe and Mei Lin as "characters with a low starting point" or even "characters with a negative starting point". "Characters with a negative starting point" actually give the characters a more complete background experience and richer experiences. Flesh and blood is also a realistic emotional relief for normal people after a sudden man-made disaster. If Murong Jinghe’s madness is disguised as a “world-weariness” on the surface, Mei Lin’s madness is hidden in the heart of revenge that is not afraid of death. The same "living toward death" not only unites the two people in motivation, but also creates an emotional bond. Jing He treated Mei Lin's sense of taste precisely to make her feel that there is not only revenge in life, but also all kinds of bitter, spicy, sour and sweet tastes; Mei Lin used a more stable spiritual core to pull Jing He out of "hell" , he also understood that devoting all his energy to play such a big game would not only bring justice to the Weibei Army, but also every innocent life involved in the game deserved respect. In the context of "Spring Flower Flame", it exactly corresponds to the sentence "Love is seeing". Yang Xiaohan explained that as a female creator, she understands that it is difficult for women today to be tempted by "beautiful, powerful and miserable". Only after finding common ground and entering each other's world can there be two-way support and redemption. In Wang Yizhao's view, the two people who were originally in different worlds came together because they were in the same trough and shared the same pain. Every time they went through a difficult time that was explosive or crazy, it invisibly pushed the two people towards each other's world. Murong Jing and What he sees is the suffering of the people as individuals; what Meilin looks at is the helplessness and dealings of the "superiors". From not wanting to live or fearing death to "living a good life with the one you love", "Spring Flowers" adds a bright and tender background. It is also because of Ben Tou who deserves to be cherished and protected that the ancient doll with "deep sadomasochistic love" is no longer tortured just for the sake of being tortured, but has been given a new flavor and vitality. is a footnote to "destiny" "Joy is fun, parting is painful, and there are even more idiotic children." Yuan Hao asked about the word . The word "idiot" highlights the touching point of love. In "Spring Flowers", "Insanity" arises from obsession, "abuse" becomes strong due to obsession, and obsession is born from fate. The screenwriters reached a consensus in the creation. The Qingzhou Fire completely changed the fate of the characters in the play. Not only Murong Jinghe and Mei Lin were involved, but also the elegant Prince Yue Qin of Xi Yan, the first female general Yin Luomei of Dayan, and the instigator Crown Prince Murong Xuanlie and the charming and innocent Princess Zigu of Xi Yan have more or less changed their destiny trajectories due to this man-made disaster, creating an emotional tension that pulls against each other. In the minds of the screenwriters, "good or bad" or "positive or negative" are not the basis for the characters to take sides, and the "love brain" cannot contaminate the characters at all. The so-called "sadomasochism" may be due to the staged "can't get what you want and can't let go", but ultimately it points to personal choices in the face of great rights and wrongs. Before opening the Qingzhou dungeon, Murong Jinghe took the initiative to "displace his horse". Meilin learned his true identity as the owner of the secret factory. The relationship between the "chess player" and the "chess piece" became apparent. The relationship between the two broke down again, which tortured the audience. Enough. This heart-wrenching feeling is of course not only due to a "misunderstanding" at the dramatic level. Just like Yang Xiaohan said, Mei Lin will not really hate Jing He for hiding his identity as the owner of the secret factory. Mei Lin is well aware of Jing He's plan to protect her, but from the perspective of a lover, "compared to being loved by you To protect, I hope to be by your side." The desire to be honest with each other is Mei Lin's view of love. The emotional pull that goes deep into the conceptual level is more powerful than abuse for the sake of abuse. Correspondingly, when dealing with the emotional relationship between Luo Mei and Murong Xuanlie, the screenwriters also admitted that even a person who regards human life as trivial and a heinous "bad guy" has the right to have love. Good guys and bad guys, his underlying logic must first be a person. From a "human" perspective, Luomei's hesitation and decision are equally distressing: in terms of emotions, she loves Xuan Lie; in terms of planning, she is responsible for the future of the Yin family, and the situation in the court is changing, and the prince can help the family. To provide solid support, the cruel reality forced her to make a choice. Only by writing about love without being divorced from human nature and the character's own situation can abuse have a source and a destination. In addition, Yue Qin, who made a "deal" with Murong Jinghe and took Mei Lin westward in times of crisis, also showed a faint trend of "blackening". Wang Yizhao explained that from Yue Qin's perspective, his wish was very simple - to protect the people he cared about. Apart from that, not even power could tempt him. Until fate pushes him into a situation where he has no choice - without power, he cannot protect his lover, and collapse and a new choice are almost a foregone conclusion. In the narration of the screenwriters, the outline of the "fate" motif gradually became clear. Wen Yan said that after seeing comments from the audience that "the screenwriter understands metaphysics," the foreshadowing of fate laid in the play is being seen by the audience: the kiss between Murong Jinghe and Mei Lin when they were in love, the sudden appearance of Murong Jinghe The phrase "Don't bite" simply proves how lustful you are before falling in love, and how pure you are after falling in love. Legend has it that two people can fall in love when they see a red fox at the same time. Luomei and Xuanlie are destined, and they also face the twists and turns of fate. People... Because of this, even in the last third of the story, the real endings of the protagonists in "Spring Flowers" are still heart-wrenching. In this story, no one is a preset NPC. In the face of the common "enemy" - fate, the mystery can only be revealed through experience. Perhaps this is the source of the long-lasting "abuse" of "Spring Flower Flame". There is no golden finger or God's perspective, so that the people in the game are coerced by fate, and it also gives them the background to make a comeback against the wind. When necessary, they can be punished Destiny strikes back. Extension in "Image" Film and television creation is a team job. What the screenwriter completes is desk work. The transformation into images also requires the full cooperation of the director, actors, modeling, art, photography and other departments. Since the launch of "Spring Flower Flame", the unique charm of Chinese aesthetics has been highly praised by the audience. As a professional audience, when talking about the second creation of image transformation, the screenwriters all said, "I want to give praise to the teachers behind the scenes." Wenyan introduced that the popular saying of "eating mushrooms and lying on the bed" and the hallucinations that would occur after general anesthesia surgery provided them with inspiration, so they had Mei Lin who used Jing and her hair as spring flowers and shouted Jing loudly. And the famous scene of being the "master of the secret factory". Subsequently, Jing and Xiang Meilin decided whether what they saw was an illusion or reality. The script stated that the two touched a pole while pulling and the curtain fell; but in the on-site scheduling of directors Huang Weijie and Cheng Lu, the originally relatively static scene was changed Processed as moving dynamics, the flow of the picture suddenly gives life beyond words. Art director Dong Zhiliang's ingenuity also impressed Yang Xiaohan. The beauty of Chinese symmetry in Prince Jing's Mansion can be seen everywhere. In order to increase the sense of transparency, the crew also knocked down a wall to form the depth of the picture with the corridor.The fight scene in the bamboo forest was also praised by the screenwriters. For action scenes, the hints that can be provided in the script are actually very limited. The screenwriter makes rough cuts based on the rhythm. The final image presentation requires more precise design of the shooting scene. Wang Yizhao mentioned that as the first "team battle" between Murong Jinghe and Mei Lin, as a screenwriter, I hope to show the trust between the two in leaving each other's back; it is also the highlight moment for General Pang and others' "offline" breakthrough. Yang Xiaohan observed that in the final film, action director Wang Deming designed moves for Jing He and Mei Lin that fit their identities and characteristics: Mei Lin has received rigorous training in the secret factory and is agile and ruthless; Jing He and Mei Lin are quick and ruthless; Due to the old illness left by the Qingzhou Fire, melee combat is limited but the crossbow firing is accurate; the differentiated action design not only looks good, but also highlights the tacit understanding and complementarity between the two. They also mentioned that the least prompted part of the script is the styling and costumes. In addition to props closely related to the plot, such as Jing He’s finger ring, Shang Sijie’s mask, etc., the specific visual presentation comes from the ingenuity of styling director Li Meng. In terms of clothing, it not only widens the differences between Dayan and Xiyan, but also designs clothing styles that match the character background and destiny stages of different characters. During the rare time that Jing He and Mei Lin spent together in Laowozi Village, the two people in a paradise rarely lived a life of firewood, rice, oil and salt. The fresh and simple pastoral feeling made people cherish and aftertaste it. Of course, there is also the "current hexagram" of the actors that must be mentioned. Liu Xueyi played Murong Jing, who was called "General Momo" by the audience. When he appeared, he was thrown with debris by the people along the way. Take the smashed buns The taste of the food is also the actor's own design; while Mei Lin's movements of smearing mud on Jing He's face and lifting his chin made the audience sigh "Wu Jinyan himself ran out", it also made the screenwriters express that the actor's replacement The audience accomplished what they most wanted to do, and the characters became more fleshed out. With the screenwriters remaining tight-lipped, reporters regretted not being able to obtain "spoilers". But regardless of whether it is sweet, sad or joyful, "Spring Flowers" is destined to start in a crazy way, heating up the antique puppet market in late autumn and early winter; as for the ending, according to the personality background of the characters, they will eventually overcome the fetters of fate and reach their respective shores. For business cooperation, please contact: zsh762079852 (WeChat ID) 8510712046 (telephone and WeChat synchronization)
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