Doomsday Bosses Win the Entertainment Industry

"Miaoying Gathering/RayE" · Interview with Actors (Part 1)

Interviewed reporters in this issue: Wang Zhi; Fang Muquan; Zhao Liang

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[Qin Jue: I will fall in love with acting because of fate]

Q: What motivated you to become an actor?

A: I met director Jiang Shuming. I never thought I'd go down the acting-related path before. (In the beginning) I was thinking about doing music, and yes, music used to be my dream. But then something happened, and I felt that I was not able to do it very well. I happened to meet Director Jiang. He said that I was very suitable for the role of the young China in "The Cage". I said that I had never acted, and he said, " It's okay, I'm very experienced in directing actors on how to act in their true colors." Since then, my acting career has officially started.

Q: It's a wonderful fate. If you were obsessed with music before, does it mean that you yourself are not against entering the entertainment industry or performing in front of others?

A: Actually not (laughs), I am the type who only likes to play with close people in a small circle, and I prefer behind the scenes to the front. If I insisted on making music, I might be an obscure composer now. Well, I don't like the feeling of being stared at too much, of course, if I have to be on stage, I can do it, and adjust myself to enjoy it. It's very "social cattle and social fear duality", haha. Many people are like this. They can socialize freely outside, but they actually enjoy loneliness inside.

Q: So it is. So what made you fall in love with acting?

A: There are many factors. I participated in the shooting of two films, because of some personal matters, my personal state was more dangerous at that time, and the characters I happened to play were all relatively negative, more negative ones, so there was a kind of venting (emotional) in my heart. ). I just thought that maybe I could take the opportunity to "release" part of my self. There are indeed a lot of fight scenes in those two dramas (laughs). At the same time, during this process, the director, the actors in the same group, especially Mr. Cen Yi, as well as the characters and the plot itself, all gave me a great influence. I came out of a state of confusion and instability, and I started to like acting, accepting characters, and accepting myself. When a career allows you to reconcile with yourself, find meaning in life, and gain personal and social value, it is hard not to fall in love with it.

Q: Not from a professional background, but by chance, I became an actor and fell in love with the acting career. How did you improve your acting skills? Would you like to be admitted to an art university and become a student?

A: No. The universities and majors I am applying for are still relatively behind-the-scenes, and are composite majors that include art. In terms of acting skills, because I was a half-way monk, I was exposed to "acting in true colors" from the beginning, and then the life experience of the second character and myself have many similarities. It can be said that I became an "immersion group" naturally "actor. This kind of situation does not feel very suitable for going to college. The director also said that if I study systematically, it will destroy this "reiki" and "wildness". So I accepted his advice, and while studying professional books on performance, I used more roles to hone and make breakthroughs. There are often fork in the road, but the theories and methods I found out by myself are indeed It is very impressive, and it will benefit you for a lifetime, just like learning a bicycle and using chopsticks (laughs).

Q: Is this why you chose to participate in the variety show "Entertainment Intern"?

A: Exactly. This show was also recommended to me by the director and teacher, and I am very grateful to him.

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[Qin Jue: Exploring the "Wild Way" to move forward]

Q: Your eyes lit up when you talked about performance-related topics. I'm curious, "The Cage" was filmed in August last year, when you first got into acting, and it was more than half a year after the first round of "Entertainment Intern". The role of "Juvenile China" is known for his martial arts, but there is almost no literary drama. How did you make up for your shortcomings during this time?

A: One is taking classes, and the other is a lot of practice. At that time, after filming "The Cage", I happened to be in a state where I felt homeless, so I asked Director Jiang if he could stay on the set as a small worker. Yes, want some belonging. During this process, Director Jiang and Brother Cen Yi both helped me a lot, guiding me and pointing me. My earliest experience in literary drama was to "take a class" next to the director and watch Ceng Ge act live. After that, the second movie was shot. Many of the shortcomings, such as literary drama, crying drama, and basic skills of lines, etc., were all exercised at that time.

Q: Sounds like a huge improvement in a short period of time. It's amazing, you have less than a year of acting experience so far, but you feel very mature and sophisticated. Can you talk a little bit about your understanding of acting?

A: Can I answer this question a little longer (laughs), thank you. In my cognition, performance can be divided into three stages, the first is "action", the second is "action", and the third is "play", which is an inclusive and progressive relationship. Expressed in words, "action" is a very simple objective description. For example, "walk a few steps", "drink two sips of water", "grinned". There is no causal relationship or emotional color in it, just an action happened. Then "action", action contains action, with causal logic. For example, "drink two sips of water because I'm thirsty", that is to say, the underlying logic of a character's behavior comes out. With the cause and effect, the action has a corresponding meaning. So what is "play", "play" is equivalent to adding a description to "action", and this description can be adjective or adverb. For example, "a person is so angry that his mouth is dry because of something, so he picks up a mineral water bottle and takes two sips, but because he is so eager to drink it, he choked, so he coughs angrily and smashes the mineral water bottle." It's a complete play. Acting, in the end, is a "play".

Q: Although you say that you are wild and immersive, your answer is very systematic and has a "college feeling".

A: I am a typical problem-solving process reversed from the answer (laughs). At first, I didn't pay attention to the elements of "action" and "action". My approach was to fully empathize with the characters. If there are similarities, I will let the characters cover me. If there are completely different places, I will use my own Personality lost, let me completely become him. In this "complete immersion" situation, I and the character are one, like being "possessed", so some subconscious thoughts and behaviors are actually made by the character. In acting, I don't even know why I'm doing this. This led me to not have to practice specific "actions" before, nor to think about the causal logic of this "action". This is a very "opportunistic" behavior, and it can be very convenient to use well. And after the performance, I will use the results of my acting to go back to the logic of the acting, which is to supplement the character biography of the character. Only then did this series of theories gradually develop. When acting now, it is a combination of performance methods and immersion into the drama, striving to give full play to the advantages of both sides, and to shape the characters better.

Q: Is it the same for eye scenes? From "The Cage" to "Fei Yan", your eyes scenes have always been amazing.

A: Thank you for your affirmation. During immersion acting, many eye scenes are performed naturally, whether the eyes are widened or squinted, the brows are not wrinkled, the forehead is tight or stretched... These are all driven by "entering the play". I haven't specially designed what kind of eyes should be here. Usually, I communicate with the director and say "here needs a sad look", "here needs a desperate look", etc., and then hold on to this feeling go to play. But this also requires a lot of preliminary preparation. According to my personal classification, it is "hardware equipment".

Q: Can you talk about this "hardware device" in detail?

A: Actually, it refers to the physical things of the actors, such as facial muscles, such as vocal cords. If you want to make a suitable expression and eyes, you must first ensure that the muscles used must be flexible, otherwise once you are in a play, you will subconsciously want to laugh or cry, but you will find that your face is very stiff, and you cannot make large movements or subtleties. If the ground changes, then of course it gets stuck immediately. The same is true for lines. You must first open your voice, exercise your vocal cords, tongue, and mouth. First, let the hardware not hold you back and let yourself articulate clearly, and then you can exercise soft power, that is, to give emotions and add appropriate pauses and breaths. This concept is easy to understand in martial arts. Martial arts movements will definitely require steady footing, straight arms when punching, etc. However, in literary dramas, people sometimes don’t pay much attention to this aspect. In fact, the core concepts are the same. of.

Q: You can now say that you are "both civil and military". Judging from the works so far, whether it is explosive or restrained performances, you feel that you are very handy, will the difficulty be different?

A: It's been awarded. I feel that I just touched the threshold, I can only say that it is not a hip pull, and I can see it. Difficulty, in my personal opinion, it's about the same. Because even an explosive scene requires the actors to be thick and fine, not just because it is an external performance, but also to be released and closed, so as to create a back and forth tension without being monotonous. Introverted performances are repressed, but sometimes the emotions contained in them are also very intense, like the arrow is already on the string, the bow is full, but it just keeps tensing up.

Q: I think the rivalry between Qin Feiyan and Shen Danqing in "Fei Yan" can be a good comment for this paragraph.

A: It is.

Q: When it comes to rival play, do you think there is any difference between rival play and one-man play? Do you prefer which one?

A: I think what I said sounds very smooth~www.wuxiaspot.com~ But the truth is that each has its own advantages, and of course, each has its own difficulties. It is hard to say which one is more preferred. A one-man show means that the actors must hold on to the scene, and the performance must be very contagious, while the opposite play can actually help each other, and two or more actors provide support for each other and bear a part of the "play atmosphere" for each other. But in contrast, the one-man show has more space and freedom for the actors, which is convenient for you to adjust and grasp by yourself, while the opponent drama needs to be run in, and "balance" is also very important.

Q: Does the balance here refer to the acting skills of the two parties? Or aura and aura?

A: This is a long story. Because acting and aura are variables, it depends not only on the fit between the character and the actor, but also on the setting of the character itself, but also on the plot scene at that time, and specific problems must be analyzed in detail. Like Qin Feiyan and Shen Danqing in "Fei Yan", or Qin Feiyan and Li Zhi, the two sides are on the same level, and their aura and acting skills must also be grasped. They have to go back and forth and pull each other. But if Qin Feiyan and Li Zhe, or Qin Guiyan and Su Su, the character I play is the stronger one in terms of plot and character setting, then I need to adjust my acting state. Because considering the overall look and feel of the work, even if it is an obvious contrast of strength and weakness, if one side completely suppresses the other side in the opponent's play, the result is still not very good, and the director will be very embarrassed.

(To be continued)