Who are you calling powerful?

Blue Whale Conference Room

Wei Yang sat in the main seat and listened to Zhao Liying, director Zhang Yongxin, director Zhang Kaizhou, producers, screenwriters and other people report on some preparatory work for "Knowing or Not".

Director Zhang Yongxin is no stranger to us, and can be called the boss's royal director.

At the same time, he is also the director with the best performance on the small screen in recent years, and he is the king of ancient costume historical themes.

Zhang Yongxin is now responsible for the post-production of "Chi Le Chuan" and the preparation of a tribute drama. If it weren't for "Knowing or Not" to put Wei Yang in, it would be difficult to invite him.

The other director Zhang Kaizhou is the original director of "Knowing or Not", a person from Noon Sunshine, and also the most controversial one of Noon Sunshine.

This buddy has many works under his name, including "War Changsha", "Parents' Love", "Knowing or Not", "Qing Ping Le", "Children of the Qiao Family", etc.

It seems to be a very powerful director, but there is a premise, that is, "War Changsha", "Parents' Love" and other dramas are co-directed by him and others, and it can even be said that he is a deputy.

The dramas he directed independently, such as "Knowing or Not", "Qing Ping Le" and "Children of the Qiao Family", are all dramas with both advantages and disadvantages.

The reason is that this director is also a director with distinct advantages and disadvantages.

One of Zhang Kaizhou's major advantages is casting. Most of the castings in his dramas are good, and the image and temperament fit or have their own advantages.

The casting of the Blue Whale version of "Knowing or Not" is also mainly responsible for him and Zhao Liying.

Another advantage is the scene, photography and costumes. Whether it is "Knowing or Not" or "Qing Ping Le", no matter what the plot is, the hardware level of the crew is definitely worthy of a thumbs-up.

This is also related to the fact that he himself is a photographer and has a serious personality, and he grasps these things accurately and precisely.

In addition, Zhang Kaizhou is also very good at creating an antique atmosphere, which seems inconspicuous, but is actually very important.

This is a bit like a person's temperament. Some people look good and dress decently, but they just feel average, with a cheap beauty.

And some people may not look outstanding and dress ordinary, but they have outstanding temperament, which makes people instantly brighten up.

The scenes and costumes of "Knowing or Not" are already excellent, and the photography and other aspects are also very good. If you add the creation of this ancient atmosphere, it will not only make the audience's eyes light up, and immediately feel involved, but also leave a lingering taste after watching it, and you will never forget it.

This is also a major reason why "Knowing or Not" has strong stamina. It is both pleasing to the eyes and comfortable, and the viewing experience is too good.

Finally, Zhang Kaizhou has another advantage. He is very good at grasping the story of a long-lasting stream and digging out various small details.

"Knowing or Not" is considered by many drama fans to be always new, and new surprises can be found every time. Many plots are worth savoring, and some minor characters are also well-established. This is also the reason.

And the shortcomings of this director Zhang Kaizhou are precisely the problems derived from his advantages.

First, he is too particular about the picture. Some pictures and shots are obviously unnecessary, but he still has to do it.

Increasing costs and abruptly leaving the play are not only wasteful, but also a bit of putting the cart before the horse.

Second, he loves to pick details too much, no matter how big or small, and his performance method is single.

In "Do You Know?", there are many times when only one or two people talk, shaking their heads and talking about books for several minutes. If there is not enough information in this situation, it will be particularly boring, which seriously affects the mood of the audience.

Third, the plot is too flat, the character is serious, and the details are too detailed, which leads to his habitual self-telling of stories, thus ignoring the rhythm.

This is too fatal for a film and television drama!

Whether Wei Yang is a director, a screenwriter, or a supervisor behind the scenes, he often likes to emphasize a rhythm.

Because film and television dramas are storytelling, storytelling must be ups and downs, and it is good to be detailed and appropriate. If the rhythm is slow or messy, it is like cooking with random seasonings, the taste will be bad.

Wei Yang's evaluation of Zhang Kaizhou is eight words-[more craftsmanship, less spirituality].

His professional ability is good, but he can let go but not know how to let go, and he can't grasp the degree. He can only be a deputy, not suitable for being alone.

Therefore, Wei Yang personally transferred Zhang Kaizhou from Noon Sunshine, because he was needed to make the advantages and selling points of the original "Knowing or Not", and let Zhang Yongxin be the first director, which was to put a tight ring on him and help him to play to his strengths and avoid weaknesses.

Compared with Zhang Kaizhou's partiality, Zhang Yongxin is the kind of director who may not be particularly outstanding in one aspect, but is very comprehensive, and his lower limit is quite high.

This kind of director is actually the most reassuring, just like Kong Sheng, whom Wei Yang admires very much, who plays a stable and comprehensive game.

Now with one main and one auxiliary, plus Wei Yang, the producer who can check for deficiencies and fill in the gaps, and all kinds of resources are fully utilized, the overall quality of "Knowing or Not" is definitely much better than the original version.

Boss Wei is still relatively confident in the director behind the scenes, but he is more concerned about the script.

Frankly speaking, the original work of "Knowing or Not" has a lot of problems, and it is said to be an important driving force of the "Legitimate and Subordinate Divine Religion".

The plot of the original drama has been modified a lot based on the original work, otherwise the ending will never be much better than "Da Ru Chuan".

Even so, there are still some controversial plots and character settings. Boss Wei also urged the screenwriter team to make changes if possible and optimize the script as much as possible.

If it is really unavoidable, there is nothing we can do!

As I said before, a drama cannot satisfy everyone, and even the most classic works can be criticized for many problems.

Moreover, some plots are just for conflicts and contradictions, so that the audience can discuss them. Who would want to watch a harmonious drama about truth, goodness and beauty? Palace fighting is about women fighting for favor, and house fighting is about family quarrels.

Wei Yang can understand abandoning the show, criticizing, and even cursing, but what he hates more is raising the flag and labeling.

However, for various purposes, Wei Yang still arranged the script to do some "explosion prevention".

He created some plots and characters, criticizing the persecution of people by feudal society from an anti-feudal perspective, emphasizing that the play "Do You Know" is a fictional plot, and holds an anti-feudal attitude, and refuses to lead the rhythm with literary inquisition.

Really, it was okay in the past few years. At this stage, Wei Yang feels that creation is getting more and more difficult.

All aspects need to be considered, the official red line, the audience's red line, the red line of some groups, and the red line of some groups against groups.

Don't say you stepped on it, even if people think you are offensive or inconsistent with their tendencies, there will be a group of people scolding you, and the crew/company/platform will have to apologize.

Wei Yang, the big boss, has become the "culprit"!

Sometimes he insults women, sometimes he insults men, sometimes he is a pink, sometimes he is a god, sometimes he praises the north, sometimes he licks the south, sometimes he is a salty party, sometimes he is a sweet party, he is almost an indefinable Cthulhu.

In the early years, Boss Wei updated his Weibo very frequently, but in the past two years, due to the general environment, his updates have become less and less.

At the least, there may be only one or two Weibo posts a month, and he is also lurking on platforms such as Douyin, Bilibili, and Zhihu all year round, rarely showing up. Even if he stops posting on Moments, he may not post one post in a year.

There are many concerns about the plot of "Knowing or Not", and the same is true for the previous "Chi Le Chuan".

If you don't say anything else, just how to unfold the plot of the Xianbei and Han people almost worried him to death.

This is much more sensitive than feudalism and anti-feudalism and the opposition between men and women.

Wei Yang and his team were very cautious, revised repeatedly, and finally adopted a more conservative approach.

From this perspective, the pressure of adapting the script of "Knowing or Not" is not that great.

Moreover, TV series are mainly for the public, and some opinions can be valued, but they cannot be completely influenced, or even sacrifice their own advantages. The majority will always be silent, and there are countless projects that are led astray by a small number of people.

In addition to removing the dross and retaining the essence, the change of "Do You Know" from the original version is to increase the perspective of the male protagonist.

At the beginning, the screenwriter team actually even wanted to make a dual-line narrative, that is, one line for the female protagonist and one line for the male protagonist, each of which was responsible for a part, and then converged with each other.

But this idea was stopped by Wei Yang, who could understand that the screenwriter team was concerned about him and for the purpose of performance.

But "Do You Know" is a big female lead drama with the female protagonist as the core after all. You can add some drama to the male protagonist appropriately, but you can't overshadow the main character.

There is no problem with two lines, but the female protagonist is still the main one, and the male protagonist is the auxiliary one, and even many of the male protagonist's plots are essentially serving the female protagonist.

To put it bluntly, if the male protagonist is doing well, he will be a backer for the female protagonist.

This is also the reason why "Do You Know" was criticized as a big female lead drama!

But then again, the heroine of the theme of house fighting has limitations and few cards to play, so how can she be an independent and strong heroine?

Disguised as a man to take the imperial examination, opened a brothel to seduce the prince, and then punched her father and kicked her stepmother?

Without discussing whether it is a suicide, the original novel of "Do You Know" is about a time-traveling woman who at least has this idea. The drama is a real ancient indigenous official lady.

A large number of heroines in modern Mary Sue dramas still want to marry rich second-generations and domineering presidents every day...

Whether it is a drama about a delicate wife or a heroine, in the final analysis, the main audience group of "Do You Know" is female audiences, so Wei Yang does not intend to steal the show, and he is down-to-earth to be his own "tool man" of the ancient costume domineering president.

The male protagonist does not steal the female protagonist's show, and Wei Yang does not intend to let the female protagonist steal the male protagonist's show.

For example, a plot that Wei Yang has always wanted to complain about, the female protagonist risked her life to deliver a letter, made a contribution to saving the emperor, and then was concealed by the male protagonist and his brother.

The reason given in the play is that the army was in chaos, and the heroine came out to report the news, which might be speculated by the outside world and ruined her reputation. The hero and his brother were actually thinking about her. Later, the queen mother gave a royal edict to compensate them in a roundabout way.

It sounds like a good reason, but in fact, they don’t understand what [the merit of saving the emperor] means.

Since ancient times, the greatest merit is saving the emperor, and not only saving the emperor, but also indirectly promoting the new emperor to ascend the throne, so the merit of following the dragon is also there.

Not to mention how grateful the two emperors are, just from the point of winning people's hearts, you have to be rewarded greatly, otherwise, if something really happens in the future, who will come to save you and help you.

In ancient times, loyalty and filial piety were emphasized. The heroine not only saved the emperor by sending a letter, but also saved her father and brother who were trapped in the palace.

Not to mention that the feudal dynasty looked down on women, Hua Mulan joined the army for her father and has always been praised by many ancient people. Diao Chan and Zhaojun are both representatives of righteousness. The heroine saved the emperor and her father, and she is definitely a heroic woman who can be written in history books.

Moreover, the background of the play is the Northern Song Dynasty, when women were not oppressed so severely. Even during the Northern Song Dynasty, when the Empress Dowager was in power for several generations, Liu E was simply a second marriage.

She used her reputation to make up stories and slander the emperor's lifesaver. She really thought that the royal family was vegetarian. Even Zhu Xi didn't have the courage to do so.

Wei Yang originally thought that the original author had a brain injury, but later found that this plot did not exist in the original work. It was purely the screenwriter who forced the heroine to play a role.

She wanted to add a highlight to reflect the heroine's bravery and courage, and at the same time, to establish a connection with the hero and deepen their feelings.

And she also brought benefits to the hero and his brother, indicating that the heroine was not a pendant, and that the rise of the hero and his brother was actually due to her contribution.

In fact, I just wanted to add some heroine elements, but the tone was too high. How could the heroine who saved the emperor continue to fight with those girls in the house? So I forced a smoothover, but the smoothover was too inconsistent, making the plot incongruous and the logic collapsed.

When Wei Yang got the script, the first thing he did was to check if there were similar scenes. He must delete them because they were too out of place.

The heroine's highlights should not be snatched by the hero, and the heroine should not show off her presence in the hero's highlights.

If the play wants to have a wave of interaction and deepen the relationship between the hero and heroine, you can help a little bit, such as accidentally reminding the hero.

In this way, there is a connection, and the hero also looks at the heroine with a new eye, and thanks the heroine for this reason, but there is no real credit. Apart from the hero, there is no other benefit, and the heroine's subsequent house fight will not affect the main plot.

In this seminar, Wei Yang was generally satisfied with the preparations for "Do You Know?", but he also found some problems.

Of course, Boss Wei also emphasized that this was just his personal opinion. The specific solution and how to solve it still depends on the crew to discuss and make a decision based on the actual situation.

Zhao Liying agreed, but she kept writing and remembered it very seriously.

Wei Yang couldn't help but smile bitterly when he saw this. Sometimes he didn't want to give suggestions to the people below because of this. He was short-sighted. In fact, he was not sure about some issues. He just made a suggestion and idea, but many people took it as an imperial decree.

He also explained and stopped it, but it didn't work. On the one hand, his prestige was here, and on the other hand, he was afraid that he would be falsely polite.

If the leader has said it and you don't change, then you don't give the leader face, and you may be in trouble later.

The meeting ended, and the others left with a look. Zhao Liying sorted out the documents and looked at Wei Yang.

"Which palace are you going to visit today?"

This question, we are both here, if I say I'm going to Liu Shishi, you won't pounce on me and bite me.

"By the way, let Auntie order some barbecue. There's a football match today. Can you accompany me to eat barbecue and watch the game?"

This is not the first or second time that Zhao Liying has been dragged by Wei Yang to watch football, but she has never been very interested in football.

"Let your son accompany you. Last time I saw La Mian was very interested in watching football. You can take care of him more. Later, you two can play by yourselves, so I won't suffer."

Wei Yang thought about it and realized that the second child had some potential as a football fan. He could sit still when he was watching football.

Of course, it could also be that this kid was just too lazy to move. On the surface, he was watching football, but in reality, he was bored and dazed.

Wei Yang was looking forward to developing his son into a football fan to accompany him to watch football, but he was a little reluctant.

It's hard to be a Chinese Manchester United fan. The first foot was scored 7:0 by the mortal enemy Liverpool, and the second foot watched the Chinese national football team being beaten 7:0 by Japan. Seven Up almost vomited...