When a director is working, the biggest headache is to meet a drama bully, Huang Jianxin has encountered this kind of thing now, and his headache will be tripled, he will meet three drama bully in one scene, is this TM still a human life?

Fortunately, it was just such a scene for these three people to get together, if he really came back a few times, Huang Jianxin felt that his head was going to crack.

After the filming of this scene, the two of them had nothing else to do for the time being, so they got together and chatted, they are all big names in the circle, they are all representatives of the acting school, and there are many common topics.

In the past, Song Zheng always thought that Chen Zhiming was a difficult person to approach, but on the way here, after the two of them came into contact, they knew that they were Neixiu, not Qinggao, and after getting acquainted with him, they could feel that being with him gave people a very comfortable feeling, he didn't say much, every sentence was just right, it wouldn't make people feel noisy, and it wouldn't make people feel cold.

As an actor, Chen Zhiming also deserves the respect of every peer, in this increasingly impetuous circle, Chen Zhiming is definitely the kind of rare good actor who puts his mind on performance.

The reason why I say this is first of all because Chen Zhiming never chooses scripts easily, and he is the kind of actor who will not be easily shaken for money!

This may be a special person among all the actors in the circle, the plays he plays are all taken after careful consideration, and every play has to be changed in the script, and it is rare to do things so seriously in the film and television industry.

In addition, Chen Zhiming's play will not easily generalize the role, and each of his plays must have a certain content, not simply for a funny, exciting, and enjoyable job, but deeply rooted in the hearts of the people.

He acts in roles, not in show, in current film and television works, you can see a lot of actors who are showing, but Chen Zhiming has not simply narrated what this character has just accomplished since his first TV series "The Last Emperor", he is not simply acting, but also playing everyone well, so ordinary people need to have a certain level to understand his play, because he needs to have a certain cultural background in acting.

Then there is the fact that Chen Zhiming never echoes the crew and often argues with the director, which is not a dispute of will, but is really responsible for the art of acting.

In general, this is a good thing, which shows that this person has his own thoughts about this play, not just what the director asks him to do, he will do it, but his ideas must be communicated with the director, which is easy to say, but not so simple to do!

Because the director is the backbone of a TV series, and the actor is the director's deputy, if the actor wants to give advice to the director, it is a person with quite excellent experience who can make the director accept, so Chen Zhiming is a responsible actor in this regard.

Regarding him, although Song Zheng has not been in contact with the incident for a long time, he has also made his evaluation, Chen Zhiming can definitely be called a good person, a righteous person, a person who can give true feelings for a drama, and a person who needs to think carefully for his career.

Such a person, even if a man faces him, will not be jealous, and the strongest feeling is appreciation, appreciation from the heart.

If Chen Zhiming is a glass of water, plain and bland, but can make people have an endless aftertaste, Jiang Wen is a glass of spirits, he is a very special existence in the Chinese film industry, he is a director who is "loved" by ordinary audiences, fans, intellectuals, and the official four-in-one. However, he is also known as the "spokesperson of hormones", like Slavic or Hispanic Chinese, and the film is mixed with the taste of rudeness, hooliganism, cynicism, indulgence and emptiness, and the superiority of intelligence and values permeates every frame of his works.

If you want to understand Jiang Wen, of course, you can't avoid his life experience, he, like Wang Shuo, Cui Jian and others, was born in a military compound, belongs to a class of magnates, or close to a powerful family, has a natural sense of superiority in politics and life circumstances, and also has access to a wider range of knowledge channels, so when the entire utopian vision is quickly replaced by money-first utilitarianism, there is enough gap for them to become disillusioned, and their knowledge background can make them play and brew pessimistic flowers.

Just like Cui Jian used rock and roll to shout out confusion and anger, Wang Shuo used impropriety to fight against the emptiness caused by the collapse of ideals. It must be admitted that this confusion of theirs is aristocratic, and there are enough possessions to support this disillusionment that follows it.

Jiang Wen feels like a combination of Cui Jian and Wang Shuo, he has both critical and gentle qualities, he is strong and fragile, he is serious and never gives up the fun of flamboyance.

In his most personal works, "Sunny Days" and "The Sun Also Rises," one can see a beautiful combination of revolutionary aesthetics and personal sadness.

When Ma Xiaojun and others ride bicycles in the anthem, the worship and reflection of the revolution appear in this picture at the same time, which is a double flight of romance and cruelty, a juxtaposition of intoxication and nothingness, and a double performance of bullshit and stupidity.

And the same is true of the carnival in the desert at the end of "The Sun Also Rises", which seems to be Kusturica's debauchery, with the tragedy of the imminent destruction of ideals, and the deep sadness of high tide to death.

To put it simply, the superlative revolutionary narrative has a bit of a violent aesthetic flavor, and Jiang Wen's film should be the highest of it, it has the flavor of intoxication and pain at the same time, and debauchery and purity are integrated in an instant.

It is this kind of aristocratic consciousness and insight that makes Jiang Wen the most severe critic of the masses, and the most special thing about Jiang Wen is also here, he obviously does not have that sad humanitarian color, but he has Nietzsche's arrogance of holding a leather whip to spur all beings.

"The Devil is Coming" is the most poignant mockery of the people, and the circus-like rhythm depicts a group of ridiculously cowardly wretched creatures, who are dominated by lust and short-sightedness, and who are calculating but approaching death step by step. The whole movie, turned into an of a bunch of idiots, who went to the Jedi in their own calculations.

In "Let the Bullets Fly", the masses are the group of stupid geese in Goose City, they forget their righteousness when they see profit, they do not take responsibility, they are bound in the face of danger, and they follow the trend, but in the face of interests, they are brazen and arrogant.

The same is true in the "One Step Away", which has been criticized by many people, those onlookers, like bloodthirsty flies, they swallow other people's corpses, and the fragrant gossip brewed is not ashamed, but like judges with justice in hand, they always have special abilities, and use the spiritual victory method to become harmless saints in this world.

Corresponding to his harshness to the masses is his deep obsession with those "old and young".

"Sunny Days" is a bloody spring dream of a young revolutionary, and the tragedy of a large group of people has become a memorial ground for the youth hormones of a small group of people, a grand and tragic era, and a foil for the shattered dreams of idealism.

The same is true of "The Sun Also Rises", a utopian dreamer who returns from the South Seas, who is graceful and heroic, but dies in real sports.

Zhang Mazi in "Let the Bullets Fly" is an idealist disguised as a bandit, but unfortunately, the great strategy of founding the country that changed the world in the early years of the Republic of China turned into a colosseum for power and profit in an instant, so he could only use the performance art of being a bandit to adjust his suffering.

As for "One Step Away", Ma Zhuri is the real old man of the Qing Dynasty, in the face of the nouveau riche of the era after the change of dynasty, he dressed himself as a big liar, anesthetized himself in the game world, and finally in the game of life and death, he helplessly found that he was more noble than he expected.

If you think about all of Jiang Wen's movies, they are actually talking about their own thoughts, the sadness of the orthodox red boy. Interestingly, Jiang Wen's pride has become the reason why some people like him.

Roughly speaking, Jiang Wen's fans can be divided into the following categories: there are those who like his masculine temperament and think he is very manly; there are social elites who empathize with the momentum of his leadership to look down on all beings; there are fans who really love movies and think that he is talented, literary and profound; there are communities of interests around him who rely on him for a living, or hope to one day cooperate with this rare species that can make popular movies; there are some viewers who ride on the wall and follow the public opinion sideways, of course, there are many peers, Song Zheng is among them.

Just like Song Zheng, Jiang Wen's becoming a god seems to be an inevitability. At this stage, big directors such as Chen Kaige, Zhang Yimou, Feng Xiaogang and other big directors have shown fatigue, directors like Ning Hao and Xu Zheng have appeal, but they have not been recognized by professional awards with sufficient weight, everyone especially wants to find a director who can withstand the criticism of film critics, and has box office appeal, is not ashamed to say it, and can make money, with such a benchmark to measure, in Chinese mainland, this person can only be Jiang Wen, as for Song Zheng, he has now gone out of China and entered the world.

God is needed in any era, so God appeared, and when Song Zheng was still unknown, the appearance of Jiang Wen, a strange talent, immediately became a "Jiang totem" under the light.

It is said that the times make heroes, but in essence, Jiang Wen's personal charm also makes him particularly suitable for being placed in this high-ranking and admired position.

At present, the general social environment in China is negative, and it is based on the principle of realism and de-individualism. Jiang Wen's things are bloody, romantic, and cool, and the audience can get a kind of psychological satisfaction from watching that was originally missing, everyone creates an ideal avatar in the collective unconscious and blind worship to carry their own needs, and the shaped god itself may not be prepared for it, and has been in the atmosphere set by the fans.

Through the exchange, Song Zheng could feel that Jiang Wen was consciously at ease about the fact that people had given him the title of god, and he should indeed have such arrogance, but he seemed disdainful.

"That's all! I'm happy to praise me, but if it's serious, I'll lose!"

It is such a contradiction, and this contradiction seems to accompany him throughout his life, as if his body was covered with all kinds of contradictory labels such as genius and tyrant, and in the end, these labels together turned the name "Ginger Pattern" into a huge symbol.

Song Zheng also likes Jiang Wen's movies very much, although the output of this guy has not been high, but the quality is very guaranteed, each work has a wide influence, it can be said that he is a boutique director.

Each of Jiang Wen's works has a distinct personal style, he injects his life experience and personal imagination into the film, so that the works not only integrate his growing fear, but also show his domineering and tough male style, his grasp of the subject matter, and the interpretation of the characters are very standard, "Cultural Revolution", "Anti-Japanese War" and other sensitive topics that are not easy to control, but he can fully show his directorial talent, coupled with his character of being good at independent thinking, which finally formed his unique Jiang style.

Jiang Wen has a sense of heroism in his bones, and this, as well as his masculine style, stems from his rather cold observation and understanding of Chinese society and the times in which he lives.

In addition, Jiang Wen's outstanding ability is mainly reflected in three aspects: personal style, technique, and the connotation of the movie. In addition, his philosophical and humorous dialogues also add a lot to his films.

Being able to maintain independent thinking in the noisy entertainment industry is the most important character of Jiang Wen. He once said: "Independent thinking, no one said, originally your heart is in your body, it has the right to swim in your mind, in your heart, if you give up this, it is your sorrow." ”

Always be able to maintain your own independent thinking and be able to stick to your inner feelings, which is also the charm of ginger films.

For example, in the passage of "Sunny Day", the negation of memory, can memory restore the truth? Is what is true in memory? What is true, is the objective existence that has really happened real? So is the subjective idea false?

Under certain circumstances, the psychophysiology itself is irreconcilable, and this kind of memory between truth and falsehood is not Ma Xiaojun's most real psychology.

And Jiang Wen's overthrow of memory also makes the audience detach from the middle of the story and break something in the audience's heart.

This distancing is also reflected in the beheading section at the end of "The Devil is Coming". When it comes to the War of Resistance Against Japan, I always think of the National War of Resistance, patriotism and the like, but the truth is that the common people often do not care about the rise and fall of the country, because it is difficult to protect themselves during the war years.

Jiang Wen's portrayal of that group of villagers is simply vivid, constantly revealing a little cleverness, but how to look at it and feel ignorant, it is not the impression of a farmer who is happy and simple with our party.

Including the deconstruction of the political and historical revolution in "The Sun Also Rises" and "Let the Bullets Fly", this deconstruction presents a more convincing reality, although it is different from the standard things that people have established understanding, but people's established understanding is often stuffed by "others", and over time, people will not even question these things. At this time, Jiang Wen put his foot on the audience's heart, making the audience suddenly feel like crying.

It can be said that coming to make a cameo appearance in "The Great Cause of the Founding of the People's Republic of China", what Song Zheng gained the most was to get to know these two powers, even if it was not possible to cooperate with each other, but even if they sat together and chatted, Song Zheng felt that he had benefited immensely, of course, he was also affected a lot, whether it was good or bad, it depends on the ideas of Han Sanye and director Huang Jianxin.

It took two days for Song Zheng to end his role and set off to return to Yanjing, when he left, Han Sanye and Huang Jianxin's mood was complicated, when Song Zheng was in the crew, basically one person was used as several people, not only to complete the role of Jiang Dagongzi, but also to make a temporary cameo as a director.

I must admit that Song Zheng is a good actor and a good director, but he has too many ideas, and the first scene he filmed that day was quite honest, but later, his strong personality was completely exposed.

The few scenes directed by the guest are even more troublesome, and the established script was changed beyond recognition by him, although Huang Jianxin was unhappy, he had to admit that after Song Zheng's change, the plot became smooth, and the character portrayal was also a lot more vivid.

But no matter which director can't stand the fact that there is this person in the crew, it should be the director's word, what is the matter with Song Zheng being so noisy.

Now that Song Zheng is gone, Han Sanye and Huang Jianxin are sorry and happy, sorry that there is one less helper, fortunately, as soon as Song Zheng, an unconscious goods, leaves, the crew will be peaceful again.

As for Song Zheng, his only feeling is that he is still unsatisfied, working with so many excellent directors and so many excellent actors, it is not often encountered, when he left, he was even thinking that it would be good if the crew of "The Great Cause of the Founding of the People's Republic" had recruited him earlier.

Back in Yanjing, Song Zheng didn't even go home, he went directly to the crew of "The Legend of the Mansion", before he joined the group, he picked up his father-in-law and mother-in-law, and he couldn't let the two children live in someone else's house all the time.

When he came out, Song Zheng only felt a chill on his scalp, and after so many years of acting, it was the first time he shaved his head, which can be regarded as a dedication to art.

"I'm back!"

When Song Zheng saw Guo Baochang, the old man was sitting in the corner, watching the crew arrange the props, and saw Song Zheng walking over with a big bald head, rolled his eyelids, and said in a muffled voice, it can be seen that the old man's mood is not very smooth.

Song Zheng hurriedly licked his face and came to him: "Uncle, I don't follow here, are you not used to it!"

Think about it, you also know that when Song Zheng was there, he was in charge of the big and small affairs in the crew, what Guo Baochang had to do was to figure out how to shoot the scene well, Song Zheng was not there, although there were still many capable people under his hands, but there was one less co-ordination, and he had to keep an eye on everything personally.

"Fuck off, get me busy!"

When Song Zheng heard this, he hurriedly called a thousand children: "Get an order!"