readx;? Feng Xiaogang compared the ending he imagined with Lin Xiaoling's ending, and found that Lin Xiaoling's ending package 13 has a deeper meaning. Pen ~ fun ~ pavilion www.biquge.info

The use of a series of coincidences to resolve family conflicts certainly increases the drama of the film and gives the audience a relatively relaxed ending, but it is undoubtedly a failure in shaping the characters and is too superficial.

Feng Xiaogang's films will always give the audience a bowl of chicken soup for the soul at the end to cater to the audience's emotional needs.

This is one of the reasons why his films have been box office successes, and he knows what audiences want to see.

As for whether this ending is in line with life, it is not so important, he is good at irony and humor, avoiding heavier scenes, which is the result of compromising with the market.

In the film "Going Home", with Yu Xiaoqin's sudden death, no one can prove that Tao Lan didn't take the five yuan.

Seventeen years ago, in order to prove her innocence, Tao Lan accidentally killed Yu Xiaoqin, and seventeen years later, if Tao Lan is still obsessed with proving her innocence, then she is no different from seventeen years ago.

After seventeen years in prison, Tao Lan is no longer the impulsive little girl.

Who took the five yuan, this matter is not important, for Tao Lan's stepfather, this is his heart knot.

If there is no way to resolve this knot, then the family will always be in conflict and pain, and eventually fall apart.

Yu Xiaoqin is dead, just because she stole five yuan, is she worth it?

Sometimes, the living need to bear a greater responsibility, and continuing to argue about who gets the five yuan means little to Tao Lan, who has been in prison for 17 years, and she has to carry this responsibility when she kills Yu Xiaoqin.

If Tao Lan could understand this truth seventeen years ago, she would not have argued with Yu Xiaoqin.

Stubborn arguments about who is right and who is wrong are often things that children like to do, and when they reach adulthood, right and wrong are no longer so important, the important thing is tolerance and understanding.

This is a sign of whether a person is mature or not.

Through Tao Lan's confession to her stepfather, the old man's heart knot was resolved, and this character was made more plump and three-dimensional.

At this time, Tao Lan is no longer an image of a dazed female prisoner, but allows the audience to see the hope for the future of this family.

It takes more courage to take on the responsibilities of the family than to argue about right and wrong.

This ending is simple and heavy, and because of this, it is more powerful.

Feng Xiaogang understands that this is the difference between "Coming Home" and his previous films, his films may be more appealing to the audience's tastes, but they are not deep enough.

"Is this the ending you came up with yourself?" Feng Xiaogang asked.

"No, I talked to Tao Lan's character archetype in prison, and that's what she thought. Lin Xiaoling responded, "She let go of the five yuan thing, just thinking that she could atone for her sins after being released from prison, after all, she beat someone's daughter to death, and this is where she can't let go." ”

"That's life. Feng Xiaogang said with emotion.

No matter how hard the screenwriter tries to conceive it, it is not as real and credible as life itself.

Even if Feng Xiaogang understood this truth, he would not make this kind of film, at least not yet.

Every director has his own side of what he is good at, giving up what he is good at and filming what he is not good at, this is not seeking a breakthrough, but a kind of willfulness.

Feng Xiaogang is self-aware, and he will not be capricious until he becomes a domestic first-line director.

Although he doesn't make this kind of film, he doesn't lack connoisseurship, and this ending of "Coming Home" alone is enough to make a good film, but in the end, it still depends on how the finished film is.

Feng Xiaogang looked at Lin Xiaoling, who was focused on filming, and sighed that the times are changing too fast, and a new generation of filmmakers has grown up.

Lin Xiaoling was still running the crew a few years ago, and only started making her first feature film a year ago, and now she has the momentum of becoming a famous director.

This made Feng Xiaogang have a feeling that time is not waiting, don't be surpassed by these juniors before he catches up with the people in front of him.

Fortunately, he is quite confident in his talent in the field of commercial films, so he will not have too much pressure.

Lin Xiaoling finished filming the 1997 scene, followed by the plot in 1980, which was a test for her.

In the past 17 years, the capital has undergone tremendous changes, and it is not easy to truly present the living environment of those years.

Nowadays, the old houses are being demolished less and less, and there are many high-rise buildings.

Those dilapidated and narrow alleys, simple clothes, home decorations, the cries of hawkers on the streets, and the greetings between neighbors are getting farther and farther away from people's lives.

Lin Xiaoling needs to grasp people's thoughts and feelings at that time, and try to restore the truth.

The only one who left the crew was Xu Jinglei, and her role was over.

Compared with the filming of "The Two of Us" a year ago, Xu Jinglei now performs more freely and openly.

This openness refers to an unintentional performance, and she still has traces of performance in "The Two of Us", and now she is closer to life.

Because there are not so many scenes, the character itself has a fixed personality, and there is not much room to play, in "Going Home", Xu Jinglei is not as attention-grabbing as Liu Lin.

In April, when "Titanic" became popular on the big screen, Huaguo TV broadcast 20 episodes of the TV series "Love to the End" in a set of prime time.

Campus, youth, love, career, struggle......

These keywords quickly attracted the attention of college students and young people in society, and this TV series is like a ballad about youth, singing the ideals and pursuits of all young people.

Xu Jinglei suddenly became an idol in the hearts of young people.

She is not the kind of girl who looks beautiful at first glance, on the contrary, she is somewhat ordinary, but she will feel very comfortable after watching it for a long time.

In an selection activity, Xu Jinglei became the second most popular contemporary actress among college students, and with this TV series, she successfully entered the ranks of domestic first-line actresses.

Advertisers value Xu Jinglei's youthful image and invite her to endorse products and shoot advertisements.

Basically, they are all products that focus on the youth market, including many well-known brands, and even a well-known sneaker manufacturer in the United States intends to ask Xu Jinglei to be their spokesperson in China.

If it can be negotiated, the endorsement fee for three years will not be less than two million.

Not only Xu Jinglei, but also other actors in "Carry on Love to the End" have also attracted attention and become the focus of media interviews.

The success of "Love to the End" once again proves Lin Zixuan's ability to make stars.

From Yan Nick to Xu Jinglei, there are also a group of actors who are famous because of these two plays, in the entertainment industry, there has always been a saying that Lin Zixuan praises who is popular, and now it has been verified again.

This statement is actually not accurate, theoretically speaking, as long as there are enough resources and accumulation, actors can always become popular.

The media only saw those actors who became popular, but did not see those actors who failed, and the reason for their failure was not only their own reasons, but also because of the lack of resources.

The showbiz is a pyramid, and the actors at the bottom will always be the majority. (To be continued.) )