It's already a bit hot and dry in Tokyo in May. Pen "Fun" Pavilion www.biquge.info

Half a month has passed, and all the actors have gradually entered the state.

Gu Cheng's ideals are very ambitious, but he can't make a good movie with ideals and dry goods alone, after all, the audience is not here to listen to the director and screenwriter.

Gu Cheng injected lofty meaning and soul into the demonically reformed "Sunset in the Three Chomes", but the "discovery of the beauty of life" insisted on by Takashi Yamazaki was still retained, providing bones, flesh, and skin for the gods of the film.

Ten years after the war, motorcycles began to be popularized among the people, television sets began to appear, and many of the usual period drama sensational techniques, "Sunset of the Three Chomes" did not completely give up. While Chakawa, the protagonist of the lonely Silk, is struggling to persevere in depression, his neighbors' lives are getting better and better.

The Suzuki car dealer next door is doing a thriving business, and the first household in the whole chome bought a television set, and the neighbors of the entire chome came to watch, envy, and watch the Suzuki home decoration - in fact, this kind of scene is the same in China more than 30 years later, and any country and people who are nostalgic because of economic stagflation are happy to see such a plot. Change to a Chinese online text routine writer, and properly change a bunch of "XXXX of Rebirth" to change the early years of pretending to be forced to slap the face.

However, Gu Cheng's compulsion is obviously higher. While the audience was appetized with the plot of the beauty of life, the main idea had already begun to take root -- television appeared! Television appeared! More art forms appeared on television, such as singing and dancing, Noh play, shamisen performance, rakugo, ...... All are facing some elimination, some change.

Gu Chengmo joined the character Yotaro when he changed, a trainee rakugo master who was intertwined with the rising and confused periods of his career, and was invited by NHK TV to speak rakugo on TV, for which he also learned Huaxia's lip-sync with old artists who had been to China, and improved his rakugo level so that he could be suitable for TV.

These unfoldings, and finally cut into the movie, are the opening plot of the first ten minutes. According to Hollywood's three-stage routine, the male No. 1 writer Chakawa's gradual hitting the street, and the male No. 2 and Taro gradually finding a new way, even if it is the "foreshadowing contradiction" in the first paragraph.

But the ten-minute plot was filmed on the set and took more than a week.

Every film, if you pay attention to the artistic atmosphere, it will be slow at the beginning, because the director has to guide the actors to enter the state and understand the characters. Once you get it right, you will get up quickly.

So far, Jin Chengwu, a handsome guy who still has the mentality of taking money to do things, finally became a little confused after completing the foreshadowing of the contradictions.

He felt that the subsequent script setting was becoming more and more difficult to understand.

When he first got the script, Jin Chengwu didn't think that this role was difficult to bring in, because he was not familiar with the profession of rakugo at all, and in his opinion, it was like talking about cross talk.

Rakugo is a profession that will decline and will be put on television, and in the eyes of Kim Sung-moo at the time, it was as logical as "machine guns will eliminate katanas".

At the end of the day, it's that he simply "doesn't know that he doesn't know."

After acting with the crew for more than a week, after being taken by Gu Cheng to put himself in the rhythm, Jin Chengwu became a little deeper and began to be qualified to "know that he doesn't know".

That's a good sign, at least he's already seen the problem.

……

It's already very late at night, and when filming a movie, it's normal for the crew to work until the second half of the night.

But even though it was already past one o'clock in the morning, Jin Chengwu, who returned to the house, still couldn't sleep. Tomorrow, he in the plot should start to get confused and start doubting life. However, now he still can't grasp this feeling in his heart, so he can only continue to figure out the script that has been full of personal feelings.

Of course, the original version of the script was sent to everyone by Gu Cheng, and everyone is the same. As the filming progressed, many notes were handwritten on the script every day to reinforce personal understanding.

"Rakugo can't be put on TV. Performing in front of one or two hundred people, within easy reach of the rakugo master and the audience, is called rakugo. Rakugo that is copied by TV is not rakugo. ”

This is a "memory killing" in the script, and it is the words of the master who dissuaded Taro from him before he decided to accept the invitation of NHK TV. In terms of setting, it was the master who first rejected the TV station, and then the TV station found Yotaro to be a spare tire. In Yotaro's mind, at first, he only had the spirit of a newborn calf who was not afraid of tigers, and felt that the master was old and rested on his laurels.

"Huaxia's cross talk can be carried forward by TV, why can't we Fuso's rakugo?"

Here I recall that Master Killi did not answer this question positively, leaving a burden and questions for Yotaro to slowly comprehend as the movie progresses.

However, as a script, Gu Cheng annotated a final answer here when writing the screenplay, and it is not a narration or voiceover, just to help the actors understand the truth.

"Has Huaxia's cross talk been carried forward on TV? To be precise, stand-up comedy has been carried forward to a certain extent, while the TV version of stand-up comedy is not excellent.

Since the CCTV Spring Festival Gala, in the past 30 years, only Ma Ji and Ma Sanli have had two stand-up comedies in that era, and the rest of the Spring Festival Gala are counterpart/group comedy. As for Ma Jina's only single seedling "Universe Brand Cigarettes", he still played a salesman, interacting with the audience at close range and selling, which is not the same thing as traditional stand-up comedy standing on the stage. As for the stand-up comedy invited by the Spring Festival Gala of other local TV stations, most of them are 'facial paralysis' and 'pretending to be mentally handicapped' represented by Fang Qingping, trying to dilute the interactivity of stand-up comedy, and transforming stand-up comedy into something similar to 'a schizophrenia patient talking to himself'. ”

"Why is this happening? Because rakugo and stand-up comedy are meant to interact with the audience. The audience is happy and anxious, the audience is lonely, the audience is lonely, the audience is attentive, and the audience is sleepy. Rakugo masters and stand-up comedians who can't see the audience have no soul. ”

Jin Chengwu has seen this script more than 100 times these days, but he always feels unfathomable and difficult to find a sense of substitution.

In fact, these words cannot be regarded as completely original by Gu Cheng. At least two people in parallel time and space have said something similar, one is that after Bob Dylan won the Nobel Prize in Literature in 2016, he said eloquently, "I have sung to fifty people, and I have sung to fifty thousand people, but I can say responsibly that it is more difficult to sing to fifty people, because each of those fifty people has their own independent soul." ”

In this time and space, these words were used by Gu Cheng when he made a cameo appearance at Quan Baoya's concert for the first time.

Another similar remark is the opening confession of Guo Degang when he was invited by Youku to do the first online cross talk video (speaking the opening remarks of cross talk, in fact, Guo Degang said this earlier than Bob Dylan).

"The best cross talk is a scene of 180 people, and the people who speak and listen can see each other's expressions clearly. This is the soul of cross talk, there is no same game through the ages, even if I recite the jokes like a stream and the tone and gestures that are so wonderful that they are perfect, if the audience's reaction is different from the last one, I will have to adjust it. Just like a doctor seeing a doctor and a husband teaching art, he prescribes the right medicine and teaches students according to their aptitude. ”

Although Guo Degang finally gave in, in order to let more people know about traditional culture, he put his "Jigong Biography" on Youku.

Jin Chengwu naturally didn't know about these examples, which deepened the difficulty of his understanding, after all, the height of his thoughts did not reach this realm. So much so that he always felt that Gu Cheng's theory was a little like a fallacy.

Is the audience's reaction really that important to the expressiveness of art?

……

Gu Cheng was about to go to bed when there was a sudden knock on the door, and when he got out of bed, it turned out to be Jin Chengwu visiting.

"Mr. Gu, the faux pas bothered you. I have a question that I still haven't figured out, and I want to ask you, can I?"

"Of course, please. Gu Cheng politely asked Jin Chengwu to come into the house and sit down.

Jin Chengwu bowed and asked sincerely: "You said that the idea of this film is to help those 'traditional culture and art forms that seem to be about to be eliminated' find the details and souls that cannot be copied under the impact of the Internet copying tide - is this the idea?"

"Of course, I've said it many times. ”

"Then why do you use the background of the Fuso people in the fifties and sixties and when television was popularized? As we all know, the impact of television on the content industry is completely different from the impact of the Internet on the content industry. If television can have such a big impact, then why should we discuss the question of 'saving the value of traditional art in the context of Internet reproduction'?"

Jin Chengwu couldn't figure out what the problem was, but after reading the script repeatedly just now, and chatting with Gu Cheng now, he suddenly thought of it.

Because of the popularity of the TV era, so many traditional cultures in Fusang have been hit so badly by the "Matthew effect of no replication cost brought by TV", why do you have to wait for the "Matthew effect of no replication cost brought by the Internet" to achieve this effect when you arrive in China?

In other words, Kim Sung-mu did not experience the fifties and sixties, and he was not born in Fuso. So he didn't believe that the popularity of television back then could have such a big impact effect on the mud and sand.

So he felt that the problem described by Gu Cheng was too empty, and the popularity of television did not destroy any traditional art at all. So much so that the questions that Gu Cheng wanted to express later became a castle in the air of magical realism in his eyes.

It took Gu Cheng a long time to figure out what Jin Chengwu couldn't get over in his heart.

"It turns out that you are questioning this point - so to be an actor, you also have to study history and analyze policies. The situation I described has completely happened in history, and it is very realistic. ”