Two plays, two breaks.
On the one hand, it is the alienation of friendship, and on the other hand, it is the choice of love. In the original work of "Sunrise", the relationship between these two people is more Platonic. They were in love for the first time and had deep feelings for each other. After the passage of time, the two people's current situation has changed, and there is no way to be together easily.
Although Bo Yan has made adaptations, for example, he slightly modified the role of Li Yiru to make the character more focused and the character contradictions more prominent. The relationship between the male and female protagonists has also been beautified to a certain extent in order to take care of the emotions of the viewers. For example, the woman's financial backer, banker Pan Yueting, is just a back figure here. His scenes were deleted, it would be nice to know that there is such a background board. The ambiguous emotions between the male and female protagonists can also be amplified, and there can even be some scenes that implicitly indicate that the two people have had a relationship.
However, when the story is happening, he wants to make sure that the entire plot goes smoothly. There should not be any love scenes in the picture, but the design of the eyes and some small finger movements must be in place, so that this invisible tension can be expressed through the lens language.
Even here, even in the final separation, he wanted to capture the emotion of wanting to talk but not giving up, but also being helpless and pulled. Shooting by yourself and directing by yourself are two completely different concepts. If we say that when he first established this project, he was still a little at a loss and did not have a particularly clear projection of the work in his mind. But now, he's fully committed to the director's role.
But he is also an actor. When a scene is projected in his mind and then performed, he considers it much more comprehensively. When I was rehearsing with Xia Siyu, I didn't just look at her, but also the objects behind her, the clothes on her body, and all the surrounding environment.
But as soon as Xia Siyu spoke or moved, his eyes would be unconsciously attracted to her again.
As he said in the morning, the rehearsal only required 50% input, so he had room to think about her clothes, environment, and objects. But Xia Siyu was 100% committed, and the feeling of being taken away was too strong. Although according to the character design in the play, even if her emotions fluctuate greatly, she should not yell or make unnecessary movements. She should look calm and calm. But Bo Yan just felt that his emotions were inexplicably infected by her and naturally integrated into the plot. He didn't realize it until the whole rehearsal was over.
But when the director here said "OK", Xia Siyu started to tremble wildly. Because this scene is more important, her makeup, hair accessories, and cheongsam must not be messed up, otherwise there will be wrinkles. She couldn't move her head around, it was difficult to style her hair, and there was jewelry on her head. If she fell, the crew would be poor, and she would have to pay for it herself. She turned her wrist under limited conditions and expressed her posture flexibly with her fingers.
But as soon as she shouted "start", her whole mood suddenly calmed down again, like a student who rang the school bell. When class was over, she moved like a rabbit regardless of how she behaved, but once she arrived in class, she remained as quiet as a virgin.
We rehearsed several times in total, and after each pairing, Bo Yan felt the most direct when acting against her. Although she was 100% committed every time, there would be fine-tuning in the details. Maybe she doesn't know how to express it, but every time she acts, the audience on the side feels: Yes, that's it, the characters in the play are like this, so they have to act like this!
(End of chapter)