Wang Xiao gun reveals the ecology of Screenwriters: Why are writers always "back pot man"?

Wang Xiao gun reveals the ecology of Screenwriters: Why are writers always

Original title: Wang Xiao gun reveals the ecology of Screenwriters: why is screenwriters always "back pot man"?

Behind the hot topics of TV series and stars, this group of writers is always the "draught" of social networks.

Is it a norm for celebrities to bring resources into groups? Why is the screenwriter always tore into the hot search? Do writers really miss the day when coal bosses make investors?

Wang Xiaoqiang, a screenwriter of the hit show "Mask", is a guest in the Sina hall, talking about screenwriters and reality.

Live record:

When the middle aged people are anxious, they are consistent with those in the drama.

Moderator: with the popularity of the mask, the "midlife crisis" has once again become a hot word. Most of the main characters in the play are middle-aged, and many viewers say they can see themselves or the people around them. Why do you focus on the "midlife crisis" when you are portraying characters?

Wang Xiaoqiang: to remove the Realistic TV series, the Spy Drama of every age, or the opera of the Republic of China, including the historical drama, need to close the distance with the present audience. There are many ways to draw close to the distance. On the basis of such a creative method, because the characters in the play are middle-aged in their own age, and as a spy, the group itself, we call him a spy. At the time, the spy, at the time, had a lot of anxiety, and they were very special in their careers, in some respects, in some angles and in the present. The anxiety of middle-aged people is echoed, so a lot of audiences see some resonance in it, or in this case, is the projection of the middle-aged crisis.

Host: Yes, although it is a spy war, there is not only a middle age crisis, but also some marriage itching, children education problems have modernity, in addition to the middle age crisis and the connotation of the family to consider it?

Wang Xiaoqiang: now I look back to see the idea of this creation, because it is why the designer is a very important concept, because Zu Feng's character is Li Chunqiu, it is a secret agent, in the 40 episode, the inner reversal, or we call the impetus, is the superposition of many factors, let it The most important factor for the Chinese Communist Party to emancipate the new life is the family. From this point of view, the family is a necessary factor. Next, the home now sees something, in fact, is still serving the spy line, that is to say that the crisis will make this person more dangerous on this line, which is equal to the two lines that complement each other.

Host: Because many modern plays don't have a lot of modernity now, the Spy Drama you created has a strong modernity. How did you think about that? Does it resonate with you, and it may not achieve this effect?

Wang Xiaoqiang: in fact, there are a lot of subjects to write the script. If this subject is taught, it must be implanted in a lot of topics about education or some social concerns. If the spy drama was started from the spy itself, the superposition was due to the story and the characteristics of the characters, which were deeply rooted, that is, not deliberately planting so much. I see a lot of netizens or viewers who are talking about educating children or students' parents and teachers. At that time, they didn't think so much at the earliest, just because they showed their relationships and set up such a group. As for the things that are covered in it, I think it might be the only time to imagine this story, the only thing that would be to put it in, or to have some resonance, may be the core of the middle age crisis. Last year, two articles were compared to why a man took a cigarette in a car before work, or an article on the flu public, because when people were also anxious, some of them were in line with their anxiety, the middle age crisis, or the loneliness, and the characters in the play.

Host: and many other viewers may not see a point, you may show the concept of anti war in the creation, how to consider the design of this point at that time?  

Wang Xiaoqiang: we say that any country, some classic film and television works, whether it is TV or film, the theme is anti war, you take a war film or take a spy film, you see, after all, there is a feeling that the war is not cruel and fun, or the profession is, think of the country. The Democratic Party's secret service or how it is a fun job may be a problem with values. Look at the outstanding classic films at home and abroad, the theme is anti war, this is the same origin.

The playwright made "twice cooked pork", and the director became "kung pao chicken".

Host: what is the frequency of your writing now? Writing the script is a dedicated process, in the process of closure has not taken into account the benefits of this piece, how to ensure the quality of life now?  

Wang Xiaoqiang: every playwright is not the same. In fact, I feel not just a screenwriter, any industry, including writers, including any of our other jobs. Each industry is a Pyramid, with a tip, a base, and most people are in the middle.

Host: what is the living condition of most of the writers in China? Can you give an example and tell us in detail?  

Wang Xiaoqiang: the screenwriting industry is different from other industries. There is no regular pattern, may write slowly, write a script in five years, and get all the money in five years. For example, write one half a year and get it half a year. People are very different from people, unlike lawyers, a doctor, about the same frequency, has its particularity, can not be generalized.

Host: in recent years we found a very good phenomenon of the phenomenon of less and less, the Anti Japanese God dramas tore the ghost, Mine idol drama emerge in endlessly, many of the dramas made of domestic dramas scolded hot search, why?  

Wang Xiaoqiang: I think the Anti Japanese opera has gone. This is a second division. As the type of work in the film and television industry, the screenwriter is not able to control all the links. I don't believe that my grandfather was killed when my grandfather was ten years old, or a gun shot out one hundred miles of machine guns. Sometimes it was not very believed. This is a playwright deliberately or careless. Because there are many links between the script and the final film, including the director's understanding, including the annotation of the actor, the capture of the camera, the final editing table, the final proofreading of the subtitles, and so on. In a work, my grandfather was killed by the days of the days of ten. Maybe the project itself has a problem. That is to say, this wooden barrel is short board. I mean, the screenwriter is something that he thinks is a hot pot. The screenwriter handed the play to the director, not in the back, I see the film of the mask, including the place that is not the same as the script. For example, there is an example on the Internet that there is a plot in the mask on the Internet. Zhao Dongmei runs on the moon 20, minus 30, 40 degrees, running in several miles, especially in the north. It is reasonable and impossible. In fact, in this script, Zhao Dongmei grabbed the clothes and ran away. It was a common sense problem. It became a light leg and a long run of feet, which I thought of many. This is a common sense question. There are also some logical questions. I think the director and screenwriter may not be cognitively consistent. Not necessarily listen to who, authority is another topic, follow in addition to common sense, should follow the rationality, rationality is logic. There was a plot in which Mr. Du Zhiguo acted as a secret agent, the only one in the 40 episode, to persuade a bandits to join the Kuomintang, and it was very risky. In fact, the script was killed by Mr. Yong Hou, who was killed by the Warring States. The script was killed by Wei Yi Ping. It was logical, including the cut out of many things and a lot of things. First of all, I can't understand why it turned out to be so. There are various reasons in the middle. A lot of problems have been exchanged with the director before the start of the machine, but there is no agreement. The film has been changed, and the example is not to say that the screenwriter is wronged, but just to say the situation objectively. I understand that the scriptwriter is a cook, fried the pot, but the director is a dish handler, then became a Gongbo chicken, I do not know why Gongbo chicken.

Host: it's a lot of control in the back.  

Wang Xiaoqiang: the screenwriter is not the central function in the whole script production process.

Host: Wang Hailin, the writer of the screenwriter, made a few remarks about the strange phenomenon of the film and television industry. He said: I still miss the days when the coal boss is the investor, and they never interfere in our creation. Have you ever met the situation of creation being intervened? What do you think of the balance between the content and the capital and the flow?  

Wang Xiaoqiang: I think capital is a good element, and any project needs funds to achieve, build a story in the air, funds to achieve, more funds to achieve better. The creation of art is a very professional thing. Wang Hailin has a bit of ridicule, and carefully thinks that everyone has a lot of sigh in it. I have experienced a lot of things that have been intervened too much, and the management will raise a lot of opinions, but they do not agree with them, and it is also the case, if this situation is too frequent. Basically, the project is going to be a problem.

Host: we see the "Mask" of the actors do not have little meat, is the teacher of the drama bone grade, such as teacher Ting Mei, do not consider what kind of consequences to use the flow level actors?

Wang Xiaoqiang: first of all, this play is a middle-aged person in the inner world. If you look young, you may not get up.  

Moderator: will there be some concerns, the selection process, there is no concern about the flow of this drama?  

Wang Xiaoqiang: we talked a few days ago, and the producer also said that at first we had this consideration. The flow represented the difference in income. So he had hesitated, and later decided to use some more accurate, not to consider the flow first, first consider the actors and characters, that is, the matching degree of the role, or the ratio. Luckily, we chose some very accurate actors at the end.

Host: some people have proposed the film and television industry supply and marketing reform, Wang Hailin teacher suggested learning foreign mechanisms, first look at the script and then see the purchase, not blindly after the production of the star's flow to sell, what do you think of this?  

Wang Xiaoqiang: I think it's very difficult. At present, the current situation of the industry is very difficult. Of course, this is a situation that we want to go forward, but it is too difficult. There are also some drawbacks inside, as I just mentioned the situation, the script is one thing, the performance of the film may have some loss, it is possible. I feel like this, I don't think it is impossible, but there is a good match. The production link, the director, the actor, the editing, may need a high match. For example, if the original crew is there to produce standards,

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