Director of Ghost Blowing Lamp: Pan Yueming has Hu Bayi’s bad temper and responsibility

Director of “Ghost Blowing Lamp”: Pan Yueming has Hu Bayi’s bad temper and responsibility
Produced by Guan Hu and directed by Fei Zhenxiang, the super online drama “Dragon Blowing Cave of Ghosts and Blowing Lamps” (hereinafter referred to as “Longling Labyrinth”) was re-released recently, with a Douban score of 8.3. Set the highest score for the adaptation of “Ghost Blowing Lamp”.The three episodes of “Ghost Blowing Lamp” directed by Fei Zhenxiang-“Yellow Skin Grave” (5.3) “Angry Xiangxi” (7.1) “Longling Grottoes” (8.3) The trend of export monuments may gradually rise.In “Longling Grottoes”, Pan Yueming, Zhang Yuqi, Jiang Chao’s interpretation of the “Iron Triangle” and the restoration of the classic scenes such as the “Hanging Soul Ladder” in the play have all been recognized by the audience.In particular, Pan Yueming, Chen Yulou, who had just performed “Nuqing Xiangxi”, came to “Longling Grottoes” to play Hu Bayi, but it would not make people feel like a drama.Director Fei Zhenxiang who is filming “Yunnan Insect Valley” accepts the sauna. In an exclusive interview with Yewang, he said that filming a series of adaptations of “Ghost Blowing Lamp” is a process of tolerance and mutual growth with the audience. “The audience’s tolerance for the workWhen the aesthetic level is getting higher and higher, the expected works will be born. “Fei Zhenxiang quite recognizes Pan Yueming’s ability to shape people, and believes that he has a sense of style and can play the role of elegant Yu Chen; there are also “bad guys” and responsibilities of adventurous men, so he is competent for Hu Bayi and reappears.The series will explore the talents to show more of it.First, Pan Yueming is the iron powder of “Ghost Blowing Lamp”. “Like Hu Bayi” is very important. The “Look Like” line “Longling Labyrinth” was specially designed. Hu Bayi and others were cheated by Shaanxi farmer Li Chunlai.In Lan County, he met Chen Yulou in the guest house. This was the blind old man who had ordered 100,000 thieves to unload the mountain leader. Now he is just a blind man.After touching Hu Bayi’s head, Chen Blindman sighed, “Weird, weird, how is this person’s appearance somewhat similar to that of the old man when he was young.”This sentence with a bit of excitement made the viewers who have watched” Angry Xiangxi “excited, and they all stalked on the barrage:” It is not similar, it is exactly the same as yourself! “”Because Chen Yulou in” Nuqing Xiangxi “happened to be decorated by Pan Yueming.Director Fei Zhenxiang told the sauna and Yewang that this line was specially designed by him.”Since I had this script and expanded Pan Yueming to play, I decided that in that scene, no matter who played the old Chen Yulou, I must add this sentence.”He believes that the series is completely related to the characters of the main drama, and the lines are designed with a little relationship, causing the audience to generate additional excitement.””Pan Yueming played Chen Yulou and played Hu Bayi.We don’t have to hide this matter, but we must be on the edge to let everyone know that our mentality is peaceful and treats our feelings very seriously.I also thought that the audience might scold and say that you made a joke about your play, but now I think this experiment is successful. “Chen Yulou’s lines were specially added by the director.The picture comes from the Internet. Why did Pan Yueming appear in two consecutive plays, or play different roles?”Pan Yueming has many facets, not to say that one role can’t be played after another.”Fei Zhenxiang said that Pan Yueming is the iron powder of” Ghost Blowing Lamp “, and I love the role of Hu Bayi very much.”This is very important. If the actor doesn’t like a character, then he will just take the job, and the interpretation will not be so vivid.He likes Hu Bayi very much, coupled with our recognition of his ability to shape the characters, every character he played before was very distinct, and he continued to cooperate with him.In Fei Zhenxiang’s view, Pan Yueming and Hu Bayi have quite similar temperaments.”It is also true and evil.The word ‘evil’ here is not a derogatory term, but refers to the bad spirit in the adventurous man.You can understand it as smart, or wise.Hu Bayi is wise. He has confidence in many things. Expanding his knowledge may also come from the character of Beijing Master who is “curiosity kills the cat” and a kind of perseverance.He (Pan Yueming) has all of them.”, Hu Baiyi’s sense of responsibility also exists in Pan Yueming.”Why is Hu Bayi the soul of the team, Wang Fatzi and Shirley Yang both trust him?If this person is just bad and has many ideas, but not being untrustworthy, this is not true.”Fei Zhenxiang described this as a feeling,” that is, you look at him and you will feel a sense of security, which is very rare.He happens to have both, so it is the best choice. “At the time of filming “Angry Xiangxi”, he asked Pan Yueming to play Chen Yulou, and Fei Zhenxiang said he had taken a fancy to him.He said to the sauna and Yewang that Yapi is the other side of Pan Yueming. He usually writes and writes words and paintings, which is very gentle, and Chen Yulou is a gentleman.A bold group of horses, the original work is only a functional role, but “Longling Grottoes” portrays these farmers in northern Shaanxi quite vividly.Too many viewers have read the book and remembered that there is no wisdom, but the horse who hangs the word “wisdom of ideas” is bold, and the encouraging and cunning Li Chunlai is obsessed with the bomb’s third.Of course, these supporting actors also have their own roles.The daring Zhou Xiaoou used to be the lead singer of the Zero, Hu Ming, who played Li Chunlai, played the trumpeter of “Assembly,” and the peddler selling jelly in “Let the Bullet Fly”.One month before the official start of the shooting, Fei Zhenxiang was sent to the studio in northern Shaanxi to learn dialects, sleep in caves, and eat local food.”Neither of them is a local. It’s hard to imagine that the local people should be some kind.”I don’t think it’s okay. The stylist applied the makeup, and then went to experience life one month before the shooting. Zhou Xiaoou, the boss, brought his ten brothers together to eat, drink, play, and learn dialects.Privately, they call Zhou Xiaoou the boss, and they call each other ‘Lao Ji’.Fei Zhenxiang said that professional style and the feeling of getting along with the day and night will eventually give the actor a sense of substitution, and then believe that he is the character itself.When the boss (Ma bold) in the play really faced death, the brothers were really willing to save him.”Because they do have feelings, they will be real when photographed.”Ma boldly” brotherhood. “The picture is from the second network, and it is difficult to grasp the sense of proportionality in the adaptation. IP adaptation is a double-edged sword. It can attract high attention, but it is also easy to attract more criticism.sound.From “Yellow Skin Grave”, “Ning Qing Xiangxi” to “Longling Grottoes”, these three adaptations of “Blowing Lamps” directed by Fei Zhenxiang have experienced the process of low reputation and high walk.The difficulty of the IP adaptation and the trade-offs, he is a director with considerable experience and experience.Fei Zhenxiang admitted that the adaptation of the “Ghost Blowing Lamp” series is difficult because everyone has different requirements for books and film and television dramas, and it is difficult to present them in different ways.The book can be left blank for readers to imagine, everyone is closed in the house to read their own “Ghost Blowing Lamp”.Once the image is formed, it is for all fans of “Ghost Blowing Lamp” to see the “world of ghost blower lamps” you imagine. Someone will be dissatisfied because it is difficult to adjust.At the same time, online novels are usually longer than scene descriptions and clumsy in character creation. As a well-known IP, the sense of proportionality in film and television adaptation is difficult to grasp.”It has changed too much, and the fans don’t think it’s a drama anymore.If you do n’t change it, it ‘s impossible to complete film and television if you are all kinds of Daguai.For film and television works to have enough three-dimensional characters, to explain how to establish the relationship between the characters, you need to add a lot of cultural drama.Fei Zhenxiang said that one of the experiences he had explored since “Yellow Skin Grave” was that the place in the original book must go, the things that should happen must happen, this is untouchable.”That’s what the original book fancied, including iconic places like the” Suspense Ladder “, which must be available.”On this basis, we should rub in some reasonable literary plays, not only to let the audience get rich information from it, but also not to change the original book too far.For example, before the official exploration of “Longling Grottoes”, Hu Paiyi and Wang Fatzi chatted with each other about helping each other get caught in the past.”Brotherhood, it must be done very solidly in the following series.Such an audience would understand why Wang Fatzi followed Hu Bayi in desperation.If it’s just a shooting phenomenon, and emotional paving is common, in the end Wang Fatzi wants to die for Hu Bayi, the audience doesn’t know why he died for him?This is not a mature film and television work.”In the play, try to restore the scene that should be in the original.The picture comes from how the network balances the literary drama and reproduces the classic scenes of the original. It is a subtle grasp of the size. “All are groped step by step.”I didn’t get scolded and didn’t grow up. After I was scolded, I went back and thought about it slowly.””Directing three series of adaptations of” Ghost Blowing Lamp “in a row, Fei Zhenxiang’s deepest feeling is that he and the audience grow up with each other.”I remember the first” Huangpizifen “. Everyone felt bad, but we did the drama with a very serious attitude.In the second part I grew up a little, and the third part grew up a little.The audience also totally disapproved from the first part, saying that one word could not be changed. In “Nuqing Xiangxi”, it felt that there could be a certain adaptation. In this part, everyone thought that the adaptation was pretty good.The audience can also, some adaptations are reasonable, because there is no way to form film and television works without modification.I think this is growing up with each other.Fei Zhenxiang said that the creator’s confidence expands the audience, and when the audience’s tolerance and aesthetic level are getting higher and higher, the recognized works will be born.Third, the high-definition lens is not a dazzling technique. To cultivate a sense of industry awe for the team, “Longling Labyrinth” has a distinctive main tone and dimming. Long lenses are used more.Too many viewers pointed out that the play and the TV series broadcast at the same time, the online play index, have a relatively obvious “movie texture”.Fei Zhenxiang said that at the beginning, he did not deliberately pursue the “film quality”, but only shot a work according to the professional level of the 7 impression team.”This team has been making movies, using equipment, shooting, mirroring, color grading, and soundtracks. All the methods and processes are exactly the same as making movies.”He also mentioned that this approach has been questioned since” Yellow Pirate Grave “.At that time, the mainstream positioning of online dramas was still “crude”, and it was nonsense to think that shooting online dramas also pursued artistic quality, because the audience watched on the subway with a mobile phone and did not pay attention to the details.”I think Internet dramas and movies have different broadcast platforms, and the production should be of the same standard. Many foreign film directors will shoot Internet dramas.For these criticisms, I left my ears in and out my right ears, and insisted on doing what I thought was right.”It is undeniable that shooting web dramas in accordance with the film’s methods and procedures objectively increases the difficulty of filming.Some of the long shots in the play have the audience’s praise for the film’s texture, and some of the audience think it is dazzling.The first shot is difficult to grab the sky. Fei Zhenxiang cited the first shot at the beginning of the play as an example. The aerial shot is a long shot from far and near, and finally fixed on a close-up of Li Chunlai’s shell.”It’s difficult for this lens to grab the sky, the sun will soon be gone, and there is only one chance in 20 minutes.When the aerial plane took off from 5 kilometers away, everyone at the scene was holding their breath excitedly, afraid of making a mistake.”Fei Zhenxiang said that this is not for show off skills, or shooting needs, with a fragile high lens to make all crew members highly concentrated.”The film used for filming in the past was soft gold. It was too expensive. The film was discarded when it was wrong, so everyone cherishes every shooting opportunity and is very dedicated and serious.Now that the digital has replaced the film, the performance is not good, or something went wrong, it doesn’t matter, you can do it again and again.For practitioners, slowly developing a sense of slack and laziness is not serious enough overall.Fei Zhenxiang said, he hopes that all the crew will take their work seriously and cultivate everyone’s awe of the industry.”The whole group held their breath to take a shot, and the resulting picture would be powerful.If the whole group is filming, the picture must be particularly watery.This is how I lead the team. “Sauna, Ye Wang Yang Lianjie Editor Tong Na proofreading Chen Diyan