Dialogue Director Mao Weining | The story of shooting the factory, do n’t fall in love, do young people really do n’t like to watch?

"We have become this poor virtue from the respected workers. Young people have escaped the factory like running like racing." "Does the country need workers? Can everything change the keyboard? "

In the popular industrial drama "Song of Lushan" (formerly known as "The Great"), the national model Song Chunxia and her husband looked at the empty factories and complained helplessly.

As a drama about the experience of my country's equipment manufacturing industry and the peak of Nirvana, Nirvana reborn to climb the industry.

The opening of the episode focuses on the old -fashioned heavy industry company Lu Shan Heavy Industry facing business difficulties. Chairman Fang Ruizhou (Hou Yong) decided to break the boat and let the enterprise transform through "heavy work for finance"; Adhere to independent research and development, and solve the problem of "stuck neck" through new technologies and new products, in order to stand upright at the beginning of Shuguang; Jin Yanzi (Jiao Junyan), Song Chunxia and other workers are nostalgic for each other. The karma is the backbone ... For a while, the individual destiny of entrepreneurs, scientific researchers, and workers in the new era, together with Lushan Heavy Industries, came to the crossroads.

Does a hard -core industrial theme episode watch it? According to the data of Chinese audiovisual big data, since the show was broadcast in CCTV-1, the average arrival rate of each episode was 2.167%ranked second in the golden file. %.

From "Ordinary World", "Ten Red Army", "Hundred Refinement Steel", to the well -received "Mercels" in "The Energy and Energy Wu Yannian", and then to this year's heavy work drama "Song of the Mountain", there are unique aesthetic pursuit Mao Weining can always make new ideas. After the "Ordinary World" filmed in 2015, in addition to setting a record of the ratings at the time, it also brought the novels that have been published for more than 30 years to return to the desk of young people.

In recent years, from "The Great River", "Shan Haiqing", "Awakening" to "The Daughter of the World" and "Daishan Daughter", there are also more and more seemingly heavy main melody and theme dramas have gained the audience, especially young audiences. Praise and praise.

This time, we dialogue the director Mao Weining to solve the explosive way of the theme episode and the heavy theme.

(The following self -described according to the interview)

Industrial themes used to have glory

When we took over this drama, we had no script and novels, only four words- "the top priority".

In April of last year, "Bai Lianchen Steel" that we shot in April was just killed, and we received a new task to shoot a TV series with the theme of Hunan Manufacturing and Heavy Industry. At that time, there were only these four words, nothing else.

Director Mao Weining (right) and director Zhang Tong (left)

The screenwriter Wang Chenggang and our team began to live in life, especially Wang Chenggang took more than three months to visit Hunan Zhonglian Heavy Technology, Sanyi Heavy Industry, Shanhe Intelligent, and Railway Construction Heavy Industry Enterprise. Many real stories. Heavy Industry for finance, manufacturing is stuck in the neck of foreign products, and stigmatized patent infringement, etc., are all real stories that have happened.

I am also watching the audience's comments. Many audiences also noticed that our play has no villain in the absolute sense, and there are no bad guys, but there are still dramatic conflicts and contradictions, and it is also very beautiful. This is what we start with life itself, and we have made in -depth start -breaking questions from this subject itself.

We are quite strange to industrial themes, and I have not filmed this type of drama for so many years. However, industrial themes have been brilliant, and they look back at the development of my country's TV series. (Last century) The industrial -themed TV series in the 1980s and 1990s was very prevalent, affecting many Chinese audiences. For example, in the 1980s, "Red Orange, Yellow, Green Blue, Blue, Blue Purple", "Director of Joe Factory", 1997 "Director of the Workshop".

But now this type is relatively small, and there are not many people involved. It is mainly the threshold of this type of subject. You have to really understand the life of industry and workers. I reached a consensus with the screenwriter at the beginning, that is, we cannot shoot a drama in love with industrial themes.

Of course, we also have love in this play, but love is by no means the driving force and engine of this play. We have to reflect how our manufacturing industry is glory from the trough to glory. Write such a process hard.

Hou Yong's characters have concentrated the shadow of several heavy industry companies

The characters in our play have the original type, such as Fang Ruizhou, the secretary of the Lushan Heavy Industry Party Committee played by Mr. Hou Yong, the scientist Wei Yan played by Yang Shuo, the senior welders Jin Swallow played by Jiao Junyan. The shadow of many real characters is concentrated.

Like Fang Ruizhou, we condensed the shadow of several heavy industry companies. When we visited many companies, we found that their bosses were completely different. At that time, we realized that Fang Ruizhou should have one side of this boss and the other side of the boss. He was a comprehensive character.

After realizing this problem, we made some modifications in creation. It turned out that I didn't think of writing Fang Ruizhou to the end. When he encountered a predicament, the most convenient way was to change to one person to let the newcomers broke the deadlock. Can we change the writing of reformers and corporate leaders in the past, rather than solve the problem by substituting? We try to write the growth of a more complex character to show the multi -faceted character. It has been broadcast to more than 20 episodes, but Fang Ruizhou is still encountered problems and new challenges. This is actually in the process of our industrial development. Everyone is in different positions. His starting points are different, but everyone in common is to make our manufacturing and industry. Essence In this process, there will be a conflict between routes and individual conflicts.

New Industrial Aesthetics: Treat the machine as a role

In the filming of this drama, I made a request to let the audience feel the temperature of the cold machine.

Three days before the boot, we did not shoot any actors, but pulled the entire crew to the factory and only filmed the machine. This is to build the relationship between people and machines and use the machine to "treat people." When the crew members fully understand the factory operation mode and have feelings for the machine, they will be more handy when they are filmed.

Because this is what we were unfamiliar in the past, we must treat the machine as a person and treat it as a role. If the workers' emotions are not photographed, it is impossible to dig deeper into the factory environment and other jobs.

For example, there is a shot, Fang Ruizhou played by Hou Yong in the workshop, staring at the arm rack pumping truck affectionately. This car is the protagonist of the broken arm incident that year (Note: At a foreign exhibition ten years ago, Lushan Heavy Industry's armrest pump truck truck Suddenly, Fang Ruizhou concealed the truth about the problem of foreign parts and components, and eventually caused the spirit of Wei Yan's father Wei Chong to have a problem). After the accident, Fang Ruizhou pulled the arm rack pump back and hid here, and few people knew it. For Fang Ruizhou, this pump truck contains the complex emotions entangled in his half of his life. It is not a simple machine.

The filming of this drama actually gave me a lot of gains with me and me. I still remember that one day I was shooting at the scene. When I passed by a workshop, I was suddenly attracted by a scene, that is, there were several engineers or workers, surrounded by a machine. This machine was disassembled and there were countless lines inside. From our outsiders, this is a mess, hundreds of lines are exposed outside. They are seriously discussing how to repair this machine.

I stood there for a long time, and then went to filming. After a few days after the filming, I went back to watch again, and the machine was repaired.

This gives me a deep feeling. On the road of our advance, in our upward road, we will encounter a situation similar to messenging. But as long as we can follow its laws, find this line, find the problem, the problem will often be resolved.

In our lives, we will also encounter such a scene. If you are embarrassed, you will leave when you throw your hands. The problem may never be solved. The road to solving the problem must not be simple, it must take time to try. You see the hundreds of lines, even if you have experienced workers, you may have to try one line and one line. They spent a long time, but finally solved the problem.

Just like our industry is at the lowest valley, we still come out. I hope that this basic spirit cannot be lost, just facing a messy machine. Once you find the thread and repair it, this is something that never gives up.

Can't use the subject matter to determine the audience aesthetics

After the script is written, there is a feedback from the platform to the screenwriter Wang Chenggang that young people will not read this type of subject.

I can actually understand that what the platform is said is actually not wrong, or it represents the views of some people. But you can't do it because of this part of the audience, the creator will not do it, right? I personally think that the practitioners of the platform are young, but they cannot use their own good and evil to represent all young groups.

Just like the "Ordinary World" of that year, when I filmed this drama, it was 2015, and the situation was more difficult than it is now. What was the TV series at that time? They all fly in the sky every day, all of which are fairy and ghosts. At that time, it was said that no one saw realism, and the platform also determined that today's young audiences would not watch a drama in the 1980s.

But what about the result? Our young audience likes watching. After the play was broadcast, the novel of "Ordinary World" published more than 30 years has once again returned to the top three of the college students' reading rankings. Later, I discussed with college students, and they said that as long as you shot well, we would watch it. The audience will not consider what the subject is, good or not, is the most important thing. So we must not determine what the audience wants to see with our own experience and concepts.

Including last year's "Awakening", "Mountains and Seas Love", "Fun" ... Like the "Energy, Energy Wu Yannian" unit, "merit", as a platform, I will feel that a hero who resists the United States and helps the DPRK, or a real person, someone sees it ? But after broadcasting, the attention is high. What does it explain? You have to shoot well! What is important to shoot, how to shoot is more important! I think the platform should say that if you don't shoot well, no one may see it, not that no one is watching this subject.

The creator's task is to shoot it well. Young audiences will like it and they will like it. They will not care about the subject matter. We cannot use the subject matter to determine the aesthetics of the audience, especially the young audience. Attracting young audiences, it is not necessary to meet intentionally

Now our creators say that if I want to attract young audiences, we deliberately cater to them, as if you will see some hot topics audiences. In fact, this is not the case. You are filming, the audience wants to see your character your story, and finally your theme. So we cannot "top the subject, technique is below". The creator now has such an idea. In fact, it is wrong. It does not mean that you grab a hot topic that seems to be a topic. The audience wants to see, or it depends on how you shoot.

Just like eating, you are a century -old restaurant and an Internet celebrity restaurant. These external labels can only decide whether there are more people going, but whether it is delicious is the most attractive consumer. If you are delicious, consumers will continue, and they will never be able to grow up because of the labels.

Now many creators are "the subject matter is above, the technique is the bottom", not to tell the story seriously, shoot the skin scribbled, and make two male and female protagonists write their love in this factory, compile some bridges, and shout a few words, and shout a few words. slogan. Does anyone watch this?

If we do it this way, no one will watch "Song of Lushan". The audience is willing to chase your play. It is to see the real factory of the real workers and real industries, which has an empathy. I think your characters are cute. Your character is concerned. : Oh, it turns out that our industry has encountered such a hurdle, and it came here ... This is a good show that can be passed to the audience, not shouting some slogans.

Create this thing, you have to spend your work. Including your actors, we work hard. Jiao Junyan, an actress, she can operate welding and excavators independently, all made by herself. If an actor, in a drama of such a subject, make a beautiful, wearing a variety of good -looking clothes, twice more than the audience, will the audience like to admit it? Won't!

Wei Yan played by Yang Shuo, this character changed the old views of the audience's old views in the past. It was depended on him to get closer to the character. He carried more than 200 places after the perimeter, and the element cycle table was carried. These are not what I ask, but he has to use this method of contact to enter the heart of the character, which must be in such a state.

Those who want to be a crab, give a way to their peers

I have not been idle at the home of Chengdu recently, because "Song of Lushan" from the opening to the broadcast of 5 months. Now I do at home and broadcast in the later stage.

The epidemic does have an impact on all walks of life. Like the key drama "Our Ten Years" we are doing, there is a unit that has not finished shooting, and a hundred video conferences have been opened before and after.

It seems that I have been shooting some remote and high thresholds these years, which is really laborious, but I think it is worth it. I want to do such an exploration. Those young directors who are still growing up have more problems they face. As a creator who already has some experience, I need to eat this crab, and I need to give my peers a way. My idea is that either does not do it or there must be breakthroughs. As for whether it is good, then the audience will be evaluated.

I am a freelancer now, without a company and no capital. I can maintain all my creations. I like it. When I love it, I can shoot it. I don't like it to not shoot.

My works on the subject of realism also call for the creation of realism, but it does not exclude costume dramas. It may be that I have not encountered the script I like for the time being.

I still encourage apprentices to make more attempts, because after all, I have no age with them, and I have my own hobbies. I encourage apprentices to take some things that young people like, such as Zhang Tong filmed "You Are My Cities Fortress" and "Chaser", Wang Yiwei filmed "A Travel to Meet Love". content.

Red Star reporter Qiu Junfeng editor Xu Yunxiao

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