A widower's entertainment

Chapter 418 [His Casting] (Please Subscribe)
Lin Youcheng has written a TV drama script that is quite impressive, and it has naturally attracted a lot of attention in both literary and film and television circles. Given Lin Youcheng's current influence, whatever work he writes will certainly be highly anticipated.

Lin Youcheng has now written an original TV drama script, which is naturally highly anticipated.

After reading Lin Youcheng's script for "Crossing the Guandong", Zheng Xiaolong was very clear that the series had about fifty episodes and was about family, country, love and hatred. It was a rare opportunity to film such a series, which was related to real history, defined the Central Plains inside and outside the Great Wall, and depicted the hardships and struggles of people going north to the Northeast to make a living.

It is also very clear that this drama is not something that the Beijing Television Art Center could film well; the production costs were quite high.

In fact, this was a collaboration that Lin Youcheng had previously considered. Even his own company needed to find a TV station to collaborate with in producing the TV series "Crossing the Guandong".

For this reason, Zheng Xiaolong naturally brought the drama "Crossing the Guandong" to CCTV's drama production center.

Speaking of which, the TV drama production center also has a history. The origin of TV dramas can be traced back to "A Bite of Vegetable Pancake" recorded in 1958. Even now, many industry insiders are vague about this program, which was the first to be named "TV drama". At that time, the scope of television broadcasting was very limited, and very few people owned television sets. TV dramas only accounted for a very small part of the programs broadcast, so they were not well known.

The earliest "television dramas" were a simple combination of stage performances and television recording technology. Some described early television dramas as having "one main storyline, two or three scenes, four or five characters, and seven or eight scenes." Due to the lack of recording equipment at the time, they could only be filmed with multiple cameras, simultaneous audio recording, on-site switching, and live broadcasting. This limitation of "one-time consumption" makes it impossible to see the original scenes anymore. In 1979, the television drama "There Was a Young Man," produced by CCTV, pioneered the use of location shooting, paving a new path. This approach was gradually improved and increasingly incorporated film production techniques, developing its own unique filming style based on the characteristics of television broadcasting and viewership.

Then, in March 1983, the Ministry of Radio and Television decided to merge the CCTV Drama Department, the Recording Department of the Television Art Committee, and the Drama Troupe of the Radio Art Troupe into the National Drama Production Center. The establishment of this Drama Production Center was also a difficult pioneering process. The equipment was outdated, and most of the machines used were about to be phased out. Funds were scarce, and it was common to "beg" for money to prepare for filming. There was also a shortage of housing. Apart from the few offices set up by the main body in Hufangqiao, the five creative groups, the art department, and the director's office were all set up in cheap guesthouses and warehouses. At that time, the center was jokingly called "Eight Great Places".

However, at the very beginning of the establishment of this production center, more than 60 people from the TV drama department of CCTV, more than 120 people from the TV drama troupe of the Broadcasting Art Troupe, and more than 10 people from the recording department of the Television Arts Committee came together to write a new chapter in TV dramas. The center's logo, a new flower composed of three arcs, accurately expresses this idea.

The early to mid-80s marked a revival of Chinese television dramas. With the expansion of television coverage and the widespread adoption of home television sets, television dramas gradually became one of the most popular art forms among the Chinese public. The Television Drama Production Center was merged into CCTV. In its early stages, the center produced a series of successful dramas such as "Wasted Years," "Walking Through the Storm," "The Story of Life," "Harbin Under the Night," and "Finding the Lost World," which garnered widespread acclaim from audiences and accumulated valuable experience for the development of television dramas in China, thus establishing its initial brand image.

At the same time, the TV drama production center also began to adapt the four great classical Chinese novels into TV series one by one. The TV series "Dream of the Red Chamber" took the lead, interpreting and performing this classic encyclopedia of ancient feudal society in the form of a TV series. In May 1986, the 25-episode TV series "Dream of the Red Chamber" was broadcast simultaneously on CCTV and Hong Kong's Asia Television, drawing huge audiences and achieving a peak viewership rating of over 70%, creating a "red tide" in both mainland China and Hong Kong.

The subsequent filming of "Journey to the West" marked the beginning of the exploration of popular mythological dramas. It used modern technology to depict the wonderful mythological world. After its broadcast, it was loved by audiences of different ages and received a huge response. Its ratings reached the highest among dramas in the prime time slot of CCTV-1 at that time. It has been rebroadcast many times at home and abroad and remains popular.

Following this, in 1987, the production center filmed the 84-episode television series "Romance of the Three Kingdoms." This grand production, with its massive financial investment, high-level directing and screenwriting, well-organized cast, magnificent scenes, exquisite scenery, and perfect techniques, is unparalleled in television dramas to date. "Romance of the Three Kingdoms" not only sparked a "Three Kingdoms culture craze" in China, but also in the island nations, Malaysia, Thailand, Singapore, and Hong Kong and Taiwan regions that purchased the broadcasting rights, truly achieving both social and economic benefits.

In a few years, CCTV will also plan to film "Water Margin". It can be said that the remarkable achievements in adapting these four classic novels have written a glorious chapter in the history of domestic TV drama development. It is definitely a milestone with epoch-making significance in the history of domestic TV drama development.

Zheng Xiaolong was well aware that for such a large-scale TV series, contacting CCTV's TV production center was the most appropriate option at this time.

The current director of CCTV's drama production center is Zhang Tianming.

When Zheng Xiaolong showed the script of "Crossing the Guandong" to Director Zhang Tianming, it undoubtedly shocked Zhang Tianming. Although he did not immediately approve it, he liked the script very much.

Zhang Tianming would naturally discuss the script for "Crossing the Guandong" with his colleagues at the production center.

"As expected of Lin Youcheng, this script is really well written. This drama is like a documentary of blood and tears."

Clearly, this is a consensus among all production centers, and there is absolutely no doubt that the script for "Crossing the Guandong" is exceptionally brilliant.

Zhang Tianming nodded and said, "Yes, it's very well written."

"The script is quite solid. You can tell that Lin Youcheng really put a lot of effort into writing this story. I think it would be great if this drama were actually made."

"Filming this drama is no easy task. If you want to start preparing for filming now, you should hurry up. It will definitely require filming on location. Although the winters in Northeast China are long, if we keep delaying, we may have to wait until next winter."

Zhang Tianming nodded in agreement and said, "Director Zheng Xiaolong also meant the same thing. That's why he wanted to contact us. He also wants to cooperate with the production centers in Shandong and Liaoning provinces."

As a location for on-location filming, cooperation between Shandong and Liaoning provinces is naturally necessary to make filming more convenient and smoother.

"If CCTV takes the lead, that would certainly be fine too."

"I don't think there's any need to rush. This script is so good. We're currently in the early stages of preparation, and we still need to cast the actors. Although there aren't many main characters, there are still quite a few, so we still need to polish them carefully."

This statement naturally sparked considerable discussion. There is no doubt that CCTV is absolutely capable of independently producing the TV series "Crossing the Guandong". After all, they can even adapt the Four Great Classical Novels into TV series, let alone a series like "Crossing the Guandong".

Listening to his colleagues' discussion, Zhang Tianming clearly agreed that Zheng Xiaolong's approach made sense.

Actually, Lin Youcheng's first contact was Zheng Xiaolong, clearly intending for him to direct the TV series. This would inevitably involve the Beijing Television Art Production Center in production. If Beijing bypassed CCTV and instead collaborated with Shandong and Liaoning provinces to produce "Crossing the Guandong," it wouldn't be impossible. "I think it's a viable collaboration."

As the director, Zhang Tianming naturally had his own decision. In his opinion, the script of this drama was excellent and definitely a good drama. In fact, regardless of the content of the script, since the drama was written by Lin Youcheng, CCTV should not have refused to cooperate with Lin Youcheng. After all, Lin Youcheng is a screenwriter who has won major awards abroad.

If they refuse to cooperate on this rare script for a TV series, other local TV stations will probably be eager to work with Lin Youcheng.

Although Lin Youcheng's film and television company was involved in the collaboration on this drama, the main reason was the suitable script and the fact that Lin Youcheng was the screenwriter. As for the so-called company collaboration, it was actually for the sake of Lin Youcheng as the screenwriter.

Soon, CCTV's production center agreed to the collaboration, which naturally led to preliminary discussions and exchanges.

The most important part is casting the actors for the main characters in the script.

Naturally, this led to some people offering their opinions, with Chen Baoguo and Tang Guoqiang being mentioned as potential actors for the role of Zhu Kaishan.

Lin Youcheng naturally didn't offer his own advice; it was Lü Xiaohe who made the suggestion.

"Lü Xiaohe plays Zhu Kaishan?"

Zheng Xiaolong and Zhang Tianming naturally agreed with Lin Youcheng's suggestion. As a double winner of the Golden Rooster and Hundred Flowers Awards, his acting skills were beyond question. This role combined the simplicity and honesty of Shandong men with the boldness and straightforwardness of Northeastern men. The image of Lu Xiaohe, who traveled from Shandong and overcame hardships to cross the Guandong region, was very much in line with his innate sense of vicissitude. Whether reserved or bold, the roles he played before were all tough and masculine characters.

Lin Youcheng has also worked with Lü Xiaohe before; Lü Xiaohe played the role of Old Gun in the movie "The Message".

“Lü Xiaohe is indeed very suitable. Although he is not from Shandong, he is from Northeast China, I think he is from Qiqihar.”

"I just don't know if he'll accept the offer, he's been busy filming a movie."

Upon hearing this, Zheng Xiaolong smiled and said, "Just ask him about the script. If he doesn't accept, we'll find another actor."

As for the other female lead, Wen Ta Niang, there are different recommendations, such as Ding Jiali, and...

Lin Youcheng then said, "How about having Siqin Gaowa play Wen's mother?"

Lin Youcheng recommended Siqin Gaowa to play Wen's mother, but this suggestion was met with some discussion. Although Siqin Gaowa's acting skills were not a concern, as she had been acting in movies all along, even if they agreed to let her star in the film, she might not accept it. Another reason was that because of her changed nationality, Siqin Gaowa lost her eligibility for domestic awards. It was rare for her to win a domestic award, and for a period of time afterward, she focused on making Hong Kong films. There were even rumors that this was one of the reasons why Hong Kong awarded her the Hong Kong Film Award for Best Actress. After "Woman Sesame Oil Maker," she rarely acted until her true comeback with "The Grand Mansion Gate."

Zhang Tianming looked at Lin Youcheng and said, "Should we consider other candidates?"

Zheng Xiaolong understood Zhang Tianming's meaning, thought for a moment, and said, "It can be listed as an alternative."

Lin Youcheng felt that if Lü Xiaohe and Siqin Gaowa could really play the core characters of "Crossing the Guandong", the casting of this drama would be half successful.

Of course, besides Zhu Kaishan and Wen's mother, the roles of the other children are also quite important: Xian'er, Chuanwen, Chuanwu, Nawen, Xiu'er, Chuanjie, Xia Yushu... These roles all require acting skills.

Lin Youcheng said directly, "Other young roles can be chosen from newcomers, after all, the age of an actor is very important."

Clearly, Lin Youcheng's words made a lot of sense. It can be said that Zheng Xiaolong and Director Zhang Tianming both respected screenwriter Lin Youcheng's opinion. After all, Lin Youcheng wrote the entire script, so he would naturally have his own deeper views on the characters and actors.

Of course, this respect is largely due to Lin Youcheng's status as a screenwriter and writer, which is widely recognized in the arts and literature circles.

Lin Youcheng, on the other hand, planned to hold a casting call and have young actors audition directly.

Lin Youcheng's suggestion naturally won't be opposed, after all, this is the most suitable way to truly determine the actors, and everything depends on the performance and the true acting skills.

Around this time, news spread from Beijing that Lin Youcheng's TV drama script was going to be casting. Many students from the performing arts departments of art colleges in Beijing, as well as actors who had already acted, wanted to audition and seize this opportunity.

Regardless of the outcome, this is a notebook written by Lin Youcheng!
You should definitely give it a try!
(End of this chapter)