China Entertainment started in 2004

Chapter 600 Zhao Liying

"Director Wang, didn't you say you would treat me to a meal? When will you treat me to a meal?" Yang Mi called Wang Shu and said in a resentful voice.

"The Legend of Sword and Fairy 3" has been aired, although it was only a trial broadcast on terrestrial channels and has not yet been launched on satellite TV, but the ratings of terrestrial channels are high, and it is undoubtedly a hit drama.

At the end of the year, her contract with Rong Xinda expired.
She wanted to climb up the ladder, knowing that the best she could do at Rong Xinda was to get some TV dramas, most of which were not that good.

The ceiling was just like that, and she felt like she had touched it.

Therefore, she will follow the example of Rong Xinda’s predecessor Zhou Xun and change jobs.

In this era, although the Hong Kong industry is clearly in decline, it still controls many film resources.

Mainland actors’ inherent perception, or only choice, is that they can go higher and further by hanging out in the Hong Kong circle.

Yang Mi then chose to sign a contract with Hong Kong Media Asia Entertainment.

In the original timeline, after signing the contract with Hong Kong Media Asia Entertainment, she immediately met with many famous directors and producers in Hong Kong.

He flattered many famous directors and producers in Hong Kong, but to no avail.

Afterwards, she participated in the fantasy film "The Mermaid Empire" co-produced by mainland China and Hollywood, and starred in the thriller "Far Cry".

The movie "Far Cry" was produced in Hong Kong and produced by Media Asia Entertainment.

Again, when Yang Mi was asked about the topic of female artists being subjected to unspoken rules in an interview, she clearly stated that if you want something, you have to pay for it.

She could say this because her movements in the circle were well known to everyone.

Since I can't hide it, I might as well answer it in a hint way.

Rumor has it that in 2015 she co-founded Jiaxing Tianxia with two agents and signed many female artists.

She is a brothel owner.

Many artists in the entertainment industry believe that "if you want something, you have to pay for it" is different from unspoken rules.

The former is an exchange of interests and belongs to an "equal relationship".

The latter is that people take advantage of the difference in status and position to take advantage of them both on and off the stage.

Therefore, in the eyes of many artists, "exchange of interests" is not an unspoken rule.

Being taken advantage of for free by others by taking advantage of one's status and position is the unspoken rule both on and off the stage.

If you understand this, you will suddenly understand why many female artists claim that they have never been sexually exploited.

Because "exchange of interests" can be euphemistically called love.

If the other person has a wife, you can also say that you were unaware and were deceived.

"It's not that I don't want to treat you to dinner, but I'm really busy right now and can't spare the time." Wang Shu responded helplessly.

He has never been a scumbag who would turn his back on people once he has put on his pants. After all, he and Yang Mi have been honest with each other, and they have a romantic relationship.

As the saying goes, one day a couple hundred days of grace.

He did it more than once.

If you just shake it off in the blink of an eye, you would be such a scumbag.

He has never been a scumbag and has always been a decent person.

"Okay." Yang Mi felt that Wang Shu's tone did not sound like he was lying, so she sighed in response.

Then he continued, "Then I'll go to your company to find you?"

When Wang Shu heard this, he immediately realized the other party's little thoughts.

It seems that she is actively trying to hook up with him, but she also wants to use this to make the outside world think that they have a secret relationship, hype up their romance, and take advantage of his popularity.

It would be best if you can hook up with them, but if you can’t, it’s not bad to just take advantage of the popularity.

Not to mention, this kind of popularity may turn from fake to real as time goes by.

For Yang Mi, it is a huge profit.

But for Wang Shu
He said, "I don't have time to entertain you even if you come."

In order to prevent Yang Mi from immediately saying, "It's okay, I can entertain myself," he then added, "It will cause me trouble."

Yang Mi was indeed planning to say that she didn't need Wang Shu to entertain her, she just wanted to entertain herself.

After hearing Wang Shu's last sentence, the words on the tip of his tongue were choked up, and he replied aggrievedly: "Okay, then I won't go."

Wang Shu had no choice but to say, "When I'm done with my work, I'll treat you to hotpot."

"The weather is cold, it's time to eat hot pot."

"Yeah." Yang Mi responded softly.

Yang Mi stayed with Wang Shu and continued chatting for a while, then hung up the phone.

As an Oscar-winning director, Wang Shu has a lot of worries.

Many actresses in the circle who have his contact information often contact him via mobile phone.

Some of them are harassing and provocative in nature, and they want to get the film and television resources that he controls for free.

Some of them were polite greetings, hoping to leave an impression on him and win his favor.

Due to his character, he couldn't ignore it.

The establishment of a character sometimes has a good side and sometimes a bad side.

very annoying.

evening.

Wang Shu went to a hot pot restaurant and pushed the door into a private room.

There was already someone waiting inside, it was Zhao Liying.

Yesterday, Wang Shu received a call from Zhao Liying, who said that she wanted to thank him for the opportunity and guidance to play a role in "The Night the Comet Came" and invited him to eat hotpot.

Ying Bao is outspoken, tenacious and introverted, which is quite admirable. In order not to undermine the girl's confidence, Wang Shu agreed.

"Director Wang!"

When Zhao Liying saw Wang Shu coming in, her eyes lit up and she quickly stood up and called out respectfully.

Seeing this, Wang Shu smiled and said, "We are about the same age, there is no need to be so polite."

In addition to the three days of filming, the two sides actually had quite a bit of time to interact with each other.

In addition, Zhao Liying was a newcomer and knew little about acting in movies, so she received a lot of guidance from Wang Shu during the process.

Therefore, as the two of them spent more time together, not only did they become more familiar with each other, but Zhao Liying also realized that Wang Shu was an easy-going person and did not care about these things.

Then he smiled back and said innocently, "I was just wondering whether I should be so polite."

"If I'm not so polite, what if Director Wang gets mad at me?"

"After thinking it over, I think it's better to be polite."

This sounded very straightforward, and Wang Shu laughed out loud after hearing it.

Zhao Liying asked him to sit down and then asked him to order food.

Wang Shu did not stop her and let her order the dishes.

Zhao Liying is now a small star. Even if she accepted the role of the fourth female lead in the drama "The Night the Comet Comes", her income is very limited.

In the early days, she even traveled back and forth from Beijing to Langfang. She would go to Beijing when there was work, and return to her hometown Langfang when there was no work.

Beijing is the capital of the country and not only are housing prices rising, but rents are also rising.

It is not easy for young actors to live there.

As for renting a house in the suburbs.

For Zhao Liying, it is better to go further back to her hometown Langfang than to rent a house in the suburbs.

Wang Shu knew that if he asked Zhao Liying to pay for this meal, it would be a huge expense.

So, he had already made up his mind to find a time to go to the toilet later and then pay the money.

For him, this meal was nothing more than a drop in the bucket.

But for Zhao Liying, it was a painful experience.

"Director Wang, thank you for giving me the opportunity."

"And thank you for taking the trouble to guide me."

"I learned a lot from participating in "The Night the Comet Came" this time."

"Thank you very much."

Zhao Liying stood up holding the drink in her cup and said sincerely.

She asked Wang Shu if he wanted to drink alcohol, and only drank the drink after Wang Shu refused.

Wang Shu motioned for her to sit down, and then said, "You are an actor in the crew, and I am the director. It is my job to guide you to act well in the movie."

This is the truth. It is the director's job to guide the actors in the crew, and it is not special treatment.

Because the director does this so that the film can present a better effect, not for the actors.

Having said that, the fact that Wang Shu was able to choose Zhao Liying, a newcomer, and also guide her is different in nature.

Zhao Liying is aware of this.

Wang Shu could have clearly invited an actress with more experience and better acting skills to play the role of the fourth female lead, but he gave the role to her, which in itself was a promotion.

Zhao Liying answered seriously: "But if Director Wang hadn't approached me, I wouldn't have had the opportunity to act in this movie, and I wouldn't have learned a lot from this experience."

"Haha." Wang Shu smiled lightly, and did not deny it. Instead, he consoled her, "You are a very good actor. Your attitude towards acting is better than many people. It's just that your acting skills are a little bit worse."

"Even if I don't look for you this time, I believe someone will look for you in the future."

Wang Shu has always disliked actors in the crew who have a bad attitude towards acting.

An actress like Zhao Liying who has always been working hard to improve herself only lacks opportunities.

She blushed a little when she heard what Wang Shu said.

She felt embarrassed when Wang Shu praised her good attitude, and also blushed when Wang Shu bluntly said that her acting skills were poor.

Zhao Liying knew very well whether Wang Shu's acting skills were good or not since she was not a professional actor. She knew in her heart that what Wang Shu said was right.

Wang Shu saw Zhao Liying's expression and then said, "It doesn't really matter whether you are a professional or not."

"In other words, actors who are not trained in acting are more malleable than actors who are trained in acting."

"Professional actors often have strong traces of performance, giving people the feeling that they are performing according to a routine."

“It’s usually not about playing a role, it’s about performing a role.”

"Non-professional actors are different. Their performances are very down-to-earth and full of life."

"Of course, it is relatively difficult for non-professional actors to become excellent actors."

“But as long as you open up the Ren and Du meridians, you will become an extremely powerful actor.”

"It's often easy for professional actors to get started, but it's more difficult to transform into an excellent actor."

This is not Wang Shu's exaggeration, but the conclusion reached by many well-known non-professional actors from both sides of the Taiwan Strait and Hong Kong.

Looking at the actors from both sides of the Taiwan Strait and Hong Kong, most of the classic film and television characters are portrayed by non-professional actors.

In short, it is easy for professional actors to get started, but difficult to transform.

It is not easy for non-professional actors to get started, but once they get started, they have infinite plasticity.

In fact, this is the difference between experientialism, methodism and expressionism.

Among the three major factions in performing arts, the experiential faction is the most difficult.

Since non-professional actors have not received systematic training, their performances can only rely on life experience, which is called experientialism.

Therefore, many non-professional actors have been on this path, and those who can stand out have excellent acting skills.

For example, Zhou Xun and Sun Li are both experiential actors.

It doesn't mean that non-professional actors are all experientialists. Some non-professional actors lack understanding. In order to improve their acting skills as quickly as possible, they will conduct systematic learning and use method and expressionist performance methods to improve quickly.

Most of the actors in these two schools are professional actors.

Among them, the method school inherited from the experiential school.

Both require actors to achieve subconscious and real reactions, but there is one significant difference. That is, the method school allows actors to replace the communication objects, while the experiential school does not.

For example, a straight man plays a gay man and makes him fall in love with a man.

The method school allows straight male actors to imagine their opponents as women, while the experiential school requires that you must find the part you love in this same-sex person.

This is because the experiential school believes that changing the communication partner is not conducive to capturing subtle changes in the opponent's reactions. This is especially true for stage performances, where a play is performed dozens or hundreds of times. Changing the communication partner can easily cause the actors to lose their sense of freshness in the repetition, ultimately making the performance rigid.

However, during the filming of a movie, actors do not always have a real person to communicate with, and the most realistic performance only requires one take, without repetition.

So in filming, it is sometimes harmless for actors to change their communication partners, even if it is necessary.

For example, there are many successful examples of American film actors using the Method School.

However, America is open and Hollywood has more creative ideas, which is one of the reasons why American film actors can succeed through the Method School.

Not to mention, in American culture, many Hollywood actors are bisexual.

Therefore, although you may seem to be a methodist, you may actually be an experientialist.

As for expressionism, it does not emphasize starting from the self, but emphasizes building a "character image" in the mind first and emphasizes imitation.

At the same time, expressionism does not advocate living subconsciously in a situation, but emphasizes "jumping out" to grasp and design.

Some people say that experientialism is Stanislavsky and expressionism is Brecht.

The first half of the sentence is correct, but the second half is not.

The "alienation" advocated by Brecht is a performance effect, which is achieved more through screenwriting and directing rather than a performance method.

In his own theatrical practice, Brecht hoped that the audience would be alienated, but still required the actors to experience.

In order to find a theoretical basis for their own performance methods, some domestic performers used Brecht as a banner, and many people were deceived.

As for some people saying that experientialism is from the inside out and expressionism is from the outside in...that is also wrong.

The experiential school requires a "subconscious" that is completed organically both internally and externally. When performing, the actor's attention should not be on his external actions, nor on his inner heart, just like most of the time in life, people's attention is not on themselves, but on their opponents and environment. Neither inner feelings nor external behaviors are deliberately generated, and it should be the same when performing.

Stanislavsky's "physical-psychological action method" in his later years is actually a way for the director to lead the actors to improvise in order to help them reach subconsciousness. It is not what some people think of as "Stanislavsky's change from inside out to outside in his later years."

In order to appear capable, show off, and find a basis for their own performance methods, many people in China who have studied professionally have variously imagined and "innovated" the existing theories of Brecht, Stanislavsky, and others.

(End of this chapter)