I am a historical film director in the entertainment industry.

Chapter 90 Costumes and Props of the Three Kingdoms
"Changchang, congratulations."

Seeing that the two women had straightened their clothes, Liu Xiaoli said to Su Chang.

"Changchang, why don't you talk to Director Cheng and ask him to give me a role too!" Liu Yifei said, her eyes lighting up.

"Do you have time to film multiple projects at once?" Liu Xiaoli asked, glaring at him.

"I didn't say I wanted the female lead. It's just a cameo role; it won't take a whole day," Liu Yifei pouted.

“Godmother, if Yifei really has this idea, I can send a message to Director Cheng to ask,” Su Chang said, speaking up for Liu Yifei.

Liu Xiaoli pondered for a moment; she had plans for her daughter's development in the entertainment industry.

She is a typical "controlling and loving mother".

Liu Yifei's journey to where she is today has been entirely under the control of Liu Xiaoli.

During the entrance exam for the Beijing Film Academy, Liu Xiaoli barged into the exam hall, staging a scene of a heartless man abandoning his wife.

This move is truly astonishing.

However, it must be admitted that the effect was immediate.

"The Story of a Noble Family" is Liu Yifei's debut work.

At the time, she couldn't even understand the meaning of the script.

Liu Xiaoli then acted as a "human prompter," patiently teaching him word by word.

The director criticized her as a "wooden beauty," while Liu Xiaoli smiled obsequiously, served tea, and earnestly asked the director for his advice.

To succeed in the entertainment industry, it's not enough to just work hard; you also need the help of others.

Liu Xiaoli is the latter.

She poured all her dreams and ambitions into her beloved daughter.

She didn't really want her daughter to have a cameo role, not even in a Cheng Sheng film, since it wouldn't help her daughter at all.

It would be better to play the role of "Little Dragon Girl" well, so that people don't mistakenly think you're doing multiple roles at once.

Giving the "The Return of the Condor Heroes" production team a good impression is the most important thing.

But Liu Xiaoli then thought of Cheng Sheng's influence.

It ranked first in the domestic box office charts.

I heard that "The Great Tang Dynasty - Origins" will be released in the United States soon.

If the box office explodes in North America, Cheng Sheng will be a well-deserved international director, and even Hollywood will want to cast him in their films.

If we can improve our relationship with Cheng Sheng now, we won't lack resources in the film industry in the future.

Look at Su Chang now. She only acted in one of Cheng Sheng's movies, and Cheng Sheng personally called her to invite her to participate in a second movie.

While others are still waiting for auditions, Su Chang has already been chosen internally. That's what happens when you have connections.

"Okay, I agree, but I can only make a cameo appearance if it doesn't interfere with the filming of 'The Return of the Condor Heroes'."

As the female lead in "The Return of the Condor Heroes", Liu Yifei has a very significant role.

"Thank you, Mom," Liu Yifei said happily.

Su Chang was also happy for Liu Yifei. She took out her phone, opened the QQ group, and sent a message to Cheng Sheng.

……

Personal studio.

Cheng Sheng was discussing filming matters with Liu Meng.

"Director Cheng, I've already had people look for many filming locations. These are the photos they took. Take a look and see which place is better."

After Liu Meng finished speaking, he placed a stack of photos on the table.

Cheng Sheng carefully examined each photo. In order to find a suitable filming location, Cheng Sheng had Liu Meng dispatch many people to search throughout the country.

Each of these photos has the name of the place where it was taken.

Zhuozhou in Hebei Province, Inner Mongolia, the Land of Abundance, Yongliang, Yunlan, etc.

After a long while, Cheng Sheng held up a photo of Zhuozhou Film and Television City and said, "Wasn't the old version of 'Romance of the Three Kingdoms' filmed here?"

“That’s right, it’s Zhuozhou Film and Television City. Back then, the crew of the TV series ‘Romance of the Three Kingdoms’ even built a Han Dynasty set, including iconic buildings such as Han City and Bronze Sparrow Terrace. These sets recreated the historical background of the reign of Emperor Ling of Han and filmed important plots such as the Yellow Turban Rebellion,” Liu Meng said after hearing this.

"Has the set been dismantled?"

Cheng Sheng's heart stirred, and he asked.

The sets built in the old version of "Romance of the Three Kingdoms" are very close to history. If we can utilize them, we can save time and money on building sets again.

“They’re all kept,” Liu Meng said.

“Okay, send someone over there to discuss it right away. The new movie will be filmed there,” Cheng Sheng said.

After discussing the filming location, Cheng Sheng also talked with Liu Meng about the formation of the production team, as well as the issues of costumes, props, and sets.

Given the strict requirements for costumes, props, and sets in the previous production of "The Great Tang Dynasty," the costumes, props, and sets in "The Yellow Turban Rebellion" certainly couldn't be taken lightly either.

The Yellow Turban Rebellion was a peasant uprising. The rebels were poor, so they didn't wear armor. They usually wore yellow turbans with ordinary cloth clothes or hemp robes, which was the main attire in the late Eastern Han Dynasty.

This saved a lot of money in clothing production.

As for the uniforms of the officers and soldiers, they were actually not much different from those of the common people, and not all of them were wearing armor.

For props like swords, spears, and halberds, we can simply use the props from "The Great Tang Dynasty".

Therefore, Cheng Sheng quickly made a decision regarding costumes and props: in addition to having the factory produce clothes for ordinary people and Yellow Turban warriors from the late Eastern Han Dynasty, the main focus would be on clothing for military officers and civil officials.

Civil officials' attire consisted of a crane-feather cloak, a deep robe, and a turban.

The crane cloak is made of bird feathers or silk. It has a wide body and broad sleeves, and is often draped like a cape, giving it a flowing feel.

In the novel Romance of the Three Kingdoms, Zhuge Liang is often depicted as wearing a crane-feather cloak and is known as "Kongming in white".

The shenyi (a type of traditional Chinese robe) features a right-fastening cross-collar design and is tied at the waist with a silk ribbon. The colors are mostly plain, such as blue and white, which is in line with the dressing style of Han Dynasty literati.

The turban, a headscarf woven from blue silk, was a common attire for literati during the Wei and Jin dynasties. Zhuge Liang often wore it with a crane cloak.

Military officer attire consists of a military cap and a scholar's cap.

The military cap and flat turban are commonly seen on military generals, such as in the portrait of Cao Cao.

The Jinxian crown was used by both civil and military officials and needed to be paired with a turban. Some civil officials in Western Han murals are similar to this.

There was also the court dress. In the Han Dynasty, court dress changed according to the "five seasonal colors" (green in spring, vermilion in summer, yellow in late summer, white in autumn, and black in winter). Officials had to remove their swords and shoes before they could meet the emperor.

The wide sleeves with drooping cuffs were both practical and popular among the elite.

However, some literati still paid attention to details and decorations, such as embroidery on the collar and cuffs or matching with a belt.

Besides that, there was Emperor Ling of Han's dragon robe.

The Han Dynasty inherited the Qin system, which mainly used black. However, due to adjustments made by the Five Elements theory, the dragon robe of the Han Dynasty was mainly in the form of the ceremonial robe.

The ceremonial robe consists of a black upper garment, a red lower garment, and a twelve-tassel crown, paired with jade ornaments and red shoes.

The black robe is decorated with six patterns: sun, moon, stars, mountains, dragons, and insects, symbolizing the emperor's authority.

The color of the imperial robes was attempted to be changed to yellow during the reign of Emperor Wen of Han, but this was not fully established.

During the reign of Emperor Wu of Han, yellow was established as the color of honor, and this practice continued into later generations.

The crown has jade ornaments called "Yun'er" hanging on both sides, symbolizing that the monarch must be careful in his words and deeds; the twelve symbols on the robe emphasize the legitimacy of the imperial power and became the basic form of the dragon robe in later generations.

(End of this chapter)