Huayu: Reborn in 97, transferring to the Central Academy of Drama's star-studded class

Everyone knows that smiles don't disappear, they just move on.

Just now, Zhang Ziyi was feeling down, and Jiang Lai was all smiles, even comforting Zhang Ziyi. Now that Zhang Ziyi is laughing, it's Jiang Lai's turn to feel bad.

He was going to lead a group of children in circles.

As we all know, there are several of the most difficult types of films to shoot in the film and television industry: action scenes, scenes with live animals, scenes with children, and large outdoor scenes.

Director Zhang's film achieved two goals in one shot: setting up a vast outdoor landscape and having a group of lively and active children follow a prescribed route.

That doesn't sound reliable.

One minute the child was running off with the sheep, the next the two children were fighting on the spot, giving Jiang a real hard time.

Zhang Ziyi laughed heartily beside him.

One scene took two days to film and still wasn't finished. In the end, when all else failed, Director Zhang sent someone to the village to bring the parents over. Only then were the naughty children calmed down and obediently finished filming.

Zhang Yimou called it a day and said to Jiang Lai and Zhang Ziyi, "You two take a good rest. We'll shoot the main scene tomorrow."

Having worked with Lou Ye before, Jiang Lai knows these directors all too well; in their eyes, every scene is a major highlight.

The next day, Director Zhang took Hou Yong to Zhao Di's house in the film as soon as it was light. They set up the camera in front of the door and kept staring at the screen, waiting for the best lighting.

After looking at it for a while, the two of them realized, "Wait a minute, we need to film people!"

So they called Zhang Ziyi over and had him stand at the door, keeping them company while they waited for the light to come on. They waited for several hours, and Zhang Ziyi wanted to curse.

Jiang Lai wasn't much better off; Director Zhang kicked him out of the courtyard and made him wait there.

According to Director Zhang, today's scene is Luo Changyu going to Zhao Di's house for a meal, and the two of them facing each other formally for the first time at the door.

You have to endure and wait for that feeling to come.

Okay, let's wait then. We waited until noon.

As the midday sun illuminated the entire entrance, Director Zhang excitedly picked up the walkie-talkie: "Alright! Ready, ready! Xiao Zhang, you can go back now! How about number 1? How about number 2?"

"The image from camera position 1 is normal."

"The footage from camera position 2 is also OK."

"Okay! Script supervisor! Where's the script supervisor?"

The two young men quickly grabbed the clapperboard and ran to the two cameras.

"Snapped!"

"Action!"

Jiang Lai rubbed his face, and immediately smiled when he heard the start. He pushed open the wooden fence with an expectant look on his face and looked towards the door of the house.

You can question everything about Zhang Yimou, but you have to admire his aesthetic sense.

The symmetrical structure, the mottled wooden windows, the large, golden pumpkins piled on the windowsill, with garlic and bright red peppers hanging on them, the vibrant colors, and that girl.

Zhang Ziyi, wearing a red coat, walked gracefully out of the dimly lit room, the sunlight gradually illuminating her.

She leaned against the door frame, watching her beloved walk towards her. She smiled and lowered her head, her smile shy yet bright, her little hands unconsciously clutching the hem of her clothes.

It blends seamlessly with the surrounding scenery, like a painting, a stunning pastoral oil painting.

Jiang Lai stared wide-eyed; the face was so familiar, yet so stunning.

The poem "Sayonara" describes it thus: "The most tender thing is that lowered head, like a water lily shyly trembling in the cool breeze."

Jiang Lai felt this way at that moment, and perhaps he would never forget this scene.

If you ask Jiang Lai what the difference is between "Suzhou River" and this movie, it's that in the former he doesn't believe it's love, while in the latter he firmly believes it is love.

Therefore, in "Suzhou River", his laughter is flamboyant and unrestrained, because what Mada is looking for is not love, but self-transcendence.

At this moment, his smile is pure, warm, and timeless, a fleeting glance that seems to last an eternity.

Director Zhang slapped his thigh: "All this waiting wasn't for nothing!"

He looked left and right, but unfortunately, Yate's grandson wasn't there; he hadn't returned from taking the old lady away yet.

They filmed a few more takes while the light was still good, and then the crew quickly ate their meal.

The scene we filmed in the afternoon was Luo Changyu being labeled a member of the You faction and being taken away before he came to say goodbye.

The plot picks up where Luo Changyu promised to come to Zhaodi's house for dumplings. Zhaodi cooked the dumplings early, but he never came. When he finally arrived, he said goodbye.

Jiang Lai and Zhang Ziyi continued to perform steadily, perfectly portraying the helplessness and reluctance. Before leaving, Jiang Lai took out a red hair clip.

"This is what I bought for you. It looks great with your red dress!"

Zhang Ziyi happily accepted it.

For such a small thing, Director Zhang specially had Yate carry a camera to town a while ago to shoot a scene of Jiang Lai buying hair clips, which also reinforced the fact that Luo Changyu had already taken a liking to Zhao Di.

After filming this scene, the crew wrapped up. Director Zhang slowly walked over to the two actors and said, "Tomorrow we'll be filming another major scene, so you two need to keep up the good work."

Look at them, tell me, in their eyes everything is the highlight.

The next day, just as dawn broke, Director Zhang led the entire crew to the village entrance to film a scene where Luo Changyu was taken away and Zhao Di chased after him with dumplings.

These scenes are all internal monologues. Director Zhang specifically arranged these scenes together to ensure the actors' emotions remained consistent.

The story is set at dusk, but he chose to film at a time when the light was similar to that in the morning.

Director Zhang first filmed several shots of Jiang Lai following the person who led him away, sitting in a horse-drawn carriage traveling on a dirt road, and then found Zhang Ziyi to film shots of her running alone on the mountain.

After he finished, he prepared to photograph Zhang Ziyi chasing after the carriage.

This shot required both the carriage and Zhang Ziyi to be in the frame at the same time, which made the coordination quite difficult.

Just before filming began, Director Zhang thought for a moment and called over the assistant cinematographer. He instructed the cinematographer to carry camera number 2 and lie down in the carriage bed. He had no other requirements but to capture all of Jiang Lai's expressions, making sure that Jiang Lai's head was not visible, as camera number 1 could capture the carriage itself.

The young man looked excited; this was an important task entrusted to him! He expressed his determination to complete the mission.

He immediately lay back in the carriage bed, pointing the camera intently at Jiang Lai, who was afraid of stepping on him.

But the young man said that Jiang Lai and another fellow villager should step on him so that they could block him completely.

Jiang Lai couldn't help but admire how dedicated this child was.

After everything was ready quickly, Director Zhang called for action.

The coachman cracked his whip, "Giddy up!"

The horse, in pain, took off running.

Just as the carriage was about to enter the shot of camera number one, Director Zhang quickly ordered, "Xiao Zhang! Run!"

Zhang Ziyi immediately picked up the large celadon bowl containing the dumplings and ran off.

The grasslands were already withered and yellow by then. Autumn brought vitality, but what followed was decay and desolation.

A carriage drove past, raising thick smoke that obscured the view and prevented a couple from meeting.

Zhang Ziyi ran and chased desperately, but could only watch the carriage get further and further away. She could only run and chase even more desperately.

She dared not stop, for fear that the person she loved would not get to eat the mushroom dumplings he liked.

The young man lying in the truck bed didn't forget his task, steadily controlling the camera.

Jiang Lai glanced at the scene and caught a glimpse of the running, fiery red figure.

He stood up anxiously and said to the fellow villager next to him, "Could you stop for a moment?"

The villager was a little confused and didn't say anything. The coachman ignored him and drove the horse away. This silence was just in line with the attitude towards Luo Changyu's identity.

Jiang Lai was disappointed and didn't say anything. He could only wave from afar, hoping that the silly girl who had chased after him would go back.

Unfortunately, Zhang Ziyi ran even faster after seeing this.

She tripped and fell to the ground, rolling several times.

Director Zhang and the others jumped up immediately because Zhang Ziyi hadn't faked the fall in the pre-arranged spot; she had actually fallen, and her forehead was scraped and bleeding.

After she fell, her first thought wasn't to check on her injuries, but to frantically search for the bowl of dumplings, because he hadn't eaten yet.

However, when she saw the large celadon bowl shatter into pieces and all the dumplings spill out, she sat there blankly, glancing at the carriage that was getting further and further away.

Sadness, self-blame, and the pain of never seeing her beloved again overwhelmed her in an instant.

That youthful yet passionate red, stained with blood, lay on the desolate wasteland.

A heart-wrenching cry.

Jiang Lai, who was on the carriage, saw her fall and was so anxious that he wanted to jump down, but the villager caught him and pulled him back. His eyes also reddened.

After Director Zhang called "cut," everyone rushed over, worried that the little girl who had fallen might be hurt.

But Zhang Ziyi ignored everything and ran towards Jiang Lai again. Jiang Lai also stopped the carriage completely and ran towards Zhang Ziyi.

The young man lying in the truck bed sat up, carrying a camera, always remembering his mission, and aimed it forward.

Surrounded by mountains, in the vast wilderness, two figures embraced each other.

At this moment, there is no talk of romance, only you and me.

"I thought I would never see you again!" Zhang Ziyi cried loudly in Jiang Lai's arms.

Jiang Lai gently patted her back.

Director Zhang lamented, "If the script had been different, I really would have liked to include this scene in the final cut!"

No one answered him. He looked left and right, but Yate still hadn't returned.