Author: LORENZO
It is the first time to nominate an Oscar for a foreign language film on behalf of a Chinese film, and for the first time for a Chinese film to win the highest awards of the three major film festivals... With such a reputation, every new film of the 68-year-old Zhang Yimou will still attract the greatest attention of movie fans. The division of "fifth generation directors" has not been mentioned for a long time.
After cooperating with Hollywood, Zhang Yimou did not shy away from expressing his dislike of the producer system. Even if you are the Chinese-speaking director who has the most right to speak, in the Western environment, your creation will still be hampered and restricted.
Returning to the familiar creative context again, Zhang Yimou changed the routine of the previous commercial films, with a big stroke, rendered the black-and-white "Shadow" with Chinese ink and wash style, making the film present a magnificent literary style. The new exploration of visual aesthetics can be described as ingenious.
The story of "Shadow" is inspired by Zhu Sujin's "Three Kingdoms·Jingzhou". Deng Chao's Ziyu Shou is also the substitute of Deng Chao's Jingzhou, aiming to regain lost land for the country and then usurp power. The story of such a stand-in is rarely interpreted in Chinese history. Do you want to be the real body or the shadow? This is not only the choice of historical figures in the face of the times, but also the same helplessness and confusion when placed in artistic creation.
In an interview, Zhang Yimou interpret this role: "You see him every step, in fact, are struggling to survive even if he seems to have become the last boss, like, orders the world, but in fact, he was the only way to survive.." True True and false, the conversion between false and true, perhaps the story itself is projecting Zhang Yimou himself.
Director Zhang not only made "Shadow" exquisitely made in ink and wash style, but also used Deng Chao to play the two roles, and even let Sun Li and Deng Chao play husband and wife in the movie. Ever since, Deng Chao beat Deng Chao, Deng Chao and Deng Chao snatched Sun Li such a gimmick is very exciting. In particular, Deng Chao's precise handling of two completely different character characters also allows us to see the seriousness and devotion of a professional actor.
Lao Mouzi has publicly expressed his admiration for Akira Kurosawa on many occasions. This time, the setting of the "stand-in" in "Shadow Warrior" draws on the background of Chinese history. Director Zhang personally participated in the creation of the script. He is the most devoted one of the original stories based on non-fiction films. With the complexity of human nature and the cruelty of history, the whole story has never been reduced to aesthetics, and it truly complements each other.
After the premiere in Venice, foreign reporters were shocked by the unique oriental aesthetics presented by "Shadow", and the audience applauded for 5 minutes. Some media said that "this may be the most amazing film directed by Zhang Yimou so far" and "the well-designed action scenes show the typical charm and imagination of Zhang Yimou." The reporter who did not leave also talked with Zhang Yimou for the first time in Venice, trying to explore the creative background of "Shadow".
Not scattered: Hello, Director Zhang, this time "Shadow" is a little different from your previous works, especially in the new expression of colors. Generally speaking, your previous works have very high color saturation and more colors. This time in "Shadow" we used black, white and gray tones very boldly. We want to know the reason for this change.
Zhang Yimou: I have wanted to make a film in the style of ink painting for many years, but it has never been realized, so I want to try it this time.
Choosing a black, white and gray ink style actually fits the theme of the movie. Because our story is still about human nature, it's about the complexity of human nature. The black and white in ink paintings do not represent pure quality. It is just the blending of water. The layers and changes that occur in the middle are the mystery and charm of ink paintings. This happens to be the middle part of human nature. It is also the most complicated part that black and white do not represent pure quality. It is not black or white of human nature. It is the gray area of the middle part. It is difficult to describe these parts. I found it very interesting, so I used such a style. Another reason is that I also want to make my own movies have a strong Chinese style. This is another ancient Chinese theme, so the consideration in this respect is also consistent.
Not scattered: In fact, when we are watching "Shadow", we will think of Kurosawa Akira's work "Shadow Samurai", and your screenwriter this time is actually based on Zhu Sujin's work "Three Kingdoms Jingzhou", so we want to know you Where did this idea come from? Why do you want to tell such a story?
Zhang Yimou: "The Shadow Warrior" is one of my favorite works, and I also like Director Akira Kurosawa very much. When I watched this movie decades ago, I was still wondering why there is no stand-in story in China. Later, I also checked some information, and indeed there are very few records. You see, the filming of our Chinese film and television dramas has been flooded, and many things have been filmed several times, and it seems that no one has been filming a substitute. I became more and more curious. This interest made me think, let's take a stand-in.
I always felt that I was going to come across a story about ancient costumes. If it was good, I would change it into a story about a stand-in. I have always had such an impulse. Until I read Zhu Sujin's "Three Kingdoms·Jingzhou" script, I thought it was well written. He wrote very well on realistic things and portrayal of characters. So we met with him. The first day we met, we sat down and talked about the script and started talking about doubles. Zhu Sujin was a little dazed. He felt that they belonged to the Three Kingdoms. If you talk about substitutes here, you have changed too much. He had a three-day meeting with me. In the end, Teacher Zhu couldn't sit still and said, "Forget it, you can shoot the movie as you please. I will leave the script to you, and I will not participate in this adaptation. Because he felt that this is a far cry from his work, so we changed it ourselves. This is also a wish of mine for many years, hoping to photograph this double.
At that time, it was done in the context of the Three Kingdoms, acting as a stand-in for Zhou Yu. Everyone knows that Zhou Yu is not in good health and is pissed to death, so the script is about Zhou Yu's stand-in. But it was about three years before it started, and for nearly three years, it has been based on the three countries. So this umbrella in the script is called Dongwu umbrella, not Pei umbrella. About half a year before we started up, we opened the Fairy Club again, and we asked a lot of people to talk about it. Everyone was unanimously opposed to saying that it should be applied to the Three Kingdoms, and that it would be dead if it was applied to the Three Kingdoms, and that you had changed this thing too much. Can Sun Quan kill Zhou Yu? Can Zhou Yu kill Sun Quan? That will not work. So you can't use a stand-in. There is no stand-in for the Three Kingdoms, and you have made too much of this. In this way we put it above the ground and avoid trouble. So the story of the stand-in is something I wanted to shoot for so many years, and I am also curious about the fate of these people and why they disappeared.
Another interesting point is that until the Trump motorcade goes out today, there may be substitutes, right? Agents and the like have to be replaced temporarily. I always find it very mysterious and interesting. So I think its human nature, the emotional entanglement and human entanglement between the real body and the substitute, must be the most interesting place. At that time, I hope to start from this angle.
Do not leave: We like your exploration very much, because we feel that you have jumped out of your own safety zone, bold but very successful. In addition, you actually have new ideas in the use of actors, because this time you used Deng Chao and Sun Li. They are both husband and wife in and out of the play. Was there any special consideration for using such a combination at that time?
Zhang Yimou: Actually, we didn't plan to use a mom-and-pop shop at the beginning. We only ordered Deng Chao from the beginning. I appreciate his performance, and his performance is tense. Everyone is watching his variety shows. In fact, I don't watch variety shows, I just watch works. I think his performances in drama works are still very good, so I ordered him. At the beginning, I wanted to find another actress, and I also contacted them, but they didn't succeed. Then I thought, let's just go to the mom-and-pop shop. There is no problem with Sun Li's acting skills. I originally thought it was very interesting. The real or fake Deng Chao and Sun Li, are they a real couple or a fake couple? So this is presented on the screen, and people who are familiar with them may find it a bit weird, but it is also interesting. So that's it. A real couple and a fake couple, two Deng Chao compete for a grandson. (laugh)
Do not leave: It is indeed very topical and very enjoyable. In fact, you have also made innovations in the use of other actors, including you used Wang Junkai before, this time you also used Wu Lei, and also related to Xiaotong. Do you have any special ideas about the discovery of new actors?
Zhang Yimou: Actually, it's not. Maybe the "small flow of fresh meat" was more popular a while ago. There are still many negative things. Everyone is not satisfied. They think it depends on the appearance. Actually, I don’t think these things can be beaten to death with a single stick. Old drama bones are all grown up from new actors, right? We have to believe that the big waves are scouring the sand, young actors and new actors are all small meats. Everyone will identify and compare. Those who can act are left behind. Those who can't act are temporary. They will be eliminated. That's for sure. Good actors grow up.
So we still have to give young actors space. We can't turn our appetite for Xiao Xianrou just because we hate Xiao Xianrou now. If they think they are all not good, then we won't have a successor, right? Still have to give them the opportunity to exercise. Besides, Guan Xiaotong is very good at acting. She is very good at acting in "Little Flower". She has been a child star since she was a child. Wu Lei's performance is also good. He does his movements very hard and takes his own actions. Both children are very nice and obedient. Wenxi Wu Lei also works very hard, so I think it is not inferior. He was with these uncles and old drama bones, and they were all catching up.
There are also movies that require two underage actors. I think this is an adult game, a noble game, and a power struggle. Those two people are actually not, especially Guan Xiaotong. She is not fighting for power, she is fighting for herself, even for face, and willfulness, right? She is completely outside the story, quite precious. And I took a bird's eye view, these two young people are dead, Wang Qianyuan sighs very much. In fact, it also represents my perspective. Because Qianyuan asked me how to perform this scene, I watched them die. I said you should show such regrets of "嗐".
Because the two lively and young lives were actually a victim. They were sacrificed in the face of power. Maybe it was a misunderstanding. Two people who were lively and lovely. Therefore, in this movie, they assume a kind of youth, a kind of definition of a victim outside of the next generation's tactics. So we need two very young actors. They can't be in their teens or twenties. They can't pretend to be tender. The youthful thing on his face must be there. So we must choose two such little actors.
Do not leave: I understand your choice. In addition, we also see that the work of "Shadow" is different from your previous work. Your previous works have some big scenes, such as the Great Tang Dynasty in "The Golden Armor" and "The Great Wall". There are thousands and thousands of horses here, but in "Shadow" it is more restrained than the previous works. Is this your new thinking on artistic expression?
Zhang Yimou: This is the result of my discussion with the investment boss. I talked to them at the beginning. I think this story has two directions. One direction is more commercial, so it goes without saying that you have to shoot a lot of things, and the other is more artistic. Both of them can tell the story. Which one do you prefer? Of course, investment. It's not the same. They asked me, director, which one do you want to shoot. I said that of course I want to make more artistic films (laughs). I don't want to make more commercial films. I just finished "The Great Wall", which is a big commercial film. They respect me very much, saying that it will be handled according to the director's wishes.
In this case, the war is only used as a background. Although we have war scenes, including weather warfare, rain warfare, we have umbrellas, and we have the concept of softness to overcome strength, we have also trained many death inmates and spent a lot of thought on designing the process of war. , But we are very short, which makes everyone seem to have not seen enough. But I did it intentionally, it's very short. Because my focus is not here, I still want to put it only in the background. So when you watch the entire movie, the literary and drama take up a lot of space, and war is only one part of it. I dealt with it this way deliberately. This is my wish to complete my own characterization and storytelling.
Not casual: Your new "one second" has been fixing, and we are very curious, this work is said to reflect the young for the love of the film, is not it reflect your mood?
Zhang Yimou: You will watch it. It is a very special movie.
Do not leave: We are particularly curious.
Zhang Yimou: I am also very curious, and thank you! (laugh)
· THE END·
This is the 716th article of "Won't Disperse", Lao Mouzi is back!
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