Wei Di/Text
Sina Entertainment News Since the release of "Old Pao'er", it has been given a high score of 9 points by netizens on multiple platforms, and the evaluation is better than 94% of feature films and 98% of feature films. The story of Six Masters has been widely known to everyone. Director Feng's performance is considered to be a worthy winner of the Golden Horse Award, which shows the audience's love and recognition of this work.
In "Old Pao'er", Liu Ye, who is riding hard on the street, and the ostrich running unrestrainedly on the road, complement each other. Where did the ostrich's imagination come from? How did the final running scene come about during the shooting? Director Guan Hu personally interpreted several details about the film.
Question 1: Why did Lao Pao'er's son choose Li Yifeng instead of a Beijing native?
Guan Hu: The Beijing boys I know now don’t speak the language of the 1960s, and many of them speak Hong Kong and Taiwan accents. If we want to complete the feeling of two generations and two worlds, we must be two completely different people. In fact, this is already the case. But at the end of the film, in fact, there is still the energy of such an old gun's son. Therefore, in choosing Li Yifeng, in addition to business, there are many other considerations. As far as his hard work, his mentality of wanting to be a good actor, and the fun of doing this thing together, he is quite comfortable.
Question 2: Was "Old Pao'er" really filmed in a hutong in Houhai? Are those landmarks a set or a real shot?
Guan Hu: No, 30% of our shooting in Houhai, 70% of which we took the three alleys, is the location. The 30% of the real shots in Hutong, Houhai Yinding Bridge, are landmark places, there is no way to change them, they can only be there. Other parts, such as the Drum Tower, are all done with special effects.
I always say that the special effects work of this film is bigger than that of "Long Hunter", because what "Looking for the Dragon" does is to make you look more fantastic, how does the special effect of "Old Pao'er" make you invisible ,How to do it. Gulou Street couldn’t be filmed, and the alley was irregular. As a movie, it no longer had a sense of shape, and it was completely messy. So from the beginning to the end, I made up my mind. This determination is very difficult, because the time is very short. In three months, I built three hutongs, and strictly copied them according to the appearance of Beijing hutongs, even a mouthful of phlegm. do it.
Question 3: When Wu Yifan appeared, he used a loudspeaker to communicate with others at the very beginning, why? In the close-up, the young man's lips are sparkling. What is this person's design?
Guan Hu: A real man should be like Liu Ye, a boy like Xiao Fei will have alienation, there must be alienation. Whether he put on lipstick or dyed his white hair, we asked him to do everything, and it was strictly required by the makeup artist, and it was very complicated to apply makeup every day. If the hair is dyed white and then dyed black, I will not talk about the damage to the hair quality. The key is that he can't dye it back. He can't dye it black until it reaches a certain level, which is very troublesome.
Question 4: How did you shoot the last scene of the ostrich running on the street?
Guan Hu: We actually bought the birds and raised two ourselves. After the film was finished, it was sold and returned to the ostrich base. In the last running scene, we spent another 300,000 yuan to make a fake ostrich, which is exactly the same as the real one, and people can enter it. There are people inside, people are in the belly of the ostrich, and the actors who are smaller can run. There is no real ostrich running. The real ostrich's feet are extremely powerful. One foot is 150 kg, and anyone who steps on it will break a bone. It's impossible to control at all, and you can't pull the rope. How dare you let the ostrich run, it's no different from the tiger running.
For the last part we sealed off the whole street and then the extras got into the ostrich and wore ostrich outfits. Director Xiaogang and the ostrich, this is a big deal, I shoot in reverse, the images are running in the same direction, but the camera is in reverse. It means that the car going in the opposite direction is extremely dangerous, and the traffic police team is responsible for maintaining the order at the scene. For me, it was also a rather tiring two days. There were too many people on the scene and too many complicated things, because you couldn't control every passerby, but you needed everyone to not look at the camera. One look at the camera is in vain. So those days were difficult. (Wei Di/Text)
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Guan Hu: "Old Cannon" "Er" Retrieves the lost time, chivalry is all
there is not Guan Hu wanting to write "Old Pao Er", it is the story of "Old Pao Er" that flows out from Guan Hu's pen.
After the filming of "The Cook and the Showman", Guan Hu devoted himself to preparing a script about veterans, called "Old Pao'er", but this script was ill-fated and failed to pass the trial. At that time, it was Guan Hu who was unhappy and unhappy. moment. He began to doubt himself, and even hated his appearance a little - "Why do I seem to be becoming more and more like the kind of person I hated the most 20 years ago?"
Director
Guan Hu, who was born in 1968, 20 years ago, He is only in his 20s, which is about the same age as Xiaofei and Xiaobo in the film. Guan Hu likes a scene when he was young, and he never forgets it: in winter in Beijing, a person rides a bicycle under a heavy snowfall of goose feathers, crossing half of Beijing city, to see a girl, just to take a look. That kind of heartbeat and fearlessness became his most memorable emotion.
Another place that I can't go back to, and I occasionally meet in my dreams. From birth to the age of 12, Guan Hu lived in Mao'er Hutong on Houhai Beach. The hazy impression has always been there, the coal yard full of coal in winter, the public toilet in the hutong, the elementary school with its bell ringing, and the compound next to the hutong, I still dream of it to this day.
"I found that I did lose a lot of things, such as friendship between men, righteousness, and attitude towards love. Once these things are touched, Lao Pao will rise up and defend it no matter how much it goes down or is not taken seriously. Dignity. I think this may be a moving story, and then it's established."
Following the past feelings, the aftertaste of the old days, the reappearance of the memory of old Beijing, and the anxiety under the changes of the times, this is the The source of the story of "Old Cannon".
"Lao Pao'er" poster
What kind of person is Liu Ye? With a slack head, but with an ancient style and ancient rhyme
, Guan Hu's ambition is reflected in that he wants to set the character like a kaleidoscope, take the character as the axis, turn left and right, and can see the big world, not to mention that everyone can not see it the same way. . In her debut novel "Hair Disordered", Ye Tong is such a person, reflecting youth and sex, changes in the city and the world of rock and roll. When it came to "Killing", I tried to explore the concept of "The Crowd" and discussed how sharp group violence can be. In "The Cook and the Showman", the protagonists act with high tones and exaggerated strides, and the whole story is full of hormones and adrenal glands.
When it came to "Old Pao'er", Guan Hu seemed to have calmed down a lot, and his deep feelings were expressed in a thoughtful way. The beginning of the film is Liu Ye's "stern and majestic" -- under the eyes of Liu Ye, there can be no injustice.
Feng Xiaogang plays the role of the sixth master Guanhu
, who thinks the sixth master is a chivalrous man - "I think the kind of person who has morality and ability is a hundred times more powerful than the body. What he wants to host is justice. There is an old man in front of the brightly lit street, no one cares who he is. But this man, he comes from the ancient style and ancient rhyme, and he still has some ancient colors on his body."
Not only is Liu Ye a chivalrous man, Wu Yifan plays Xiaofei , also needs to be a person with chivalrous spirit, the word chivalrous is the totem of the male in it. Therefore, the book Guan Hu asked Wu Yifan to read is "Little Li Feidao" - a rich second generation with a long Chanel necklace and shiny lip balm on his mouth. He still respects the chivalrous chivalry who sacrifices his life for righteousness.
Wu Yifan as Xiao Fei
Guan Hu likes Gu Long, and the knight in Gu Long's novels is his favorite character. "In "The Murder Case of the Youth on Kuling Street" directed by Yang Dechang, there is a hooligan. When recruiting a new batch of hooligans, he said, "Do you like to read martial arts novels? It's very good to watch wars. "War and Peace", especially It’s good-looking, you can go home and take a look.”
During the publicity period of intensive interviews, Guan Hu said countless times that he had no delusions at the beginning of the period, and that he could invite Feng Xiaogang to star in the film, and even had an even more outrageous idea: to find a real person. The old cannon to play this role.
Old Paoer Feng Xiaogang
Sina Entertainment: Have you ever thought about Jiang Wen or something?
Guan Hu: Do you think it is appropriate? If you find someone who is so strong, the grocery store may not be able to stay.
Sina: You said it was impossible for him to play or not?
Guan Hu: No, everything has to be restricted. There are limits to everything, and the fear of not being limited is the most terrifying.
Sina: So you don't think he's particularly easy to control.
Guan Hu: I don’t think Lao Pao’er is that kind of person. Lao Pao is just like Director Xiao Gang. He’s out of breath. Jiang He is getting worse, and his head is sluggish. He’s not as strong as a cow.
Why is Xu Qing always wet? Sina Entertainment: Why did
Xu Qing just take a shower when she appeared?
Guan Hu: It's not easier to take off your pants, and to wear so strict... What's the question! (shy face)
Sina Entertainment: I especially liked that scene, because she came out wet, and as soon as she came out, she was already...
Guan Hu: Come on, it's uncomfortable. In such a dry play, there must be such a lubricant. Xiaogang's dryness, and Xu Qing's wet energy, have a feeling of fusion with each other. The whole scene was to give the audience the feeling that the sun was going down, and at the same time Lao Pao'er's physical function was also declining.
Xu Qing as Chatterbox
Sina Entertainment: The tea he drank is to make up.
Guan Hu: He was forcibly holding on, and it was no longer possible to have sex, so there were considerations in this regard. Xu Qing's pajamas, wet hair means this.
There must be a love scene in "Old Pao'er" that can't be called a love scene. Of course, Lao Paoer has no shortage of women - there are always some girls in the alleys, young men who have longed for fights since childhood, obsessed with the natural bastards in them, and also had a sense of justice. She failed, but she became the closest sister without hesitation, and offered help whenever she needed it. Aunt Xia is a "chivalrous" woman.
In Guan Hu's films, women are all bizarre. They have experienced the experience of being hurt or abandoned by men, and have since become hard-hearted to be like men. Yu Nan and Yan Ni both played widows. When they arrived at Xu Qing's place, they didn't explain their life experiences, but it was easy to see that they were not perfect people. The woman at this time, like Aunt Xia, has the warmth of a mother, but has not lost the charm of the woman herself.
In "The Sun Also Rises", the sexy Chen Chong is wet, and in "Old Pao'er", the sassy Xu Qing is not only wet, but also white and tweed. The sixth master shaves his head twice in the film. The first time the sixth master shaves his sharp chatterbox. The sixth master shaved his own head, which was the last "baptism" before entering the battlefield. After a few days, the taste was very different.
Father- son relationship: I have been looking forward to growing up, hoping to beat my dad
. Xiao Boer did not trust Zhang Xuejun. It was not until Zhang Xuejun had a heart attack that Xiao Boer found a way to reconcile with his father. After helping his father escape successfully, he gave his father one of his headphones.
The relationship between the son and the father starts from the son is a criminal in the eyes of the father, until the son becomes the criminal accomplice of the father. It is interesting to think about the Chinese "like father like son".
Li Yifeng as Xiaobo
"Fathers and sons all over the world have problems, and I'm even more intense. I look forward to growing up and to be able to beat my dad. This time my dad played the second master, and I recited him once at the scene. There was a scene. , you have to get to the place quickly. Others dare not carry it, but I carry it. My back is over, why do I feel that my father is so light. In my impression, my father is not like that, very stalwart. Chinese father and son are always opposites , confrontation, and then reconciled. Chinese people are taught by Confucianism, you were born as my son, I have been born strong, you are my private property, I want you to do whatever you want." The
father's "enemy", the grandson will help According to the report, Guan Hu's son also began to "hate" him, so the second master should be relieved.
The death of the parents cannot be seen by the younger generation with their own eyes. Xiao Bo'er really opened a bar. According to Liu Ye's imagination, it was called "Juyitang". Like Liu Ye, he taught parrots to speak and called him "Dad".
What Liu Ye missed was his son, and taught the bird to call him "Bo'er".
Xiaobo taught "father", and Liu Ye's fate can be imagined.
But Guan Hu didn't want to give a happy ending, even though - even though he had already filmed this scene - Xu Qing hugged him, on the ice, weeping. But Guan Hu was self-willed and obeyed for 120 minutes. In the end, he had to insist on himself.
"Why should I let you vent and relieve it? Just like when I watched "The Sino-Japanese War", I didn't bump into it in the end. I think that movie is still so deeply impressed by what I described to you today. It’s big, but it’s gone when you hit it, and sometimes the power of a movie doesn’t come from that.” (Wei Di/Wen)
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