Doomsday Bosses Win the Entertainment Industry ~

"RayE" Actors Interview (Part 1)

Interview reporters in this issue: Wang Zhi; Fang Muquan; Zhao Liang

【Qin Jue: Fate will fall in love with acting】

Q: What was the opportunity to become an actor?

A: I met director Jiang Shuming. I never thought that I would go down the road related to acting. (At the beginning) I wanted to make music, yes, music used to be my dream. But then some things happened, and I felt that I couldn't do it well. I happened to meet Director Jiang. He said that I was very suitable for the role of the young China in "The Cage". I said that I had never acted before, and he said, " It's okay, I have a lot of experience in guiding actors how to play their true colors." From then on, my acting career officially began.

Q: It's a wonderful fate. If you were obsessed with music before, does it mean that you yourself are not against entering the entertainment circle or performing in front of people?

A: Actually not (laughs), I am the type who only likes to play with close people in a small circle, and I like behind-the-scenes more than in front of the stage. If I insist on making music, I may be an unknown composer now. Well, I don't like the feeling of being looked at too much, of course, if I have to stand on stage, I can do it, and adjust my mind to enjoy it. It's very "social bull and social fear duality", haha. Many people are like this. They can socialize freely outside, but in fact they enjoy loneliness more inside.

Q: I see. So what made you fall in love with acting?

A: There are many factors. I participated in the filming of two films. Because of some personal matters and my personal state was more dangerous at that time, I happened to play relatively negative characters, a relatively negative one, so I felt a kind of venting (emotional) ). I just thought that maybe I could take the opportunity to "release" part of myself, and there were indeed a lot of fighting scenes in those two dramas (laughs). At the same time, during this process, the director, the actors in the same group, especially teacher Cen Yi, as well as the characters and the plot itself, all gave me a particularly big influence. I came out of a confused and unstable state, and I began to like acting, accepting the characters, and accepting myself. When a career allows you to reconcile with yourself, find meaning in life, and gain personal and social value, it is hard not to fall in love with it.

Q: I didn't come from a major, but I became an actor by chance and fell in love with acting. How did you improve your acting skills? Will you want to be admitted to an art university and become a major student?

A: No. The university and major I am applying for are relatively behind-the-scenes, and they are compound majors that include art. In terms of acting skills, because I became a monk halfway, I was exposed to "acting with my true colors" from the beginning, and then the life experience of the second role has many similarities with my own. It can be said that I became a "immersion school" naturally. "actor. Such a situation feels that it is not very suitable for studying in a major. The director also said that if I study systematically, it will destroy this "reiki" and "wildness". So I accepted his old man's suggestion, and while studying professional books on acting, I used more roles to hone and make breakthroughs. There are often going astrays, but the theories and methods I have explored are indeed true. It is very impressive and will benefit you for a lifetime, just like learning to bike and use chopsticks (laughs).

Q: Is that why you chose to participate in the variety show "Entertainment Intern"?

A: Yes. This program was also recommended to me by the director, and I am very grateful to him.

【Qin Jue: Exploring the "wild road" ahead】

Q: Your eyes lit up when you mentioned performance-related topics just now. I'm curious, "The Cage" was filmed in August last year, when you first came into contact with acting, and it was more than half a year after the first round of "Entertainment Intern". The role of "Young China" is good at martial arts, and there are almost no literary dramas. How have you filled in the gaps during this time?

A: One is to attend classes, and the other is to practice a lot. At that time, after filming "The Cage", I happened to be in a state where I felt homeless, so I asked Director Jiang if he could stay on the set and do a small job. Yes, wanting some belonging. Director Jiang and brother Cen Yi helped me a lot during this process, guiding me and giving me pointers. My earliest experience in literary and opera was to rely on the director's side to "take lessons" and watch Brother Cen's acting on the spot. After that, the second film was shot. Many shortcomings, such as basic skills such as literary drama, crying drama, and lines, etc., were trained a lot at that time.

Q: Sounds like a huge improvement in a short period of time. It's amazing, you have less than a year of acting experience, but you feel very mature and sophisticated. Can you talk about your understanding of acting?

A: Can I answer this question a little longer (laughs), thank you. In my cognition, performance can be divided into three stages, the first is "action", the second is "action", and the third is "drama". They are an inclusive progressive relationship. Expressed in words, "action" is a very simple objective description. For example, "walk a few steps", "drink two sips of water", "open your mouth". There is no causal relationship or emotional color in it, it is just an action. Then "action", action contains action, and brings the logic of cause and effect. For example, "Drink two sips of water because I am thirsty", that is to say, the underlying logic of a character's behavior comes out, and with the cause and effect, this action has a corresponding meaning. So what is "play", "play" is equivalent to adding a description to "action". This description can be descriptive or an adverb. For example, "a person was so angry that his mouth was dry, so he picked up the mineral water bottle and took two sips suddenly, but he choked because of the eagerness to drink, so he coughed angrily and squeezed the mineral water bottle", this It's a complete play. Acting, the final performance is "drama".

Q: Although you said that you are a Yeluzi and an immersion school, your answer is very systematic and has a "scientific sense".

A: I typically deduce the problem-solving process from the answer (laughs). At first I didn't pay attention to the elements of "action" and "action". My approach was to let myself fully empathize with the characters. If there were similarities, I let the characters cover me. If there were completely different places, I put my own The loss of personality made me completely become him. In this "full immersion" situation, I and the character are one, just like being "possessed", so some subconscious thoughts and behaviors are actually made by the character. The acting me didn't even know why I did it. This led to the fact that I didn't need to practice specific "actions" before, nor did I need to think about the causal logic of this "action". This is a very "opportunistic" behavior, and it will be very convenient to use it well. And after the acting, I will use the results of my acting to push back the logic of the acting, which is to supplement the character's biography. Only then did I gradually explore this series of theories. When acting now, it is a combination of performance methods and immersion in the play, trying to bring out the advantages of both sides and shape the characters better.

Q: Is it the same for eye scenes? From "The Cage" to "The Wild Goose", your eye scenes have always been amazing.

A: Thank you for your affirmation. During immersive acting, many eye scenes are performed naturally, whether the eyes are widened or narrowed, whether the brows are wrinkled or not, whether the forehead is tense or stretched... These are all driven by "entering the play". I haven't designed the look of the eyes here. I usually communicate with the director, saying "here is a pathetic look", "here is a hopeless look", and so on, and then go out with this feeling into the play. But this also requires a lot of preliminary preparations. According to my personal classification, it is "hardware equipment".

Q: Can you talk about this "hardware device" in detail?

A: In fact, it refers to the physical things of the actor, such as facial muscles, such as vocal cords. If you want to make a suitable expression and eyes, you must first ensure that the muscles you use must be flexible. Otherwise, once you enter the scene, you subconsciously want to laugh or cry, but find that your face is very stiff, and you can't move a lot or make subtle movements. If the ground changes, of course it will be stuck immediately. The same is true of the lines. You must first open your voice, exercise your vocal cords, tongue, and mouth. First, let the hardware not hold you back, and make yourself articulate, and then you can exercise your soft skills, that is, to give emotions, add appropriate pauses, and breaths. This concept is easy to understand in martial arts. Martial arts movements will definitely require a stable foot, straight arms when punching, etc. But in literary dramas, people sometimes don't pay much attention to this aspect. In fact, the core concepts in it are the same. of.

Q: You can now be said to be "both civil and military". Judging from the works so far, whether it is explosive or restrained performances, I feel that you are very handy. Will the difficulty be different?

A: Thank you. I feel that I just touched the threshold. I can only say that it is not a hip stretch, but I can see it. Difficulty? In my personal opinion, they are all about the same. Because even an explosive scene requires the actors to be thick and subtle. You can't throw all your brains out just because it's an out-and-out performance. Although the introverted performances are suppressed, sometimes the emotions contained in them are also very intense, just like the arrow has been set on the string, and the bow is fully drawn, but it has been stretched.

Q: I think the rivalry between Qin Feiyan and Shen Danqing in "Feiyan" can be a good commentary for this episode.

A: That's right.

Q: Speaking of rivalry, do you think there is any difference between rivalry and one-man show? Is there any preference?

A: I think what I said sounds very tactful, but the truth is that each has its own advantages~www.mtlnovel.com~Of course each has its own difficulties, so it's hard to say which one I prefer. A one-man show means that the actors have to support the stage, and the performance must be very contagious, while the opponent play can actually help each other. Two or more actors provide support for each other and bear part of the "play atmosphere" for each other. But in contrast, the one-man show is given to the actors with more space and more freedom, which is convenient for you to adjust and grasp by yourself, while the opponent play needs to be adjusted, and "balance" is also very important.

Q: Does the balance here refer to the acting skills of the two parties? Or the aura and momentum?

A: This is a long story. Because acting skills and aura are variables, it depends not only on the fit between the character and the actor, but also on the setting of the character itself, and even more on the plot scene at the time, which must be analyzed in detail. Like Qin Feiyan and Shen Danqing in "Feiyan", or Qin Feiyan and Li Zhi, the two parties are on the same level, and the aura and acting skills must be grasped, and there must be back and forth, pulling each other. But if it is Qin Feiyan and Li Zhe, or Qin Guiyan and Su Su, the role I play is the stronger one in terms of plot and character setting, and I need to adjust my acting state at this time. Because considering the overall look and feel of the work, even if it is an obvious contrast of strength and weakness, if one side completely suppresses the other in the opponent's play, the result is not very good in terms of the result, and the director will be very embarrassed.

(to be continued)

Chapter end