月度归档 2024年9月17日

1905 movie network feature 　With the go LIVE of "Little Joy", after three years, the "Tongyuan CP" composed of Haiqing and Huang Lei successfully swiped the screen again.

Douban scored 8.0, surpassing the 7.8 score of the previous "Little Separation", which is expected to once again set off a wave of national discussions on family relations and children’s education, and this wave of discussions may not be limited to domestic borders.

On June 7 last year, the sister installment of "Little Joy", "Little Separation", was broadcast on the prime channel of the Mongolian ASIAN BOX film and television channel, surpassing many Korean and American dramas to reach the top of the audience rating list. The educational topics reflected in the series not only hit the "pain points" of Chinese families, but also resonated with Mongolian audiences.

The upcoming word-of-mouth drama "Twelve Hours in Changan" has also successfully "gone overseas" to Japan, Singapore, Malaysia, Brunei, Vietnam and other countries, and has also been launched in North America in the form of "paid content" on online platforms such as Viki, Amazon, and Youtube. This is the first time that domestic dramas going overseas have entered the monthly subscription payment area and achieved quasi-simultaneous playback at home and abroad.

"Twelve Hours in Chang’an" overseas poster

Now,"Chinese dramas go overseas" – the overseas distribution of high-quality domestic dramas has become the norm, not only with more diverse genres and themes, but also with expanding international influence.

From the "Journey to the West" of that year to the current "Twelve Hours in Chang’an", what new trends have been shown in "national dramas going to sea", and what new requirements have been put forward for creators and propagandists?

The types of subject matter are becoming increasingly diverse 　"National drama going to sea" has become the norm

The history of "Chinese dramas going to sea" has a long history. Early classic costume dramas such as "Journey to the West", "Romance of the Three Kingdoms", "Kangxi Dynasty" and "Huanzhu Gege" can be regarded as the first echelon.

The 86 version of "Journey to the West" was first popular in South East Asia countries such as Myanmar, Vietnam, and Thailand. It has a score of 8.8 on the foreign film review website IMDB, and is still discussed by overseas audiences. Historical dramas such as "Romance of the Three Kingdoms" and "Kangxi Dynasty" have been very popular in Japan and have been rebroadcast on Japanese TV many times.

In 2010, "The Beautiful Times of Daughter-in-law" was "exported" to Tanzania, causing a heated debate. Later, more than 40 domestic dramas such as "Struggle", "My Youth", "Beijing Youth" and "Durala’s Promotion" were also translated into local languages and broadcast in 46 countries including Kenya, Egypt and Zambia.The theme and genre of "Chinese drama going overseas" began to be not limited to costume dramas, and urban emotional dramas could also have a place.

In 2015, "Empresses in the Palace" officially landed on the international streaming platform Netflix, becoming the first domestic drama to be paid to be broadcast on the platform. It is considered a milestone event in the history of "national dramas going overseas".

"The Beautiful Times of Daughter-in-law" "Langya Bang" "Empresses in the palace" Overseas Edition Poster

In 2018, three high-reputation online dramas, including "White Night Chasing the Murderer", "River God" and "Undocumented Crime", went overseas one after another, creating a precedent for the export of domestic online dramas. The recent "Twelve Hours in Changan" has also achieved quasi-simultaneous broadcast on overseas platforms and domestic online platforms on the basis of "paid" broadcast.

In the early 1990s, the overseas marketing of domestic dramas was mostly concentrated in more than 10 countries and regions such as South East Asia, Japan and South Korea. Today, the export of domestic dramas has spread to more than 100 countries and regions.

According to Zhang Lina, editor-in-chief of Alibaba Entertainment Youku, Youku has sent more than 50 copyrighted content overseas in the past two years, and in the first half of 2019 alone, there were nearly 10. "Going overseas has become the norm."

It is not difficult to see from the above example thatDifferent countries and regions have different preferences for domestic drama genres and themes.

From 2013 began to test the waters of domestic drama overseas distribution, there are "Langya Bang", "choose heaven", "love" and other more than 500 episodes overseas distribution experience of Century Youyou company overseas distribution director Zhang Chunlan told Xiaodian Jun, in Japan, South Korea and South East Asia, costume drama, life drama affected by geographical factors, a high degree of acceptance; while in North America, suspense detective theme is very popular.

Century Youyou was responsible for the overseas distribution of "Love"

"Chinese kung fu and ancient martial arts have always been popular in overseas markets, but with the increasing number of Chinese dramas going overseas, the types are becoming more diverse, and some overseas audiences have also developed the habit of chasing Chinese dramas. Sweet pet love dramas and modern suspense dramas are also becoming more and more popular. The current upsurge in realistic themes in the drama market will also play a positive role in the development of overseas audiences," Zhang Chunlan said.

Balancing Chinese stories with global expression 　Reality themes will see an upsurge

The 30-year journey of Chinese opera going overseas has accumulated and cultivated a large number of overseas fans, and has also continued to expand the overseas influence of Chinese culture. However, in the midst of a boom, "Chinese opera going overseas" still faces some difficulties.

The main export markets of domestic film and television dramas are still concentrated in South East Asia and Chinese-speaking regions, and overseas Chinese are still one of the most important audience groups.

The price of a single episode exported from China is still relatively low, and the lead drama is only a few tens of thousands of dollars per episode. Producer Tang Lijun has revealed that in the Japanese market, the price of a single episode of an American drama may reach 1 million US dollars, a Korean drama may be 200,000 US dollars, and a Chinese drama may sell well for tens of thousands of dollars.

Japanese version of "Hua Qiangu" promotional video Flower

There are many reasons for these difficulties. First, "the current problems in overseas distribution are mainly caused by differences in language and culture." Zhang Chunlan analyzed.

Due to its geographical relationship and cultural proximity, Asia has a close relationship with Chinese culture, making it a natural main market. However, mainstream audiences in Europe, America and other regions are still relatively unfamiliar with Chinese culture, and their language and cultural barriers are relatively high.

In addition,The viewing habits of overseas audiences are also different from those of domestic Chinese audiences.Foreign audiences are more inclined to small-scale works of about 20 to 30 episodes per season, and China’s 70 to 80-episode volume and relatively slow narrative rhythm will inevitably appear "acclimatized" in the process of overseas distribution.

Take "Empresses in the Palace" as an example. When Netflix launched, not only did the length of the original 76 episodes be reduced to 6 episodes, each episode was 90 minutes. The lines lost their original charm after translation.

In the end, the word-of-mouth Chinese drama with a score of 9.1 on Douban only received a 2.5-star review on Netflix. The large number of classical Chinese lines in "Twelve Hours of Changan" also posed no small challenge to translation.

The reason why suspense dramas produced by online platforms such as "White Night Chasing" and "Crime Without a Certificate" are favored by Netflix is precisely because they refer to the shooting techniques and narrative rhythm of American dramas in the script, shooting and editing stages, and are relatively close to the viewing habits of overseas audiences.

In the comments of "Twelve Hours of Chang’an", "fast pace" and "large amount of information" have also become the keywords of many foreign audiences.

At this year’s Shanghai TV Festival "National Drama Going Overseas" related theme forum, Fu Binxing, president of Huace Film Company, said:Whether to use editors who understand local needs, accurate translation and localized promotion and marketing will all affect the quality of Chinese dramas "going global".

In addition to the above points,The quality of the series is still the core factor that affects the success of the overseas distribution of domestic dramas.Whether it is the early "Huanzhu Gege", "Journey to the West" or the recent "Langya List", "White Night Chasing", "Changan Twelve Hours" and other dramas, the success of "going to sea" is backed by excellent production standards.

The current hit "Twelve Hours in Changan" Douban scored as high as 8.6 points, and it also reached 9.5 points after the launch of the overseas video platform viki.

The series is quite elegant from the story, lines to the service of the Tao, focusing on the "Tang style ancient rhyme", and the shooting method and narrative rhythm are very international. The use of "long shots" is quite skilled, and the suspense action elements are also very suitable for overseas audiences. It has found a good balance between the level of industrial production and the dissemination of traditional Chinese culture.

Xie Ying, general manager of Youku Drama Center, the producer of "Twelve Hours in Changan", believes that the challenge for domestic dramas to really go global is to break the inertia of themes and stories."The most important thing for domestic dramas to really go global is to explore the diversity of themes, the youth of stories and the internationalization of audio-visual language."

In the past two years, the popularity of a number of TV dramas such as "All Good", "Ice Breaking Action" and "Little Joy" has set off a creative boom in realistic themes.How to enhance the international influence of China’s realistic film and television works, let foreign audiences touch the real contemporary China, and use common values to transcend national borders to resonate will also become a new trend of "national dramas going overseas".

No matter in terms of quantity or quality, domestic TV dramas have ushered in the golden period of "going to sea". "Twelve Hours in Changan" and "Little Joy" are just the beginning. I look forward to the future batch of high-quality domestic dramas with both "Chinese stories" and "world expressions" continuing to go abroad and send out China’s cultural voice to the world.

(Photography/Ermeng, Photography/Kakashi) On June 18, Wang Sicong attended the "Banana Curiosity Night" in Shanghai. He wanted to hold an annual program for new directors and screenwriters to realize their dreams and award prizes to the winners. "My film company has never thought of competing with the boss of the industry. The main purpose is not to make money, but to take out a little money to help the film market that I feel lacks infrastructure."

Wang Sicong wants to spend long-term to "raise" newcomers: help the underdeveloped film market

Banana Films has been spending time and energy on cultivating "people", as Wang Sicong said: "I hope that through my meager efforts, whether you are a professional or not, if you want to tell stories, if you want to be a screenwriter, if you want to be a director, if you dare to participate in our competition, I will directly reward everyone with money. Because I know that it is not easy to do any art, sometimes you want to be a screenwriter or a director, but in the early days, this job cannot support you. So I want everyone to not give up on their dreams and keep working hard. Anyway, I will do it every year."

As for the establishment of Banana Film, Wang Sicong said: "I never thought about competing with the boss of the industry when I started this film company. The main purpose is not to make money. Of course, it is good to make money. But at least for now, without the pressure of performance, we can take the money to do what we want. In fact, no one wants to do this job. Why don’t we do it if we can? I hope that I can not be too troubled by the industry and give a little money to help the film market that I feel lacks infrastructure." For the selected new directors and new screenwriters, in addition to giving high bonuses, Banana Film has also made a series of targeted plans.

Launched six new directors, the project invited senior bosses to escort

In order to discover China’s outstanding film screenwriters, Banana Film has also launched the "Banana New Screenwriters Dream Realization Project" to help the development of China’s film industry from the source. After more than eight months of selection, six high-quality screenwriters were finally selected from 3,000 participants. At the scene, Wang Sicong, Wei Xiangdong, Jiao Xiongping, Shuhuan and others presented awards to the outstanding screenwriters. Wang Yun with "I and my Hugh Grant" stand out from three thousand people won the first prize exclusive 1.50 million prize, Shen Dawei’s "mirror world", Guo Shuai’s "man to death is still young" won the second prize with 1.20 million dream bonus, Chai Churan with "I am a big star", Liu Xiaofeng with "genius screenwriter", Yin David with "movie watching you" won the third prize and won the 800,000 dream bonus.

Wei Xiangdong, referring to the development of outstanding directors discovered in the first banana new director excavation plan during this year, said: "We have opened a master elite class, recommended them to go to the big director crew to learn in real combat, and through internal grinding, some of them have already started to prepare their own projects."

In keeping with Banana’s promise that "when you are selected, you will have a place to play", six major projects directed by five new directors were officially announced on the spot. "Days of Living with the Villain" by Wen Nhat Hanh is a strategic cooperation with the NetEase literary platform, while "The God of Cooking" is a cooperation project with the iQIYI Yunteng Project. "Lily Cherry" was originally created and directed by Mao Yongsheng, the first winner of the new banana director’s digging project last year. "Me and My Hugh Grant" directed by Cui Rui is the work of the first winner of this year’s new screenwriting, and the cinematographer of "Crouching Tiger, Hidden Dragon" was specially invited to be the executive producer of the film. Qiu Xinda’s "I Am a Big Star" is also the work of this year’s winning screenwriter. Yao Bo’s "For N" was adapted from excellent literary works and collaborated with gold-medal screenwriter Yuan Yuan. Wei Xiangdong assured on the spot: "I want to tell all the screenwriters that all six of your scripts will be filmed, and at the same time, you will be accompanied by excellent senior industry professionals to escort these projects, which is like helping us get through the two veins of Ren and Governor in our creation."

"When we are together, it is the life we yearn for." Huang Lei, He Jiong, Zhang Yixing, Peng Yuchang, and Zhang Zifeng gathered at the Mushroom House, and in the midst of laughter, "The Life We Yearn for" ushered in a reunion.

The parents couldn’t wait to take their children out to play, picking blueberries and picking wildflowers. Huang Lei said that he would not get out of the car to help pick wildflowers. Seeing the two children who were messing with tools and the wrong way, they still came forward with different hearts. Tonight, let’s see how the "Flower Picking Grandfather" helps the children pick flowers.

Zhang Yixing returned late at night, and in addition to the surprise calls from his family, he was also greeted by… a group of chickens who were known as "rarely come to the yard". The next morning, the chickens were walking in groups in the courtyard, and Zhang Yixing’s face was full of horror and disbelief: "Teacher He! Didn’t you say there were no chickens!" Can Zhang Yixing, who was "scared of chickens", bravely take the first step out of the bedroom?

After the meal, the popcorn machine "saw the light of day again". This time, everyone was different from the unfamiliarity of previous seasons. On the one hand, Huang Lei and He Jiong unhurriedly lit a fire, added firewood, and looked at the pressure gauge; on the other hand, Zhang Yixing, Peng Yuchang, and Zhang Zifeng handed the bench, fanning in an orderly manner, and the family assembly line was orderly. Finally, it was the thrilling time to open the lid. Under the attention of everyone, Peng Yuchang was excited and prepared to open the lid with trembling hands, once, twice… While shouting so scared, while holding back the neck of Peng Yuchang, could he "open the lid" smoothly? Anyway, everyone had covered their ears and hid away.

Do you still remember the bet Mr. He and Pumbaa made? – Whoever cried in the final parting lost, who couldn’t hold back first? How will everyone define farewell?

Text/Beijing Youth Daily reporter, Zu Weiwei

Editor/Cui Wei

Responsible editor:

　　On July 17, Mingdao, the female group talent show "The Strongest Girl Group" with Mingdao as the general commander, ushered in a new episode of the program recording. The general commander Mingdao accepted a group visit from the national media on the day of the recording. It is reported that Mingdao invited the popular Korean women’s group SISTAR to come to help out and serve as Mingdao’s star staff. The climax of the recording scene continued, and the encounter between the Chinese and Korean women’s groups was full of sparks.

　　SISTAR shouts coquettishly at Oppa, Ming Dao calls out that he wants to get married

　　At the scene, SISTAR turned on coquettish mode, and the four of them took turns calling Oba to Ming Dao, which was especially useful. When asked what it was like to be called Oba by the four girls, Ming Dao shouted "I am also at the age where I should get married this year", boldly confessing, triggering a pink craze on the scene.

　　Mingdao learns Korean for SISTAR and hopes to be more rigorous with players

　　Asked during the interview if SISTAR was familiar with Ming Dao, SISTAR said: "I have followed on TV and on the Internet. I finally met this time. I hope we can get to know each other better and make good friends in the future." For the arrival of the popular Korean group SISTAR, Ming Dao also made full preparations in advance. Ming Dao, who has always been gifted in language, learned Korean privately. Among them, the Korean language of "soju" is the best. SISTAR was surprised to hear that, and Doshun laughed and said that he "loves drinking rice wine."

　　This is an exchange between China and South Korea. On stage, Mingdao asked SISTAR members to show their versatile charm, let the members of the strongest girl group learn and learn from them, and learn from SISTAR about the cultivation of girls’ uniqueness. "Before, only a single group member was invited, but this time SISTAR is the entire girl group. It will be the most complete guidance since the opening of’The Strongest Girl Group ‘, and it will be a mature guidance for the Korean team," Mingdao said in an interview. When Mingdao asked if SISTAR would give strict guidance if the players of the strongest girl group did not perform well, SISTAR said with a smile: "No, we hope to explore the advantages of the strongest girl group and amplify the advantages." But Ming Dao was obviously not satisfied with this answer, saying that he hoped that SISTAR, as a star advisor, could be more severe and make the players of the strongest women’s team better.

　　The standard for choosing a girlfriend is more life-like, and I don’t plan to move to the background at this stage.

　　For the show "The Strongest Girl Group", Ming Dao has been paying attention to the contestants’ growth step by step since the live broadcast stage of the show, and has poured a lot of effort and emotion into them. A reporter asked if the members of the girl group would have a feeling of choosing a girlfriend, Ming Dao answered seriously: "No, I am a person whose work and life are very separate. Choosing a girl group mainly depends on their state on the stage. Of course, singing and dancing must be available. Artists must be able to express themselves on the stage and make the audience feel comfortable and smooth. And choosing a girlfriend requires understanding the other party’s private life habits, such as whether they like to eat western food or Chinese food."

　　Asked if she planned to shift her focus behind the scenes in this girl group talent show, Ming Dao responded: "No, I just broadened my work area. In terms of acting, I will be more careful in choosing roles."

　　　　　　　 On February 16 local time, the 60th Berlin Film Festival entered its sixth day of competition. The competing films on the day included the Turkish film "Honey" and the Iranian film "Hunter". But these two films suffered from "ice and fire" treatment in Berlin. The aftermath of "Three Guns Shooting Surprise" released a few days ago has been continuous. The source of the film adaptation, the Coen brothers, said that after watching "Three Guns", they laughed continuously and expressed the hope that Zhang Yimou would remake all their works.

　　　　　　　 In the evening, the Berlin Film Festival officials also organized a "Taiwan Night" banquet, which was attended by all the Taiwanese filmmakers who came to Berlin. Among the most famous ones were director Niu Chengze and the three protagonists of the film "Monga". Due to the popularity of "Monga" in Taiwan, director Niu Chengze naturally received more attention. At the end of the banquet, Jackie Chan also came to the scene to add to the party.

"Taiwan Night" in Berlin

　　　　　　　 The "Night in Taiwan" banquet is the official promotion of Taiwanese films at the three major European film festivals, which has been maintained for many years. Compared with previous years, this year’s promotion was more casual and not as serious as the usual official promotion. The Taiwanese filmmakers attending the banquet included Niu Chengze, director of "Monga", starring Zhao Youting, Ethan Ethan and Feng Xiaoyue, director of "One Day" Hou Jiran, starring Zhang Shuhao and Xie Xinying, director Chen Junlin of "One Page Taipei" and starring Guo Caijie. In addition to them, they also included Hong Kong directors Luo Qirui and Zhang Wanting, and famous Asian film researcher Tony Raines. Due to the high box office of "Mengka" in Taiwan and the appearance of three handsome guys, the director Niu Chengze naturally gained more attention. However, Niu Chengze played a trick in the questioning session and did not say any substantive words, which is a bit regrettable.

　　　　　　　 In the final part of the banquet, Jackie Chan appeared in a Tang suit, which became the biggest highlight of the night. Chan immediately communicated with Niu Chengze after his arrival, and said that he would definitely go to the cinema to see the film. When talking about the current state of Chinese-language films and Taiwanese films, Jackie Chan expressed his grief as always for the passing of the golden age of Chinese-language films in the 1980s. He called on "Taiwan’s new filmmakers to work hard to revive Taiwanese films," and he added, "Filmmakers from both sides of the Taiwan Strait and three places must be united and unified to the outside world, and we may win."

　　　 News source: Nanning Evening News

　　　　

Fan Bingbing was strongly doubted

　　　　"Natural beauty is hard to give up, and it is always on the side of the king. Looking back and smiling at Bai Meisheng, Liugong Fendai has no color." Concubine Yang, one of China’s "four beautiful women", has always been a representative of plump beauty. Her story has also been filmed into film and television works countless times, including the recent TV series "Datang Furong Garden" on CCTV’s eight go LIVE sets. However, with the hit of the show, the role of Concubine Yang in the play by Fan Bingbing has attracted strong criticism from many viewers, and even evolved into a huge verbal attack on the Internet.

　　　　The netizens strongly questioned

　　　　Unlike some historical dramas, "Datang Furong Garden" only talks about love and not politics, and positions Yang Guifei as a "pure" woman. According to the director’s conception, Yang Guifei in the play should be "pure enough to make men’s hearts shake and women jealous." However, after the appearance of Yang Guifei played by Fan Bingbing, not only did she not charm the audience, but also attracted waves of strong doubts.

　　　　"By letting Fan Bingbing play Yang Yuhuan, in addition to making the audience feel despair, even the Chinese idiom is about to despair. How can I change the’Huanfei Yan Thin ‘? Looking at her thin face, how can there be any smell of Yang Guifei?" "Fan Bingbing doesn’t look like a favorite concubine in a prosperous age at all – graceful and natural charm; always looks like a small family jasper, no matter how you look at it, it looks like Yang Guifei’s maid." Many viewers also pointed out that in the famous "Neon Clothes Dance", Fan Bingbing actually used a lot of double shots, which seemed very fake. "When Fan Bingbing dances, he just swings his sleeves up, turns left and right, and has no charm."

　　　　Fan Bingbing is quite aggrieved

　　　　Faced with various criticisms from the audience, Fan Bingbing looked rather aggrieved: "Zang Jinsheng, who played An Lushan, said that he had studied relevant historical materials. The real Yang Yuhuan’s measurements are only a little bigger than mine, not so fat, and his height is shorter than mine, about 1.55 meters to 1.60 meters, so the thin version of Yang Guifei is not without basis." Fan Bingbing defended himself against the accusation of lack of temperament: "I am emotionally confident, and taking this play shows that I have confidence. I think everyone is too harsh on me, because the feelings in the play are very delicate, and the role positioning and history are inherently different."

　　　　As for the dance stuntman, Fan Bingbing explained: "The’Nishang Feather Dancing ‘is very famous, and I originally hoped to be able to complete it myself, but I didn’t learn dance after all. In the end, many scenes were shot by dance teachers as stuntmen, which is my biggest regret in filming the drama!"

　　　　Zhou Xiaowen was a little angry

　　　　The director Zhou Xiaowen looked a little angry in the face of the audience’s criticism: "Who said that Concubine Yang Guifei must be a fat woman? Who has seen it? Let him find me! Saying that Concubine Yang Guifei is fat is the imagination of literati. When I shoot Yang Yuhuan, I want to show the image of a’pure ‘woman. It doesn’t matter if she is fat or thin." (Fan Dongbo)

Editor in charge: Li Meng

"Yang Ying’s Dilemma: The Biggest Bad Luck in the Entertainment Industry" When Yang Ying’s image is covered with black tape on the poster, people can’t help but lament that this is the biggest bad luck in the entertainment industry. The celebrity endorsement posters in the mall have also been quickly replaced, and the situation of resource fragmentation is worrying. At the moment when her popularity has plummeted and her prospects are bleak, Yang Ying is undoubtedly anxious.

She had expected to be a big hit, but the reality was too different from her expectations, which made it difficult for her to accept. According to people familiar with the matter, Yang Ying often quarreled with the team, believing that the agent did not pay attention to her itinerary, nor did she make threats and risk assessments in advance, which led to her accidentally touching a minefield. It was only now that Yang Ying had hoped to be the focus of attention at major award ceremonies, and her appearance on the red carpet became the focus of attention.

However, her popularity plummeted overnight, a situation that left her extremely depressed. Yang Ying hopes to be able to change the current situation by relying on the connections and influence of her ex-husband Huang Xiaoming in the entertainment industry. As Huang Xiaoming’s ex-wife and the mother of her children, people are looking forward to whether Huang Xiaoming will lend a helping hand. For now, however, Huang Xiaoming has not publicly expressed support or tried to change her situation.

It seems that Yang Ying’s plan to make a comeback through her ex-husband is probably going to fail. Overall, Yang Ying wants to rely on the strength of others to solve the dilemma, exposing the problem of her unstable foundation in the entertainment industry. If the female star wants to stand firm, she needs to build her own network resources. At present, Yang Ying is in a serious crisis of resource rupture, and the prospect is bleak. Whether she can make a comeback will take time to verify.

There are different voices in the industry. Some people believe that Yang Ying is only temporarily affected and still has a chance to rise again. In short, Yang Ying’s current predicament can be said to be of her own making. As a public figure, she shoulders higher social responsibilities, but she obviously did not think carefully in her actions and words. A series of mistakes led to the consequences of today’s.

Celebrities must bear in mind that the public’s scrutiny of them is far harsher than that of ordinary people, and any controversy can lead to serious consequences. Therefore, celebrities must be cautious in their words and deeds, and must not leave the public with the opportunity to question. It is precisely because Yang Ying went to a controversial venue to support the performance that she has crossed the bottom line of the public.

Although she herself did not make inappropriate remarks, the choice showed the wrong value orientation, and also exposed the lack of judgment. Yang Ying’s experience should serve as a warning to the entire entertainment industry. Artists must keep in mind their social responsibilities. Only in this way can they win the respect of the public and succeed in the long-term development of their careers.

Responsible editor:

　　The film "Operation Mekong" will be released on September 30. Yesterday, the film held a press conference at the Xi’an Silk Road Film Festival. Director Lin Chaoxian appeared with the stars Peng Yuyan, Feng Wenjuan and Liu Xianda. Director Lin Chaoxian said that the film has been a difficult practice since its preparation, but he thinks it is very worthwhile: "After watching the film, you will know that China’s police and gangster films are about to open up a new situation." And Peng Yuyan challenged himself again this time. It is obvious that you can rely on your appearance, why do you fight so hard every time you shoot? Peng Yuyan said: "No actor only relies on his face to act. An actor is willing to take the time to learn. This is the most basic quality."

　　Text/Guangzhou Daily reporter, Huang An

　　Regarding the new movie:

　　"Makeover" tests fans

　　Guangzhou Daily: You learn a new skill every time you make a movie. What did you learn this time?

　　Peng Yuyan: The role this time is an undercover agent in the Golden Triangle. There are a lot of gun battles, and you need to keep training to operate firearms. All the equipment is restored according to one-to-one, and the shooting is very hard. The training I do a lot in this role is CQB, and I have specially hired a Thai royal coach to train. CQB is the way the US special forces attack terrorists, and I spent a lot of time practicing. In addition to this, I also need to learn some Thai, English and Burmese.

　　Guangzhou Daily: What do you think was the hardest and worst filming environment in the play?

　　Peng Yuyan: The last one is to go to the drug lord’s base camp to do an assault, layer by layer, through grasslands, caves, tunnels, puddles, rivers, and helicopters. It’s hard to forget, because I haven’t experienced it. The most memorable thing is of course all the gunfight scenes. In addition to the gunfight, there are also many action scenes that I never thought of before. For example, I have to do a lot of jumping, getting bombed, and flying around. In the past, when I was shooting action movies and martial arts movies, I was a monster, but this time I just jumped, rolled, and flew by myself. The main reason is that our equipment is real, and it’s really heavy on our backs.

　　Guangzhou Daily: Is learning a foreign language particularly difficult for you?

　　Peng Yuyan: The more difficult part is that the tone of Thai pronunciation is very different from that of Mandarin, and it takes time to make the tone sound like. The language teacher accompanies me to practice during filming. He says it once and I say it again, and then records it and listens all the time. When dubbing later, he will make it more accurate.

　　Guangzhou Daily: The character you played this time is simply a "makeover" compared to the past, with beards and curly hair. Do you accept this change yourself?

　　Peng Yuyan: Director Lin Chaoxian asked me to change my appearance in the play, which is actually a test for movie fans. The audience may think I am crazy, why should I make myself like this, but I think it is quite enjoyable. It is a rare experience to have the opportunity to try this kind of special makeup that is very real. I have 4-5 different shapes in this play, and it takes 2-3 hours to make the shape. Every play I want to have something fun or special, and it is also a surprise for myself.

　　Regarding small goals:

　　Hope to give you more surprises.

　　Guangzhou Daily: You have worked with director Lin Chaoxian three times, and you have also been abused by him three times. Why are you still willing to cooperate with him?

　　Peng Yuyan: Every time I shoot Director Lin’s play, I really love and fear him. I love him very much, but I am afraid of being abused by him. But to be honest, every time I finish filming his play, I feel that my skills have increased greatly, and then I feel very relaxed when I shoot other plays.

　　Guangzhou Daily: Many people think that you can rely on your appearance, but you have to work so hard. Why?

　　Peng Yuyan: I don’t think acting depends on my face. If you think my face looks good, I thank you. The director gives us a lot of room to train, and every actor is willing to take the time to learn. Otherwise, it won’t be interesting. I don’t mind what people call me. I like to shoot director Lin’s plays.

　　Guangzhou Daily: Have you ever thought of winning an award through this play?

　　Peng Yuyan: As an actor, I just do my own thing, and I don’t have to think too much about anything else.

　　Guangzhou Daily: You have always given people the image of a tough guy. Will there be any restrictions on choosing roles in the future? Will you go back to acting in small fresh movies?

　　Peng Yuyan: In fact, I don’t have much rejection for the role. For the small fresh movie, I want to see if it is suitable, because I don’t think I can still play the small fresh movie now.

　　Guangzhou Daily: It is now fashionable to set a small goal for yourself. Do you have any small goals?

　　Peng Yuyan: I set goals for myself every year, and this year’s small goal is to surprise everyone in the entertainment industry.

character poster

　　As a work that first broke into the film industry, Li Zonghan’s role in "Lu Zhu" in "Sword Rain" was obviously a great success. Not only did he perfectly show the compassion and infatuation of the wonderful monk, but he also performed another classic love confession "Stone Bridge Chan" for female audiences. Lu Zhu’s affectionate style and sacrifice touched countless audiences, but the actor Li Zonghan made a surprising statement, saying that "Lu Zhu died of mental cleanliness."

　　In "Sword Rain", Li Zonghan plays a Buddhist monk who is the best in the world in terms of martial arts. He has been practicing in Shaolin for twenty-seven years, but when he is about to be officially shaved, he has moved his mortal heart. The woman he loves is still a female devil who murders without blinking an eye. Lu Zhu entangled with "Drizzle" for nearly three months, and finally enlightened the female killer with his life. Not only did he persuade "Drizzle" to turn back, but he also let himself break the fate of evil. "I would like to be transformed into a stone bridge, exposed to five hundred years of wind, five hundred years of sun, and five hundred years of rain, only wishing you could walk across the bridge." This death vow made by Lu Zhu before his death also successfully hit the tear glands of the audience.

　　When it comes to the role of Lu Zhu, Li Zonghan’s words are amazing, "Lu Zhu is a person who pursues perfection, and his death is due to his spiritual cleanliness." The little prince of the constellation defined Lu Zhu as a Virgo man when assigning constellations to the twelve characters in "Sword Rain", and Li Zonghan agreed with this. "Lu Zhu has a spiritual cleanliness, he pursues perfection, he cultivates martial arts and Buddhism to the best of nobody, and he loves in the extreme way. So when he found that he could not balance love and faith, he chose to use his death to influence others and fulfill others."

　　Li Zonghan said that he was deeply attracted by the role of Lu Zhu when he got the script. "Lu Zhu is a pure and extreme man. He sees everything in the world very thoroughly, including love is also a kind of’big love ‘, and there is no selfishness. It is easy and difficult to figure out such a character, but he is not too complicated
　

Vehicle Control News (Text/Daily CHEK)

The Jietu brand will launch a number of new models at the 2024 Chengdu Auto Show, and the much-anticipated Shanhai L7 will officially launch pre-sale.
The Shanhai L7 features a new closed front design, with through daytime running lights and large-size light sets, and through taillights at the rear to enhance brand recognition. The body size of the new car is 4760 (4785)/1900/1720mm, and the wheelbase is 2720 (2745) mm.
In terms of power, the Shanhai L7 is equipped with a hybrid system composed of a 1.5T four-cylinder turbocharged engine and an electric motor, with a maximum power output of 115KW and a maximum speed of 180 kilometers per hour, using Guoxuan Gaoke’s.
As a compact SUV, the Shanhai T2 electric four-wheel drive version has a modern design, with a size of 4785/2006/1875mm, a wheelbase of 2800mm, and a new four-wheel drive system. Referring to the two-wheel drive version, the power system includes a 1.5T hybrid system, a comprehensive power of 280KW, and a maximum torque of 610N · m.
Shanhai T1 is positioned as a compact SUV with a body size of 4706/1967/1845mm and a wheelbase of 2810mm. Its power system adopts Chery Kunpeng super hybrid C-DM technology, with a maximum power of 450kW and an XWD four-wheel drive system.
The Shanhai L6 is also a compact SUV with a size of 4630/1910/1684 (1690) mm and a wheelbase of 2720mm. It uses a system composed of a 1.5T four-cylinder engine and an electric motor, with a maximum speed of 180km/h.

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