The first part of ＂Feng Shen＂ will break the secret of 2 billion 24 months, and you will never know it.

Special feature of 1905 film network The box office of the film is about to break through the 2 billion mark. At the same time, the roadshow has entered the fourth stage, and the audience has been discussing topics around the film, from content to actors.

Among them, many young actors, including,, and, have been recognized and loved by more and more audiences one after another because of the film’s out of the circle. The behind-the-scenes story of "Feng Shen Training Camp" is even more talked about, from the interesting things during the sea election, to the hardships in the training process, and finally to the final casting. Everything is to make the story of Feng Shen Trilogy more complete.

From the moment the actor entered the training camp, the instructors didn’t "draw cakes", but explicitly said, "As long as he can carry it down, he will get the role."

The essence of which role is bigger or smaller is the value of the actor. The film’s performance instructor joked to us that the director and every instructor in the training camp treated this group of young actors like Zhou Wang, and finally developed this group of protons.

Back to the essence of the event, she will still be like a parent, and it is meaningful to have the opportunity to train a group of such actors.

In 1905, the film network interviewed Liu Tianchi, the performance director of the trilogy of gods, and talked about the standards of the training camp, trying to restore all kinds of stories and rules of the training camp as much as possible. In the performance summary of nearly 20,000 words in just one hour, we try our best to use direct and true expressions to sort out the difficulties behind the proton group of the trilogy of gods, each young actor and the instructors.

01.Before casting, the director went off to learn to perform.

Before we started the casting of the trilogy of gods, the director spent almost a month and a half discussing the performance with me, and even he personally left the stage.

He told me one day that I also want to perform Tianchi, and I want to know the creative thinking of the actors.

Because the director is a macro-controller, it is entirely necessary for him to build it bit by bit through the efforts of various departments and Qi Xin. For actors, it is the most important link in the whole world, because everyone’s efforts must be presented to this individual.

Wu Ershan is a very delicate and gentle person. He said that he doesn’t like losing his temper himself. How can he grasp the difficulties of the actors’ creation, especially in the face of a group of young actors?

I told him that the performance was incomprehensible and had to end. Later, we rehearsed in this rehearsal hall again and again with two scripts that had nothing to do with the trilogy of gods, but were relatively complicated in emotion.

02.Fertility is not only the figure, but also the eyes.

When we started to choose actors, Director Wu Ershan emphasized our own oriental aesthetics. Although we read a lot of documents, we couldn’t fully research the body shape or appearance of people in the Yin and Shang Dynasties.

When we can be sure, they should live in a bitter and cold place and use bronzes to fight wild animals. Therefore, the wildness mentioned by the director is not only the figure, but the most important thing is the wildness in the pupil, a kind of struggle or an impulse to win. This is the most important texture for our assessment.

All the children were wearing number plates when they first came to the interview. Everyone was trembling and didn’t have much performance experience. We will do some physical confrontation training on the spot. Because human nature is like this, adrenaline will stimulate a lot of things that he is really.

Our greatest appeal to young actors is their sincere feelings. My performance team and I will also try our best to have the most direct emotional communication with the actors at close range, and many shots will be prepared at the scene. The director will watch it on the monitor and push it to the actors’ eyes through close-ups.

In a word, we try our best to find out what they are as actors. At that time, his eyes will slowly project different contents. At that time, in fact, you will know whether he has this potential. That’s how we choose, like looking for a needle.

The whole casting lasted for a year, and we gathered here for three days almost every month, with about 20 people in the morning every day, and almost more than 1000 children had physical confrontation and eye confrontation.

03.Chen Muchi is very cute and has the most juvenile feeling.

Chen Muchi was very cute. At that time, he stood there without any skills and said that he could play a set of military boxing. As a result, he played a set of military boxing very immature and sincerely. It was his strength that saw this kind of youth in him. Although he was tall and big, he was so cute. He is the most juvenile of all protons.

We kept him very carefully, hoping to see his subsequent development. At that time, I told Mr. Sang Lin, the action director, "Military Boxing" was given to you, expecting him to change to what extent.

When he plays military boxing, he can at least judge his coordination and short-term explosive power. And we need him to have this sense of faith, which is very clean. The director requires not only wildness, but also inner purity.

The trilogy of deities is a history of heroic growth, and the sense of youth is still very important. In the end, Mu Chi was named Yin Jiao, which was closely related to his personal efforts. Our training camp was really cruel.

04.All four stages are in formation.

There is no obvious elimination system in our internal test, but in the assessment process, we will observe the growth of the child at this stage, and whether it is possible for him to get the role when he grows to the next stage, and whether it is possible for him to get the role, but it can be placed in the proton group.

We put each actor in the whole proton group, and through four assessments, we can judge which role we want to grow in each person.

05.Hou Wenyuan was criticized the most.

At present, among several actors, Hou Wenyuan is in the most dangerous situation, and he is also the child who is criticized the most by us. He is particularly enthusiastic and a sensitive child.

He used to exercise a lot, and he was much stronger than other people. When we intentionally expressed the hope that Proton would have a similar figure, he would show off in an ostentatious manner by some young people, and when he began to show up, he would bring out a certain "greasy" feeling.

Later, he found that when the cast didn’t choose roles by muscles, it became a challenge to him, because he was too big and even not so smart, and his former advantages turned into disadvantages.

His whole state of mind and spirit was greatly shocked. In the process, he slowly returned his things and returned to the feeling of youth.

I think that child went from wanting to show, to wanting you to see, to following his own heart. I think this growth process is very helpful for his future growth.

06.Wu Ershan originally planned to decide the role before starting the machine.

When we asked the actors to write biographies, we probably revealed to them a little bit about who they might be in the future. Originally, Wu Ershan wanted to take a more extreme approach, and announced it before starting. We thought it was too extreme and we stopped it.

So then one night, we had an emotional chat about the actor’s past experiences, including his relationship with his parents. In the field of performance, it is called life telling.

At that stage, we found out which children were suitable for which role, and then persuaded the director to make an announcement or inform them to start writing biographies. Of course, we will let everyone write a little more or less, but we will focus on getting actors to rush to the corresponding roles.

07.The biography of the character sees that Yu Shi is very strict with himself.

Maybe Yu Shi didn’t want to play Ji Fa, but he understood the role very accurately.

It’s not that the child’s literary talent is great, or that he writes vivid and emotional things. From the words, he can feel that the child is very strict with himself and has super perseverance. He must let others see him. He must practice every skill well, and he is also very emotional, which is what this role (Ji Fa) needs most.

08.Instruct the oldTeachers are "Zhou Wang" from different angles.

In the process of high-intensity training, a person will enter the bottleneck in all aspects, so it is time to check his willpower and see if he can still break through. However, this group of actors in the trilogy of gods will not encounter the bottleneck period, because we will not let go of any window where they want to escape.

I have two other partner teachers, one is Zhou Mi and the other is Jing Niansong. These two male teachers will never let go of their state, and they must be challenged to their limits. I will always be like a mother at home. I will take care of their hearts and they can cry.

We also have a head coach, Sang Lin, and the director at this time to tell the actors about the beauty of the film world and how the most famous actors in the world were successfully trained. We just do this from the inside out, so that the actors can light one of their own hearts.

(Laughter) Adults have rules of the game, but they don’t know that all of us may be Zhou Wang to train these protons.

09.The actor’s performance is very accurate, and the follow-up story is more hierarchical.

I especially hope that when we get to the last two films, we can discuss the performance in more depth. In the first film, because it is a group image, there are fewer parts to show personal performance, but I think what everyone likes is to see the accurate performance of these children.

You can see Yu Shi’s performances, from meeting his father, to the Longde Hall, to his incomprehension, and even his hatred for his father at first, to seeing his father in the rain. After three scenes, it is a test for young actors, and every scene subverts Ji Fa’s worldview. The structure of the whole script is very fast, and there is no drama, which requires him to change his mood quickly, and those changes are finally projected on the role.

There is also Yin Jiao, who also has many changes. He is a complex body with some femininity but strong appearance, especially in the final performance of the manufacturer, which I think is particularly accurate.

From the beginning of the second film, these characters will start to grow up and start to think deeply about life. At that time, they can see more level performances.