Interview with Li Qingrong (above): The person behind the Netflix traffic password, director Contrast Meng appeared|Talk to Xuan Xuan about EP6

"Can't Hide" has become a hot topic on Netflix around the world, and the performance of Zhao Lusi and Chen Zheyuan is undoubtedly impressive, but what is even more fascinating is the magical charm of director Li Qingrong. She is always able to hide details in a clever way, making the audience curious and moved again and again.

When did you realize that you can do a good job of directing

Director Li Qingrong said that she feels that she can do a good job as a director, in fact, she is constantly giving feedback from the surrounding people, staff, work team, and even the actors she cooperates, so that she seems to really feel that she is okay and can make films in the process of each time.

After the broadcast, if the audience feedback is also good, they will believe that they can really do it. As for doing well, she feels that every time is not good enough, and every time is okay.

A sense of accomplishment for the first time

She recalled that in the first play, the actors who cooperated were actually quite good, the three protagonists were excellent, the male protagonist had already won the Golden Bell Award, and then the other two mothers were actually very experienced. These three actors are actually familiar to everyone, so it was very nervous and stressful to shoot at that time.

Li Qingrong smiled and said that she was not very famous yet, and no one even knew who she was. But she always felt that she was working hard and serious, and she would try to let the actor know what she wanted to do and be able to say how she felt about the play.

She feels that whether it is actors, directors or other workers, everyone wants to do this thing well, in fact, they will slowly develop a sense of trust in the process. But of course, you have to communicate little by little, every minute of every day, to gain this trust.

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Photo | Li Qingrong @ FB

"Do you remember the first scene, what was the scene that you directed independently?" Wei Xuan asked. She said she didn't remember much, but there was one thing in the first play that impressed her. is that when she cooperates with the male protagonist, he is basically very good, and his lines, movements and performances are all designed to be perfect.

But in the process of watching it at that time, she always felt very neat in her heart, and she kind of wanted to destroy that sense of neatness, but she didn't know how to operate and communicate. Once, to shoot a very important monologue scene, his monologue was quite a heavy emotional scene, and after he performed the first time, it was actually very perfect, but Li Qingrong's head flashed: I want to see what an untidy performance looks like.

"Not neat" in the eyes of the director

After shouting the card, she didn't say OK right away. The actor told her that if she felt bad, it was okay to come back. But she couldn't tell him to repeat the whole thing, because it was too long. At that time, as a new director, she was still not so sure and believed in herself, so she told him to repeat a certain paragraph, and the other party later took the initiative to start one.

In the same bridge, when he filmed the second one, Li Qingrong found that the time point at which he did this action was different from the last time, and it was clear that he was different. Because of this, along with the way he spoke, the emotions, and the slight trembling of the corners of his mouth, the untidy appeared.

After recording that, she thought OK. Later they talked about it.

The trust between the director and the actor

The actor asked her if she preferred to take two? Li Qingrong answered correctly. In fact, she couldn't say why, she only told the other party that she felt looser, and then the other person said that he thought about it. Although there was no special response, she felt that between her and the other party, she seemed to have found another direction for performance.

The feedback that the actor gave her made her feel that he actually believed in her, and then she felt as if she was doing okay and had more courage to take the next step.

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Photo | Li Qingrong @ FB

After the play, it is the director who can't come out?

Wei Xuan shared that he studied drama and heard many friends say that acting sometimes inevitably leads to a state of not coming out. For example, if you really like this person, you can't help but like it very much, and you really can't walk out. And Wei Xuan is curious, Qing Rong, as a director, will experience these joys, sorrows and climax with the actors, will there be a time when she can't come out after filming?

Li Qingrong kept nodding and saying yes, and the most clear one was "Flower Armor". When "Flower Armor" was filmed, she missed it every day. At that time, it was almost the Lunar New Year, so I didn't enter the editing right away, because it was about to celebrate the New Year, and I took a New Year holiday, and after the New Year, I started cutting.

But after the finale, for a period of time, she felt that she had been in the mood of "Flower Armor", but she couldn't get away from it. Later, after entering the editing, I cut every day, relying on the editing, and walked the whole role again. After walking, say goodbye to it slowly.

She said that in fact, every play actually will, but at that time of "Flower Armor", it was particularly clear. When asked the reason for her reluctance, she thought that there may really be too many feelings in it, and she would always feel that she had not yet left it.

(Also screened: To the scars in love!) "Flower Armor Boy Turns Adult": Even if it hurts, you have to love)

Photo | Li Qingrong @ FB

At that time, they often said that because the entire family name of "Huajia" was Zheng, she herself felt that she was a member of the Zheng family. They went to that ancestral home every day, and that ancestor was originally someone else's house, and the ancestral tablets of that family were actually still in the hall.

The first thing she did when she went to the scene every morning was to say hello to the ancestors of the family, and then put on incense, thanking him for letting us come to this place to film, hoping that he would bless them with all the best. She mentioned that she would actually put herself in it, as if she was really part of this house and this family.

She shared how they often say about the people of the Zheng family, as if they are talking about the people of this family in "Flower Armor", but when she said this, she was also there, and she was actually the Zheng family. After the shooting, when she was about to leave the main scene, she had a good way to say goodbye to this house and the rice field in front.

But she found that it was actually useless, she was still in the plot of "Flower Armor" every day, including emotions, characters, and feeling that she was still living with this character. In fact, the director is dedicated to the plot, the entire story, and the construction of the entire family, and all the details need to be pieced together bit by bit by the director.