Who is the worst slap in Yang Jie's version of The Journey to the West? It turned out to be a handsome man.

Written by: Beijing News reporter Zhou Xiaochen

New Media Editor: Tong Na

This article is the original content of Beijing News Fun Entertainment (ID: Yuleyidian) and cannot be reproduced without the written authorization of Beijing News.

There is only one shot. How did Yang Jie make a wonderful martial arts drama? How are the moves of the Monkey King, Zhu Bajie and various goblins designed? Have the actors ever been in danger under the bad shooting conditions? What are the technical changes in the two films about Journey to the West ... The Beijing News reporter interviewed Lin Zhiqian, the 86th edition of Journey to the West's martial arts design, Ma Dehua, the 98th edition of Journey to the West's sequel, Cao Rong, and Liu Dagang, the actor of Friar Sand. To uncover the hard behind-the-scenes of "after 81 difficulties, I have learned the truth."

An action training

Xiaobailong practiced against the leaves with a bamboo sword all day.

Lin Zhiqian is not only the actor of Erlang God of The Journey to the West in the 86th edition, but also the martial arts design of this drama. He is a disciple of Laisheng Wan, a martial arts master. "I didn't want to go. I was approached by a cast, but I was not interested. Later, under the introduction, I met Director Yang Jie. " He recalled that when they first met and sat down face to face, Yang Jie was about to speak. "An old colleague of hers came to see her, and Yang said she would come back in half an hour, and then she left. I think if she doesn't come back in half an hour, I'll go home at once. As a result, she came in 20 minutes. " He was surprised that she kept her promise, and felt that the female director was a person with temperament, and she talked kindly and didn't drag her feet. To show her kung fu, Lin Zhiqian picked up her umbrella and gestured a sword in front of her. "At that time, there was a marble pillar in the room, so I kicked it with my bare hands. Yang Daoxiao said,' It's terrible,' and that's settled. " Lin Zhiqian's six-year "Journey to the West" began.

Please click here to enter a picture description.

When young

Because of his kung fu, at the request of Yang Jie, Lin Zhiqian began to teach actors how to use swords. Xia Bohua, the martial arts instructor at that time, was injured, and Lin Zhiqian officially became a martial arts designer. Lin Zhiqian said that The Journey to the West's martial arts movements are difficult to design. "This is not the same as shooting Shaolin Temple. The actors in Shaolin Temple are all martial arts athletes. They have sparring routines, one for two, one for one, like a monk playing against officers and men. The action can be broken down into several scenes. " Most of the actors in Journey to the West don't know martial arts. Although many people are opera actors, actors can use the elements of opera when they appear. There must be a "martial arts athlete routine" when shooting martial arts dramas. "If you want to teach one by one, you can't come down for half a year," Lin Zhiqian said.

So, the martial arts drama of the four men had to wait until the literary drama finished during the day, and Lin Zhiqian gave them a "small lesson" at night. "Let's practice together. For example, there is a martial arts drama to be filmed tomorrow. Make up the action in the evening, and talk about it when the scene starts shooting. According to the terrain and scenery, talk about a few actions, take a few actions, and teach the essentials. " The Monkey King and Zhang Jinlai learned a set of Monkey Boxing at first, but Monkey Boxing is pictographic boxing, and there are few offensive and defensive actions, so they can only teach some new stick techniques.

"Little White Dragon" Wang Bozhao has no martial arts background. For the sake of crash, Lin Zhiqian thought of a unique skill, taught him basic skills such as chopping, pulling, chopping, stabbing and chopping, and then asked Wang Bozhao to practice against the leaves all day in Wuyishan with a bamboo sword. "He is very bitter, and finally he can't move his shoulders. When he did well, I began to make up the movements. He also worked hard until the play was over. "

Double action design

Pig Bajie "dances the little swan dance", and martial arts should be comics.

The martial arts dramas in Journey to the West are different in style, which is also the result of Yang Jie and martial arts design.

Ma Dehua, the actor of Pig Bajie, expressed his own experience when talking about the action design of martial arts drama: to find the personality characteristics of Pig Bajie, it is necessary to "play" a good role. For example, monkeys are very athletic, and their gestures are full of aura. Although Zhu Bajie is stupid, he is also clever. "There was a little jump, and his two calves were knocked, like a very fat person dancing the little swan dance lightly, which required special design in the process of martial arts. Zhu Bajie's martial arts are comic, and the contrast is big, and the comedy effect comes out. "

Recalling the beginning, Ma Dehua said, "We practice every day. Lin Zhiqian, a martial arts designer, is a great inspiration to monkeys and little white dragons, because little white dragons have no martial arts foundation. "

Yang Jie once praised Lin Zhiqian's martial arts movements, which were all based on the characteristics of the characters and met her requirements: "For example, the dragon girl who fought with Xiaobailong in" Sweeping the Tower to Distinguish between Strange and Unfair "used kelp. He arranged the movements of HongLing dance in rhythmic gymnastics into this scene. A contest between kelp and sword can be described as both clever and beautiful. "

In addition to designing martial arts movements, Lin Zhiqian also painted some shots in the later period. It takes two people to complete this action. He asked the assistants of the Wushu teams in Hangzhou, Beijing and Fujian. "Someone has to cooperate with me, otherwise I can't make up the action. One is a monkey and the other is a monster, so that the completed action can be tested. "

Cao Rong in Hongkong.

1998, when Yang Jie continued filming The Journey to the West, the action director invited Cao Rong. Cao Rong knew the producer of CCTV TV Production Center, so he was recommended to join The Journey to the West's sequel.

Cao Rong thought that Zhang Jinlai's acting skills were soft, so he designed the Monkey King's martial arts movements "powerfully". During this period, stunts have improved. Therefore, Cao Rong and the stunt director are studying how to make stunts more enjoyable every day, and strive to apply the advanced experience of Hong Kong-made stunts to fighting from the fighting style to the difficulty of stunts in Monkey King.

Cao Rong's martial arts design for Pig Bajie emphasizes lightness and humor. Every scene hopes to be joyful and bring laughter to everyone in action. So he designed a scene in which Pig Bajie took a rake to catch snake essence, but the rake was blocked by the hole and could not be pulled out. This scene made people laugh.

Third, how to play opera

"If I really hit a cliff, I will be scared to death if they don't fall to death."

As we all know, the 86th version of The Journey to the West only has one camera during most shooting periods, so it is absolutely more difficult to shoot flickering martial arts scenes and illusory fairy monsters. Yang Jie once wrote in the book: They "replaced the moving rails with bicycles pushed by two people; Put a square table on the tablet, put a chair on the table, and the cameraman sits in the chair. People push tricycles around to shoot the lens ... "Come up with all kinds of indigenous methods to shoot various angles.

Lin Zhiqian said, "At first we were amateurs, but it took us a long time to understand. At that time, the camera and the battery were separated. What to shoot, someone had to run with the battery on their back, and they had to cooperate well. "

For safety, some shots have to be opportunistic. Lin Zhiqian recalled shooting Pig Bajie and Friar Sand on the quicksand river. On the edge of a steep cliff one or two hundred meters deep, there is a small place, but there is no protective equipment. He was worried about the danger, so he had to pull it to the road to shoot. The camera only shoots the upper body and can't see the road. "If you really fight on the cliff, I will be scared to death if they don't fall to death. Whenever Yang Dao arrives at this time, he will be afraid and worried about an accident. She kept asking me, and I said,' Dare to do it if you are sure, and don't let them take risks.' I don't want to worry Director Yang. "

Cao Rong was deeply impressed by filming "Black River" in Miyun Reservoir. Yang Jie gave him eight days to shoot, and it only took two and a half minutes to cut it, which made him feel that mainland TV stations are pursuing art, just like the requirements of filming. Cao Rong laughed at himself, saying that his standard of Mandarin was far from what it is now, and it was difficult to communicate. "Action film photography skills are more particular, so I specifically asked for" the right to operate the plane "when signing the contract. I'm afraid there will be conflicts between us. With this requirement, there will be no conflict with the photographer. "

The Beijing News reporter also interviewed Liu Dagang, the actor of The Journey to the West's sequel Sand Monk. Although Zhu Yu was in the front, Liu Dagang said there was no pressure to play Friar Sand. "Yang jie and I are very familiar with, she found me directly. I will learn from Huaili Yan, but I won't imitate it. I am a Chinese opera actor, and I can perform all the martial arts dramas myself. " Compared with the 86th edition, there are many more martial arts dramas by Friar Sand in the sequel. "This requires actors to have some real kung fu and a martial arts foundation. Yang Jie uses us to minimize the body double of the body and looks real. "

The most difficult action scene in Liu Dagang's mind is Monkey King, which was shot in a cave in Sichuan. The environment is cold, wet and humid. "I'm not injured, but it will be more difficult to shoot martial arts in winter, because you can't wear too much when threatening. Cao Rong's martial arts drama is wonderful and hard. You must cooperate with him. If you don't fight monsters, it doesn't match the styles of these people. "

Four props

"Dragon Palace" duet, put a glass pool in front of the camera to shoot bubbles.

The weapons and magic weapons used by immortals and monsters are varied and fantastic, which is also a major feature of Journey to the West. Lin Zhiqian told reporters that most of the scenes were shot in real scenes, but the Tiangong and Dragon Palace must be set indoors. Lin Zhiqian introduced that the floor of the Dragon Palace is all glass, and there is a big glass pool between the camera and the shooting scene, which is filled with fish and bubbles. The camera will shoot along the glass, which is the bubbles during the "Dragon Palace" fight.

Props are managed by the Props Group. Lin Zhiqian said that due to financial difficulties, most weapons were reused. Hundreds of people made a scene in the Heavenly Palace and invited many extras. These weapons are recycled when they are used. Wait until the big scene, then use it.

The weapons of the four masters and apprentices are: "For example, several golden hoops used by monkeys, big and small, metal for support and other actions, and wood for dancing."

For all the props of goblin fighting, Lin Zhiqian should discuss with special technicians what weapons will look better. The weapons in the play are more exaggerated than ordinary martial arts weapons. For example, the rake used by Pig Bajie is different from that used in farm work. "That rake is very beautiful, but the proportion is wrong. If you don't grasp it well, you will keep turning. " Ma Dehua also recalled: "The rake was not very heavy. The key is that the head is heavy, but the pole is very light and needs to be controlled by a rake. "

Liu Dagang has a heavy burden. "There are five bricks before and after, five kilograms of beads hanging around the neck, and a real girl's copper bracelet hanging on her ear. All the props are real and you can't take time off. " The use of heavy props is a * * * knowledge reached by Liu Dagang and Yang Jie, because when filming on the hillside and by the sea, it is necessary to carry heavy objects. "Although Yang Jie didn't ask for it, this opinion was put forward by myself, because I am responsible for the role. Only by using real props can Friar Sand look like a hardworking person. "

Cao Rong's proudest weapon design is the "rotating" weapon used by Xiang Jing in The Broken Lion Camel Bell. Should the elephant essence use an elephant stick as a weapon, spray fire or water, or use a knife directly? Cao Rong specially designed stunt props. First, real props were used to transfer the real scene, and then a tube was connected to a motor inside the stick. Let the weapons in front really turn, and then add special effects and firepower, so as to be realistic.

Five-body double.

"True and False Monkey King" the Monkey King used body double

Compared with body double, who is now being abused, Journey to the West is less than a last resort, and insists on really fighting.

Ma Dehua said that all the Weiya plays had to fly twice, especially there was nothing under the equipment, but something went wrong and everyone basically fell. And he has only two scenes in body double's play, because his foot can't leave the ground, but these scenes are not martial arts. "I made this choice mainly because of time. If you are injured alone, I can't wait for you. Just shooting, so I let others take over, including showing movies, all by themselves. "

To the sequel, Cao Rong's starting point is to make high-level stunts. The crew found Sichuan Special Effects Company and have been discussing how to make special effects beautiful and effective, so although Yang Jie only filmed 16 episodes, it took 10 months. Because of the progress of stunts, there are many different details between the old version and the new version, such as how the golden hoop sticks out of the ear, how to get bigger, how to fight, the combination of real explosion and stunts, and all kinds of details involve the combination of action and stunts, martial arts and stage. Another point is that there was a conflict between wenwan and martial arts at that time, so there were not many opportunities for six-year-old children to come to the scene. They copied models of six-year-olds and used some human body double.

Cao Rong said that in The Monkey King, the Monkey King used his body body double to hit the sky from Lingxiao Hall, and then hit the ground from the sky. "This scene is a big breakthrough. At that time, the Chinese fairy drama did not have the expressive force and level of this action. "

When talking about Zhang Jinlai, who plays the Monkey King, using body double, Lin Zhiqian expressed understanding. "When making a sequel. Zhang Jinlai is almost 40 years old. Can you still ask him to do version 86? He was only 23 years old and young at that time. At the age of 40, it is difficult to follow the routine of Hong Kong Wuzhi. "

Liu Dagang said that several starring plays were basically made by themselves, and body double was rarely used.

Six awards

"Every episode is around 60 yuan."

Compared with the sky-high film and television industry, Lin Zhiqian recalled that the salary in the crew was basically twice that of the original unit. But the average is only a few tens of dollars, and the salary is very low. He revealed: "Every episode around 60 yuan, I am like Monkey (Zhang Jinlai) and Pig (Ma Dehua), and 80 yuan is an episode." The crew is short of money, but everyone on the crew is trying to save money. Nutrition expenses for actors who play Pig Bajie and the Monkey King 15 yuan, nutrition expenses for actors who play Friar Sand and Tang Priest 9 yuan, martial arts director 15 yuan. Lin Zhiqian found Director Yang Jie and told her that she wouldn't take the money. "She asked why, and I said I didn't take it, so no one dared to take it in the whole martial arts school. Everyone is filming with love for a cause. At that time, there was almost no temptation for money. "