Interview with Yin Tao, director of "Colored Glass": I don't shoot a drama with three incorrect views, and I don't shoot it again.

For Xian Xia's dramas, the complicated sects and martial arts, whether the main line is to save one's life or to sacrifice one's life for righteousness, eventually fall into the situation of love, and the audience who can continue to eat this set is also a stable part of the group. There are fewer and fewer Xianxia dramas like Hua and Hua that can get hot search. The scores of Xian Xia dramas on platforms such as Douban are just like horror movies in domestic movies, and it is not easy to pass the passing line.

At first glance, the lineup and plot of "Colored Glass" recently broadcast on Youku didn't have top love beans, and there were no degraded movie actors. In terms of content, the play was adapted from the novel Beauty in Glazed Glass ten years ago, and most of the routines are the same as those of ordinary Xian Xia novels. At that time, most readers have grown up, not necessarily for feelings. But at present, this drama is remarkable in Xianxia drama, whether it is the viewing volume or the evaluation of Douban 7.6 points.

Stained glass stills

In the final analysis, Liuli is also a sweet drama with the fairy world as the shell and love as the core. The praise of many viewers also recognized the interaction and love between the men and women. The heroine Chu Tiansheng has "six senses" and an incomplete mind, while the hero is a cold male god. From acquaintance to love, it is full of first love.

How to shoot sweet love that touches people's hearts? This is director Yin Tao's strong point. Audiences who like to watch sweet dramas should not forget the ancient costumes under the golden clothes, which exploded at the beginning of the year. So Allen became the "husband in January", and Yin Tao was also the director of the play. The previous work was "Glory of Datang", which was a smash hit and made the heroine Jing Tian famous.

Yin Tao said that "Colored Glass" has three correct views, which is very important to him. "It has the blood of young people's inspirational spirit. This kind of value is very good, and it has the spirit of changing life." The three views are also the principles that he believes that film and television dramas should have. "If the three views are not correct, I won't shoot this play. Everyone should have a sense of responsibility in doing this. Especially Xian Xia Opera, the audience is 18 to 25 years old. If there is a problem with the three views, some people will be biased. Doing something abnormal may be enjoyed by everyone, but it may lead some people's fate astray. Now some dramas, I don't mention any dramas, are very hot, but in the end they will all be sprayed because there are problems with the three views. "

In fact, the decline in the popularity of Xian Xia drama is also related to the idealized society in the drama. Xianxia drama is often considered simple and not complicated enough. Yin Tao doesn't think this is the type of Xian Xia's drama, but the correct values should come before the standards of complexity and depth of film and television works. "Why can't you tell everyone what's good and what's bad through a play? I won't allow court fights. I think it's right. Is it interesting that the whole society is intrigued? " He is worried: "We hope that the audience can see nature through the drama, but will the children think more and more?" No, if you do this, you will influence him and imitate him. "

For example, Yin Tao, an immature child, will be affected by watching a play. For example, treating a man as a husband is an example. "I am filming in Hengdian, and fans broadcast live every day to follow up the hotel. I have a good relationship with Soso. He has many fans. Isn't this created by the last play? That's what women like. It's impossible to play love rat. Li Zefeng is also in our group, and love rat is scolded every day (note: Li Zefeng plays Gu Jia's husband, Xu Huanshan, in Having an Affair with Nothing at Thirty). Yin Tao believes that because of this, film and television dramas should show "I will tell you that love rat is wrong".

Yin Tao believes that the audience's demand is changing for Xian Xia dramas that are becoming more and more difficult to explode. "Working with young people, you can't be rigid and relax." He stressed that he is now shooting the hero from a female perspective. "To put it bluntly, XianXia drama is a dream. Girls think what kind of man meets her husband's standards is very important. There is both the sweet love that women like and the perfect husband, which is burning at the same time. After men and women eat it all, Xian Xia drama can be circled. "

Stained glass stills

In "Colored Glass", Yin Tao's most difficult homework was completed before filming. He emphasized that to solve the audience's aesthetic fatigue of Xian Xia, it is necessary to establish a "new vision of expressing aesthetics" and realize the integration of people and scenery. He and his team increased the proportion of real scenes. "There are five schools of cultivation in the play. Generally, the crew may be set up in a shed, but we went to Tianzhu Mountain, where there are many strange pines and rocks. The combination of shooting and shooting in the shed makes people feel that you are really on the fairy mountain and makes the audience feel better about the scene. "

"What is the key to sweet pet? Interaction and communication. We have a clear grasp of physical contact, when we can contact and when we can't contact. We are all set very accurately and cannot deliberately. " For the performance of sweet pets, Yin Tao set it very carefully. In every scene, he will tell the actors the inner feelings of the characters. He believes that eyes should be the biggest killer of sweet pet dramas to convey emotions. "The most important thing is to observe life. Which girl thinks it's not * * * when she sees the man she likes? Will a man care about the girl he likes, and is he at home? Holding hands? No, the more I like it, the more I dare not touch it. " Yin Tao said.

Director Yin Tao.

have a conversation

Romanticism and heroic feelings are embodied in the theme of fairy love.

Paper: What's the difference between Coloured Glass and other Xianxia dramas?

Yin Tao: Although it's all about Xian Xia, I think this play is different from other plays. Before we do every play, we should consider the output and transmission of value. Obviously, this play is quite correct. At first, Xuan Ji was banished from the God of War to the lower world, and she became an abandoned girl, so I defined this drama as a journey to find the inner heart, a process of gradually finding herself, with the silent protection and help of the male master.

Secondly, it has the emotional sadism of Xuan Ji and Yu Sifeng. The classic CP mode is the means and way for the audience to substitute.

Third, you should do some creative and different new visual aesthetics, because all similar themes have similar visions, especially ancient costumes. I think ancient costumes are aesthetic, whether it is the special effects of the scene, the presentation of the whole picture, the modeling of clothing, the performance of actors, the design of characters and so on. , is an aesthetic orientation. If it doesn't conform to the present aesthetics, the audience will have doubts. You don't have innovative aesthetics on the screen. If you use patterned and complete things, you will feel aesthetic fatigue.

"Glass" stills, Cheng Yi plays Yu Sifeng.

Newspaper: There are so many IPS in Xian Xia. What was the reason for choosing this?

Yin Tao: First of all, when I read a novel, I just want to see what its core is, what its characters are, whether the output and transmission of core values are correct, whether the characters are vivid, and whether the three views must be correct.

At the same time, I think what really touches the audience is affection, friendship and love, which are the most sincere feelings. The deep affection between friends and the mutual affection between love should be fully reflected. I think in the end, it must be emotional. No matter how well you do it, you have no feelings, no relatives, no friends and no family. Will that work?

Finally, I want to see the characters. The routine of Xian Xia's drama is the same event, but the difference is that the characters have different output points, different initial intentions and different emotional blending. I'll see if this script can impress me first. I can deconstruct it again, but I must keep the classic scenes of the original novel, so that the book powder will have a sound.

Stained glass stills

Paper: What different feelings do you think this drama will give the audience?

Yin Tao: It starts with why many Xian Xia dramas feel so embarrassed.

First of all, Xian Xia's drama is easy to float on the visual screen, because it is divorced from our life. If the characters can't be substituted, how can the audience feel the emotions between the characters? This is the hardest thing now. So we held a script meeting earlier, including Cheng Yi, who attached great importance to the play. Everyone will focus on reading the script, and the most difficult part is actually the revision and learning of the previous script. What I want to adjust is the initial heart and movements of the characters, whether these things should be done by these characters, whether the results are right, and how the audience feels after watching them.

The tonality of ancient costume itself is aestheticism, romance and elegance. Historical dramas can't be restored like that, and neither can martial arts. It focuses on the sense of honor, but Xian Xia is different from them. It can bring out the romantic spirit of China, and China people actually have heroic feelings. Why do you like reading Japanese comics? Like watching American superheroes? It's all heroic feelings, which is the singing point on earth. The feelings of romanticism and heroism are actually reflected in the theme of fairy love.

"Glass" stills, crystal plays Chu.

Paper: Actually, domestic Xian Xia dramas have gone through several stages, and the market shrank after the Big Bang. In the past two years, what Xian Xia plays want to highlight and express has become more and more extensive, and the focus is not on upgrading and fighting monsters as in the past. How do you think the audience's demand for Xian Xia's plays has changed now?

Yin Tao: First of all, I think in performance, I don't think you can play the ancients in Xian Xia system. You must play the present, put on your clothes and do what you are doing now.

Secondly, I think Xian Xia's plays must have a point that touches the audience, and that is "burning feeling".

ChuXuanJi finally asked Liu Lixin on the ladder. You are a god of war and a man. What do you like best? He said I like being human best. I use a long lens, surrounded by friends and relatives, which reflects an upward spirit. No matter what drama you do, you should make people feel that life is beautiful.

These things have to be experienced before they are embodied, and they should embody the spirit of perseverance. Because many young people are actually confused now, they will find many "monsters" when they first enter the society, whether in the workplace or in society. What we embody is a spirit, and we must have the correct value and direction to struggle.

We must go against our fate and realize our ultimate self-worth, which is the foundation of Xian Xia's play: one is the growth of inspirational passion, and the other is to make them feel that the emotions in the play are the most sincere.

Why did everyone get tired of aesthetics some time ago? No pause. When it first came out, it may reflect a fairy world, which is very fresh, but the audience's aesthetics are changing every year and the requirements are getting higher and higher. The tall one is true. Your feelings are fake, and the characters are fake. I don't like watching them. But as long as there is a real feeling, it will be different, and the audience will sing.

Let the audience feel what kind of spirit and way to face difficulties. How difficult it is for Yu Si wind energy to protect him all the time, which shows how devoted his love concept is. Whether it can be realized in life or not, we all have beautiful ideals. To put it bluntly, Xian Xia drama is a dream, and we will give you a perfect boyfriend.

Stained glass stills

In your opinion, is there a relationship between Xian Xia's drama and martial arts drama? Have been liked by a generation of young people.

Yin Tao: I don't think so. Xianxia drama is a divine drama, which evolved on the basis of it. In fact, martial arts has its own ontology, and the drama can be traced back to a long time ago. The list of gods and the legend of the white snake are fairy tales. Why they can become classic stories, there must be something of high quality in it, the traditional benevolence, righteousness, propriety and wisdom of China people.

But martial arts and Xian Xia must find their roots, which is the romantic heroism of China people, and romantic love also meets the requirements of women. The other is the realization of self-worth, which is the blood. The main inspiration of women is self-reliance.

We should put on some plays to make people feel that life is better.

Another problem of Xian Xia's plays is that it is easy to appear without depth and connotation because of the theme and the age of the audience. "Legend of the White Snake" clearly exists, but later Xianxia dramas are often based on cool, and the details and events are naive.

Yin Tao: I don't think the values are right. You can't go any further. Just like Bai Lianhua in the past, black lotus is popular now. I say who smokes who, but it's different in Korean dramas. I slapped you, and then I was a good man again, and everyone collapsed. I didn't think clearly about the transmission and expression of values from the beginning.

Paper: Is the complexity and authenticity of characters more important, or values more important?

Yin Tao: To do anything, the transmission and output of values must be more important. If there is a problem with the orientation of values, no matter how good it is.

Thesis: But if a man or woman aims at the perfect angle of dreaming, he may lack three-dimensional sense and complexity, and the ceiling will be fixed there and can't get up.

Yin Tao: Each of us has a sense of growth. We were imperfect at first, and then we became perfect in the process of gradual experience and growth. But I think the roots must be fixed. You should be loyal to a man. He's love rat. He doesn't grow up. You can say I love three people when you come up. Don't worry.

Essentially, I really don't like to touch social pain points. Instead, I think I have to do something to make people feel that life is better. We live in society, how should we treat our friends, family, lovers, and how should men treat women. The coolness of growing up is the coolest, not that I am weak and dare to slap you when I come up. This is totally unreasonable, that is to deceive the audience. But some children really understand that it is ok to slap the teacher in the face at school.

We find the most sincere thing through willpower. What you give to society, society will give back. If you serve the society, the society will give you the best and give you a certain position.

Newspaper: There's one more question now. When we look back at some previous plays, there will be some barrage saying that the values are incorrect and the plays are really excellent, but this makes the creators afraid of three views.

Yin Tao: In every era, people recognize different things, and values should conform to the status quo. Some people will use some very incorrect means, why should they complete their self-worth through this means? Those works in the past meant that everyone could tolerate them at that time, but now, I won't talk about them. Now the country advocates these things, and I think they are all right.

You have to say that I am not affected, but we can only manage the mainstream audience, not everyone, and not the movie. Correct values can't be passed down? You said it was a crime. If you don't commit a crime, I will hack you. Then we can't commit crimes and break the law.

Besides, we are not so perfect. Yu Sifeng finally got into a fight with the monster in the tower, so I changed the script and got into a fight with myself. One is right and the other is evil, and finally I broke my ego and really grew up. There are many painful things in reality that make you feel that living in a film and television drama is still beautiful. Girls in Korean dramas all like to watch it. Why do so many cruel things? You live to be happy.

Stained glass stills

Paper: One of the characteristics of large colored glass is that it is very sweet. You've photographed under a golden coat before. As the motive force of pursuing drama, it is actually difficult to grasp the scale of sweetness, which can not only cause a sensation of * * *, but also not feel fake. How do you grasp it?

Yin Tao: The relationship between the characters and the development of the plot, including the physical contact between the hero and heroine, should also be detailed. What is the key to sweet pet? Interaction and communication. We have a clear grasp of physical contact, when we can contact and when we can't contact. We all set up accurately and can't deliberately. For example, Sifeng talked about what beauty is and put the sauce on her palm. Xuan Ji wanted to know what beauty is, so she tasted it. It was natural and not deliberate.

Yu Sifeng is a calm and cultured person-I can't seduce you actively, and I love this girl and I have to hide it in my heart-the character setting must not be biased. Some sweet plays have men and women meet, then kiss, and then fall asleep. Then you were so sweet that you stunned the audience, but it was all deliberate embarrassment. Good things are reserved, and sweetness is inadvertently captured. If you are calm and self-sufficient, you can't fall in love, and you can only rely on the hostess to be as simple as a child.

Screenshot of stained glass

The most important thing is that people care about each other, and on this basis, sweet words will communicate. I told them that we filmed boys and girls, and so did our group audience. There will be a bunch of children, and the others will be leftover men and women. You've never been in love. Can't be like an old driver? The first contact was when I accidentally touched my hand on campus. I'm shy. How can I kiss them when I come up?

Paper: What do you think are the criteria for the success of sweet drama?

Yin Tao: A good standard is CP interaction. First, CP mode is classic, and emotional view is very important. Second, during the filming process, I asked the actors to play against each other, get along with each other in advance and cultivate their feelings.

What I show most is micro-expression. I emphasize eye contact, not lines. His mind is empty and his acting skills are not good. It's what you have in mind. Don't think too much, your eyes will naturally pass. I told them a play, mainly about psychological feelings, psychological cognition and inner subtext.

Actors should also conform to people's design and have the right temperament. When making sweets, it depends on the advantages of the actors, and the director should extract them. This is processing.

Proofreading: Zhang Yan