The interview time agreed with Director Liu Jin that day was 10: 30 in my office. As a result, just after 10, he knocked on the door of our CBD Media Center office. The first feeling when I saw director Liu Jin was that the director of Red Man had no big shelf. That day he wore a black leather jacket on his upper body and a pair of jeans on his lower body. His hair is very short, and he has a childlike smile on his face, which gives people a very modest feeling.
After a few pleasantries, I quickly got into the practical questions of the interview. Director Liu Jin is a very interesting person. He has a smile on his face when he doesn't talk, and he loves to laugh when he talks. There are many interviews with him. He cooperated carefully, listened carefully to every question, and then made corresponding answers.
Because the content of the interview must be published in the print media first, I can't give you all the content for the time being. Here are some questions about interviewing director Liu Jin and his answers.
Li Jingguang: The beautiful cliff has been well received by the audience, which should be regarded as a breakthrough in the fast-paced spy war drama. How to understand the so-called "fast" and "slow" in spy war dramas?
Liu Jin: spy war drama belongs to genre drama, which can also be said to be melodrama. According to the usual habits of the audience, sitcoms are usually very exciting. So some viewers will have some questions when they see this drama, and want to know why it is so slow. Spy war dramas usually focus on narrative, with characters attached to events, and then try to highlight suspense or something. But cliff is different. It's actually a play about characters. It doesn't have a major event for the audience to follow, but follows people. What you are worried about is the safety of the characters. The whole thing is to let the audience go to the heart of the character and then follow the psychological rhythm of the character. This is the biggest difference between Cliff and other spy war dramas.
Therefore, there are a lot of inner activities in the play, and what is needed is a quiet narrative to let the audience understand the mood of the characters. There are some dangerous things in the plot. And the rhythm we are talking about is actually the rhythm of the characters' psychology, not the speed of lens cutting. This is different. In addition, there is the rhythm of the story itself.
When I first read the script, I didn't see the slow pace, because the psychological activities of the characters are very rich, and you feel it. However, if you don't watch it, you may feel a little slow. When you look inside, things inside will always change, and you won't feel a little slow. In other words, rhythm is not a simple, superficial and external thing, such as short shots and quick cuts. In fact, these are just some forms of expression, and the speed of the rhythm is the speed of the core of the story.
Li Jingguang: For spy war dramas, The Cliff is different in that it pays more attention to characterization and details. Do you think this will be a breakthrough in the future development of spy war dramas?
Liu Jin: I think no matter what kind of drama, it should be centered on the characters, and the realism of the characters is very important. I think the biggest difference in Cliff is that people are written as adults, and then people talk. People are also afraid and happy, and these feelings are real.
The role of Gu is the most discussed by the audience now. Many people don't understand why she is such a bad person. In fact, from a woman's point of view, she is just an ordinary woman, and she also makes mistakes. As a person, we all make mistakes. For example, when the enemy is trying to find a way to encirclement and suppression, people on the mountain are dying, and others are doing nothing. She is an upright person, but there are some problems because she is short-sighted and can't see clearly. The audience judges from the perspective of overlooking, and many questions are judged from different angles. In addition, it is somewhat sad that in our previous TV series, most underground party figures were portrayed as omnipotent "heroes", misleading the audience and thinking that underground party members should be like this. But in fact, from Gu's point of view, she thinks what she has done is right, which means that she will only do it if she thinks what she has done is right.
So I think it is very important for any TV series to create real characters and show real details.
Li Jingguang: There are many TV dramas filmed in China every year, but a large part of them are difficult to broadcast through TV media. From the director's point of view, what kind of TV series do you think will be liked by the audience?
Liu Jin: The demands of TV stations and producers are also understandable. Sitcom is relatively simple, as long as the story is well written, but emotional drama is difficult to shoot. Only when the characters are clearly written can someone read them. The audience is actually demanding, but passive. They just changed the channel, so they have to cultivate such a demanding audience.
Cliff's ratings are very good this time, and I am very happy. If a good TV series is only high-end, but the ratings are not good and it is not accepted by the audience, it shows that there is still no market for this kind of TV series, and we can only do something empirical according to the requirements of TV stations. However, it turns out that in this respect, the audience still has needs.
Some people say that cliffs cannot be copied, but I don't think so. In the final analysis, this should still be a matter of concept.