Abandoning the drama in the middle, in addition to the collapse of the plot, the mental decline of the characters, the shock of acting skills and so on.
A point that is rarely mentioned—
It is difficult to talk about the characters in domestic dramas.
Either it's embarrassing to dig your toes, or it's foggy. Who wants to talk like this? I want to blow his head off in real life in minutes.
What medicine did you take wrong?
We enter this issue, "Confused remarks of domestic dramas".
What people say is of course what people say.
And when you say anything, you think they are not people.
This is a ... secondary two literature repeater.
Once you like it, you like it for thousands of years.
To be an object, you have to bear the rise and fall of the world.
When they are sad.
It is necessary to disrupt the hegemony of the century and the world.
Of course you have to say it. i am not a human being !
Is a fairy, is the emperor, is the Lord!
A lovely person's Chinese level should not only be the visual sense of primary school students' QQ space.
Needless to say, the "network sense" of domestic drama lines is really not unreasonable.
20 15, a large amount of capital poured into the IP market, scrambling to select those network works that already have a market base.
A series of online novels with no film and television value have become "good medicine for watching movies".
Jiangshan, Xia Tian and Emperor swept the high-frequency words of love in domestic clothes.
One mouth is to break the sky, break through the five continents, and the four seas ascend to heaven.
Then skillfully use the function words in classical Chinese: why, why and how.
Hua Qian Gu: "I don't care whether you stay or not, I care whether these people live or die. You can do whatever you want as long as you don't leave me. "
I can't even keep you! What's the use of wanting this world? "
"Drunken Linglong": "If I can make you run around, let alone the military power, even if I try my best?"
Even if the word is poor
Never give up the last stubbornness of exaggerated rhetoric-
The distance between us exceeds1000 km.
If costume dramas are all in Chinese and English.
Then the modern drama was immediately replaced by another painting style: online emotional chicken soup.
Mr. Wang wants to take notes in a notebook while watching the play-
Golden sentence
Sending a circle of friends, celebrity divorce papers and sensational advertisements are all useful.
I just don't need it for everyday conversation.
What:
Adults have no freedom to collapse.
Everyone's life
All chicken feathers
If you want to prove love with time.
How much time will that waste?
There is one more line.
Output the value of every sentence and guess social problems.
When the TV series "Who says I can't get married" first aired, it was circled because of the lines of Tian Lei (played by Chen Shu).
Every sentence is aimed at women's emotional problems, hit the floor:
"Many people are worried about our single people, but we are all doing well."
"Is the value of a woman used to have children?"
"Don't listen to men talk about politics, listen to them talk about women, this is their real political view."
Life in a rational school.
These lines are also intentionally or unintentionally suitable for women's marriage problems:
If a man
Just to find me.
Reduce his cost of living
Why should I marry such a man?
Serve the boss in the company
At least you can get a raise.
Independent woman. line
But independent women are not the big V of feminist networks. Make a declaration of independence to people around you every day.
The key is that Qianzu speaks well and got a hot search on Weibo.
The story of the hind foot immediately hit the face.
In order to get back together with her ex-boyfriend, Chen Shu quit her job as a first-class partner in a big company and went to work for her boyfriend.
Where is the established flag?
After Qin Lan finished a series of golden sentences for women, you can't see the plot describing her professional ability.
More often, she still shows the fragility of women in the "old love" of little suckling dogs.
It turns out that lines don't serve the plot or characters.
The gold thread is only responsible for drainage, and then it is put aside independently, and the old story continues.
Get the dog in, shark.
At first glance, it looks pleasing to the eye.
Even if this creative mode can scare people for a short time, you will know that it is bluffing and unspeakable greasy when you watch it too much.
About lines.
Xu Haofeng wrote such a passage in "duplicity, behavior":
..... and a script, the information that ordinary people can understand is the lines, and amateur script examiners will ask to see everything from the lines, otherwise it is unclear and the script is not up to standard.
Why are the lines of domestic dramas not as tasty as before?
The answer is two words:
Rough.
Okay, the line should be left blank.
Half depends on the role and half depends on the audience's thinking.
But the producers of domestic dramas are used to treating the audience as gods.
The background and relationship of the characters are basically expressed through the narration or lines of the characters.
Lines are no longer the exchange of ideas between the audience and the role, but more become the one-way emotional output of the role.
It's a bit like holding your head and forcing others to listen to yourself.
For example.
Ordinary Glory is adapted from the Korean drama Unborn.
Work has a bottom line.
The Korean version pays attention to what it sees and thinks.
Stop here and leave the rest to the audience.
It's always like this.
Get up early on the way to college.
On my way back from my late-night part-time job
No matter how early I say hello this morning.
On the way, someone will be there.
I thought others were still dreaming.
But whenever
The world is one step ahead of me.
China version is essentially a monologue of psychological chicken soup.
Still can't escape the template of moaning without illness.
So quiet
Everyone should still be sleeping.
This world
I woke up earlier than I expected.
Some people work hard for a simple life.
Strive for a better future
Strive to assume social responsibility
Me, for what?
Strictly speaking, lines should be a "discounted art".
They are all superficial stories.
But the relationship between the characters, the emotional level behind it, and the situation are often hidden in the unspoken part.
Waiting for the audience to dig.
Sir, make a small comparison.
Over the years, Rulu has contributed many classic roles in front of the screen.
In Ode to Joy, Fan, who loves vanity and worships money, has a four-minute line by the river, expressing his grievances of being squeezed by his family for many years.
Distressed?
Of course.
This scene was added to the director by Rulu himself.
I have to admit that Rulu understands the needs of the audience in China.
You can find the figure of * * * from these lines, whether it's a young man wandering outside or an adult audience who has been hurt by his family.
So, a few years later, Xiao Shede.
Tian Yulan, an anxious and paranoid mother, took her place.
Is still full of sadness, open my mouth to:
I am a virgin. I can't stand my back.
My in-laws look down on me.
Why did I force Ziyou to study hard?
Because only by our own ability.
Spell it out as your own.
But this time, Mr. Wang just felt noisy.
Reminiscent of Li's evaluation of Yang Mi: Pain is wow, laughter is hahaha.
Step by step into the program.
Don't get me wrong, I didn't mean to say it badly.
It's just that we obviously have a better way to express it.
Last year's online drama "The Silent Truth" exploded.
Jiang Yang was framed by the black forces for pursuing the case of Hou Guiping and was imprisoned for three years.
After he was released from prison, he changed from a high-spirited prosecutor to a vendor who repaired mobile phones.
Ruined, terminally ill.
The most uncomfortable scene for Sir in the whole drama is the scene where Jiang Yang finds his wallet lost at the dinner table.
In this scene, Jiang Yang tossed and turned only one line:
"I still lost my wallet."
But the audience knew what he had lost.
Repeated futile pursuits.
It is an axiom swallowed by evil forces.
It is his proud status as a prosecutor, and it is also his bright future and beautiful life.
All these are put in a wallet.
As an image, lines represent the life experience behind the role.
Therefore, even a few short sentences are particularly worrying.
When there is too much inappropriate exposure of these wires.
Like a diluted tea bag.
Too many.
Nature is insipid.
It happened.
The standard of good lines is: intriguing.
It's like a war and a beautiful ending.
A flying self-report-
"I 16 years old began to enter the palace, only learned a survival skill, that is, calculating people's hearts and fighting.
Do you think I can live a quiet life when I get outside? This is the location of my palace and the grave of my cow, Gru Yueru. "
Suddenly, it came up with the idea of this story.
Cut the play out of the narrow category of "Gong Dou"
Return to humanity.
Return to the inevitable tragedy of the characters under the palace power.
Pointed out the last resort of the woman in the deep palace after she was cornered in the power struggle.
Like a painful stone, it hits the lake like stagnant water, rendering a beautiful atmosphere with endless ripples.
If you say, you got the same lines from Gong Dou's opera today.
How can you write such a heavy and sad lament?
therefore ...
Scripts and lines are the most taboo in industrialization.
In order to realize rapid cash flow and reduce risks, employers and producers often use market probability theory instead of text creation.
So, Zhang San and Li Si, regardless of their status, all experienced similar stories and said the same cliché.
However, a good script and good lines are more than tempering.
Say a word from the heart'm:
Liu Heping.
Yongzheng Dynasty, Daming Dynasty and No War in Peiping are all his masterpieces.
At the moment when the script assembly line was being created, it took him seven years to light up a film "No War in Peiping".
Every time he writes, he hangs portraits of historical figures in the play and washes his hands and burns incense before writing.
One is respect, the other is possession, so that you can enter the role faster and forget yourself.
When writing a script, in addition to writing stories and characters, Liu Heping will also take into account details such as shots, timing, and actors' positions.
It's finished.
I want to practice it in my mind, countless times of polishing and adjustment.
But it is precisely because of this persistence.
Only in this way can we write Jiajing's wonderful Debate on the Yangtze River and the Yellow River.
Borrowing the Yangtze River and the Yellow River, the monarch's way of employing people-
"Don't neglect it because of the clear water, and don't neglect it because of the turbid water."
Metaphor means that the two sides struggle with each other and check and balance each other, so that the court can be stable.
Wang Jinsong once commented on Liu Heping's plays: "Thought will fly, breathing will change, mouth will unconsciously follow the role, and even want to stand up and try at once."
Liu Heping, one more thing.
Today's writers deserve to study alone.
He always integrates his own life experiences into his own scripts to capture the true feelings between characters.
For example, Yu Wang recited Jiajing's plays in Ming Dynasty.
It is based on the conversation between two fathers and sons when Liu Heping's father was seriously ill.
Come back and think about the domestic workplace theme.
The rigid "poison tongue" label of the elite in the workplace is shaped by biting the line.
Completely divorced from real life.
Obviously, under the urging of capital, the screenwriter took second-hand materials and created the same characters in batches based on fantasy.
After all, writers should not be afraid of the threshold.
In the face of good lines, the audience will only be opponents, not God.
Only through learning and communication can we achieve each other.
Here, what can't be bypassed is "Da Gong Ming Ci".
The screenwriter of this play has solemnly crossed the ocean. 9 1 He studied drama in art institute of chicago and has always loved Shakespeare.
Therefore, from time to time, there will be a large section of "Shakespeare" style lines in the play.
For example, there is a scene where the prince intercedes with Wu Zetian for the queen and two princesses in Xiao Shufei:
This was quite controversial in that year.
This is almost a rebellious attempt.
YiWen Zhao Wenxuan, who plays Xue Shao, called the producer because of his lines and suggested that he stop filming.
At the time of writing "Ci of Daming Palace", TV was replaying "I Love My Family" and "The Story of Editorial Department".
Both screenwriters are Wang Shuo.
At that time, it was commented that Wang Shuo created the most dynamic modern Chinese with his pen.
But solemnly and Wang wanted to say, "We absolutely don't want this language. We have a vanity. At that time, it was said that Wang Shuo had a linguistic innovation, and we should also have it. "
Now it seems.
This vanity is urgently needed in the domestic drama market.
There is no such deviant vanity.
It is also the companion piece Song Gong Ci directed by Li.
At that time, it was Wei, the female host, who staged the drama of the maid yelling at the report.
At that time, the man Yun Fan Fei possessed himself, reappearing the shocking scene of "You just lost a leg, and Zi Ling was lovelorn".
Behind the "fall" of lines is that the script has lost its original ideological value.
Falling like a cliff.
Apparently, there was.
We also have a poetic family drama like Da Gong Ming Ci.
With the phrase "a man will become a woman as long as you put him in a woman's situation", the real feminism is revealed.
But now there are fewer and fewer such abnormal dramas.
Mr. Wang can't help worrying.
When our lines become shallower and shallower.
When more and more pursuit of fragmented golden sentences.
Can domestic dramas return to the era when they were angry with the audience?
Let's start by talking well and speaking human words.
Editor's Assistant: Tin Shui Wai Tank Cover