There is an urgent need for a paper on Xu and his female films.

Gender: Female

Original name:

English name: Xu Jinglei

Birthday: April 65438, 2006

Constellation: Aries

Nationality: China.

Territory: Chinese mainland

Height: 168cm

Blood type: type B.

Measurement:

Hobbies:

Starway: Xu's artistic resume:

Drama-

1994 "I love XXX"

Movies-

1997 spicy love soup, Fengyun and get rich overnight.

1998 "Sudden Husband"

200 1 presbyopia, subway to spring, I love you, flying north.

Warlords in 2007

Tv series:

1994 "You at the same table" and "New Romantic Times"

1995 "love affair"

1996 Beijing love story

1997 thunderbolt bodhisattva

1998 "kokuryudo" and "carry love to the end"

1999 arrival of the god of wealth and love letters

In 2000, God rewarded, let love be the master, and the family traveled to Austria.

200 1 "accumulate emotions"

My father and I were in 2002

Last Love, First Love, Brother in 2003

A letter from a strange woman in 2004

Directing movies:

My father and I were in 2002

A letter from a strange woman in 2004

Movie script:

My father and I were in 2002

A letter from a strange woman in 2004

Magazine:

In 2007, he founded Open magazine.

Movies? I love you?

Many people think movies? I love you? Du Ju in the film is a character who dares to love and hate. From the beginning of the film, she asked frankly, "Do you love me? Am I the person you wanted since childhood? " Putting a knife around David's neck and forcing him to say "I love you" all prove that she is aggressive in love. However, is this really the case?

Since her ex-boyfriend fell into the swimming pool late at night and died, the relationship between Du Ju and Wang Yi, a friend of the driving school, has cast a subtle shadow. Because of an accidental opportunity, they met again, had feelings, and then got married, and everything seemed logical and logical. But as Wang Yi said later in their quarrel, I think we were a little hasty when we got married. As Du Ju admitted: "Because we both wanted to get married at that time, and I was a better person you knew."

On their wedding night, Du Ju was jealous because her husband commented on his girlfriend's long waist and short waist. Du Ju thinks that her husband doesn't love another woman's figure when he just got married, while Wang Yi just tells the truth and doesn't think so much. Du Ju felt very uneasy about her husband's "infidelity" and finally they broke up. In fact, what Wang Yi should say here is: I care about you the most, and I don't care about others. I think this sentence is enough to make Du Ju smile.

In the following days, Du Ju constantly found fault with her husband, always thinking that he didn't care enough about her. One of the questions she often asks Wang Yi is: Why do you have so much to say to other women outside, but I have nothing to say to your wife when I get home? And she is stubborn to know why. In fact, marriage is like this. Why are there so many reasons? After marriage, men and women can be said to know the root of the matter, and their understanding is almost the same, so their attraction will naturally decrease. Of course, they will not have more care and attention when they are in love. Du Ju still stubbornly hopes that her husband can give her the same attention, otherwise she will assume that her husband doesn't love her, and will not hesitate to use the night rush to get her husband's attention. Unfortunately, the result disappointed her, which strengthened the idea that Wang Yi did not love her.

The party with friends Pan Youjun and Lao Pu became the fuse of their quarrel. Of course, Du Ju can't understand a man's emotional needs for his friends. She just wants her husband to live in his own world. As a result, after being slapped by Wang Yi, the relationship between them began to deteriorate. But it was always after the event that Du Jucai admitted his mistake and repeatedly promised that "I will never quarrel with you again and be good to you." But a few days later, the old habit broke again.

Pan Youjun's divorce is a heavy blow to Du Ju's fragile mind. In her world, there is always no sense of security. She thinks that all men in the world have no good things. When they get married, they will eventually divorce. As a result, the two broke out the most intense quarrel since they got married. Du Ju once said: Wang Yi, please give me three more years. In three years, I will divorce you.

This quarrel made Wang Yi begin to reflect on the problems existing in this marriage. He doesn't understand why Du Ju always quarrels with him. He said to Du Ju: I don't understand, you are so popular outside, why can't you come to me? Du Ju said: Yes, what I can tolerate in others, I can't tolerate in you. Wang Yi asked for a divorce, but Du Jujian never agreed. She thought Wang Yi was tired of him. She said, you can find another one, but I can't. Because in her mind, Wang Yi represents her desire for love. If this feeling is gone, she will have nothing to pursue in her life. Finally, in order to get Wang Yi's promise, Du Ju put a knife rest around her sleeping husband's neck, and Wang Yi escaped from the broken window, indicating that their marriage had come to an end.

The two broke up peacefully, but almost at the same time they became tolerant and began to review each other, wishing each other to find someone better than themselves. Before leaving, Du Ju said, "Can you hug me again?" It is not difficult to see how strong Du Ju's desire for love is.

Why does Du Ju have such a strong desire for love in her life? She hopes that her husband's center of gravity will always be on himself, and that he is the whole of his life. Why is this happening? According to Wang Shuo's novel? Die of addiction? In the adapted film, the scene arranged by screenwriter Wang Shuo should be able to show Wang Shuo's own views.

After the divorce, Du Ju took Wang Yi to the detention center to visit his dying father, which was the first time that Wang Yi met his father. She told Wang Yi that her father was a prisoner, strangled her mother and sentenced herself to life. It's been fourteen years now.

Du Ju is a child who lacks fatherly love and maternal love since childhood, so she has always longed for strong love and care from others. Even after marriage, she is still a child psychologically, hoping to get endless love from others. Of course, this expectation is difficult to realize in her social role, so she turned her goal to her husband Wang Yi. She thinks that if a king loves himself, he should pay attention to himself every minute and can't pay any attention to others. Because she is insecure from beginning to end, a little attention shift from her husband will lead to her loss of security, and then she will sneer at her husband and look at him coldly. In psychology, Du Ju's mentality should be called "the need for lack of love", that is, she has a strong desire for love and asks others, especially those close to her, to pay attention to herself all the time, rather than others. If others can't do this, she will be mentally unbalanced and behave like a child.

So Wang Yi said that Du Ju is like a child with unhealthy mentality. Du Ju also admitted that she was mentally unhealthy, but she thought Wang Yi was more responsible. In fact, Wang Yi is the most typical representative of men in China. He is just a victim. In the film, Wang Yi and Du Ju finally hugged each other tightly, and both of them felt that each other was precious. The film ends with Du Ju with a big belly and a peaceful smile on her face. What did Wang Shuo want to tell people by arranging this ending? When Du Orange was driving at the speed of lightning in the middle of the night on the expressway and her eyes were full of despair, Wang Yi took her to the car, and Du Orange immediately scratched and bit him. In the hours when Wang Yi sent Du Ju home and waited for her to wake up, I think Wang Yi finally understood why Du Ju did that to him. Perhaps this understanding started from the moment when Du Ju told Wang Yi his life story. After Du Ju woke up, Wang Yi was silent. He finally understood the meaning of Du Ju. And Du Ju looked at Wang Yi with a wound on his face, and his only love was also affected. The two embraced tightly. Every time I see this, I always think: Why didn't Wang Shuo arrange for the two to remarry as the ending? The film ends with Du Ju getting pregnant. What's the message? I think Wang Shuo expressed his sympathy for Du Ju, and asked her to leave a witness of her love with Wang Yi. But is it meaningful to remarry? If two people remarry, will they quarrel as before? I don't think these are known. Here, Wang Shuo also expressed doubts about love. Is love without real understanding love? How to coordinate with each other in marriage after real understanding? In the film, not only Du Ju has an unhealthy view of love, but also Wang Yi is full of masculinity. From the time he accompanied Du Ju shopping and mocked her for "painting like a chicken" to the time a friend got together and hit Du Ju first, we can see that he also had some imperfections in his personality. These two people didn't know each other very well when they were in love. But as Wang Yi said in the film: "You say you love me, do you know me? I don't even know! " He responded to Du Ju's dissatisfaction with not saying "I love you": "I don't love you, I don't even love myself!" Hit the nail on the head: in love, we are blind. Sometimes we don't even love ourselves, and we don't know ourselves, but we have emotional entanglements with another person in the name of love. Maybe love is really just a cover for two people to prove that they are alive, and marriage is just a sign that two people keep warm with each other. Zheng Junsang: Maybe we just warm each other and try not to be lonely. Who said: loneliness is the lack of a soul that can understand each other. Without dependence, the meaning of life can't be answered in this question. Love keeps us from asking the solution to this problem.

& lt& lt As we all know, The Warlords was adapted from Zhang Che's The Thorny Horse, and Ni Kuang, who has written many plays for Zhang Che and continued novels for Jin Yong, is undoubtedly one of the most influential filmmakers on the Warlords. Now, this veteran genius has not spoken yet, but Jenny Tseng, who is behind the famous family, has written a wonderful pen in a newly published magazine column in Hong Kong, praising the warlords greatly. For Xu, the only heroine in a man's play, he praised him even more, saying, "Xu's plain face is touching a trace of sorrow in troubled times, subtle and just right." Compared with the acting skills of the three male stars, there is no trace. Why do mainland actresses act like Maggie Cheung? " Sigh.

The domestic film Letter from an Unknown Woman

In recent years, the negative impression on China's films has been strengthened again. This negative impression is that it is increasingly difficult for the audience to participate in movies made by China people, even in cinemas. I don't know when this feeling began. I can only list some typical "blockbusters" that have this feeling at present, such as Hero, House of Flying Daggers, Peacock and so on. No matter how these movies were made, just look at the blank and numb faces of the audience who came out of the cinema after these movies, and we can infer that everyone did not enter the movie at all and experienced 100 minutes of Life Elsewhere. In my opinion, if the audience only "watches" the film and "watches" other people's lives (performances) when it is released, and they don't share the same breath and fate with the characters in the film, then even if the film has participated in more film festivals, won more gold clams and silver shells and won more praise from "professionals", it is still an unsuccessful film.

A Letter from an Unknown Woman belongs to this kind of film that makes it difficult for the audience to enter the cinema. But the reason why it is difficult to get into the film is different from "House of Flying Daggers" (the director has a problem with the understanding of commercial films) and "Peacock" (the director didn't want the audience to get into the film at all). As an enterprising young director, Xu's original intention is definitely to make Letter into a great work that can make all the audience cry like Titanic, and anyone who has seen the film can see it. By the way, after reading this letter, I actually have some expectations for Xu's future works. In my opinion, the real failure of Letter is that it is too rigid in the original novel, so that the original novel disrupts the rhythm of the film itself.

British writer Mao Mu once divided novels into two categories: one is novels written by Tolstoy, Hardy and Dickens, in which the characters can live in reality, and the plots of such novels are often ups and downs, fascinating and reasonable; There are also novels like Dostoevsky and emily bronte. Their novels are basically long monologues, and the characters in the stories are often just the embodiment of a group of fanatical souls. It's crazy and unreasonable to bring their behavior into reality. The former novel is a natural script (the film adapted by these writers is very successful), and it is very dangerous to change the latter novel into a film. Apart from Wuthering Heights, the film is also successful because of its wonderful plot, and there are no successful examples of other adapted films.

Unfortunately, Zweig's novels belong to the second kind of novels. Friends who have read his works know that the inner monologue in his novels is unique martial arts, who swept the world. Adapting his novel, if the director doesn't have certain creativity and independent consciousness and completely believes in the original work, he is likely to commit two taboos in the film: one is that he has to use a lot of voice-over to advance the story process, and the other is that the protagonist's behavior makes the audience feel strange and alienated (because the film can only be presented, but can't be analyzed and explained like a novel). More unfortunately, both taboos have been violated. Therefore, in this film, while we hear the voice-over of the protagonist constantly nagging in our ears, we see the plot described by the voice-over of the protagonist (the voice-over of the protagonist is actually the "literary youth version" of the original work). Experienced audiences know that the inner monologue (voice-over) in the film can only play a role in boosting the development of the plot at most, and the main force to really promote the development of the plot can only be the camera and performance (I think this is also the biggest difference between novels and movies), while putting the cart before the horse, the camera and performance have become tools and slaves to explain the voice-over and become accessories of the original story. In this rush to catch up with the original work, the characters can only become phantoms flashing on the screen, and the flesh and blood are extremely thin, let alone plump and profound. Such a paper-like character, the audience naturally can't enter their bodies and feel their feelings. Even though some easy-to-get-into-the-play audiences just have a little feeling, the film suddenly changed time and space again. In just half an hour, the film jumped from "Three Months Later" and "One Year Later" to "Eight Years Later" ... It is strange that the heroine's emotions can penetrate the hearts of the audience in such a hasty plot.

Having said that, it cannot be denied that Letter is remarkable in photography, lighting and editing technology, especially in some excellent details. For example, the heroine and the male writer she secretly loves have been separated for many years. The first time in after making love, when she came out of the room happily, she saw the old housekeeper of the male writer sweeping the floor with her back to her, without even looking at her. The metaphor of this shot can be said to be a stroke of genius, which suddenly points out the position of this woman in the life of a male writer. I believe that this detail should be absent from Zweig's original work. If the director can do more such creations and less what is said in the original novel, then this film is likely to become a very good film. Having said that, in fact, to put it bluntly-only the lens is the essence of the film. If it deviates from the essence of the lens and the film, the film god will be angry and the audience will not buy it.

The movie Me and Dad

Xu, "The Eighth Generation Director" and "New Cinematism"

I believe you have never seen such a set of shots, and there are few opportunities to reproduce them in the future. This is a clip from Me and Dad, the first film allowed to shoot independently in China: the policeman played by Jiang Wen searches the old fish ginger in the bar.

Wen's problems are constantly interrupted by Bai Shu, the friend of the old fish, while Xiao Yu, the daughter of the old fish played by Xu, looks at what is happening in front of her with a confused face. ...

Jiang Wen, Bird and Ye Daying are all internationally famous directors, so it is not easy to guest star in the same movie. Three great directors actually appeared in the same scene at the same time to play opposite roles, and the director of this play was the first time to play as a star actor. It is absolutely a rare film miracle that a big guest star and a big director exchange jobs.

Xu said that I have been engaged in the film industry for some time and I am familiar with it. I like movies from the bottom of my heart. I love it. I am a sensitive person and think a lot. In the film crew, I have the ability to cooperate and communicate with others, and I also have the ability to lead. As for the shortcomings, I haven't felt any special shortcomings so far. But I am still young and always have less experience. Indeed, Xu has tasted the taste of being a director now. Thanks to her popularity in filming for many years, she was quite confident when she first started filming. "At that time, I thought it was nothing to be a director, so anyone who looked stupid could be a director." But when I really became a director, I found that "my self-confidence is blind", and what I think in my mind is often different from what is shown in the camera. Looking through the films made by previous masters, I want to learn from them. I don't know where to start.

In the process of being a director, Xu felt that he was a beginner. "As far as I know, I did a great thing. I think technical things are secondary after all, and what you want to express is the most important. " Xu Jinglei examined himself and found himself an "impatient person". As a director, we must keep good communication with everyone and face everyone in the best state. However, she doesn't feel that being a director is more tiring than being an actress. "For example, when the director is always on standby, and when the actor is constantly on and off. It's actually quite tiring to keep changing crews. So the director is the least tired one. "

Xu said that in the filming process, being an actor is often passive. Sometimes I like to catch something by myself and shoot other people's plays. The director has prepared everything for you, as long as you play a role in this limited space. But being a director is different. You must learn to control it. I think if you perform too much, some of you will lose yourself.

As a virgin director, Xu has already had a lot of feelings. "I have to face many problems at the same time and communicate with many people. When things happen, everyone will ask you what to do. At this time, the louder the scene, the more lonely I feel. "

In the face of three big-name directors with strong personalities, how Xu, a first-time director, "fiddled" with them has aroused many people's interest. When Jiang Wen and Xu sparred, Xu sat quietly behind the monitor. A scene leads down, which not only relaxes the scene control, but also moves freely, just like a big-name director. In Xu's eyes, these three big-name directors are "full of childlike innocence". The reporter asked: "So you are not a kindergarten aunt?" Xu Jinglei said with a smile: "It's really a bit like it."

When directing the play, Xu's expression was very serious. One day, according to the needs of the plot, only the main actor Xu He appeared. The content was that Lao Yu went to school to find Xiaoyu and told Xiaoyu that his mother had passed away. Because the content of the scene and the play is relatively simple, and it is Sunday, students have a holiday, the whole campus and teaching building are quiet, and the scene is very orderly. When Xu directed for the first time, he paid great attention to absorbing everyone's opinions. Every time she meets a problem, she always asks the advice of the leading actor Ye Daying politely: "Teacher Ye, what do you think?" Xu saw standing in front of the camera many times in the surveillance, thinking that it was "entering the play in advance", but she often shouted "Teacher Ye, you are blocking the camera", and the eagle didn't know. Ye Daying claimed that she was "touched last night", so she prefers to be in a daze today. The most exaggerated scene was that the field staff was setting the scene, and Ye Daying stood in front of the camera and "entered the state". Xiao Xu repeatedly called "Teacher Ye", but there was no response. In desperation, he may feel embarrassed to call him by his first name, but he was called "Ye Ying, would you please make way?" Everyone burst into laughter. Ye Daying, who used to tell others what to do, nodded and gave up his body without saying anything, because he was still stuck in the role of "dad".

There is also a scene where a small fish gives birth to a child, divorces and goes home, and talks to his father at the door. It's just a scene for a while, but the emotional expression inside is difficult to interpret. Old fish leaned against the door frame, neither complaining nor interfering with Xiaoyu's divorce, because he felt that his daughter's divorce was like going her own way and having her own choices. Therefore, Ye Daying, who plays the role of father at this time, has to show a calm face and rich connotation. Xiaoyu feels at home in a pink coat and plaid pajamas. Standing in front of his father, the divorced fish seems to know his father a little. ...

Ye Daying is a bit childish, which is very similar to the old fish in the movie. In Xu's words, "there is a kind of innocence that is misplaced with age. When I was at school, my teacher once said that an actor should have the sincerity of "credulous like a child", but Ye Daying did it. After crying several times, he was able to cry naturally and sincerely. As an actor, sometimes I may not cry, but Ye Daying is really good. "

Although he is a good director, he has great respect for Director Xu. Generally speaking, he will say to Xu: What will I do in this situation ... Sometimes Xu will listen to his advice, such as how to adjust the seat of the plane in a small room. After all, Ye Daying has rich technical experience. Xu said: "We cooperate very well."

Although he is an actor for the first time, he is very serious and willing to learn. Xu's command to him can be said to be nail-nailed, so every cooperation between them will soon be OK.

I should add that Ye Daying, who plays Lao Yu, is a famous international director. He has made many excellent films, such as Red Cherry and Red Lover.

Xu Jinglei ridiculed himself as "the eighth generation director". Me and Dad is a film written, directed and starring by her. She said that the film was inspired by a novel by Yin Hui. The novel describes the relationship between the daughter and mother of a divorced family, and Xu changed the relationship between mother and daughter into a father-daughter relationship-a girl didn't see her father until more than ten years later, but she hid herself very well-"In fact, many children's true personality parents don't know. Children are one way in front of their parents and another way when they leave home."

Xu told herself that she was naturally sensitive to literature. Just like I used to keep a diary and write notes, I like reading stories and creating stories like a petty bourgeoisie woman, and I feel the same as Zhang Ailing, except that she records the stories to be expressed on the film in a round box. Xu began to have the motivation to be a director when filming I Love You. When writing this book, the third draft was finalized. She is very satisfied, but she is reluctant to give her books to others, so she has today's director Xu He's film Me and Dad. Xu talked about her film theory: "Art films and commercial films fly together, which is my film ideal. I personally prefer art films. Being a director for the first time, I want to do it one by one. The first film "Me and Dad" is a bit artistic, but I still want to make it look good. What Is Cinema? I don't feel anything. I especially hate framing movies as a concept. Movies should be commercial blockbusters or art films with impact. But I hate it when people watch movies by reading sketches. They answer the phone, eat and talk loudly in the cinema, which is blasphemy to the film.

Xu Jinglei, who directed Me and Dad, has no pressure at all. "Being a director is only her own interest, and she is a non-professional director, so many things are naturally light ..." So she works hard at directing and shooting. All the roles in the film are played by non-professional actors, including well-known directors in the circle. As a film under the banner of China's first "single-film independence", this film has several selling points: first, there are many experts in the film, and second, it is the debut of a beautiful director.

When he was a director for the first time, Xu admitted that he was very calm, completely indifferent to all kinds of comments from the outside world, and not impetuous at all. Someone asked her if she had the qualities to be a director, and her answer was very direct. "The control and self-confidence needed as a director are also needed as an actor. I have accumulated these qualities in my performance. There are all kinds of policemen and directors. Why should we shape our career? "

You are a good actor. Why do you want to be a director? I have answered this question for many times. "I have been an actor for many years. I don't think it is suitable for my career to some extent, because I am stubborn and have big ideas. This job is relatively passive. Besides, I think I still have potential. People always have to find a job that suits them best. In this way, my career, work and life will be happier. Based on this idea, I will be a director. " She believes that in the two professions of actor and director, the job of director is more attractive to her at present: "I have been acting for so many years, and directing is a very new attempt for me. After I did it once, I felt that I was quite suitable for this. " It turns out that this is Xu's "new filmism"

About the movie Me and Dad

Me and Dad, a directorial debut of a famous actor, is also a performance debut of a famous director.

This is a film about the relationship between father and daughter, which records the bits and pieces of seemingly peaceful life. The heroine Xiaoyu's parents divorced many years ago. Because of a car accident, Xiaoyu's mother died, and her father, Lao Yu, a strange man who had not seen for more than ten years, returned to her life. They lived alone and were forced to separate. From strangeness at first to mutual attachment later. In the years of living together, both of them felt a kind of love and a kind of helplessness in life. That kind of love can't be conditional, and that kind of responsibility can't be lifted. There is a kind of person, good or bad, you have to accept him, what's more, you can't erase his traces; It is this kind of love and responsibility that constitutes all the pain and happiness of the little fish and the old fish. At the end of the story, my father died. In front of his father's grave, in Xiaoyu's arms, there is a child who is learning English. She has really grown up. ...

Not long ago, Xu Gang just finished her 28th birthday. At the age of 28, this is a transitional age from a girl to a mature woman. To everyone's surprise, Xu successfully applied for the first "independent production" film of the State Administration of Radio, Film and Television, which was composed of producer, screenwriter, director and heroine.

Xu, who directed the film Me and Dad for the first time, is a bit like the title of a student's composition-Me and Dad. However, this does not affect her efforts to put this film at a high level. According to her, if it goes well, she should meet the audience around mid-September, and she scored 80 points for her debut. How will the audience react after reading it? The market is the only criterion for testing movies.

Lao Xu will always support you ~ ~ Do what you want ~ ~ Do what you are happy to do ~ ~ I hope you can be a "saint" and a happy "saint"! !