"China chases Kong Sheng, South Korea looks at Shen Yuanhao", is a long-standing popular sentence in the drama circle.
Both are known for their "warm realism". Shin Won-ho is the director of the Korean drama "Please Answer Series", while Kong Sheng,Among the domestic dramas with a Douban score of more than 9 points, the works directed by him account for 6. "Battle of Changsha", "Parents' Love", "No War in Beiping", "Langya Bang", "Mountains and Seas", plus a "Breaking through the Guandong", each of which may be a masterpiece that you have brushed and brushed. The high score in the high score - "Parents' Love", which was launched in 2014, has been on the air for ten years this year, and it is still a high-frequency TV series rebroadcast by TV stations. A netizen commented: The biggest charm of this show is that no matter which episode or any clip, you can watch it by clicking in. As the "golden signboard of national dramas", Kong Sheng seems to have the ability to "resurrect" any era, as well as the little people in that era. In addition to the above 6 films, there are also "Wenzhou Family", "Wenzhou Two Families", "Life and Death Line", "Dajiang Dahe", as well as "Ode to Joy", "County Party Committee Compound" and ......The TV series he directs can always capture the vivid fate of ordinary people under the torrent of the times. "We know the little people better, the big people don't understand, it can't be helped. When it comes to creation, Kong Sheng's answer is like the drama he has filmed - there are not so many empty heads. If it weren't for the end of the "Big River" series, which has been broadcast for 6 years, and was "pouted" by his old partner, producer, and Hou Hongliang, chairman of Dongyang Noon Sunshine Film and Television, "After the three parts are done, you can say a few words", this master of Noon Sunshine really doesn't want to say anything. Kong Sheng is 64 years old. “It's different at this age, and when I go to the rush, I may still be willing to do more and talk more, and now it's basically a feeling of going to **. On February 1, at Kong Sheng's studio in Beijing, at the beginning of the interview with the Houlang Research Institute, he really accepted it and said, "At that time, maybe your ideas were still on the cutting edge, but now, I think people are better than us, and we don't understand some new things, so it would be better to talk less and do what we can." "At that time, it probably started in 2014. That year, various events came together to witness the official opening of the era of domestic entertainment traffic: the "fan circle" list became popular this year, the new generation of idol group TFBOYS became popular, and Zhang Yixing, Lu Han and other "four returned sons" returned to China one after another to ......The fan circle is rapidly evolving to the fan circle, and capital and traffic are eagerly embracing. But it was also this year that Kong Sheng, who didn't know how to chase traffic and was not good at making topics, turned out of the "circle".- "Parents' Love" and "No War in Peking" were all broadcast in 2014, and a year later, there was the hit of "Langya Bang", followed by "Two Families in Wenzhou" and "Ode to Joy", a series of acclaimed and popular dramas, taking the audience to immerse themselves in stories far from suspension. These dramas have achieved the highlight moment of the noon sunshine established in 2011, and also opened Kong Sheng's dominance of the screen for 10 years. Looking back on the past 10 years, fortunately there is Kong Sheng. It's no wonder that when some voices think that Kong Sheng is the director who can best step on the beat of the times, Kong Sheng doesn't think so. To be fair, he didn't deliberately step on the beat. He is used to scratching his head with a smile, and responding to his "popular party" with "I don't know" and "I don't know" In his opinion, the fate of the work is the result of the choice of the times, and all summaries are an afterthought. The only thing that is certain is that he has always adhered to his concept of "formal drama": values should be in the right position, the pursuit of traditional drama methods, very beautiful light and shadow, very normal performances, and talk about the beauty or suffering of life. "Warm realism" is exactly what he pursues, not to magnify contradictions, not to create suffering, and the advancement of the plot depends on the gifts of life to flow slowly. It's like what he knows about "Parental Love":It's very funny how such a family has spent decades arguing, laughing, and thriving. Kong Sheng on the set is also gentle and often smiling. Liu Jing, the screenwriter of "Parents' Love", once mentioned her impression of Kong Sheng in a small article, "I don't like to talk, I don't seem to like to dress up, I seem to be the kind of person who only cares about pulling a car with his head down and doesn't look up at the road much." I've been to the set twice, and both times he's been there and he's been there. ”Everyone on the set knows that he has a habit of brushing his beard when he shoots beautifully, and scratching his head when he is not satisfied. Everyone speculated about his attitude towards the performance from his behavior of scratching his head or brushing his beard. He believes that one of the most important things in creation is how to judge how the actor can perform more sincerely. Especially in the post-editing, he will make adjustments to hide the bad parts of the performance, if he can't do without this plot, then go over quickly, and slowly stay behind are comfortable plots. Occasionally, he also likes to play a treasure, making cameo appearances as the old man at the newsstand and the farmer chopping wood, "to mediate the atmosphere". Station B's film and television UP main "Claire's Editing Room" analyzes Kong Sheng's control of the narrative rhythm into two points, the first is that silence is better than sound here, and the second is to make side strokes in the bland. According to Kong Sheng's own expression, that is, it is more advanced. When it comes to the difference between high and low skills, he is really energetic. He mentioned a farewell scene in the first season of Spielberg's "War in the Pacific": his son wants to go to war, and his parents disagree, but his son sees that everyone else is going to war, and he wants to go too. When the father drove his son to the train station to report for duty, he was unwilling to face the reality that his son was leaving, and the father squatted down to repair the car, not daring to look up at his son, he knew that this was life and death. "Dad, I'm leaving. Alas, let's go. (Father muttered right there) What's wrong with the car? What's wrong with this wheel? Alas, uncomfortable, uncomfortable, I don't dare to look at my son, my son doesn't know that this is life and death, but he uses a way to deal with certain plots that make us feel more advanced, instead of that kind of direct giving. In terms of the choice of skills, "It is possible, we will also choose very vulgar ones, but we have the concept of 'skills' in our heads. Just like someone likes endings with a strong sense of conflict, he prefers "things with feelings", and he will still think about it after reading it. 
Kong Sheng's ending on the set of "The Years of the Great River is Like a Song" is a hopeful call back, and Kong Sheng pulls the camera back to the path leading to the wide world in the mountain valley. In the early days of reform and opening up, the three young people in the play walked out of the mountains from here. At that time, everyone had a lot of energy: Song Yunhui relied on reciting the newspaper more than 200 times under the scorching sun to win a place for himself to go to college; Xiao Yang was forced to pick up the burden of livelihood and began to sell steamed buns in the streets and alleys, giving birth to an early individual economy; Lei Dongbao, a veteran, relied on his "bandit style" to lead the villagers to carry out the practice of contracting production to households, tearing a hole in the barren land.
Don't look miserable, life has to go on. If there's one thing I want to express, it's to tell the young audience that the era was very good, the emotions were very sincere, and there was momentum. Kong Sheng interprets this open ending. "The light boat has crossed the Ten Thousand Mountains", *, someone issued this barrage here. Regarding the volume of "The Years of the Great River Like a Song" on social **, Kong Sheng analyzed: ".I can guess that. I don't know if it's because young people don't care about the times anymore, or if we don't talk about the times well. We may be doing it the wrong way. ”He distanced himself from what was trending at the moment. Short**, short dramas, he also likes to watch them, but he can't always watch them; Tanmei? I don't understand. He was a little confused, "What are the post-00s thinking in their heads?" ”Of course, this does not mean that he refuses to communicate with young people. When he has a script discussion, he also likes to listen to young people. Occasionally, young directors will feel "old-fashioned" and "data is better" in a different design. However, Kong Sheng has his own insistenceHe thinks about which expression is "advanced", and he warns of being kidnapped by "data".。Occasionally, though, he falls into self-doubt, "I wonder if it's become an outdated mind." "Orthodox or old-fashioned"? He's more sure of that," he saidEvery director has a creative period, young directors will rise, and I will also decline, which is normal. He decided that it was time to stop filming "Big River". The following is Kong Sheng's dictation, edited - 01
The feeling of the years
"Dajiang Dahe" is adapted from the ** "Dajiang Dong", as a tribute drama for the 40th anniversary of reform and opening up, I originally wanted to tell the story of our reform and opening up. When I was in the first part, I really wanted to shoot the era. We are eulogizing that era, which was an era full of hope, especially since we are all beneficiaries of reform and opening up. We have reopened our horizons and regained our understanding of the world.
In the play, Song Yunhui went to school, Yang Xun walked out of the mountains, and Lei Dongbao began to lead the countryside to get rich. Everyone wants to make money, and everyone's desires are inflated to the limit. Today, it certainly has its drawbacks, such as the lack of a scientific and rational guide, but China needs this step. We have always liked Yang Xun's line, he was an image representative of the private economy at that time. Because the private economy has brought vitality to reform and opening up. When I filmed "Wenzhou Family" and "Wenzhou Two Families", I admired the perseverance and forward strength of Wenzhou people, like a Xiaoqiang who couldn't be killed. The second part is a stable stage, with some small ups and downs, but it began to improve again in the 90s of the last century, because after the second southern tour, it was redetermined that economic development is our most important thing. In the third part, I want to talk about the characters and the fate of these people. First of all, for Song Yunhui, we still have to establish a positive character. In this one, we set up a more complicated story for Song Yunhui, from the Donghai factory to the Pengyang small factory to start again. Secondly, we also have a little thought about these stories, such as whether the development of Yang Xun is completely in accordance with the laws of the economy, and whether there is a capital promoter behind it? The development of Lei Dongbao must be recognized by us, but when a farmer entrepreneur does a great job, there are some uncontrollable and limited things. 
The Years of the Great River are Like a Song" stills "The Great River" originally planned to shoot one a year, but I didn't think about the third part, but the script of the second part became longer and longer, plus the epidemic, so there was a third part. These three dramas spanned six years, and the most difficult thing was that the actors could come back intact, including the supporting roles, and everyone was willing to wait to come back to participate in this play. This wave of actors can persist for five or six years, and it is all the feeling of time. When cutting **, I asked Director Mo Long to review these three at the end of the TV series, and review the green little face when Xiao Yang went to sell steamed buns. At that time, Dong Zijian was acting in a TV series for the first time, and he gave him a lot of lines, and he also said, "Why do I have to say so much?" Now, he says, "I'm not afraid of any drama." "The end of "The Years of the Great River" is an open endingI want to give people some hope, don't look miserable, life has to go on。If there's one thing I want to express, it's to tell the young audience that the era was very good, the emotions were very sincere, and there was momentum, but life was not as good as in modern times. I am familiar with many scenes in the play "Big River", and some scenes are vivid, and I have personally experienced them. I also played a newsstand old man in the play. In the 80s, there were a lot of miscellaneous books, and all kinds of famous books were flipped through. I often go to the newsstand in the middle of work to buy the latest newspapers and magazines. At that time, there was a magazine called "World Cinema", and at the end of each issue of the magazine there was a foreign classic script, and I read that script at that time. I grew up in a family of intellectuals, my father worked in the cultural sector and my mother was a journalist. I've been reading books since I was a child, and I couldn't read them at the time, but I had to finish the book and see how many pages were left every day, but that's how little by little I developed a reading habit. When I was a child, I didn't like to study mathematics, physics and chemistry, so I always suffered a loss when I was admitted to university. Although I didn't get into university, I don't feel that my future is bleak. After that, I went to work as a worker in a radio factory. I was able to shoot industrial themes because I had been in the factory for 4 years. I knew I wasn't going to stay in this factory forever, and I would leave after a few years. Later, I took the night college exam, studied Chinese language and literature, went to the cultural center to make a series, and then slowly followed the TV station to run the crew. Twenty years of Shanying was a very important time for me, and I was there filming with different directors, which was very helpful for me later.
Rush to a high point, don't come downI want to shoot all the eras I haven't photographed. From the end of the Qing Dynasty to **, "Breaking through the Guandong", "Qianmen Louzi Jiuzhangjiu", "Steel Age" and "Parental Love" after liberation, until the reform and opening up in the 80s, "Wenzhou Family" and "Dajiang Dahe".
is like the Korean drama "Please Answer 1988", he talks about the daily life of that era. I think every era has a story to tell. First of all, we got the props and costumes right, and asked the people sitting in front of the TV to tell (the next generation), "Come on, look at your mother, what kind of clothes did your mother wear back then?" At that point, you might just follow the story and read, "What? Do you talk about love like this? "When I was filming "Life and Death" (broadcast in 2009), I was holding back my strength to rush up. Those years were also the best time for me to create, your ideas were still on the cutting edge, and you were willing to do more, and you were full of creative energy, basically working 365 days a year, one work a year. I remember one year there were ten best TV series, and there were three of mine in them. I also think it's strange that I did so many scenes that year. When people rush to a high point, they will also be tired, and then they will be a little guarded, and they must ensure that they finish or reach their own level, and do not descend. I don't know about "Parental Love" (which is very popular), and I haven't analyzed it. I only know that the replay rate of that drama is a little higher, and they sometimes say which station is broadcasting "Parents' Love" again. Every play has a life for each play. It was an accident that this drama became popular. Who knew it would be broadcast for so many years, I can't say that. Summarization is sometimes an afterthought. Did I hit the beat? I do not know. The co-production may have been an accidental period. "Parents' Love" and "Langya Bang" may have been my best time in those years, but there were no more after that. 
Stills from "Parents Love".
Actually,"Parents' Love" is also the choice of the times, and it is a drama created by the joint efforts of many parties。The script offers a lot of good things. At the beginning, when we took the script, we also felt that there were no major conflicts in this play, and there was no suspense throughout the end, but everyone liked its language lines, and with the hard work of several good actors, we completed the scene very well. No matter what the scene, even if we are given a "County Party Committee Compound" that we didn't know how to shoot at the beginningWe will also think very seriously and sincerely, according to the laws of dramaMake it a little better in terms of dramatic conflicts, actors, and other aspects. With our own knowledge of the world, family, parents, and social relationships, we persevere to the end. This is one of our creative principles. In terms of creation, I know how actors can perform more sincerely. If I think the plot of that scene is uncomfortable, I will adjust it in the editing, hide the bad parts of the performance, and if I can't live without the plot, I will go quickly. If I feel comfortable with that plot, I'll stick around slowly. Maybe it's this judgment that is in tune with everyone at some point. Some people think it's better to have a conflict in the ending, but I prefer things with feelings, and I can't get enough of thinking about it after reading it. There are many kinds of realism, and warm realism is more suitable for our values and worldview. We position ourselves as warm realism. We will focus on the little people, understand them with an emotional color, and hope that they can live better. Many of the scripts I filmed were not actively chosen, but Hou Hongliang brought two to you, "Which of these two do you choose?" ""Ode to Joy" is relatively passive. He had to give me an urban women's drama. I was confused when I was in a meeting with **, what are you talking about? Oh my god! But after I understood, I still grasped a warm theme, I think everyone is together, not you kick me and I kick you to each other, this is just a small process, the core is whether everyone wants to move forward together, or the emotions between people. I think these actors are all good overall, and they give me a very amazing feeling. Later, after filming, people said, the shooting was okay, but it was a little dirty, hahaha, I launched the second part, you said soil, then I won't shoot. I took the initiative to shoot "Ghost Blowing the Lamp". I said let's try it, don't keep doing something so old. But in the end, a tomb robbery scene was turned into a main drama. (Regarding the background of the drama) I think first of all, the values should be in the right place. Again, we follow the principle of a drama, when it should have a dramatic conflict, and they have a conflict on something. If you follow this thing, naturally someone will follow the plot.
It's still good-looking without blood, isn't that more advanced?
I was involved in the second part of "The Years of the Great River 1" and "The Years of the Great River are Like a Song", and I only participated in the later script creation of the second part.
The logic of traffic) We all know that when compiling **, everyone knew that as soon as Lei Dongbao's little girl (Lei Dongbao's cheating object in the third part) appeared, the data went up immediately. I said you have to do this every day, and the data goes up every day. But it's not right, it's not what we're going to do。If you can do it without making it up like this and still look good, isn't that more advanced?
Maybe I'm getting older, and I always think a lot about my contributions and responsibilities to society. We always feel that we need to tell [young people] what is a little bit higher. At home, I also like to watch those very lively, but sometimes when the mood is very quiet, I especially want to watch a literary film, and I feel very moved to watch it quietly, and I enjoy it at this time.
Kong Sheng. I always feel that when we watch a literary work, what are we looking at? It's like looking at a person. Some people are good-looking, some people are not good-looking, but what we can grasp is the temperament of this person. This man walked over with a bang, and you can guess that this is a man who has gone to school and read, and this person is very rich and well-dressed. We can read something different from their politeness, their temperament. There is also a little bit of culture in our work. I don't know how to deal with that bizarre conflict. I think it's at least the point of view of what actually happens and the character of the character. (A plot setting) I didn't choose this for the sake of good looks, so I had to enjoy it all at once. I don't make this thing up artificially, I don't do it with this thing to attract people's attention. Don't meet all day long, either scolding or beating, why? Why did everyone become like this? Do we pursue the cultural temperament of the literary and artistic works at the same time as the data, even if you can reveal a little bit in it. Of course, I think this also has something to do with the difference in subject matter. You asked me to shoot an idol drama about falling in love, I may not be able to shoot it, and I can't shoot the cultural temperament, but if you ask me to shoot a period drama, I may choose a strong plot and also want to have a sense of heaviness. Of course, I'm not against skill, we need skill, but the means of skill are also high and low. In the first season of Spielberg's "War in the Pacific", the son wants to go to war, and his parents disagree, but the son sees that everyone else is going to war, and he wants to go too. When the father drove his son to the train station to report for duty, he was unwilling to face the reality that his son was leaving, so the father came down to repair the car, did not look up, and did not dare to look at his son. "Dad, I'm leaving. Alas, let's go. (Father muttered right there) What's wrong with the car? What's wrong with this wheel? Alas, uncomfortable, uncomfortable, the son doesn't know that this is life and death, but he uses a way to deal with certain plots in a way that makes us feel more advanced, instead of giving it directly. If you shoot them crying with tears in their eyes or something, will it be good or not? It's so good, we've all tried this way, but it's not advanced, and we can't be old. 
Stills from "Mountains and Seas".
Why can we achieve high-frequency, high-quality output and step on the beat of the times? I do not know. As I said before, we will take everything seriously, and as long as you take it seriously, you will definitely be rewarded. Later, I thought that maybe you wanted to do something a little different. Not everyone can do it without following the crowd, can they? Including what you want to express behind the scenes, whether you feel it or not, we have this aspect of pursuit. It may be that this thing was needed at a certain time or in a certain number of years, but I can't say for sure.
Every director has a period of **, I believe they will go up, and I will go down, it's normal. But I've been sticking to this thing all these years. Just like "Mountains and Seas", I didn't follow the conventional way of poverty alleviation dramas, those children desperately shouted "Spring is **" in the play, the children sang loudly "Spring (chong) day is **" in a difficult environment, in fact, I just want to find the feeling of spring in the hearts of the people, think about those bitter children can be happy in the bitterness to that extent, when you are moved yourself, I believe others will also be moved. 04It can only be held out to this pointSometimes I get to say, "You have to do this for a few minutes." But I'm a little resistant to making things more bizarre. But such a resistance is not good for the market. But what do you do when you insist on your stuff and find that someone else is running faster than you? You have to wonder, what to do? We can't do it, and if we don't want to do it, we just make an excuse, and we really can't do it. I don't observe much of the sound on the Internet, but Director Mo Long will watch it, ("The Years of the Great River" has a small amount of voice on the Internet) I can also guess this situation. Maybe "Big River" is more in line with traditional audiencesBut you've come this far, and you can only hold on to this far.
Kong Sheng on the set.
Maybe in the future, like younger directors, like Mo Long and Li Xue (director of Noon Sunshine), when they tell the story of this era, they may be able to do it in a different way. Now the company is more indulgent to me and asks me what I want to shoot. I said find something I like to shoot and do something based on my likes and dislikes. There are some things I can't understand, maybe in another two years, your feelings will not be in tune with the public. If one day you completely fall out of tune with this era, there will definitely be some disappointment. In recent years, I have worked with young directors, on the one hand, they also want me to lead them, and on the other hand, I personally have not enough energy to keep an eye on from beginning to end, and this job does require time, energy, and physical strength. "County Party Committee Compound" is what I have been staring at the whole time, but I still hope that someone can help you keep an eye on it. It's good to bring more young directors. They see how I work in the field, and I can absorb the good in them. I found that several of us directors love to read. Reading is good, and it is definitely beneficial for personal growth. But my eyes don't work anymore now, haha. Each of our directors has a different style. Director Li Xue is very decisive and has clear grievances. Director Mo Long is more easy-going, and Director Jian Chuanzhi is more insistent on his perception of the world and family. When he filmed "It's All Good", Mr. Hou and I both had this feeling, "Why are you so chicken-flying?" "Your life is so good, the real life is much more bloody than this." ”Of course, I believe that what he said is right, whether these are presented to the audience, maybe everyone's choice will be different. He and I are not the same age and era when filming "Parents' Love". So I don't think I can make this kind of family urban drama. We also have a lot of young people joining our company, and I would love to hear from them. During the script discussion stage, a few young people would follow us along and talk about the script, including how they felt about the actors, and they would say "this is not good, it's too old-fashioned". When they say what they think, I look at it and decide which is higher. I will insist, but not arbitrarily, I will make the reasoning clear. I'm not so rigid in my approach. It's just that I have a big rule that I know that your data is better, but I don't pursue data. This kind of thing, I'm past this stage. What's popular, I always think it's a year, two years. It changes every year. To say the simplest, telecom scams change every year. Our so-called "uprightness" still uses traditional drama methods, very beautiful light and shadow, and very normal performances, not the kind of things that are opportunistic and flattering, talking about the beauty of life, or the suffering of life, or the ...... of warMaybe this kind of ** accounted for half of the original, and now only one or two out of ten are needed. I think it's indispensable. Times are changing, and so am I. We used to say, "".Alas, there is no hope for these children born in the 80s. Later, how did the post-90s generation do this? Now that they are all post-00s, what are they thinking about in their heads? What's that way of thinking? "But this doesn't blame the children, the children are all developing with the times. It's like a line in "Big River":A generation, a generational mission