In the film “I am not a medicine God”, Lu has benefited from Cheng Yong to go to the general group of the sick group, and the breast and fat buttocks of the steel tube dancer rushed into the picture with the huge sound of music. The footsteps followed the footsteps of the two men until the thought of Sihui at the bar twisted in front of their eyes. Lv Shouyi and Cheng Yong stood at the stage to see her, Cheng Yong silly: “I rely on!” This is a patient?! “
Si Hui belongs to Tan Zhuo. The role of the original set is also rich, a ballet mother, in order to cure her daughter to dance in the evening Dance Pole Dance. Only half of the film is reflected in the film. But that’s enough. The female character on the beam is sexy on the stage and is rustling enough in life. It’s also humble enough to face the three times “I send you” by a taxi.
Tan Zhuo paid some price for this section of steel pipe dance. In the words of actor Zhang Yu, “for 20 seconds, fall ill forever.” This is also a role for her to bring her. But Sihui is only part of the actor Tan Zhuo. Tan Zhuo has played a lot of other plays over the past two years, and more importantly, she has rerecognized her identity and trends in the industry – with experience, thinking and deeper understanding of the industry. As for these, her original saying is: “you need not be drowned and drift with the tide. When you come to an environment that feels boring, you can go; or you can make it unboring through your changes. “
Lou Ye’s heroine plays Yu Zheng’s palace drama
Tan Zhuogen Yu Zheng saw one side last year. Yu Zheng asked her to play the palace play, and wanted to play a gentle and quiet role in the past. She changed her mind to see her: “you are going to play the high imperial concubine” – a tough and aggressive person who wants to hurt people. Tan Zhuo was amazed at his keen insight into her role, which was very subversive: “when actors are chosen by the project, they are often identified by their past roles. In fact, everyone is not like this. Not only is I, but people are rich and multifaceted. Then she went into the series of “the Yan Jubilee attack”.
It is not in the past to play a TV play or a palace fight. In fact, Tan Zhuo cherishes the role of high imperial concubine. Over the past two years, movie actors have been playing TV shows. She was not troubled by this trend, but regarded it as a broader choice of actors. After this drama, she was always asked: “is it a complete transformation to take such a commercial TV play?” After the night of the spring breeze, Lou Ye’s heroine, Tan Zhuo, is known. In the past many years, the most common question she faced was whether the film should continue.
She did her homework well and played the bad guys like a duck to water. A high imperial concubine plays Kunqu Opera, in order to make the appearance more gorgeous, the crown is sinking deeper and deeper. On the day of the shooting, Tan Zhuo put on the cervical spine. For this Kunqu Opera, she worked hard to learn the play. Now the 20 kilograms of the head crown depends on the clip, not on the hair, pulling the scalp, but also to lower the waist.
She is a man who can not afford to lose her chain, and she plays the whole field at the same time. The whole scene was quiet. Yu Zheng was very excited and made a micro-blog boasting of her career; her driver did not look at the scene before, and this time said, “it’s really nice”; the opera teacher said the words, “it’s so nice Tan Zhuo”, “really dare not believe it”, and “it’s really fascinating.”
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This is an actor’s satisfaction. Fawn is not something Tan Zhuo is good at. This is something she often thinks about. She was a hard girl. She tried to stretch her fingers to the back of her hand. She could stretch out to 180 degrees. When she was in the play, she had her arm and her waist to teach her how to show her “tenderness”.
“You are a woman, and you will inevitably have such a role. If you want to be competent, you have to make this effort and change. She said, before talking about Kunqu Opera, she never imagined that she could take the role of dancing. But last year, Tan Zhuo not only sang the Kunqu Opera, but in the film “I am not the medicine God” in Makino, she also jumped out of the steel tube dance with high shorts and lace blouses.
In the movie, she plays a ballet mother, in order to give her daughter a CML to dance in the nightclub. The training time is one hour a day. She goes to class and proposes to change it to three hours. The producer is worried: “can you make it?”
Not really. She practiced several times to cry: bitter, painful, grieved. The steel tube dance needed the friction between the meat and the tube. At first she couldn’t master the technology. She felt that the meat was screwed up everywhere: “it’s like a watermelon falling off the ground, but the flesh is already sac.” At that time, it was not strong enough to waxed the flesh in order to stay on the tube. Astringent, pain, she tried to refrain from crying, and felt “absolutely not, too weak.”
At the time of the play, it is the same. The teacher cried at the scene, and Tan knew why, “she spent the same time and energy with me. I felt she was very pleased. The student was very angry and did not give her any disgrace.” This is also a good memory of the actors.
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In 2017, he made a choice that he would not do in the past. Tan Zhuo felt that he was gradually realizing what the movie was about. She didn’t set her own position, but she knew clearly that no matter how many commercial projects she took, she would not abandon literary films. This is Tan Zhuo’s answer to the most frequently asked questions in the past many years.
Because inside, “I will be confused and confused. I need some more serious things to reflect on and let me have something to hurt.” Externally, “we are citizens of the society and citizens of the country. Filmmakers can also contribute more to society, like other industries. It is our sense of the society that the film and art film makes the audience think.
What is the story about the movie? Now, she thinks, “some people think of movies as pure art or entertainment, but it’s not so thin, it’s like every industry, and it’s a channel to contribute to the meaning of people.”
“Solve internal problems in external form”
This year is the year of harvest. Tan Zhuo has a lot of works to show. Besides “I am not a drug God” and “Yan Xi”, there are “summer in the West Creek” and “burst silent”. It’s all her way of acting as an actor. These works are linked together, and Tan Zhuo’s growth is traceable.
It’s the year before last. “In the movie, her play is very few, it is” functional role “. But when I was followed by “I am not a drug God”, I always touched her script in her work. Tan Zhuo has never been able to take a project against his heart, and to the latter, “most of the markets are not ideal plays, which are rare.” The same is the same in the former.
Another similarity between the two films is the reality. The work that reflects the social problems is one of her favorite directions; some of the sounds and contributions of this work to the society are one of the meanings she has sought in her career.
The summer of the West River is the only Chinese movie that won the Busan Film Festival last year. It is a small cost and a literary film, so it is not known. Tan Zhuo thought it was good, and the drama angle of life and social role was let her find the level of performance. This is an important thing for her.
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Tan Zhuo has played various roles, and she has been waiting for and looking for all kinds of roles. They help her to think, let actor Tan Zhuo grow up, and even help her solve problems.
Gu Xianglan in dream like dream is like this. This is Tan Zhuo’s role in playing for five years and thinking for five years. Before waiting for it, because without systematic training, the roles she could undertake were very life oriented. At that time, her expectation for such a play was “any role can be”.
When I was in Italy, I received a script and project book from a broker. The hotel network was not good enough to open. The agent was very excited and said, “it’s a good blessing. We can receive such a role.” When I went back to the country, I began to read the script. The more I saw it, the less I saw it. Opponents also say that they are bold enough to come up with such a big play and such an important role. Tan Zhuo reacted and began to fear.
She collapsed during rehearsal, once depressed. Gu Xianglan is a famous prostitute who has never seen anybody in his life. Director Lai Shengchuan’s rehearsal method is relatively free, not so much as the actor: “with the right hand row, and then walk around the scheduling, individual local director to say two sentences.” Tan Zhuo once felt that he was swallowed up by roles, insomnia, anxiety and crying.
Gu Xianglan is playing the fifth year of this year. Tan Zhuo will still be nervous. Before the curtain was opened, the actors were in a different state. Some people relaxed, but on the stage was the role. She should try to get everything ready as early as possible: adjust herself in the dressing room, and tell yourself, “I’m not nervous.” Even before performing, I always had nightmares, I dreamed that I had forgotten words on the stage or missed the scene. Otherwise, when the car was blocked, the play had already begun.
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Drama makes people tired, because when they are not playing, they also have to strangle the string, and concentrate their energy for a long time.
Tan Zhuo found his feeling at the last stop of the first year of the tour; in third years, it seemed a little more interesting; in fifth years, she could play. Not long ago, she saw an interview to know how the director felt about herself. Lai Shengchuan said in an interview that Tan “has been changing”, “she needs to find that person to find out, the theater is to be fixed, she is now starting to decide.” She knew that her attempts and growth directors were all there.
Tan Zhuo is particularly grateful to the production company. Before that, as an actor, she was always a very nervous person, “but a good role needs you to be very free, and you want to solve your internal problems through the external form of the play.” And then, she did it for 5 years.
There is no need to be drowned.
Tan Zhuoai thought, it was natural. When I was in college, I was so energetic that I could not sleep at night. I thought of 3 at midnight. A small problem will also be considered, and second days to discuss with the teacher. For this, the teacher once suggested her to be a director. Tan Zhuo did not become a director, she presided over her professional career and became an actress.
In this industry, actors are relatively comfortable, but the cost is also great: “we earn money from endocrine disorders. Your mood in your role is contrary to the laws of nature, and many people will have emotional problems. Tan Zhuo regards this as asking for pain: to love this job means to have made a choice.
In the past year, she even paid a higher price for this choice: when I played “I am not a drug God”, I practiced pole dancing too hard and my feet hurt badly. Back to look, the side of the foot is full of blood stasis, “like a leaky plastic bag, blood sedimentation below.” She thought it was a soft tissue or ligament problem. She kept on waiting until it felt a little serious to go to the hospital. It was 10 months later.
The diagnosis is that the ankle cartilage is broken and permanent. The same person with her has been on crutches.
The doctor asked, “don’t you hurt?”
“It hurts, it doesn’t help, it doesn’t make any noise.” She said.
That place will always hurt and no longer exercise. It was a big price for Tan Zhuo to pay.
But let her “love this job” and “make a choice” motivation, but it is natural to happen. Tan Zhuo’s first performance opportunity was a bit unexpected. When freshman entered school, he was called back by the teacher’s telephone on the way to buy daily necessities. Without any performance training, she came to play the leading role. The drama group gave a lot of money, but the pressure of work was also great. Tan Zhuo’s heart plays are special, “everyone thinks this girl can’t play.” After the play, he hurried away, afraid to speak to the director.
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Later, after making films with Lou Ye, he has gained some growth. Director Lou Ye is a less directed director, more willing to listen to others, and Tan Zhuo feels that he is more like an observer. “The night of the spring breeze is drunk” has been prepared for six months before filming. It is already very close to life when filming. She was so relaxed that she didn’t want to go after shooting, just like a holiday. But the feeling of “that person still lives there” has lasted for a long time.
The film made her the best actress in the Cannes Film Festival. The first time I went to the red carpet, I didn’t know what was going on in the movie festival, so I went there in a hurry. It is pure beauty to remember now.
She walked down all the way. Now, Tan Zhuohui said, “I always said that I was very passive, because the film chose me, and then all the way down were literary films. Sometimes I think about it because I like this kind of drama. I choose the state of actors.
But for a long time, she felt that she was loved by God and did not make any special efforts. As a matter of fact, she resisted her identity until 2015. Having been hovering outside the circle, filming a movie in a year is not a normal working rhythm at all.
“Stars need to be exposed and there will be exposure to continuous work, so the brokerage firm will make profits. This is a very commercial mode.”
At that time, she would probably feel “superficial” or “disdain to associate with them”.
“But when you get in touch with each other, you find this circle is not like this. Many people are very demanding of themselves, and can not be done by ordinary people. This time is changing, not only the actors, the Chinese film and television practitioners are growing very fast, the energy is growing, the knowledge reserves are more and more rich, and they are going in a more quality direction. ” This led her to rethink her own field and then awe.
In the era of gaining control in the capital market, commerciability is an unavoidable way. Now, Tan Zhuo looks at this: “I am also one of the representatives of this industry. You don’t have to be drowned by them. When you come to an environment that feels boring, you can go; or you can make it unboring through your changes. When the industry starts to change, there will be more opportunities for itself to practice. ” To maintain herself and not be coerced by society is a fundamental question of her understanding of the world.
Photography: Li Xiaoliang creativity: editors of District Yang: Li Dian
Modeling: Yang Ting’s interview and writing: Xiao Shen
Makeup Artist: Zhang Yingsi
Hairdresser: sson sson (Dong Tian modeling)
Co ordinate: Chen Yu
Fashion assistant: Yan Huan Huan