"Who Says I Can't Get Married" puts the topic of "when to get married" on the screen
How did Pan Yueming think of "Poisonous Tongue" in the female group drama
Put the social topic of "when get married" on the screen to discuss the marriage and love of older youth. The popular female group drama "Who Says I Can't Get Married" has been popular among netizens. Recently, a reporter from the Beijing Youth Daily interviewed actor Pan Yueming. He has his own understanding of the play and the roles in the play.
"Who says I can't get married" is defined as "female group drama". In recent years, there have been many dramas showing women's group portraits of the new era in China. "Golden Years", "Dear Myself", "Positive Youth", etc., are all discussions of women's careers and marriages, but the current word-of-mouth explosion of this theme is only "Ode to Joy".
"Who says I can't get married" is adapted from the Japanese drama "I chose not to get married". The original version gathered a group of Japanese strong actors such as Miki Nakatani and Naoto Fujiki, and achieved a high rating of 8.99% in Japan. As for the status quo of the Japanese dramas' overturning when the domestic drama is remade, choosing this drama for remake is actually a bit risky. Since the show was aired, the Douban score has reached 7.2, which is a remake with a high degree of completion compared to the 7.7 score of the original Japanese drama.
The new drama adopts a group of powerful actors such as Pan Yueming, Chen Shu and Tong Yao. The original Japanese version focuses on the 39-year-old single heroine Ju Ya and is set closer to the aging society in Japan and the real existence of young people. Social sentiment of "don't want to get married". In the version of the domestic drama, a female lead's one-man show was transformed into a group play of three girlfriends, of which the first female lead Cheng Lu was set to be a 34-year-old Beijing screenwriter, and her girlfriend Tian Lei focused on her career Ding Shiya, her elite lawyer and the director of the beauty salon. These three distinct female images not only differ in age, but also represent three different patterns of older unmarried.
To adapt the localization of Japanese dramas to a large extent, we must consider the changes in marriage and love laws brought about by different national conditions. In the original Japanese drama, although the female lead is 39 years old and unmarried, because of the aging of Japanese society and the large proportion of young people who are unmarried, the heroine has not suffered too much social pressure because of her unmarried age. This kind of setting is obviously not in line with China's national conditions, so it is localized and transformed in the play.
dialogue
The advantage of Wei Shu lies in the unconsciousness of feelings
Beiqing Daily: What made you take over "Who Says I Can't Get Married"?
Pan Yueming: I want to play comedy, especially in modern urban dramas. I don’t do much. I think the comic characters of urban dramas can mobilize the relationship between the characters in the drama and add points to the characters. On the other hand, he must have his unknown and secret. The sad side. I think such a character has a story.
Beiqing Daily: The characters you have met with the audience in the last year are all tough guys. Will the characters in this play be a little easier?
Pan Yueming: It is indeed easier. In the process of shooting, there is no need to shoot or hang Weiya, so it is relatively easy. You see that Wei Shu (the character in the play) has a head of wool roll, which was also teased by netizens after the broadcast, and the shape represents the character's character.
Beiqing Daily: Can you analyze Wei Shu from the perspective of an actor?
Pan Yueming: During the preparatory period, we also hoped to use the styling to reflect the character of the "axis" of the character's work but not knowing it, and show the stunned and dramatic effect.
Beiqing Daily: In addition to Wei Shu, there are several other male characters in the play. What are your advantages compared to them?
Pan Yueming: The advantage of Wei Shu is that we are unaware of our feelings. We don’t get along with each other for love, but for mutual success. I teach her to fall in love, hoping to use her success to prove my theory. Success, this is a double-edged sword.
Everyone didn't think that in the process of constant conflicts, frictions and mutual adaptation between the characters, the budding of feelings slowly emerged. This is a very good thing. There is a point in the play that I think is very interesting. When Cheng Lu, who Wei Shu likes, walks under her eyelids to the person she loves, he must be jealous and bear with it. Such drama conflict shows the character's kindness and cuteness He hopes that the person he likes can go to the life she wants, but his heart is torn. I think there should be many such situations in real life.
Beiqing Daily: How do you view the practical significance of this drama?
Pan Yueming: Actually, the topic of this drama is very interesting. You can make a series of dramas on the topic of marriage, and the audience will also like it. Because people come from different cities and different work communities, everyone will face this problem: because of the pressure of work, they have to put back love and family matters and keep hypnotizing themselves. The excuse that is often found is to follow it! This is a social problem, the contradictory relationship between age and marriage.
Beiqing Daily: Wei Shu is quite bitter in the play. Are you worried that some of his words will cause dissatisfaction in the audience?
Pan Yueming: Everyone likes and dissatisfied, it is something that this character should bear. His "poison tongue" actually shows a part of this character's low EQ, which is the character setting that this character must have.
This group article / reporter Wang Lei coordinating / Man Yi