On June 24, the 29th Shanghai TV Festival held a master class for the chairman of the Magnolia TV Drama Jury. Yan Jiangang, the chairman of this year's TV Drama Jury and the famous director, and Li Xingwen, the famous film and television critic and founder of "Film and Television Tongue", talked about their views and experiences on hot topics in the industry such as "explosive dramas", "AI technology", "definition of good actors", and "historical dramas". Their sincere attitude and witty remarks won the recognition of the participants.
Film and television critic Li Xingwen (left) and director Yan Jiangang (right) delivered a masterclass for the Magnolia TV Drama Jury Chairman
"Hot-selling" products: high ratings do not mean high popularity
Just halfway through 2024, many hit works of the year have been born, including standard works in the ancient idol drama track of "hit-making machine", such as "Traveling with the Phoenix"; there are also unexpected dark horses in the unpopular track of "cultural tourism and healing", such as "My Altay". Talking about "making hits", Yan Jiangang said frankly: Why a drama can become a hit is that it allows most audiences to recognize the story in the drama and the fate and emotions of the characters in the drama. "The themes and emotions it conveys act on the hearts of the audience."
In the current TV drama industry, exploring the creation methodology of hit dramas has become the focus of many producers. However, in Yan Jiangang's view, a hit drama is not determined by the genre or subject matter, but by the creator's sincerity and professional ability to complete a drama that the audience believes in and recognizes. "Sincerity is a kind of ability that can support a creator to reach the truth. There is a prerequisite, which is your professional ability. Do you have the ability to be true?"
In the context of online and TV broadcasting, the evaluation standards of the two series have gradually become independent. TV stations rely on the ratings surveys of third-party institutions, while online platforms such as iQiyi, Youku and Tencent Video have their own "hotness value" evaluation standards. Nowadays, dramas that are well broadcast on TV stations may not necessarily gain corresponding popularity online; works that are popular online may not necessarily have good ratings, and their durability and long-tail effect may not be better than those with high ratings.
Yan Jiangang also talked about the current situation of the separation between ratings and popularity: "For example, the audience groups that can be covered by the ratings are unlikely to express their views on the Internet. They will only be counted through data. For dramas broadcast on online platforms, the audience is directly involved, especially young audiences, who will actively participate in discussions."
Poster of "The Road of Life"
He recalled that when "The Road of Life" was broadcast on iQiyi and CCTV, it had high ratings and was the champion of CCTV in the same period last year. "But on the Internet, it is not very popular." This made Yan Jiangang think for a while: Is it a problem with the subject matter? Is it a problem with the shooting method? Is it a problem with the director's skills? "Or is it that I, a white-haired director, am actually out of date?" He frankly admitted his confusion, "But I think the existence of multi-dimensional evaluation is a good thing. At least it will ring a warning bell for me: Don't be too conceited."
In the creation process, Yan Jiangang believes that it is important to consider not only the popularity of the work, but also the vitality of the work. "Just like when I filmed The Road of Life, why can Lu Yao's novel written 40 years ago still exude a shocking power today? This is the vitality and long-tail effect of the work."
AI: Awareness of the crisis
In recent years, with the rapid development of AI technology, the film and television industry is undoubtedly facing new challenges. There are many discussions in the industry on how and whether AI technology can be quickly applied to creative practice. Yan Jiangang frankly admitted that in the face of today's rapidly changing technology, it is inevitable to be surprised and shocked, "I have a clearer understanding of the crisis."
He gave an example, in the past, it took several months to compose the soundtrack for a 40-episode TV series, but now, AI technology can complete a 40-episode soundtrack that combines the classic styles of composers from all over the world within 24 hours; in the past, the filming of a TV series required the scene to be changed, but now the actors can shoot the entire process in the studio. "Our technology today has developed to this level, AI technology, text generation large model technology, and virtual shooting technology. If we don't face this reality, how can we face tomorrow?"
"Should we discredit new technology, resist it, and let it come late? Or should we open our minds to welcome it? I think a contemporary person should have this kind of mind, and you can't resist it." At the same time, he believes that although the development level and stage of AI technology has not yet reached the level where it can completely replace creation. But technological innovation will affect the worldview and values. "This raises a more serious issue, that is, how will your way of understanding life, understanding life, and understanding the world change in the future."
He believes that AI technology is not just a technological change, but a revolution. This revolution will inevitably lead to changes in the director's language, and changes in the director's language will inevitably lead to changes in the director's thinking. "For example, in the past, I only needed to consider elements in the later stage. Now I have to consider them from the beginning of the creation, such as production plans, actor selection, and all aspects must be taken into consideration in the early stage."
He solemnly reminded film and television creators, "You must be reborn, you must have the ability to learn, and you must think about whether you will still have the qualifications for employment tomorrow. If you don't know how your production methods will change tomorrow, how can you be a director tomorrow?"
Yan Jiangang
Historical drama: making history relevant today
The quiet disappearance of historical dramas has become a consensus in the industry for nearly a decade. However, in recent years, with the encouragement and support of the State Administration of Radio, Film and Television, many major historical dramas have been steadily advancing, arousing the expectations of the audience and the attention of the industry. Speaking of historical dramas, Yan Jiangang talked about the difficulty of their creation. First, historical dramas require the main creative team to have a good historical foundation; second, historical dramas also need "innovation", follow the historical facts that have been concluded, but have contemporary expressions; third, the review standards for historical dramas are more stringent, which will cause some production companies to "hedge risks" and not touch this subject.
Li Xingwen admitted that the main force in the creation of traditional historical dramas is no longer in its prime, and the current audience's aesthetic tastes have also changed. Under the impact of short videos, it is indeed difficult for everyone to sit down and watch a 40-50 episode historical drama. "I personally think that our traditional historical dramas, those that once shocked generations of audiences, will probably not appear on a large scale in the future." Yan Jiangang also agreed with this point. The former "main force" may have degraded their ability to innovate, and the current group of young screenwriters may not be willing to work on this difficult and time-consuming subject. "There are more easier, more profitable, and more cost-effective subjects to do. Why bother yourself? This is very realistic."
When asked about "what kind of works can be considered historical dramas or historical dramas", Li Xingwen believes that one type is like "Ming Dynasty Under the Microscope", which uses minor characters as the protagonists and is based on professional historical research to tell a fictional story, which can be considered a new type of historical drama. The second type is the second season of "Celebrating Life of a Nian" which just finished airing.
Stills from the second season of "Celebrating More Than Years"
"It is definitely not a historical drama. You must classify it accurately. It should be considered a legendary drama, or even a fictional drama, but it contains a more serious historical spirit. For example, in the second season, the court struggles of Qing Kingdom depict some timeless ways and methods of power operation and the inherent laws of political struggle." Li Xingwen jokingly called it "a substitute for historical dramas." "I think this kind of drama will continue to emerge in the future."
Yan Jiangang believes that the creation of historical dramas today must make history contemporary. "Historical dramas require innovation, contemporary thinking, and contemporary expression. You must have contemporary characteristics and a language expression system that contemporary young audiences can accept."
"Good actors": A professional team is the foundation of success
Nowadays, when doing projects in the industry, the importance of "coding" is taken for granted. Some film and television companies even think that if they have coded star actors, the project has been successful, and they no longer care about other departments such as scripts, art, costumes, etc. "For some plays, people think that as long as they code a certain actor, it will be a success. But is it successful? A considerable proportion of the plays may not be successful." Yan Jiangang said bluntly, "For example, the total budget for the actors' salaries is 100 yuan, one actor takes 90 yuan, and there is 10 yuan left for the other 20 roles in the crew. What kind of professional actors can you choose? How can this play be successful without good actors?"
"Individual ability is only part of the equation. The comprehensive professional ability of a team is the most basic foundation to ensure the success of a play," he said. "I have always emphasized professionalism. This time, as the chairman of the jury, I still emphasize professionalism. The current chaos in this industry, in addition to other social factors, is because the professional threshold of our industry itself is too low, or even non-existent."
He pointed out that the uneven professional levels of the crews in the industry have resulted in "some stars' performance being at the bottom in one drama and at the top in another", which in turn has resulted in "some actors' fans cursing at each other and slandering each other."
"In fact, this is a comprehensive question of professional quality. To be a good actor, the first thing you need is a comprehensive quality, of which the most important is professional quality; the second thing you need is talent. Some people may not be able to become a good actor in their entire lives, while others can become a good actor in just one play. When you don't know whether you have the talent, the reluctance to give up is the motivation to keep working hard. If you don't even have the reluctance to give up, then you shouldn't be in this industry."
"Youth": The post-00s are the most courageous
In 2023, Yan Jiangang directed "The Road of Life", which tells the life story of Gao Jialin, a young man in the 1980s. Recently, Yan Jiangang is preparing to shoot "Song of Youth", which takes place in the 1930s, nearly a hundred years ago. How do young people a hundred years ago resonate with the young people today?
"How did the faith of the group of young people who laid the foundation for the new China come from? Seeing this answer, I think it will provide a reference for the confusion, dissatisfaction and difficulties of most young people today." He said. "The word youth is never outdated. Every era has youth, and every generation has youth. Whether a person can achieve success depends on your youth. You must cherish your youth. Late bloomers are definitely a case. So I pay special attention to the stories of youth in this stage of life, such as "The Road of Life" and "The Song of Youth".
Yan Jiangang, with white hair, is full of recognition and encouragement for the post-2000s: "You know, the bravest are the young people. The post-2000s have their own way of resistance. They fire their bosses if they want to, and they don't allow overtime. I don't think these are bad. If you don't even have this little courage, how can you face the countless obstacles in life?" He encouraged young people, "Whether you are right or wrong, keep moving forward. You have enough youth to bear your failures, but if you don't move forward, you will never succeed."
This appreciation of youth also extends to the attitude towards younger generations in the industry. Yan Jiangang said that when he taught students at the Central Academy of Drama, he always said: Anything that has been written down is outdated. "We creators should have this concept. We should never be complacent. If you think your cognition is correct, any change of the times will crush you." As a senior director, he humbly pointed out that we must recognize the value of young directors. "We must format and reinstall the system. Only in this way can we be qualified to be colleagues with today's young directors, otherwise we will inevitably be eliminated."
Finally, in response to the audience's questions about the Magnolia Awards, Yan Jiangang stood up and answered solemnly, mentioning that this year's dramas were full of good dramas and the jury had a professional vision. He said: "All the nominated TV dramas and actors are eligible and have the possibility of winning. We will do our best to make the Magnolia Awards spotless and sparkling."
