The Best Actor Insists On Living With Me!-Chapter 1740 - 1732: Preview Screening (Part 1)

Some very talented directors, right from the start, shoot with their own artistic style. But Bo Yan is different. Although he hopes to shoot more artistically, the company is in its early stages: it needs money.

No matter how many creative ideas he has in his mind, he can’t shoot them at this time. The best he can do is to choose a relatively good script and shoot according to it, telling the story smoothly and steadily.

Ideological significance, artistic value, and whether it can be passed down through the ages, all are important. But at this moment, bread is more important. If he completely shoots according to his thoughts, the public may not accept it. Even if it wins an award in the end, but the box office loses money, the company will also suffer losses.

But he certainly wouldn’t be content to just shoot a "documentary" that is merely imitative. The original work of "Sunrise" is actually a bit gloomy, with a female protagonist who has fallen beyond redemption, a decaying society beyond salvation, some people who tragically die without reason, conscientious people too powerless to change anything, and unconscientious people having their final revelry.

Such a story is not as melodramatic as "Thunderstorm" nor as wild as "The Field". It couldn’t be better as an art film, but if it’s to lean towards a commercial film, some character modifications are necessary, and some conflicts need to be more intense. Especially when it’s released around Valentine’s Day, surely emotions need to be celebrated.

Apart from making certain modifications to the protagonists’ character settings, he also uses camera movement, utilizes light and shade, colors, flowers, and costumes to create different moods for the protagonist: intense, lazy, desperate, sarcastic. He did not explain time in the film; time is conveyed through clock chimes, broadcasts on the radio, and the interplay of light and shadow. All explanatory elements were omitted, presented instead through the language of the camera.

These details, audiences who watch for the first time may not necessarily notice, but they can subtly feel the passage of time and the protagonist’s emotional transformation.

However, most of the audience present were experienced insiders, some critically thinking journalists, and a few film enthusiasts. Their grasp of camera movement, light and shade, colors, and light and shadow should be a bit stronger than the average viewer. But even if these techniques are not consciously perceived, the film subtly narrates a simple and understandable story.

He stood on stage and invited everyone to ask questions: "Any questions? Feel free to express your views."

He paused briefly after saying this, then smiled: "I know, many preview screenings invite you all here not to elicit opinions, but to say nice things, write a few good reviews to attract audiences. Even if the film is terrible, everyone tries their best to praise it. Standing here, I can more or less predict what everyone will say. Whether it has talent, whether it has ideas, you’ll know by watching the film. This is my first time directing; I’m not pursuing fancy tricks, just striving to tell the story properly and logically. After that, please feel free to give your suggestions."

There was a slight pause for a few seconds in the audience, followed by applause.

So to speak, whether something is good or not, audiences have eyes and can see clearly. How much effort the director has put into it, whether it’s a money grab or a sincere effort, how the actors perform is evident at a glance.

This is a very complete work, based on the original script of the master. Characters have been modified but not drastically changed, the tone remains. The story is also a good one, unlike some major directors who indulge in stream-of-consciousness storytelling. Right from the start, Bo Yan tells you he is narrating a story, from which details flow naturally.

Initially, it seems like a missed reunion, a tragic love saga tethered by ever-changing circumstances. But upon reflection after viewing, thinking back to any scene, there seems to be something to savor. Especially with the added easter egg, the female lead, initially thought to be inevitably doomed, later seemingly finds a glimpse of hope.

After Bo Yan spoke, the discussion became lively, with questions like: "Why modify the character settings?"

He admitted that by making the love between the male and female leads deeper and purer, it indeed made the romance more significant and visually striking, especially when the two are separated at the end.

Bo Yan replied, "It’s just a bit of artistic creation. If I copied the book verbatim, it wouldn’t be any different from watching a stage play."

Some people criticized the film’s lack of depth, saying that even though there were original plot elements, it boiled down to love, thus seeming lowbrow. Although there were innovative camera movements, the whole film lacked particularly memorable ideologies. Or rather, those thoughts were Cao Yu’s, from the original book, not his.

Bo Yan laughed, "I certainly can’t compare with Mr. Cao. I admit I amplified the love scenes and made some adjustments for commercial considerations. Hopefully, it won’t detract from the original tone."

Some pointed out inappropriate pacing within the story. Though some adjustments were made, the first half-hour was a bit tedious, given it was a stage play adaptation.

Bo Yan nodded humbly at this point: "Indeed, I need to enhance the pacing a bit here."

In the early stages, he was indeed laying the groundwork, explaining all the characters’ backgrounds and the story’s origins within the first thirty minutes. Afterward, all the characters gather in one place, then gradually increase the climactic tensions, leading up to the final thirty minutes, where the fates of major characters reach their peak. The early stage was indeed slightly slow.

Moreover, some perceptive critics noticed the camera work, the light, shadow, and color. The simplest and easiest to spot was the variety of flowers placed in the house and different outfits worn by the female lead, reflecting her varying moods.

Bo Yan also nodded honestly: "When the original book was written, some scenes, apart from dialogues, did not directly present the many moods and predicaments of people. By changing the female lead’s outfits, I intended to reflect her emotions. But now, it seems—a little like gilding the lily."

Bo Yan referred to "gilding the lily" as Xia Siyu’s performance being... just too good.

Footage released a few days ago showed part of Xia Siyu dressed in a cheongsam, but without any contextual scenes, except for a few simple shots. Though already stunning, when viewed within the plot, it was as if—it came to life.

She utterly seamlessly lived in that old house, her surroundings, furnishings, clothing, her entire breathing seemed to merge with the old building.

She seemed like a person living in that era, bright, vivid, yet decadent.

Just as Zhang Ailing once said, a splendid robe full of lice.

Initially, critics didn’t comment on Xia Siyu, because Bo Yan didn’t allow them to praise her, only requesting them to give more suggestions.