Chapter 32: Easy to Get Into Character, Hard to Get Out

After Chen Kun left, Cao Yang asked Tian Zhuangzhuang, "What do you think of these two?"

Li Xiaoran, sitting nearby, immediately pricked up her ears.

"I know Fu Dalong; I chatted with Feng Xiaoning about him a while ago. He’s an actor with great plasticity, so his acting skills shouldn't be a problem."

After glancing at the audition notes, Old Tian continued: "His appearance is too rugged. You could see it in that last segment—you could have him play a tough guy, a general, or a man of the grasslands, and it would be fine, but the male lead in our film isn't that type."

Cao Yang nodded and flipped through the files; Fu Dalong starred in Feng Xiaoning's *Purple Sunset*, which is already scheduled for release in April.

Feng Xiaoning is also a graduate of the Beijing Film Academy, a famous member of the '78 class, though he was in the Art Department.

Tian Zhuangzhuang was right; Fu Dalong’s personal image is very "hard," and he really isn't suited for a more effeminate role.

The three people Cao Yang wanted to audition represented three types—or perhaps two: one type more "rigid," and one type more "soft."

Just then, a knock sounded at the door. Li Mingyi looked at Cao Yang, and at Cao Yang's signal, said, "Please come in."

As soon as Liu Ye walked in, before he could even offer a greeting, he heard Tian Zhuangzhuang let out an "Oh?"

Taken aback for a moment, Liu Ye hurriedly said, "Hello, teachers, my name is Liu Ye."

Cao Yang scrutinized Liu Ye. At this time, Liu Ye hadn't gained weight yet; he was very thin and scholarly, but that wasn't the key.

What made Old Tian surprised upon meeting him wasn't Liu Ye's appearance, but his temperament.

In university, aside from being a bit reticent at first, Liu Ye was actually very sunny; he loved playing basketball, joking with friends, and was very carefree.

But the Liu Ye before them didn't have a trace of that sunshine. Standing there, he was very "still," appearing somewhat effeminate.

"I see in your profile that you starred in *Lan Yu*. Has the film wrapped?" Cao Yang flipped through the documents and asked.

"It wrapped a month ago."

Cao Yang and Tian Zhuangzhuang exchanged a look. Great, another one who hasn't come out of character yet.

As industry insiders, this film titled *Lan Yu*, a story about two men, had received a lot of attention.

It was said that during filming, the director, to help them get into character and build rapport and feelings, had them stay together for over a month.

He even shared his own experiences with them.

The director, Stanley Kwan, is a man.

After the film was finished, what kind of scenes hadn't Hu Jun seen? He easily stepped out of character.

But Liu Ye was different.

When he took the role in *Lan Yu*, he had just graduated from university and didn't have much experience. To play the role well, he truly got into character, and very deeply at that.

After filming, knowing that new actors like this find it easy to get in but hard to get out, the director warned Liu Ye to avoid seeing Hu Jun for a while and to try not to be in the same frame.

Li Xiaoran, perhaps out of sympathy, taught Liu Ye very earnestly.

Liu Ye’s dancing wasn't as graceful as Chen Kun’s, and his movements were a bit stiff, but his thin face paired with those large eyes, plus his melancholic temperament, was actually somewhat eerie and chilling.

This brings us to Liu Ye's acting; he was clearly better than Chen Kun, knowing how to coordinate his gaze and expressions to create that feeling.

His effeminacy was clearly different from Chen Kun's softness.

His effeminacy had a kind of charm and melancholy; from his gaze to the curve of his mouth and his demeanor, he gave off a feeling of being "bent" without actually being so, yet he wasn't effeminate in a "sissy" way.

A delicate appearance and gentle eyes are terms used to describe women, yet they were appearing on Liu Ye now.

After Liu Ye finished his audition, Cao Yang told him the same thing: he would definitely give him an answer within two days.

After he left, Tian Zhuangzhuang remarked, "That was interesting."

Cao Yang asked Old Tian, "Who do you think is more suitable?" Old Tian first ruled out Fu Dalong; it wasn't that Fu Dalong's acting was bad, but he felt Fu Dalong's image didn't fit the positioning of the male lead.

Chen Kun and Liu Ye each had their own merits, and for a moment, it was hard to choose.

Old Tian was a stubborn man—otherwise, he wouldn't have framed the notice banning him from directing and hung it on his wall—but that didn't mean he didn't understand social nuances; he was just sometimes set in his ways, not stupid.

Since he felt Chen Kun and Liu Ye were about the same, interpersonal relationships came into play.

"Let's go with Chen Kun. He fits the character's positioning quite well."

See, Old Tian only spoke of fitting the character's positioning and didn't mention acting at all; Chen Kun's acting was indeed inferior to Liu Ye's.

However, Chen Kun was "one of their own"—a graduate of the Beijing Film Academy and Li Xiaoran's close friend. When both fit the character's positioning, one naturally chooses their own.

Li Xiaoran smiled and said nothing. She knew very well that even though her relationship with Cao Yang was extraordinary, she couldn't interfere in film casting.

She also sympathized with Liu Ye, but Kun was her close friend and had helped her before, so of course, she hoped Chen Kun would be chosen.

Cao Yang didn't rush to make a decision and fell into deep thought.

In the film, the male lead can be seen as a guardian deity for women; he always stands from a woman's perspective, doing the things women do—washing clothes, cooking, tidying up the house—always protecting women and standing up for them.

!

Therefore, this film can also be interpreted as the male lead being the female lead's fantasy brought into reality.

The male lead can be effeminate, but he cannot be gloomy.

From this perspective, Liu Ye in his current state was more suitable.

In terms of acting, Liu Ye was also more suitable.

In terms of appearance, the young, pre-weight-gain Liu Ye had more spirit and didn't look like the typical "pretty boy."

The only doubt was that Liu Ye was currently in a state of being "in character"; he seemed trapped in *Lan Yu* and hadn't come out.

But this was exactly what Cao Yang valued. In a state of being in character, one's spirit would definitely have large fluctuations, but not to the point of near-collapse like Li Xiaoran.

Cao Yang wanted to make a comparison: Yu Feihong without the "in-character" experience, and Liu Ye with his significant mental fluctuations—add the "in-character" experience to both and see what the final effect would be.

Then compare them with Li Xiaoran; with three sets of different references and comparisons, he should be able to find some patterns.

"Let's go with Liu Ye. By the way, ask Chen Kun—there's a pair of very open-minded husband and wife in the story; the plot isn't much, ask if he wants to make a cameo."

Cao Yang thought for a moment; since he had auditioned them, he couldn't favor one over the other, and continued: "And Fu Dalong, there's a boxer role; if he's willing, we can give it to him."

Liu Shan noted these down and nodded, "Alright."

Subsequently, Liu Shan said to Cao Yang: "There's a reply from Xiangjiang. Zhang Jiahui's agent said he just signed a film contract called *Perfect Lover* and can't free up his schedule."

Then, Liu Shan's expression became a bit strange, and he continued: "Wu Qihua's agent asked when we are filming. He explained that Wu Qihua signed a film contract and has scenes in July, so he has to join that crew; his schedule is only available before July."

If he has a schedule before July, then there's no problem.

Liu Shan coughed, "Wu Qihua's agent said the film he has to join in July is titled *Perfect Lover*."

"Hmm?"

"Oh?"

"So, the film called *Perfect Lover* stars Zhang Jiahui and Wu Qihua?" Old Tian couldn't help but ask aloud.

"That should be it."

"That's fucking coincidental!"

Thanks again to my brothers for the monthly tickets and recommendations. Thank you; your support is my greatest motivation for writing.

(End of chapter)