Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 138, Section 136: Who says the King of Comedy doesn't understand human relationships?

Two days passed.

July 16th.

The script reading session for "30 Days" was held in the conference room of Beijing Film Studio.

Wang Sheng, as the chief director and screenwriter, sat down with executive director Huo Jianqi, and main actors Zhou Xingxing, Li Xiaoran, and others.

The atmosphere was serious and focused.

Stephen Chow, the "King of Comedy" who already enjoys a high reputation in the Chinese-speaking world, appeared exceptionally humble and calm at this moment.

He was wearing a simple white T-shirt, and his hair was a bit messy, a far cry from the quirky and nonsensical image he had on screen.

He listened attentively as Wang Sheng explained the theme and characters' motivations in the script, occasionally taking notes on the script.

When Wang Sheng talked about the male protagonist Chen Shi, an ordinary worker who was slightly chauvinistic but kind-hearted, and his wife Lin Weiwei decided to divorce over trivial matters, but both of them lost their memories due to an accidental car accident, and relied on instinct and snippets of conversation from those around them to "get to know" each other again and find their love again, Zhou Xingxing's eyes showed great interest.

“Director Wong, this premise is so interesting.” Stephen Chow said in Mandarin with a Cantonese accent, his tone sincere: “Amnesia is not forgetting, but making new choices. It’s a comedy on the outside, but a heartwarming core. I will try my best to find that Chen Shi-like… well, down-to-earth yet very real feeling.”

His attitude made Li Xiaoran and the other members of the crew, who were initially a little nervous, relax a lot.

During the reading, Stephen Chow would occasionally offer his interpretation of the lines, such as the tone of a certain Beijing accent or whether a certain action could better fit the character's state of mind at the time. However, he always made these suggestions in a consultative tone, based on respect for the script.

Wang Sheng responded to each of these suggestions seriously, and adopted and adjusted reasonable ones on the spot.

This professional interaction made the reading session highly efficient and laid a good foundation for the subsequent filming.

Wang Sheng knew that there were multiple reasons why Stephen Chow was so cooperative this time, even accepting a salary far below market value for this mainland film.

On the one hand, his previous investment in the "A Chinese Odyssey" series resulted in a box office flop, putting him under considerable financial pressure; on the other hand, around the time of Hong Kong's return to China, he keenly realized the importance of establishing good relations with the mainland.

Wang Sheng's song "Chinese," which has been highly recognized by the official authorities and is widely sung, is undoubtedly a strong signal that made Stephen Chow realize that the energy and background represented by this young man should not be underestimated.

In addition, given the complexity of the Hong Kong entertainment industry, he also needs to explore new markets and networks to cope with future uncertainties.

Therefore, showing sufficient respect to Wang Sheng, even adopting a "low-profile" attitude, was a wise choice for him after assessing the situation.

……

On July 20, after a brief opening ceremony at the Beijing Film Studio, filming of "30 Days" officially began.

The main filming locations were concentrated in Beijing.

Initially, everything went smoothly during filming.

Stephen Chow demonstrated exceptional professionalism, arriving on time, reciting his lines fluently, and practicing repeatedly for any parts of his Mandarin that were not standard.

However, as filming progressed, his impulse to "rewrite the script," stemming from his years of experience creating comedies, inevitably surfaced.

For example, during the filming of a scene where Chen Shi tries to cook a meal for his amnesiac, "strange" wife, only to make a complete mess of the kitchen, the original script required Chen Shi to be flustered, frustrated, and comical. After filming the scene once, Stephen Chow approached Wang Sheng for advice: "Director Wang, I think if Chen Shi accidentally got flour all over his face, looking like a big, messy cat, and then gave the surprised Lin Weiwei a silly, innocent smile, wouldn't that be more effective? That clumsy cuteness might make the audience laugh more than just being flustered."

For example, in a scene where the two are reminiscing about their first meeting on a park bench, the original script had a warm and slightly sentimental dialogue.

Stephen Chow suggested: "Could you add some small gestures during the conversation? For example, Chen Shi subconsciously tries to imitate the exaggerated gestures he made when he approached someone back then, but realizes halfway through that he looks silly and stops awkwardly? This kind of contrast might be more memorable."

These suggestions do indeed have a distinct "Chow-style comedy" feel to them.

Wang Sheng would always listen patiently and discuss with Huo Jianqi, Li Xiaoran, and even Zhou Xingxing himself.

He did not accept everything, but rather made some choices.

He would gladly adopt any "small ideas" that could enhance the character's appeal without deviating from the core of the script and the character's setting. For example, the design of smearing flour on the face worked well after on-site testing, so it was kept.

However, for suggestions that might be overly exaggerated and disrupt the film's overall family-friendly tone, Wang Sheng would gently but firmly explain why they were inappropriate.

“Sing,” Wang Sheng said to Stephen Chow during a break, “I hope the humor in this movie comes more from the real clashes between situations and characters, rather than relying on overly exaggerated physical comedy. We want the audience to feel warm inside while laughing, to believe that these two people can really fall in love again.”

After listening, Stephen Chow nodded thoughtfully, without the slightest displeasure. Instead, he said, "Director Wong, I understand what you mean. I'm just used to the old routines. I'll adjust and find a rhythm that's more suitable for this film."

This communication method not only upheld the director's authority but also gave the actors enough respect and creative space, which convinced Stephen Chow and made the collaboration smoother.

Under Zhou Xingxing's guidance, Li Xiaoran's performance became more relaxed and natural, and she portrayed Lin Weiwei's transformation from indifference and aloofness to gradually finding her inner softness in a delicate and moving way.

Filming proceeded in a tense but orderly manner.

The film sets in Beijing during the summer are like ovens. Under the scorching lights, the actors are often drenched in sweat, but no one complains.

Wang Sheng moved between different scenes, controlling the overall progress and the quality of the visuals.

Huo Jianqi was responsible for precise on-site coordination to ensure that every shot could be completed efficiently.

The twenty-day filming period passed in the blink of an eye.

On August 10th, "30 Days" aired its final scene – after many twists and turns, Chen Shi and Lin Weiwei, whose memories are gradually returning, meet again at the street corner where they initially decided to divorce. They smile at each other, overwhelmed with mixed feelings.

"Cut! That's a pass!" Wang Sheng shouted with satisfaction as he watched the complex emotions exchanged between Zhou Xingxing and Li Xiaoran on the monitor.

The entire audience erupted in enthusiastic applause and cheers.

The staff members high-fived and hugged each other to celebrate the successful conclusion of their twenty days and nights of hard work.

Li Xiaoran's eyes were slightly red as she hugged Wang Sheng.

This is her first film!
Stephen Chow also smiled easily and said to Wang Sheng, "Director Wang, thank you for your hard work. It was a pleasure working together this time, and I hope there will be more opportunities in the future."

(End of this chapter)