The lines of this domestic drama are shocking. Can you speak human words?

Sir can't wait to finish watching a domestic drama for a long time.

Abandoning the drama in the middle, except for the collapse of the plot, the mental decline of the characters, and the thunder of acting skills.

One thing that is rarely mentioned—

It's hard to get along with the characters in domestic dramas.

Either it's embarrassing to dig your toes, or it's foggy. Who wants to talk like this? I want to blow his head off in real life in minutes.

What medicine did you take wrong?

Let's enter this issue, "The Confused Speech of Domestic Drama".

What people say is of course what people say.

When you talk, you think they are not people.

This is a ... secondary two literature repeater.

Once you like it, you will like it for thousands of years.

To be an object, you must bear the rise and fall of the world.

When they are sad.

It is necessary to disrupt the hegemony of the century and the world.

Of course you have to say it. i am not a human being !

It's a fairy, an emperor and a master!

A lovely person's Chinese level should not only be the visual sense of primary school students' QQ space.

Needless to say, the "network sense" of domestic drama lines is really not unreasonable.

In 20 15 years, a large amount of capital poured into the IP market, scrambling to select those online works that already have a market foundation.

A series of online novels that did not have film and television value have become "good medicine for viewing".

Jiangshan, Xia Tian and Emperor have become high-frequency words of love in domestic clothes.

One mouth is to break the sky, break through the five continents, and the four seas ascend to heaven.

Then skillfully use the function words in classical Chinese: why, why and how.

Hua: "I don't care whether you stay or not, I only care about the lives of these people." You can do whatever you want as long as you don't leave me. "

I can't even keep you! What's the use of wanting the world? "

"Drunken Linglong": "I can turn you around, let alone military power, even if I do my best?"

Even if the words are poor.

Never give up the last stubbornness of exaggerated words-

We are more than1000 km apart.

If costume dramas are all in Chinese and English.

Then modern drama was immediately replaced by another painting style: online emotional chicken soup.

Mr. Wang wants to take notes in a small notebook while watching the play-

Golden sentence

Sending a circle of friends, celebrity divorce papers and sensational advertisements are all useful.

I just don't need to use it in everyday conversation.

What:

Adults have no freedom to collapse.

Everyone's life

All chicken feathers

If you want to prove love with time.

How much time will that waste?

There is one more line.

Output the value of every sentence and guess social issues.

When the TV series "Who Says I Can't Get Married" first aired, it was circled because of the lines of Tian Lei (played by Chen Shu).

Every sentence is aimed at women's emotional problems, hit the floor:

"Many people are worried about us singles, but we are all doing well."

"Is the value of a woman used to have children?"

"Don't listen to men talk about politics, listen to them talk about women, this is their real political view."

Life in a rational school.

These lines also apply to women's marriage problems intentionally or unintentionally:

If a person

Just to find me.

Reduce his cost of living

Why should I marry such a man?

Serve the boss in the company

At least you can get a raise.

Independent woman. line

But independent women are not the big V of feminist networks. Make a declaration of independence to people around you every day.

The key is that Qianzu speaks well, and he also went to Weibo for hot search.

The story of the hind foot immediately hit the face.

In order to get back together with her ex-boyfriend, Chen Shu resigned as a first-class partner in a big company to work for her boyfriend.

Where is the prestigious flag?

After exporting a series of golden sentences for women in Qin Lan, you can't see the plot describing her professional ability.

More often, she still shows the fragility of women in the "old love" of little suckling dogs.

As it turns out, lines don't serve the plot or the role.

The gold thread is only responsible for drainage, and then it is put aside independently, and the old story continues.

Get the dog in, shark.

At first glance, it looks pleasing to the eye.

Even if this creative mode can scare people for a short time, you will know that it is a bluff and an unspeakable greasy.

About lines.

Xu Haofeng wrote such a passage in "duplicity is a good word":

..... and a script, the information that ordinary people can understand is the lines, and amateur script reviewers will ask to see everything from the lines, otherwise it is unclear and the script is not up to standard.

Why are the lines of domestic dramas not as tasty as before?

The answer is two words:

Rough.

Good lines should be left blank.

Half depends on the role and half depends on the audience's thinking.

But the producers of domestic dramas are used to treating the audience as God.

The background and relationship of the characters are basically expressed through the narration or lines of the characters.

Lines are no longer the exchange of ideas between the audience and the role, but more become the one-way emotional output of the role.

It's a bit like holding your head and forcing others to listen to yourself.

For example.

Ordinary Glory is adapted from the Korean drama Not Born.

There is a line at work.

The Korean version pays attention to what you see and think.

Let's stop here and leave the rest to the audience.

It's always like this.

Get up early on the way to college.

On my way home from work

No matter how early I say hello this morning.

On the way, someone will be there.

I thought others were still dreaming.

But whenever

The world is one step ahead of me.

China version is essentially a monologue of psychological chicken soup.

Still can't escape the template of moaning without illness.

So quiet

Everyone should still be sleeping.

This world

I woke up earlier than expected.

Some people work hard for a simple life.

Strive for a better future

Strive to assume social responsibility

Me, for what?

Strictly speaking, lines should be a "discounted art".

They are all superficial stories.

But the relationship between characters, the emotional level and situation behind them are often hidden in the unspoken part.

Waiting for the audience to dig.

Sir, make a small comparison.

Over the years, Rulu has contributed many classic roles in front of the screen.

In Ode to Joy, Fan Meisheng, who loves vanity and worships money, has a four-minute line by the river, telling all his experiences of being squeezed by family of origin for many years.

Feel distressed?

Of course.

This scene was added to the director by Rulu himself.

I have to admit that Rulu understands the needs of the audience in China.

You can find the shadow of * * * in these lines, whether it's a young man wandering outside or an adult audience who has been hurt by his family.

So, a few years later, Xiao gave up.

Instead, Tian Yulan, an anxious and suspicious mother.

Still full of sadness, open your mouth and come:

I am a girl. I can't stand my back.

My in-laws look down on me.

Why did I force Ziyou to study hard?

Because only by our own ability.

Spell it out as your own.

But this time, Sir just felt noisy.

Think of Li's evaluation of Yang Mi: Pain is wow, laughter is hahaha.

Step by step into the program.

Don't get me wrong, I didn't mean to say it badly.

It's just that we obviously have a better way to express it.

Last year's online drama "Silent Truth" exploded.

Jiangyang was framed by the dark forces for pursuing the case of Hou Guiping and was imprisoned for three years.

After he was released from prison, he changed from a high-spirited prosecutor to a street vendor who repaired mobile phones.

Be ruined and terminally ill.

The most uncomfortable scene for Sir in the whole drama is the scene where Jiang Yang finds his wallet lost at the dinner table.

In this scene, Jiang Yang tossed and turned only one line:

"I still lost my wallet."

But the audience knew what he had lost.

This is a futile pursuit again and again.

This is an axiom swallowed up by evil forces.

It is his proud prosecutor status, and it is also his bright future and beautiful life.

All these are put in a wallet.

As an image, lines represent the life experience behind the role.

Therefore, even a few short sentences are particularly heartfelt.

When the lines are exposed too much.

Like a diluted tea bag.

Too many.

Nature is insipid.

It happened.

The standard of good lines is: intriguing.

It's like the ending of War and Beauty.

Rufai's self-report-

"I 16 years old began to enter the palace, only learned a survival skill, that is, calculating people's hearts and fighting.

Do you think I can live in peace after I go out? This is the location of my palace and the grave of my Niukolu Yueru. "

Suddenly, it triggered the idea of this story.

Remove the play from the narrow category of "court struggle"

Return to humanity.

Return to the inevitable tragedy of the characters under the court power.

It points out the last resort of women in the deep palace after they are cornered in the power struggle.

It is like a painful stone, hitting the lake like stagnant water, rendering a beautiful atmosphere with endless ripples.

If you say, Rufei got the same Gong Dou opera lines today.

How can you write such a heavy and sad lament?

therefore ...

Scripts and lines are the most taboo in industrialization.

In order to realize rapid cash flow and reduce risks, employers and producers often use market probability theory instead of text creation.

As a result, Zhang San and Li Si, regardless of their status and position, all experienced similar stories and said the same cliches.

However, a good script and good lines are not just exercises.

Name the big man in your heart:

Liu Heping.

Yongzheng Dynasty, Daming Dynasty and No War in Peiping are all his masterpieces.

At the moment when the script assembly line was being created, it took him seven years to light up a movie "No War in Peiping".

Every time he writes, he hangs portraits of historical figures in the play and washes his hands and burns incense before writing.

One is respect, the other is possession, so that you can enter the role faster and forget yourself.

When writing a script, in addition to writing stories and characters, Liu Heping will also consider details such as shots, timing and actors' positions.

After writing.

I must practice it in my mind, polishing and adjusting it countless times.

But it is also because of this persistence.

Only in this way can we write a wonderful "debate on the Yangtze River and the Yellow River" written by Jiajing.

Borrowing from the Yangtze River and Yellow River, the monarch's way of employing people-

"Don't be prejudiced by clear water, and don't be prejudiced by turbid water."

This is a metaphor. The two political parties struggle and balance each other, so that the court can be stable.

Wang Jinsong once commented on Liu Heping's plays: "The mind will fly, the breath will change, the mouth will unconsciously follow the role, and even want to stand up and try at once."

Liu Heping, one more thing.

It is worth developing separately for today's screenwriters to learn.

He always integrates his life experiences into his plays to capture the true feelings between characters.

For example, in the Ming Dynasty, Yu Wang recited Jiajing's plays.

It is based on the conversation between two fathers and sons when Liu Heping's father was seriously ill.

Come back and think about the domestic workplace theme.

The stereotyped "poison tongue" label of the elite in the workplace.

Completely divorced from real life.

Obviously, under the urging of capital, the screenwriter took second-hand materials and created the same characters in batches only by fantasy.

After all, writers should not be afraid of the threshold.

In the face of good lines, the audience will only be opponents, not God.

Only through study and communication can we achieve each other.

What can't be avoided here is "Da Gong Ming Ci".

In 9 1 year, the screenwriter of this play solemnly crossed the ocean to study drama in art institute of chicago, and has always loved Shakespeare.

Therefore, from time to time, there will be a large section of "Shakespeare" style lines in the play.

For example, there is a scene where the prince intercedes with Wu Zetian for the queen and two princesses in Xiao Shufei:

This was quite controversial in that year.

This is almost a rebellious attempt.

YiWen Zhao Wenxuan, the actor of Xue Shao, called the producer because of his lines and suggested that he stop filming.

At the time of writing "Ci of Daming Palace", TV was replaying "I Love My Family" and "The Story of Editorial Department".

Both screenwriters are Wang Shuo.

At that time, there was a comment that Wang Shuo created the most dynamic modern Chinese with his pen.

But solemnly and Wang wanted to say, "We absolutely don't want this language. We have a vanity. At that time, it was said that Wang Shuo had language innovation, so should we. "

Now it seems.

This vanity is urgently needed in the domestic drama market.

There is no such deviant vanity.

It is also director Li's companion piece Song Ci.

At that time, it was Wei's upper body that staged the drama of the maid yelling at the prince.

At that time, Yun Fan Fei, the male host, controlled himself and reappeared the shocking scene of "You just lost a leg and Zi Ling lost love".

Behind the "fall" of lines is that the script has lost its original ideological value.

Falling like a cliff.

Apparently, once.

We also have a poetic family drama like Da Gong Ming Ci.

With the phrase "As long as you put a man in a woman's position, he will become a woman", the real feminism is revealed.

But nowadays, there are fewer and fewer such abnormal dramas.

Mr. Wang can't help worrying.

When our lines become shallower and shallower.

When more and more pursuit of fragmented golden sentences.

Can domestic dramas return to the era when they were angry with the audience?

Let's start by talking well and speaking with others.

Editor's Assistant: Tin Shui Wai Tank Cover