šBRIEF TRANSLATION OF MS. SāS ( Revenged loveās director) INTERVIEW ABOUT SEVERAL ISSUES RELATED TO THE āRevenged Loveā FILMš (Note: This is a long piece. I only translate parts related to the film, avoiding discussion of other issues to prevent conflicts. Focus on the interview content.)
==========
**Q: Compared to āRevenged loveā from ten years ago, do you think the latest āRevenged loveā has been upgraded? Did it meet expectations and deliver the emotional value you wanted?**
A: It far exceeded expectations. I never expected this film to be elevated to such heights by everyone. Because our filming budget compared to traditional major productions was really quite small. There were scenes I wanted to shoot but couldnāt fully realize due to budget constraints. Letting go means having regrets. But the emotional value this film brought me is unprecedented - for me, itās definitely unforgettable for life.
**Q: Compared to the previous āRevenged loveā and the original book, what changes and what remains the same in āRevenged loveā? What criteria guided these adjustments?**
A: Compared to the previous version, the content was mainly enriched. Especially adding the āsnakeā element, which made the whole story more complete. What didnāt change, I think, is the emotional atmosphere between the two main characters. Given the limited script and film duration, when we had to choose what to sacrifice, we prioritized keeping the emotional storyline. Actually, the novel āRevenged loveā didnāt have many subplots - it was purely a love story. So when adapting, we focused on extending the ambiguous phase, making Wu Suo Weiās emotional transformation smoother. Because in the original, the transformation leaned more toward desire than emotion, which might be hard for todayās audiences, especially those who prefer pure love, to accept.
Later, the detail about Wuās motherās attitude change actually came to me when I was drunk once. Afterward I cried and thought: If before dying, Wuās mother told Chi Cheng that she understood everything, wouldnāt this tolerance be exactly what todayās society needs? After ten years, isnāt it time we dare to break those deep-rooted social frameworks and prejudices?
As for the reason Chi Cheng went to prison, I admit I had great difficulty revising this. Because the original involved sensitive issues, but the adaptation wasnāt good enough. I admit my abilities are limited - I canāt satisfy everyone.
**Q: What made you choose Tian Xu Ning and Zi Yu, along with the other actors? How do you evaluate their performances?**
A: Not just Tian Xu Ning and Zi Yu, but also Zhan Xuan and Liu Xian Cheng. For me, intuition is more important than everything. The feeling of a CP is something mystical - you can sense it but itās hard to describe. In terms of acting, Iām very satisfied with all of them - they exceeded my expectations.
**Q: In your opinion, why did the actors accept this film and these roles?**
A: I think this is a subtle issue. I donāt know what they really think, but I guess most wanted to give themselves a challenging opportunity. Because everyone has their own thoughts. This type of role is really easy for audiences to remember, but it also has its own appeal: authentic, rebellious, brave, soulful, attractive. People are inherently complex. If you keep playing black-and-white, perfect characters, itās quite a pity for an actor. Look at our film - if you want to curse, curse; if you want to vent, vent. Isnāt that quite refreshing? Real life has so much pressure - if you can experience a different life in a film, I think thatās also an interesting stimulation.
**Q: Did you adjust plot and characters to better suit the actors while still giving them freedom to express?**
A: Of course there were adjustments. Like Wu Suo wei - with his straight guy background, we added some of the actorās own cuteness. For Chi Cheng, on the foundation of dominance, we added many gentle nuances. Same with other actors - for example, Jiang Xiao Shuai got a bit of roguish charm added. Guo Cheng Yuās āflirtatiousnessā was something he added himself. As for actress Yue Yue, her current behavior and attitude are completely rationalized because social contexts always change, and characters canāt remain unchanging.
**Q: Were there any scenes where actors brought surprises to their characters beyond the script?**
A: Too many! What surprised me most were the daily life scenes in the film. When writing the script, we cut out a lot of daily life content. Now I really regret it, because when writing, I only worried about serving the plot and had to consider narrative structure. But I didnāt expect the actors to have such strong CP chemistry. Many daily life scenes that didnāt advance the plot actually became very effective content. But this happened after filming started - you canāt suddenly add scenes because the shooting schedule was very tight and the main plot had to be completed. Very regrettable. But their performances really gave me huge surprises - the feeling of not being satisfied, wanting to see more.
**Q: What techniques did you use to make this work both dramatic enough and emotionally deep as audiences expected?**
A: I think the original was already very dramatic, and the script was fine. The emotional depth had to come from the actorsā performances. We needed to guide the actors to truly get into character, because audiences arenāt stupid - whether thereās love or not, they can tell at a glance. Emotional depth is the core of BL. To grasp this core, actors must wholeheartedly immerse themselves in their characters. Especially when they donāt have much acting skill yet - like a blank sheet of paper, theyāre easier to shape. This is also why over the years I prefer using newcomers and less famous artists, because they donāt have fixed impressions and can completely become that character.
**Q: During filming and production, what other challenges did the film face?**
A: Too many challenges - mentioning them brings only tears. During filming, it was like setting up roadside tents, with very strict confidentiality contracts for all staff. Every day we worried about not finishing on time. By wrap, the whole crew was like theyād shed a layer of skin. Thatās all I can share about this.
**Q: In the film, we see many props and costumes being shared - was this an unavoidable solution due to budget constraints?**
A: Exactly because we were poor, with limited budget. But some costumes, like Chi and Wei wearing each otherās clothes, thatās reasonable - itās normal for a married couple to wear each otherās clothes. As for shared props, I actually only noticed when rewatching the film after audiences pointed it out. Though criticized, I find it quite amusing.
**Q: Do you follow the international attention this work received? In what aspects do you think it meets cross-cultural emotional needs?**
A: I always follow it. I didnāt expect such great recognition abroad. Initially I thought only overseas students and overseas Chinese communities would watch, but unexpectedly there are many audiences of other nationalities, and theyāre very supportive and tolerant. Iām very grateful. Personally, I think this satisfaction comes from love. In any country, love is always the scarcest thing in society. Itās not about gender or geography, but what people deep down always crave - passionate, intoxicating love, willing to sacrifice everything for each other, the purest and most sincere kind.
**Q: The film brought you extremely high attention - was that a pleasant surprise or a scary surprise?**
A: More fear than joy. Initially it was a pleasant surprise, because previous works had good responses so I was somewhat prepared, but expectations werenāt high. Later seeing this film also get recognition, I felt very honored. But later developments went beyond control. Most of the time I was bewildered - even now when you interview me, I feel my mind isnāt completely clear yet.
**Q: Can you suggest ways to move on from the film?**
A: Iāve actually gone through this three times. The first was a few days after leaving the crew - I seemed to lose the ability to return to normal life. Every night Iād dream I was still on set, as if filming never ended. This lasted a very long time. Then I took on many jobs, wrote other scripts to distract myself. But soon after, I started preparing behind-the-scenes content and promotional materials. Behind-the-scenes required over ten hours of continuous filming daily, meaning I had to select and review over ten hours daily. For nearly two months like this, I was immersed again, then came the second move-on attempt. I took on work frantically again. The third phase is now. The film finished airing, but every day I dream itās still broadcasting. I have a pile of work to do and new scripts to prepare, but I canāt write - Iām just floating. So asking me how to move on, I really have no method. I donāt even dare open my social media pages.
Fandomvibes
šBRIEF TRANSLATION OF MS. SāS ( Revenged loveās director) INTERVIEW ABOUT SEVERAL ISSUES RELATED TO THE āRevenged Loveā FILMš
(Note: This is a long piece. I only translate parts related to the film, avoiding discussion of other issues to prevent conflicts. Focus on the interview content.)
==========
**Q: Compared to āRevenged loveā from ten years ago, do you think the latest āRevenged loveā has been upgraded? Did it meet expectations and deliver the emotional value you wanted?**
A: It far exceeded expectations. I never expected this film to be elevated to such heights by everyone. Because our filming budget compared to traditional major productions was really quite small. There were scenes I wanted to shoot but couldnāt fully realize due to budget constraints. Letting go means having regrets. But the emotional value this film brought me is unprecedented - for me, itās definitely unforgettable for life.
**Q: Compared to the previous āRevenged loveā and the original book, what changes and what remains the same in āRevenged loveā? What criteria guided these adjustments?**
A: Compared to the previous version, the content was mainly enriched. Especially adding the āsnakeā element, which made the whole story more complete. What didnāt change, I think, is the emotional atmosphere between the two main characters. Given the limited script and film duration, when we had to choose what to sacrifice, we prioritized keeping the emotional storyline. Actually, the novel āRevenged loveā didnāt have many subplots - it was purely a love story. So when adapting, we focused on extending the ambiguous phase, making Wu Suo Weiās emotional transformation smoother. Because in the original, the transformation leaned more toward desire than emotion, which might be hard for todayās audiences, especially those who prefer pure love, to accept.
Later, the detail about Wuās motherās attitude change actually came to me when I was drunk once. Afterward I cried and thought: If before dying, Wuās mother told Chi Cheng that she understood everything, wouldnāt this tolerance be exactly what todayās society needs? After ten years, isnāt it time we dare to break those deep-rooted social frameworks and prejudices?
As for the reason Chi Cheng went to prison, I admit I had great difficulty revising this. Because the original involved sensitive issues, but the adaptation wasnāt good enough. I admit my abilities are limited - I canāt satisfy everyone.
**Q: What made you choose Tian Xu Ning and Zi Yu, along with the other actors? How do you evaluate their performances?**
A: Not just Tian Xu Ning and Zi Yu, but also Zhan Xuan and Liu Xian Cheng. For me, intuition is more important than everything. The feeling of a CP is something mystical - you can sense it but itās hard to describe. In terms of acting, Iām very satisfied with all of them - they exceeded my expectations.
**Q: In your opinion, why did the actors accept this film and these roles?**
A: I think this is a subtle issue. I donāt know what they really think, but I guess most wanted to give themselves a challenging opportunity. Because everyone has their own thoughts. This type of role is really easy for audiences to remember, but it also has its own appeal: authentic, rebellious, brave, soulful, attractive. People are inherently complex. If you keep playing black-and-white, perfect characters, itās quite a pity for an actor. Look at our film - if you want to curse, curse; if you want to vent, vent. Isnāt that quite refreshing? Real life has so much pressure - if you can experience a different life in a film, I think thatās also an interesting stimulation.
**Q: Did you adjust plot and characters to better suit the actors while still giving them freedom to express?**
A: Of course there were adjustments. Like Wu Suo wei - with his straight guy background, we added some of the actorās own cuteness. For Chi Cheng, on the foundation of dominance, we added many gentle nuances. Same with other actors - for example, Jiang Xiao Shuai got a bit of roguish charm added. Guo Cheng Yuās āflirtatiousnessā was something he added himself. As for actress Yue Yue, her current behavior and attitude are completely rationalized because social contexts always change, and characters canāt remain unchanging.
**Q: Were there any scenes where actors brought surprises to their characters beyond the script?**
A: Too many! What surprised me most were the daily life scenes in the film. When writing the script, we cut out a lot of daily life content. Now I really regret it, because when writing, I only worried about serving the plot and had to consider narrative structure. But I didnāt expect the actors to have such strong CP chemistry. Many daily life scenes that didnāt advance the plot actually became very effective content. But this happened after filming started - you canāt suddenly add scenes because the shooting schedule was very tight and the main plot had to be completed. Very regrettable. But their performances really gave me huge surprises - the feeling of not being satisfied, wanting to see more.
**Q: What techniques did you use to make this work both dramatic enough and emotionally deep as audiences expected?**
A: I think the original was already very dramatic, and the script was fine. The emotional depth had to come from the actorsā performances. We needed to guide the actors to truly get into character, because audiences arenāt stupid - whether thereās love or not, they can tell at a glance. Emotional depth is the core of BL. To grasp this core, actors must wholeheartedly immerse themselves in their characters. Especially when they donāt have much acting skill yet - like a blank sheet of paper, theyāre easier to shape. This is also why over the years I prefer using newcomers and less famous artists, because they donāt have fixed impressions and can completely become that character.
**Q: During filming and production, what other challenges did the film face?**
A: Too many challenges - mentioning them brings only tears. During filming, it was like setting up roadside tents, with very strict confidentiality contracts for all staff. Every day we worried about not finishing on time. By wrap, the whole crew was like theyād shed a layer of skin. Thatās all I can share about this.
**Q: In the film, we see many props and costumes being shared - was this an unavoidable solution due to budget constraints?**
A: Exactly because we were poor, with limited budget. But some costumes, like Chi and Wei wearing each otherās clothes, thatās reasonable - itās normal for a married couple to wear each otherās clothes. As for shared props, I actually only noticed when rewatching the film after audiences pointed it out. Though criticized, I find it quite amusing.
**Q: Do you follow the international attention this work received? In what aspects do you think it meets cross-cultural emotional needs?**
A: I always follow it. I didnāt expect such great recognition abroad. Initially I thought only overseas students and overseas Chinese communities would watch, but unexpectedly there are many audiences of other nationalities, and theyāre very supportive and tolerant. Iām very grateful. Personally, I think this satisfaction comes from love. In any country, love is always the scarcest thing in society. Itās not about gender or geography, but what people deep down always crave - passionate, intoxicating love, willing to sacrifice everything for each other, the purest and most sincere kind.
**Q: The film brought you extremely high attention - was that a pleasant surprise or a scary surprise?**
A: More fear than joy. Initially it was a pleasant surprise, because previous works had good responses so I was somewhat prepared, but expectations werenāt high. Later seeing this film also get recognition, I felt very honored. But later developments went beyond control. Most of the time I was bewildered - even now when you interview me, I feel my mind isnāt completely clear yet.
**Q: Can you suggest ways to move on from the film?**
A: Iāve actually gone through this three times. The first was a few days after leaving the crew - I seemed to lose the ability to return to normal life. Every night Iād dream I was still on set, as if filming never ended. This lasted a very long time. Then I took on many jobs, wrote other scripts to distract myself. But soon after, I started preparing behind-the-scenes content and promotional materials. Behind-the-scenes required over ten hours of continuous filming daily, meaning I had to select and review over ten hours daily. For nearly two months like this, I was immersed again, then came the second move-on attempt. I took on work frantically again. The third phase is now. The film finished airing, but every day I dream itās still broadcasting. I have a pile of work to do and new scripts to prepare, but I canāt write - Iām just floating. So asking me how to move on, I really have no method. I donāt even dare open my social media pages.
===ā¢ā¢ā¢ā¢ā¢Thank you for reading to the endā¢ā¢ā¢ā¢ā¢ā¢ā¢===āāāāāāāāāāāāāāāā
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