Shen Zhou and Liu Lu are co-directors and screenwriters of "Water from the Donkey". In their statement, the stage play three years ago had the meaning of "saving the country by curve"-compared with movies, the entry threshold and cost of stage play were lower. After the hit, they hoped to reach a larger audience, but they talked to many companies all the way until they met Mahua FunAge.
There is obvious stage DNA in "The Water of the Donkey", which has also become the biggest controversy in the remake. So what changes did the main creator make to "The Water of the Donkey" to make it more suitable for the big screen? Two stage directors, Shen Zhou and Liu Lu, switched to making movies. What difficulties and discomforts have they experienced? And how do they deal with the drama that the audience is generally uncomfortable with?
No exaggeration. What we choose is a paragraph with intense contradictions and conflicts, but this has nothing to do with the actor's performance discretion. The paragraphs with fierce contradictions and conflicts will seem to expose a little more wonderful aspects of their lives, but in fact it has nothing to do with stage performances.
In the play, Jia Jia went to America. We originally wanted her to go to America, but after research, it was impossible. Because I went to America at that time, I couldn't go that way in Hong Kong. However, Jia Jia must give her an ending, because Jia Jia is a figure in our position (Liu Lu: a more promising figure), so all the other characters have open endings for you to guess, but we give her a clear ending in Jia Jia. As a young man at that time, if I want to stick to the bottom line, pursue ideals, pursue democracy and pursue justice, that means I will not compromise, I will fight, and that is to go to Yan 'an.