Removing the “adonis of period-costume dramas” label, and returning to a Republican era drama
Before Killer and Healer (or KillHeal hence), Mao Zijun had not filmed a republican drama in a long time. For almost the past five years, the audience’s impression of him has been his costume dramas, such as Qin Wuyan from The Legend of Chusen, An Qinxu from The Glory of the Tang Dynasty, Yin Yiren from The Legend of Haolan, and so on and so forth. Because most of his dramas are costume dramas, as it happens, offers that come to him are the costume dramas.
Thus, when an offer for KillHeal, a TV drama about “drug crackdown” set in Republican China, appeared before Mao Zijun, he accepted it without a second thought. “At the time, I felt that I didn’t want to keep shooting costume dramas.”
If “costume drama” is a tag the audience associates with Mao Zijun’s role and acting, we can also claim that “zen,” “placid,” and “easy-going” are impressions he leaves on most people. Other than for the purpose of promoting the broadcasts of his new dramas, he seldom appears in public. If he “wasn’t at home, [he’d] be hanging out, or watching movies.” To the public, it’s as if he’s been “spirited away.” As a regular whose name ranks on the “skilled actor without due fame” chart, regardless how many times he’s been asked about the matter, his response has always been “I really haven’t paid it much attention.” His response may seem like a pleasantry, but he means it from the bottom of his heart.
Mao Zijun knows that ever since he became an actor, his career has been successful for the most part without any major setbacks, and he’s met many great people along the way. From his first TV drama Beauty's Rival in Palace when he cooperated with Lin Xinru, he stumbled into the entertainment industry and was swept along despite his inexperience and unworldliness. Including Director Yu Zheng who was willing to give him the male lead roles for The Legend of Haolan and The Matriarch. “So I thought I’ve had good luck. I’ve met people who appreciated me and were willing to give me opportunities. I’m very grateful.”
Mao Zijun’s “zen” attitude, however, doesn’t extend to everything he does. When there’s a role he really wants, his “wolf-like ambition” is brought out. When it comes choosing projects, he doesn’t compromise either. “I think everyone has the desire to strive for things they don't have; regardless of where you are in life, you wish to become better, you wish that you can climb higher. It’s a never-ending climb.”
Regardless of whether he’s gained fame and popularity, or remains a fine wine waiting to be discovered, “becoming better” is a creed he lives by and acts upon.
- 01 -
Shooting KillHeal was an effortless process
What made Mao Zijun “return” to KillHeal after a long separation from republican dramas was its story and Jiang Yuelou’s personality. Jiang Yuelou is a morally grey character: a police officer and Chief of the Inspection Department. He's made law enforcement and drug crackdown his lifelong war, and it’s an undertaking he’s willing to sacrifice his life for. Although a patient with manic depression (known as bipolar disorder in modern clinical terms)--which results in his irritable, violent, and stubborn personality and tendency to be a lone wolf--he’s upright at his core, and there’s a gentle side to him deep down.
When Mao Zijun saw the script, he knew that this character had a lot of potential and creative room to work with. Precisely because of the great amount of creative room, on top of Jiang Yuelou’s vivid and distinct personality, filming for KillHeal was a relatively easy-going process for Mao Zijun despite the character’s lifelong angst and suffering. The character was rich and human per se, “so there was no need to brood over some things,” and it could be rather realistically portrayed. By the same token, the more one could ease himself into character, the better the final results.
Many actors determine the difficulty of portraying a character by criterion of the character’s degree of complexity, or their own compatibility with the character. In this respect, Mao Zijun is somewhat different: his criterion is whether the character can spontaneously come to life in the mind’s eye. “When you’ve read the entire script and discover that the character is very vivid and lifelike--his motives, intentions, behaviour and course of actions, all of which constitutes his rich psychological wiring--you will be able to portray him with relative ease, and not based on whether he’s similar to you. “Compatibility is only one aspect.”
Even if you were to act a character completely different from yourself, “you can imagine yourself in his shoes--what he would say or do” because he’s such a vivid character. “You can effectively get into character.”
In crafting Jiang Yuelou, Mao Zijun largely relies on following the script, his character changing with the progression of the plot; as a result, Jiang Yuelou’s uncontrollable violence, uncompromising ways, and other destructive habits doesn’t extend beyond the character and affect the actor himself. Unlike other actors whose characters took a mental and physical toll on them, Mao Zijun isn’t a purely immersive actor.
“Filming for a movie may require more personal feelings and emotions, but for a TV series, I think it’s half-and-half. Except for particular emotional scenes, that is.” In KillHeal, for example, the emotion expressed through Jiang Yuelou’s eyes when he’s solving cases, or reaction to receiving news, are all achieved through acting techniques. But for scenes where he’s facing the death of his subordinates, his mother, his adoptive father, his brother, and other loved ones, his reactions and expressions of pain must be nuanced and highly faceted. Even for crying scenes, he must cry in widely differing ways. For these scenes, Mao Zijun must lend his own emotional faculties to the character.
However, he does not believe tears are the only way to express his character’s emotions. When his younger and less inexperienced co-star, Ian Yi, consults him about his worries of being unable to shed tears, Mao Zijun tells him, “Why must you shed tears? Tears do not mean everything. The more dramatic and emotionally heavy a scene is, the more you must relax yourself.”
Filming to Mao Zijun is in fact a creative process where he imagines the character, then completes him. Hence, for every character he has acted, Mao Zijun would forget about the character. In his next drama, he would similarly imagine the character, understand his character, and the cycle continues.
So far, he believes there has yet to be a character that requires a lot from him mentally and psychologically, or even one that took him a long time getting out of. But, he hopes he will encounter such a character; a character that can let him experience more, feel more, and empathize with more.
KillHeal was a project Mao Zijun worked on two years ago. Two years ago, he did everything he could to bring Jiang Yuelou into fruition. Looking back now, there are details that could be further refined or supplemented, but the current KillHeal is still to his satisfaction, from his performance and methods of expression, to the overall product that is his character. “As to whether it has met my expectations… Because the broadcast of KillHeal had been held off for so long, I was worried about if the drama would go out of date when it finally came out. But there haven't been such problems so there’s nothing else I’m unsatisfied with.”
- 02 -
I’ve become increasingly sentimental
While Mao Zijun may not be a purely immersive actor, he is not a wholly rationalistic one either. It’s in his analysis of his characters and response after completing a character that is rational. This rationality is present in his logic, or his healing process after getting out of character, but not acting itself.
Rationality is perhaps a result of Mao Zijun’s own experiences and personality. He had no formal training in acting. He had good grades in high school, perhaps due to parental pressure and his own belief that good grades made life somewhat easier. After graduating from high school, Mao Zijun successfully got into Zhejiang University of Finance and Economics and majored in Auditing.
“Why had I chosen auditing? At that time, I thought auditing had good prospects. It wasn’t a complicated job either--I took math and the sciences in high school, so auditing isn’t hard.” After getting into university, his parents weren’t as strict as they were in high school, so he had the opportunity to “set himself free” and explore new options. Just like that, he started taking jobs for advertisements, and then acting.
“Beauty's Rival in Palace was especially looking for people to fill in roles at the time. Liu Che was an important character despite not having a lot of scenes, and they thought my appearance fit the role.” Mao Zijun laughed lightly, “Also because of my looks that I started acting.”
The profession of acting provided him with many new experiences, because every character was new and unlike the mechanical motions he had to go through everyday. “This is also the reason why I will persist on this path.”
As someone who changed career paths from the sciences to acting, Mao Zijun has never second-guessed his decisions. He thought of himself as lucky, and his path a smooth one. Many of his friends around him have changed their career paths because of setbacks or other reasons, but he hasn’t. His parents have given him understanding and support. “My parents would express their worries, but they would not try and make a decision for me. Every big decision I've made is my own choice.”
Mao Zijun is a Capricorn: steadiness and rationality are a big part of it. But because he’s been an actor for so long, he’s in fact becoming more and more sentimental. When he first started out in the industry, he would care about others’ views and opinions about him. But with time, they gradually ceased to bother him. This is one of the very few things that have changed about him since his debut.
As an actor with no formal training, but has still received praise and acknowledgement for his acting skills, he does not attribute it to natural talent. Instead, he attributes it to his own capacity for self-excavation. “I think as an actor, you are mining yourself (your talents and skills). For example, if you meet other good actors, good characters, you will be driven to tap into your natural talents. For many actors, rather saying they don’t have talent, they simply haven’t been given the chance to discover their potential.”
In Mao Zijun’s opinion, every actor has talent, it is only a matter of chance and whether they can encounter a great character.
- 03 -
Try and lose the “let it be” attitude
Mao Zijun has been in the industry for more than ten years. Ten years’ time is enough to change the state of the entertainment industry and the actors in it. As a post-85 liner interacting with post-90s and -95s actors, he’s picked up a hobby of collecting tarot cards, and has been playing video games like Super Mario and Contra that came with the gaming console gifted to him by his fans.
Newcomers in the industry would abide to the instructions of senior artists and the director. If they met difficulties or discomfort in the process of the shoot, they could only learn to deal with it themselves. But the market has changed, with new genres, subject matters, and the actors, too, are young. These young actors can willfully express themselves and vent, unlike the older generation of actors who learned to put up with things.
These changes cannot be predicted. Just like how it happened in a few years’ time, when an actor may no longer have a large audience base like before--an audience who sits in front of the TV just to catch the airtime of a TV series. Mao Zijun, too, is no longer the unworldly and inexperienced newcomer he was.
If he had to draw a demarcation, he says it’s the year 2016. “Before 2016, although I was an actor by profession and had thought I took my job seriously, looking back now, I’d just been in a status quo of “passing time.” Life had been smooth for Mao Zijun: high school, university, getting a job. He hasn’t met any real obstacles. The efforts and hard work he thought he had been putting into his work were tantamount to what he could easily accomplish in his best and most favourable circumstances.
He strongly agrees with the view that actors need to experience pain and setbacks. But he thinks that’s only a part of it. An actor can experience some things, but he is not able to experience everything. To him, some experiences can be gained through reading novels. “The stories, including the thoughts and behaviours of characters, are enriching and detailed. If you’re not able to personally experience some things, you can experience them via other methods.”
Mao Zijun is a very carefree person. He takes on drama offers when he feels like it, and rejects it when he doesn’t. He’s content with hiding himself away from the public eye to take time off for himself. But now, even he doubts whether the “let himself be” attitude is appropriate. “I noticed that there was a gap, like the period of time after The Legend of Haolan finished airing to the airing of KillHeal now. During these two years, you had no other dramas on-air. Your fans want to see your new projects and content, but you couldn’t give them anything, yet they would still give you a lot of support. It would make you question, shouldn’t I be filming more projects for them?”
After questioning himself, Mao Zijun started taking on more projects. Even during the pandemic, he filmed a movie (no news yet), acted as a cameo in The Journey of Flower as the character Sha Qianmo, and filmed for The Matriarch. “Since my fans want to see me so badly, I’ll just have to act in more projects, I thought.”
In The Matriarch, he plays the role of Wei Liang’gong, a very kind, “moonlight” (unattainable) character--a character with all the wonderful traits and virtues of a person--much like the male version of Empress Fuca Rongyin from Story of Yanxi Palace (2018). “This costume drama depicts a very realistic portrayal of life during the period. Acting in this drama was more of a process of experiencing and feeling, using an everyday-life way of performing was quite nice.”
Mao Zijun doesn’t really care whether he’s famous or popular. Even to this day, other actors from the casts he’s worked with would offer him new projects. Speaking from this point, he thinks he’s lucky enough as it is. To him, a TV drama actor, a bit of fame and a lot of fame doesn’t hold much of a difference. In the long term, “fame” is only a matter of degree. “Unless you win an award--a prestigious film award, whether it be movies or TV films--how much fame is but a matter of quality.” What he must do now, and spare no effort, is to give himself more opportunities.
In retrospect, Mao Zijun has gotten the roles he wanted, and there’s really no regrets. What he desires perhaps lies in the future. Fortunately, there’s just enough time.
Translator: Jun (twitter @junntsuki)
Writer: 77
WeChat ID: LJLX2013
Original Post: https://mp.weixin.qq.com/s/IbJmCURsqRmcpGDQzoxuXQ
Comments