Why is there such a big difference between Ma Li and Zhao Liying in Article 20？

1905 movie network feature Movies that are being screened are having a hit at the box office, and the roles played by people such as, and the identities of the characters are very different, and the costumes are naturally very different.

In this issue of the "Behind the Scenes" section, follow the host of the movie channel and take you closer to the styling guide of "Article 20" to hear him reveal the secrets of choosing costumes for different characters.

According to Chen Minzheng, the director’s requirements for the film’s costume design are "life, nature, simplicity, and simplicity." Under this creative idea, Chen Minzheng led the team to different houses in the village to collect styles and observe the different clothes of people in the market.

After creating the style, they found that some of the shapes were different from what they had imagined before. "The most typical is the image of Zhao Liying. The round-mouth cloth shoe we originally painted was a bit like the way we wore it in the countryside in the 1980s. After collecting the style, it has disappeared."

Therefore, the creative team made a basic setting for the characters of the entire film – "What kind of character, the origin of all the clothes, are purchased in his environment."

For example, Ma Li’s clothes are selected according to the economic income and environment of the role, so they are basically selected from the general merchandise building in the county seat, and they are more advanced.

Zhao Liying’s clothes were found in a large market, but she did not use ready-to-wear clothes directly. "I couldn’t get all the clothes back, so I put them on, so I used its raw materials to change the style and size." Chen Minzheng revealed that because there was only one piece of clothes left in this set, and I sweated in the summer, I found a similar fabric and printed a lot of pieces. "I remember that her clothes are 40 yuan a piece. After they are made, the cost of clothing may have to be multiplied by dozens."

In addition to the costumes, Zhao Liying’s complexion was also deepened by two gears, and some emotional makeup details were also done, such as the scenes where she ran at the coach station in summer, which would make her sweaty and dusty. Because she couldn’t sleep, the color of her lips would also turn whiter.

In the original script, Ma Li played the role of the head nurse of the county hospital, who quit her job to accompany her son to study, so she had more free time to tidy herself up. For example, in a quarrel scene with the performance, Ma Li wore a green, stiff little dress.

"We call it Teacher Ma Li’s evening gift, because I think that dress is used for her to go to dinner with the dean of academic affairs seriously. In addition to the clothes that are relaxed in life, she should also have a dress that can slightly control this kind of strength."

On the basis of the early design, Chen Minzheng believes that the immediate control and adjustment of the character’s shape at the shooting scene is also very important, which will make the entire film more colorful and accurate.

The color of the clothes originally worn on the massage chair is the same as that of the massage chair, which results in the image of the character not being prominent. Therefore, it is necessary to change to another piece of clothing that can distinguish colors.

In "Article 20," there are some construction site workers. The styling team first bought a large pile of new clothes, and then went to the construction site outside Beijing’s Fourth Ring Road to exchange the clothes worn by real construction workers in a "trade-in" way. This way, it has an old texture, and eventually exchanged nearly 80 sets of clothes.

In addition to accumulating work experience, film design requires more serious and rigorous ingenuity. "If you are in this industry, you must like this industry," Mr. Chen said. "Because you like this industry, you can pay for it. When you pay, you feel that it is valuable."