Sept 2012 Wallace Huo – Can Start All Over at Any Time - WallaceHuo (霍建华) - For International Fans

Wallace Huo – Can Start All Over at Any Time

Elle, Sept 2012, Issue 17th

Make-up/Stylist: Xu Jian Hua (徐建华) Author: Yan Ni (彦妮)

I saw Wallace arriving on time at the entrance of the bar where the shooting would take place. Standing in the shadow of the light, wearing sunglasses, hair a bit long, holding a bottle of yogurt and sandwich, he politely nodded and said hello to the working staff. He seems that type of people naturally saying fewer words.

The staff members were busy around him when the shooting started: putting on makeup, setting hair, adjusting lighting effect, shooting, seeing the results, fixing clothes again, more shooting…..His smile was warm and sunshine after the shooting was done and changed back his clothes. Pushing a plate of fruits in front of me: “If you have any questions, do ask!”.

The freedom from being slow down

Wallace has just finished filming Yu Zheng’s version of “Swordsman” as Linghu Chong. Originally he could play him as a “simple” character as just being chic, unruly, cheerful, and easy going. But Wallace questioned himself could Linghu Chong be depressed? Be complicated? He hoped the Linghu Chong being portrayed by him is not that carefree, not that “Xiao Ao Jian Wu” (translator note: something means wander the living world with carefree). “Only after experienced so many things, it’s a completed makeover. It’s about living a life”. With the ability to put his own perception in the process of performing the character and be able to recreate, it is about a transition of achieving from being a pop start turning into an actor.

Presuming you were now 28 years old and 10 years ago you were in Taiwan. Every day when you turned on the TV, with a remote control randomly changing channels, you would definitely see Wallace’s handsome face. If he wasn’t bitterly in love with a girl, a girl was bitterly in love with him. His work was to satisfy people’s fantasy of the world of love. Those love stories are similar to those soap bubbles under the sun, gorgeous and colorful but fragile and light. In the environment of that kind of dramas with a simple theme, he could only rely on his handsomeness and charm and eventually being overly consumed.

In 2002, from the moment he took up “Star”, he got out of hand. He woke up at 6am and worked until 2 to 3pm every day. Every day it was the same routine. He maintained nearly a year in such a gyroscope-like rhythm. In that year he filmed 6 dramas. This is a record until today no one can break. However, with the turning on a TV you could see his face didn’t make him feel complacent, on the contrary, he felt scare. “You were overly exposed. No chance to go out. Every day was about work. It wasn’t one drama, lots of dramas.” Fatigue and pressure were just the icebergs floating on the water. The real problem was he was lost.

At 25, to regain control of his life, he walked away with courage and dashing spirit, leaving behind his unwanted life. He began a “secure” adventure – brought his manager from Taiwan, established a personal studio, and concentrated his development in the Mainland China. Prior to this he only filmed “Hands in the Hair” and “Tain Xiao Di Yi” in China. Everything was new, had to adapt to the situations, needed to adjust to the practices of the two shores (translator note: Taiwan and Mainland China). “My state of mind was simple. I treated myself as a newcomer. I treated that moment as a starting point. “

This “starting point” is talking about 5 to 6 years times. He has learned mindfully, removing gradually the routines and habits of the original idol stereotype from his body and transforming into a new self. “I knew this was an extreme way to go. Before leaving Taiwan, I told my mom this time I leave (Taiwan); whether 1 year, 1 decade or 2 decades, I have already prepared to spend times to cultivate. Even fighting a long war is no problem!”

I can call out all the crew members’ names

He doesn't carry any sign of entertainment. Strong will at heart and no trace of false from his mouth. Other than his works, you almost can hardly see him at various places with fame and famous. One thing nice about him is that he doesn't try to build the illusion of a star. He hasn’t set a label for himself, no cover up. He manager said: “Write whatever you have seen in Wallace”. He doesn’t need a label to cover himself. He doesn’t really mind what people say about him, be it praise or lament. Wallace just looks for one thing. He is an actor. He uses his projects and roles to speak.

There were a group of artistes at the “Swordsman” filming site. Other than certain key artistes, there were about 50 to 60 extras lazily scattered at the side. Under heat waves of 40 degree Celsius, Wallace was the first one standing under the sun waiting for filming (standing in his position waiting for other people to take their places and the camera to roll). He didn’t require an assistant to hold an umbrella. “I want to set an example to let other people know timing is important. The male lead is here. Just want to get people to focus a bit more and improve efficiency. But I’m not pushy. I don’t mind if people don’t respond. This is what I require from myself. This requirement is strange.” With all these years no matter what projects, whether as a male no. 1, male no. 2 or male no. 3, he’s the same. He has been persistent for many years. Similar “self requirements” include, first one arriving at the set and last one leaving the set. He is always the first one standing up and going to his position. The most amazing thing is that he can call out the names of all crew members, including crew members in every project.

“Now I don’t take on plays within a short interval. I would anticipate a break after each play. Rest and live a normal life. Dinning and drinking out with friends. Acting is a matter of feeling. How could it be mechanically repetitive?” Good actor requires growing slowly. Today is far from his most fruitful harvest. He is still cultivating with hard work. “I think this work is something which makes me to live on. Without it, I’m nothing. My wealth, my reputation, and all my properties become emptiness.” When not filming, he likes to drive to the outer city. Being alone with the driving wheel in his hands, the car won’t say no to him. No needs to please anyone. No plan. No needs to report to anyone. This “loneliness” is something he was searching for in his olds days crossing thousand miles. Until today, it has become a habit, planting in his body.


霍建华——随时可以清零重来

ELLE 2012年17期

在约好的拍摄酒吧门口见到准时到达的他,站在逆光的阴影里,戴着墨镜,头发留长了一点点,手里攥着一瓶酸奶和一块三明治,遇到工作人员礼貌地点头、问好。他看上去像是天生话不多的那种人。 拍摄开始了,工作人员围着他忙碌着,化妆、吹头发、试光、拍摄、看看效果,再调整下服装,再拍……拍完换好衣服後,他的笑容变得阳光而真切,把一盘水果推到我的眼前:“你有什麽问题,尽管来问吧!”

为了可以慢下来的自由

霍建华刚刚杀青的作品是于正版的《笑傲江湖》,演令狐冲。他原本可以把这个角色演得很“简单”,无非是潇洒、不羁、开朗、闲散,可霍建华反问自己,令狐冲可以忧郁吗?可以复杂吗?他希望自己塑造的令狐冲,不要那麽看淡一切,不要那麽“笑傲江湖”,“只有在经历了那麽多事情以後,才是一个完成的起承转合,才是生活”。能在表演的过程中把自己的感悟和人格给予角色,能有自己的再创作,这就完成了从偶像明星到演员的转变。

假设你现在是28岁,十年前你生活在台湾,每天打开电视机,遥控器随便换几个台,你肯定能看到霍建华那张英俊的脸。不是苦苦爱着一个女孩子,就是被一个女孩子苦苦爱着,他的工作是满足世人对爱情的完美幻想,那些感情故事像是阳光下的肥皂泡泡,七彩斑斓却又脆弱、轻盈。在那样一个剧种、题材单一的环境里,他只能倚赖俊俏和帅气,然後被高强度地消费。

2002年,他接下《摘星》开始,一发不可收拾。每天早晨6点起床,开工到半夜2、3点,每一天都是这样的周而复始,这种陀螺般的节奏,他维持了近一年。那一年他拍了六部戏,这项纪录一直到今天都无人能打破,但是打开电视就能看到自己的感觉并没有让他志得意满,相反,他感觉害怕,“你全被看光了,没有机会上街,每天都是工作。不是一部戏,而是好多戏,好多戏。”劳累和压力都只是浮在水面上的冰山,真正的问题是,他把自己弄丢了。

25岁,想夺回对生活的控制权。他浑身锐气,在不想要的生活面前,敢於扭头就走。把过往的风光抛在身後,开始一场“安稳的冒险” ——带着自己的台湾经纪人,成立了个人工作室,开始专心的在大陆发展。而这之前,他只拍了两部大陆的戏《做头》和《天下第一》,这一切都是相当陌生的,各种细节需要适应,需要两岸接轨。“我的心态很简单,把自己当成新人,把那时那刻当成重新开始的起点。”

这一“重新开始”就是五六年的时间,他悉心学习,把原本程式化的偶像剧套路和习惯一点点从身体里剔除出来,蜕变成一个崭新的自己。“我知道这是比较钻牛角尖的一条路。离开台湾前,我就跟妈妈说,我这一走,一年也好,十年也好,二十年也好,我是做好了花时间耕耘的准备。打持久战也没问题!”

第一个到现场、最晚一个走。他永远是第一个站起来埋位的演员,最神奇的是,在剧组里叫得出每一个工作人员的名字,每一个剧组都是如此。

我能叫出每个工作人员的名字

他身上没什麽娱乐圈的气息,内心波澜万千,嘴上不掺一丝虚假。除了作品,你几乎不会在任何声色犬马的名利场里见到霍建华。最难得的,他不去营造一个明星的幻象。他对自己没有定位,没有包装,他的经纪人说,“你看到的霍建华是怎样的,你就怎样写。”他不用标签来覆盖自己,对於外界的夸赞或者喟叹,他并不在意,霍建华只认准一件事,自己是一个演员,要用作品和角色来说话。

在《笑傲江湖》的片场,一场群戏,除了主要演员外,五六十个群众演员懒懒散散地在一旁磨蹭着。顶着40度的高温,霍建华第一个站到太阳下等着埋位(站在自己的位置上等着开拍),他也不用助理在一旁撑伞,“我用以身作则告诉他们要抓紧时间,男一号站在这里,就是希望大家专注一点,提高效率。但我不是硬性的,你看到没反应也没所谓,这是我对自己的要求,我的要求很怪啦。”这些年不管哪部戏,不管是男一号、男二号、男三号他都是如此,坚持多年的、类似的“自我要求”还有:第一个到现场、最晚一个走。他永远是第一个站起来埋位的演员,最神奇的是,在剧组里他能叫得出每一个工作人员的名字,每一个剧组都是如此。

“我现在接戏不会那麽密,拍完了会沉淀一下。休息,过普通的生活,跟朋友吃饭、喝酒,演戏是有感情的事情,怎麽可以机械化地重复呢?”好演员需要慢慢养,今日还远远不是他丰收的时刻,他依然辛勤地耕耘着,“我觉得这是唯一能让我生存下去的一个工作。没有它,我什麽都不是。我的财产,我的名,我所有的一切,都是空的。”不拍戏的时候,他会开车去城市周边转转,一个人,方向盘在自己手里,车子不会跟他说NO,不用迁就别人,没有计划,也不需要跟任何人交代。这份“孤独”,是他当初远行千里想要追寻的东西,到如今,终於变成一种习惯,长在身体里。

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