Yīnéngjìng discusses Qin Hao's Trending: "He Belongs to the Audience, Not Me"

Recently, actress Yīnéngjìng penned a lengthy article discussing Qin Hao's crying scenes. Qin Hao believes shedding tears is merely the basic in acting; the true art is making the audience moved when the actor doesn't cry, or lingering in discomfort for days after the actor has shed tears.

Yīnéngjìng expressed that, for her, Qin Hao belongs to the audience and not to her personally. This topic became a trending sensation on Weibo.

Today, let's chat about crying scenes with Professor Qin.

I remember watching the French film "Creation of the Gods," an Oscar-winning movie, with Qin Hao. It portrays an elderly couple, where the wife becomes paralyzed, and the husband, initially devoted, eventually ends her life with a pillow. After watching the movie, as we walked home, Qin said that many people think crying quickly is good acting, but tears are just the basic emotional trigger. A truly exceptional actor can move the audience without shedding tears or leave them uneasy for days even after shedding tears. That is the kind of performance he aspires to. He hopes his emotions are restrained, where tears and explosive emotions are not easily overused, and the character's joy, anger, sorrow, and happiness resonate with the audience's inner feelings.

I also recall director Hóuxiàoxián saying that good dramas have no wasted lines. In life, what seems like idle talk often has underlying motives. For instance, in the popular TV series "Creation of the Gods," the protagonist, Chéngbīng, visits his daughter for her birthday after being released from prison. He enters a restaurant but abruptly leaves after sitting down. His myriad thoughts are condensed into a simple sentence: "I'm going out, be right back." Not only in TV dramas, but in life, what we say is often superficial, and the unsaid words are the true "subtext." If an actor can use the most ordinary words to evoke profound emotions in the audience, it's more powerful than yelling and screaming. It's like a collaboration between the audience and the actor, with the actor providing emotional space and the audience filling it in.

Director Hóu emphasizes that there are no wasted words in drama. Seemingly meaningless dialogues like asking if someone has eaten, if they're going to sleep, or what they'll do tomorrow can be interpreted as a composition of the character's life. Therefore, each word should be precious, but the weight of the words shouldn't be displayed through acting; it should be conveyed lightly but with profound emotions.

"Creation of the Gods" is an excellent subject, originating from a true story. Regardless of who portrays it, it will be the best. In this era that values truth, those who insist on the truth should be interpreted by countless people. Seeing the reunion of the three brothers in the TV series was moving. Chéngbīng's story is not a hero's tale but the story of everyone waiting for justice to be served.

After writing the short essay on "Creation of the Gods," someone commented, "At this rate, I'm going to fall in love with Qin Hao." This statement, from "Creation of the Gods" to "Oppenheimer" and "Hidden Corner" to "Long Season," I've watched them all. I can understand the first two works, but the latter two, I'm a bit puzzled. This is truly love. In Western weddings, there's a classic vow: "For richer or poorer, in sickness and in health, for better or for worse, you'll still love them." In recent years, the answer to loving Qin Hao seems to be a resounding "Yes"! For me, actor Qin Hao belongs to the audience, not to me personally. So, feel free to love him, and I sincerely wish you all the best!