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for actress deng jiajia, "wild child" is very unique in both content and creative process. the police officer zhou jiao, played by her, is a real person, even with the same name. the prototype character provided deng jiajia with a handle for performance, but also brought some pressure. how to present the image of police officer zhou jiao on the big screen in a detailed and rich way became deng jiajia's biggest challenge this time. fortunately, they became good friends in real life. deng jiajia carefully observed zhou jiao's vigorous and daring side, and applied the details to her performance.

director yin ruoxin has very high requirements for performances in the creation. often a scene needs to be shot more than ten or twenty times, which is rare in the works deng jiajia has participated in before. after running-in, deng jiajia and the director jointly searched for the state that is closest to reality over and over again. whether it is wang junkai or guan zixie, the opponent actor has brought deng jiajia enough surprises in the process of cooperation. in the end, several scenes presented in the film, such as zhou jiao interrogating ma liang and zhou jiao's family taking xuanxuan to the amusement park, are very touching, which is inseparable from the film's concept of "meticulous craftsmanship and restoration of reality".

"real" is a word she mentioned many times in the conversation with deng jiajia. the reason why "wild child" can inspire her creative enthusiasm is largely due to the warmth and power generated by the prototype story. at this stage, deng jiajia also hopes that the audience can feel the authenticity from her. in recent years, deng jiajia has been making new attempts in performance. she came to the stage to perform 56 plays in the drama "the life of the disliked matsuko" and challenged some fresh and textured roles in the fields of dramas and movies. interestingly, the comedy cells in her body are rekindled and she wants to have the opportunity to play a comedy role again. many viewers know her through "love apartment", but she feels that tang youyou only represents the views of deng jiajia in her 20s on love and friendship. if she plays a comedy again now, i believe she will create a different female quality.

in a previous interview with deng jia jia, she mentioned that she was interested in learning screenwriting. she is still learning it today. one of her words left a deep impression on me: "it is very difficult to write a good story and script. i feel that i still have shortcomings. sometimes there may be only jia jia's expression, but not the expression of all living beings." being able to have the awareness of expression of all living beings instead of being immersed in her own world, i believe that deng jia jia, who "has something to say", will eventually bring creative works that are close to each of us.

the following is the self-narration of actress deng jiajia, who shared with us the story of the movie "wild child":

1

when my agent first showed me the script of "wild child", i cried several times while reading it. in addition, knowing that there was a prototype of the incident would make the whole story more powerful, so i actively participated in the creation of the film. i met with officer zhou jiao in real life, and we hit it off immediately. we are all good friends now. she is a very charming woman, resolute and daring, speaks very straightforwardly, has principles, and is very positive. she has the feeling of a contemporary heroine. because there is a prototype, it will give me a lot of fulcrum in creation. for example, when dealing with some emotions on the scene, i will flash a real image in my mind, which provides a basis for my performance. of course, because she is a policewoman, i have to restore her body shape more, so i have done some physical combat training, which is also presented in the movie.

in real life, officer zhou jiao is from weinan, shaanxi. the director set our story in sichuan. i am from sichuan, so i feel very close to the sichuan dialect in the movie. sometimes when i act with some amateur actors in the play and ask them to speak mandarin, they seem to be unable to restore a very realistic performance. i say that i am from sichuan and we can speak in sichuan dialect, and their performance will suddenly become very real, which is very helpful for realistic films like ours.

i was particularly impressed by the scene in the amusement park in the movie's easter egg part. i was very moved when i read the script and saw that scene. the language was very plain. zhou jiao was thinking at that moment that she had seen so many children. if she could do more for children like damao, would it change some results? this scene not only reflects the difficulty of zhou jiao's profession, but also a kind of gratitude to her lover who silently paid behind her. in reality, officer zhou jiao's husband is also a policeman. the two of them are very busy, and there are not many opportunities to take their children to the amusement park together. the director told me that we should perform a contradiction that must be said. originally, she wanted to have a good time with her family, but the inner pressure made her choose to confide in her husband. it is precisely because of this scene that the role of zhou jiao will be more complete and more humane.

working with wang junkai left me with an unforgettable impression. i remember the last scene in the movie where zhou jiao interrogated ma liang. it was shot at night, and we started working after dark. that scene was shot many times. the director had very high requirements for performance. i shot it more than 20 times, and xiaokai shot it more than 20 times. everyone was tirelessly looking for more subtle and accurate states. i remember that xiaokai's eyes shocked me several times when he raised his head, because this scene was really difficult to act, both for him and for me. i had to gradually pry his heart to make him tell the truth, and he had almost no lines, relying entirely on his eyes to express his inner feelings. his completion surprised and delighted me. although we didn't have many scenes together, i could feel his efforts in the limited contact on the scene.

officer zhou jiao told me that when she first met ma liang, she felt that this child was very, very thin, and his clothes seemed to hang on him like a sack. when i first saw xiao kai on the set, i had the same feeling. he seemed to be wearing a sack. in order to find this thin state, he paid a lot to get close to the prototype of ma liang. ma liang in real life has some language barriers and some emotional barriers. he is unwilling to integrate into this society. during the filming, xiao kai hardly communicated with people, especially with me, because ma liang's attitude towards zhou jiao was still very complicated. i know that xiao kai was immersed in the role and didn't let himself come out. on the contrary, when we did some promotional activities after the filming was completed, he returned to his own appearance and we had more exchanges. i think he has taken out the greatest sincerity to enter the role, and i believe the audience can also feel it.

when acting with young actors like guan zixie, there are some uncertainties in them, which means that i have to adjust my performance in time according to their reactions on the scene. for example, in the scene where i took xuanxuan to eat a hamburger, he loved ketchup, which was not originally in the script, but when i was filming, i would tear open the ketchup and squeeze more for him. these are small details, but they will make the performance of the young actors more natural. guan zixie is a very spiritual child. his sincere eyes make me feel distressed. in life, he is very cute and has a strong desire to express himself. he often pulls me to chat, and i will be a good listener to listen to him share various feelings. as long as you maintain enough curiosity, he will be very happy. so a good performance is completed by the actors and the director together.

director yin ruoxin is very powerful and gentle. the filming of our play was quite difficult. in the hot luzhou, sichuan, many scenes were in outdoor garbage dumps and unfinished buildings. it was also the hottest summer in luzhou, with a temperature of more than 40 degrees. the director was already sweating profusely, but she was still concentrating on talking to the children about the play. at that moment, i saw the strong power of women. moreover, she has very high requirements for performance. many performances in our play are completed in more than ten or twenty takes, which is not common in other works i have shot. if you don’t meet her requirements, she will come to you very gently and hope you can do it again. this reminds me of a word: the highest good is like water. she has her own goals, but she will also take care of the feelings of her partners. at the beginning, i would be a little panicked when i shot a lot of takes, fearing that i would not meet the director’s standards, but she will communicate with you patiently and make it clear what she wants. gradually, we will trust each other more and adapt to this shooting rhythm.

after the film is released, in addition to social issues, i hope that the audience can see the importance of family warmth to children. home is the warmest harbor for children. children's sense of security is largely given by the family. we should pay more attention to our children. if we encounter children with different problems in society, we should also pay more attention to them. their lives and choices may change a lot. like officer zhou jiao, i can see from her circle of friends that she is very busy and has been committed to helping more people. her sense of mission drives her to keep doing these meaningful things.

2

not long ago, i just finished the stage play tour of "the life of the disliked matsuko". i didn't plan to perform the stage play deliberately. it was more like "matsuko looking for matsuko". after reading the script, i was deeply impressed by this character and was particularly motivated to create it. i performed 56 shows in a year. stage plays are still very attractive. they give people a very strong sense of ritual and situation. i unexpectedly found that there are audiences who can watch 20 shows. they showed me their ticket stubs. i can't imagine that drama can have such a great appeal to the audience. this is difficult for movies to do. this may be due to the unrepeatable nature of drama. each show is different. of course, there are sometimes some on-the-spot problems, which is a great exercise for psychological quality.

i watch the recordings of every scene. the advantage of drama is that there is a chance to do it again, unlike movies, which are finished at the end and there is no chance to do it again. so after watching the recordings, i will summarize and see which part of the emotion is not handled well, and strengthen the feeling of this part in the next scene. when the drama was performed to the last two scenes, i felt that matsuko must be the artistic image with the least regrets for me, because i am constantly enriching her, completing her, and correcting her. of course, the longer i get along with matsuko, the more i will avoid many of her weaknesses in life, because matsuko is weak in some aspects, and playing matsuko can help me become stronger.

when actors come to the stage at a certain time, it is like a recharge. whether in terms of lines or performance rhythm, they will get a great improvement. i like to be fully prepared before presenting the role, but nowadays film and television works do not have such a long time to prepare. sometimes you need to explore while shooting, but drama has more sufficient rehearsal time, and you can communicate how to say each line. the level of refinement is still very high. in addition, "the life of the disliked matsuko" has a very good text as the basis of the play, which discusses the depth and diversity of human nature. for a stage play like this, i am on stage for 3 hours and 40 minutes alone, which may be what i can do now. she may be the role i met when my physical strength and understanding are most balanced. if i was very young, i didn't have the current understanding and life experience, and i couldn't play matsuko well. many years later, i had enough experience, but the physical strength might not be completed, so i am very lucky to meet matsuko at this stage. everything is the best arrangement.

many viewers know me through the role of tang youyou in "love apartment". in fact, i still want to act in comedy. on the one hand, i think it's fun and i hope to try something different. on the other hand, everyone is under great pressure in life and the work pace is also very fast. if i can really make a work that makes everyone happy, isn't it a good thing? so now the comedy cells in my body are active again. i would like to give myself more challenges to see if there are more possibilities. tang youyou represents some of my understanding of love and friendship at that stage. that was when i was in my 20s. if i create now, it should reflect the different characteristics of women. i am very willing to get in touch with some comedy works. recently, i have been following "wonderful night". seeing such a performance every weekend, the pressure of the week is gone, and it will make me more eager to go back and try comedy again.

i am still learning screenwriting. this is a long-term plan. learning itself is a lifelong task. i don't think about the results first, i just learn first. i have a strong desire to express myself. this is an inner thought. each of us has an inner drive. for example, i have been acting for so many years, and i still have a desire to create performances and new roles. i have not said that i want to retire. this shows that film and television creation resonates with a part of my inner self. i still hope to see more good works and continue to learn before starting to create. it is also very difficult to write a good story and script. i feel that i still have shortcomings. sometimes there may be only jiajia's expression, but not the expression of all living beings. just like the movie "ms. sloane" i watched recently, i was very touched after watching it. the characters in it are multifaceted and have firm values. they also promote social hot issues. it is really inspiring.

at this stage, acting is my most important job. i feel more and more that it is irreplaceable. acting has never been easy, and it is even more difficult now, because the roles i play are not repeated every time. even if the content of each scene is the same like songzi, i am still looking for some new feelings. copying and pasting does not exist for me. it is precisely because it has no standard answer that i find it interesting and there are endless parts to explore. in addition, the mentality of the audience is advancing with the times. i cannot stay in my comfort zone. staying in the comfort zone can only get a moment of satisfaction, and after satisfaction, there is a long period of emptiness. i hope that the audience will see a real deng jiajia. although sometimes the understanding of the role may not be mature, i have done my best, and i hope everyone can be more tolerant.

next, i will be starring in "victory in hand", which will meet with you all. i have a better understanding with director liu xunzimo again, and it is still a very interesting story. the background is the workplace life in a big factory. my role will be very different from su mengdie. i look forward to the opportunity to talk to you about this work again in the future.