In June 2023, actress Liu Dan won the Magnolia Award for Best Supporting Actress for her role as Tao Yinghong in the series "Reset." Three years later, she returned to the Magnolia Awards, this time as a jury member for the Chinese TV drama category.
"Although I'm very nervous and treading on thin ice, I've decided to give it a good try," Liu Dan told media, including Guancha.cn, on the afternoon of June 23rd, when asked about the difference in her mindset compared to three years ago when she was a nominee.
She stated that as a judge, she is determined to do the job well and provide a satisfactory outcome for the audience and the nominated actors. When discussing judging criteria, Liu Dan repeatedly emphasized the word "vivid."
She pointed out that being "moving" and "flesh-and-blood" are the most important factors in evaluating a performance, while also considering the work's overall completion and value. She referenced a saying here: "In literature, there is no absolute first; in martial arts, there is no second."
The path to this award was a long one for Liu Dan. With over thirty years in the industry, deeply involved in stage drama and having played many roles, her career seemed to simmer without boiling over. It wasn't until the beginning of 2022, when the web series "Reset" sparked a viewership frenzy, that the then 48-year-old Liu Dan entered the public eye.
She now holds both the Magnolia Award and the Golden Rooster Award for Best Supporting Actress. Audiences often prefer to call her "Pot Aunt" rather than by her real name.
In "Reset," her character Tao Yinghong is a chemistry teacher. After her daughter dies in a mysterious car accident, she trusts only the clues she and her husband have investigated. She boards a bus with a pressure cooker containing a bomb, creating the explosion central to the plot.
Liu Dan said she doesn't mind the "Pot Aunt" label, noting that an actor has a limited number of classic roles in a lifetime. "Fortunately, I at least have one," she added.
In recent years, "film and TV winter" has become a buzzword. Reports suggest 90% of film and TV investments have shrunk, leaving many actors struggling to find roles, with even top-tier actors facing scheduling gaps. At recent public events, several young actors have publicly asked for "work."
"As an actor, just be yourself. If you want to persist in acting, keep going. If you want to be a delivery driver, go do that," Liu Dan commented on the industry's current state. "In this difficult phase, it's very, very important for everyone to realize that 'being an actor isn't that easy.'"
Liu Dan stated, "A brief period of difficulty is actually a good thing for actors." The following content is compiled from the on-site dialogue, with slight adjustments to sentence structure and removal of redundant expressions while preserving the original meaning.
On Persistence and Alternative Paths
Question: While acting in film and TV, you have also long been rooted in the National Theatre of China. Recently, many young actors have started trying stage drama to hone their skills. What's your view on this?
Liu Dan: These are personal choices. Being an actor isn't a single path, and one doesn't necessarily have to perform in stage plays. For me personally, I started on stage. During my time at the Beijing Film Academy, my teacher, whose specialty was drama, would tell us, 'If you want to be a mature actor, it's best not to leave the stage.' Coincidentally, I also loved the stage, so after graduation, I tested into the National Theatre of China and began my stage career. I feel very fortunate. During my growth, I felt that the rehearsal process and other stage work laid a foundation for my later film and TV work. So, I don't see much conflict between stage and screen. On the contrary, my stage experience is my basic training; I learned how to understand scripts and characters, and how to portray people from it.
Advice for Aspiring Actors
Question: Many young actors see being nominated for a Magnolia Award as a career goal. What advice would you give them?
Liu Dan: Wanting to win awards and gain recognition is a very good thing. However, in this profession, there is also intrinsic value. As actors, while we are understanding a character, we are also understanding ourselves. Actually, no matter what line of work you're in, there are goals to achieve, but ultimately, it's all about proving you are growing. One day you'll find that external goals like cars and houses are not enough.
The Current Performance Environment
Question: How do you view the current performance environment for young actors? Compared to when you were young, is public evaluation more lenient or more stringent?
Liu Dan: To be honest, I don't have much authority to speak on this. I am an actor myself, and I always feel that acting is a very personal matter, a personal choice. The scale of production now is huge, with many methods, so compared to before, there are more opportunities now. But at the same time, young actors face more temptations. But people have to grow up eventually. It's not bad for actors to grow up in an environment with more opportunities. I really wish I were a newcomer. I often tell myself that only when I can truly shed the experience of the past 30 years will I really feel 'I am amazing.' Right now, I am trying hard to do that. After all, only by maintaining that sense of freshness can one have the ability to learn and grow.
AI's Impact on the Industry
Question: Currently, AI has a significant impact on the TV industry. The emergence of AI short dramas and AI actors is seen as a challenge to real actors. How do you view the application and development of AI in the TV industry? Do you think AI actors will replace real actors?
Liu Dan: In the past two years, many people in the industry have been very anxious. But I'm not that worried. Because AI is a trend, a process. In this process, many might feel they can't persist, feel they need to re-evaluate themselves and do other things. But at the same time, many believe this is what they must do and will stay without hesitation. Real people are real people, AI is AI; they are two different things. With AI, real people will become even more precious in the future. Because AI is too idealistic. Real people have imperfections, but they are flesh and blood. Because we are human, we have natural instincts, an upward vitality, and we will discover.
Navigating the "Film and TV Winter"
Question: Recently, everyone is talking about the "film and TV winter," with many actors publicly saying, "I'm available now, directors can come find me for roles." Are you currently feeling the severity of the industry situation?
Liu Dan: I feel it a bit. In the past two years, projects have indeed decreased. But an individual can't change the overall environment; you can only adapt, know what you should do at this time, so there's actually nothing to worry about. As an actor, just be yourself. If you want to persist in acting, keep going. If you want to be a delivery driver, go do that. In this difficult phase, it's very, very important for everyone to realize that 'being an actor isn't that easy.' This profession requires actors to have lived solidly and truly experienced life. So, a brief period of difficulty is actually a good thing for actors.
The Essence of Performance
Question: Three years ago, you won the Magnolia Award for Best Supporting Actress for the web series "Reset." This time, you are participating in this Shanghai TV Festival as a Magnolia Award judge. How does your experience differ from three years ago?
Liu Dan: Actually, the biggest difference is being extra nervous. Three years ago, I was already nervous to death; now it's even more like treading on thin ice. First, I didn't expect this trust to be placed on me; second, I ask myself, can I shoulder the responsibility of being a Magnolia Award judge? But since I'm here, I'll do what I need to do. Fortunately, we have a team, with Jury Chairman Director Zhang Yongxin present. So, although I'm very nervous, I've decided to give it a good try.
Question: Why are you so nervous? Is it to provide a satisfactory outcome for the audience or for the nominated actors?
Liu Dan: I think it's both. Because there are so many expectant eyes waiting for the results, the audience has their own心目中的 "best," and the nominated actors have put in a lot of effort to be seen by the audience. To do the judging work well, I watched many series, nearly 500 episodes. There are too many brilliant things in the series, all reflected in the nominations. So, it's very challenging for judges to make the final decision. It's so hard. I now feel, how lucky I was to win the Magnolia Award for Best Supporting Actress three years ago. Luck seems quite important, because I don't think other actors were worse than me. It's the same now; the actors on the nomination list are all excellent; everyone deserves it. So, I really have a feeling of not knowing what to do, of it being difficult to choose.
Judging Criteria and Focus
Question: This year's Magnolia nominated series cover diverse themes and styles, and the competition for acting awards is quite fierce. As a senior actress and a professional judge for this year's Magnolia TV drama category, how will you grasp the尺度 and focus of the judges' evaluation?
Liu Dan: Regarding judging standards, Chairman Zhang Yongxin has already explained it very clearly. I believe vividness is the most important. An actor's performance must first be moving, definitely alive, flesh and blood. Whether for the work as a whole or an actor's performance, I will consider whether it truly moved the audience, whether something remains in the audience's mind after the performance ends. Secondly, completion is also very important, including whether the lead fully interpreted the role, whether supporting actors completed their work within limited screen time. On this basis, I will consider the work's value. Performance is a comprehensive thing; it can't be measured by a single standard, and that wouldn't be fair either. There's a saying in our industry: "In literature, there is no absolute first; in martial arts, there is no second." I place more emphasis on what they bring to me.
On New Formats and Potential Award Categories
Question: Short dramas and AI comic dramas have become popular. Do you hope the Magnolia Awards will add award categories in the future in response to industry changes?
Liu Dan: If needed, it should be so. I also look forward to more works participating in the selection. My thinking in this area isn't sufficient yet. But the format itself isn't right or wrong; it's just a method of expressing content. For example, vertical short dramas are not necessarily shoddy, and AI technology is also gradually growing. What's undeniable is that what is coming will come.
Short Drama Challenges
Question: In the past two years, short dramas have been a "hot word" in the film and TV industry. Earlier this year, your work "Greedy Snake" was released. Some viewers commented that you, with Golden Rooster and Magnolia-level performance experience, entering short dramas is like "using a cannon to kill a mosquito." In your view, what is the biggest difference between short dramas and traditional long-form series? Was it difficult for you?
Liu Dan: Very difficult, a particularly big challenge. In large production crews before, if they needed to create a fire scene, the set designer would build the environment and atmosphere. As soon as an actor entered that space, they knew who they were and what they were doing. But short drama crews usually have limited investment; everything is different from what you were used to before. So sometimes, the difficulty of performing is beyond imagination, but at the same time, it's very, very interesting. In the short drama project released earlier this year, I collaborated very happily with the production team. Also, because of limited funds, the main creators had to come closer together. Although the presentation might not be perfect, actors should try more things, understand their shortcomings, and continue to work hard to grow.
On Late Recognition and Labels
Question: Do you feel you were recognized by the public too late? Do you mind labels like "Pot Aunt"?
Liu Dan: I don't think so. When I was young, I might have been somewhat eager for quick success, wondering when I would get a good role, also渴望 to be seen. But now, I value more how to complete a good role; what comes after is up to the audience. I also believe that precisely because I was seen a bit later, I experienced a lot and grew a lot. This part is irreplaceable and played a very important role in my creative work. As for labels, on one hand, I think this might be exactly where I need to challenge myself; on the other hand, I also admit that many actors have a limited number of classic roles they can play in a lifetime. Fortunately, I at least have one.
Comments