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Strictly speaking, "Running Brothers" was the first show in the history of domestic variety shows to set up a "screenwriter" station. It was also from this show that the screenwriter began to play a crucial role as an independent, formal and professional role in a show.
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The show follows the script? What the celebrities and guests say is actually arranged? In fact, the public’s misunderstanding of "variety writers" is too deep, and some even think that it stipulates the plot and provides lines like movies and TV dramas. After each episode of the fun running man is broadcast, some enthusiastic netizens can’t help but open their minds: "The show is so good, is it made up by the writers?"
The screenwriters certainly contributed. But this "editor" is not another "editor" – their responsibility is to establish the theme of the show, and design the most reasonable program framework and game link according to the artist’s personality and recording environment. In an exclusive interview with reporters, Wang Lu, the chief screenwriter of "Run Brothers", summed up what they did in the show in one sentence: The traditional script says "scream", but the variety screenwriters just designed a roller coaster, call it or not.
From running man to independent workstation
The writer and director are a "husband and wife", and they have to "work together" to have a child
Born in 1988, it can be regarded as very young, but for Running Man, Wang Lu, who served as the chief screenwriter, can be regarded as a veteran figure. Since the first season, she has been a screenwriter in the Running Man group, and she is also the only one in the editorial team to have done four consecutive seasons. Running Man implements the system of the chief screenwriter center, and now there are 8 people in the editorial team, 1 man and 7 women. Unexpectedly, such a hot-blooded dynamic variety show is actually the absolute protagonist of a female screenwriter.
"’Running Brothers’ was a very important turning point in my work experience, because from the beginning of this program, Zhejiang Satellite TV had the division of labor between screenwriters and directors for the first time," Wang Lu explained. "The director-in-chief and the screenwriter-in-chief are two clearly divided workstations. We often joke that the screenwriter and director are a husband and wife, and they have to work together to have a child. For a very layman example, the screenwriter draws the design of a dress, and the pattern and ideal material are roughly marked. The director team will buy the fabric and cut it out. After making it, everyone will try it on, and then discuss further modifications together."
Through bullet comments and online comments, Wang Lu and her friends deeply felt that the misunderstanding of the screenwriter is really deep. Wang Lu said that when the screenwriter was introduced from the Korean side, it should have been translated as "writer", "because the title screenwriter itself is too easy for everyone to think about. Like many people, at first I thought that the screenwriter was going to set the plot of the reality show, or even let the stars cooperate to perform, so that the plot development of the show is more contradictory. But after contact, I found that this is completely different. In the conventional sense, film and television screenwriters and variety screenwriters are completely different concepts."
Taking Running Man as an example, the work content of the variety scriptwriter is theme setting and game design. What theme to play in this issue, what guests to invite, which games to play, what props to need, and what are the specific rules of the game are all planned and formulated by the scriptwriter. Wang Lu introduced, "Our work ends at the scene to explain the rules of the game to the MC. As for how the designed game MC will play and who wins or loses, it will happen naturally on the scene, and we will never interfere."
For screenwriters, every program is their own child. From the beginning with only a big theme, to the beginning of the prototype, to the enrichment of all the details into a mature plan, the screenwriters have witnessed the whole process of a program from scratch. It is precisely because of the deep love that the editorial team and the director team occasionally have some "small conflicts". In Wang Lu’s view, "Because the imagination of the program is too perfect, we will continue to put forward some harsh requirements. The program is also getting better and better in the process of continuous tearing and improvement of the screenwriters and directors."
The changes that had to be reluctantly abandoned were accompanied from the first season to the fourth season. This requires the writers to make judgments in the shortest possible time using the available resources. Not all the efforts can be seen on the screen. The Running Man editorial team can maintain the same level or even make more innovations, which is inseparable from the efforts and efforts of every writer in the group. In their hearts, there are actually regrets, Wang Lu took the initiative to mention, "Everyone occasionally sees some games being cut quickly. These are related to the setting of the game itself, the weather, props, the recording time sooner or later, and the state of the members. For us, if we want to record a game that is particularly satisfactory, it really needs to be at the right time and place."
The screenwriter designs the theme and mood
The plot is played by the MCs, definitely not made up. The seven running men standing there is a play
The reason why "Running Brothers" is good is that it fully stimulates the true feelings of the stars. Even in the fourth season, the audience can still taste fancy new ideas. Everyone can’t help but wonder: how far will the screenwriters design the plot? Where is the boundary between the script setting and the true temperament of the stars? Faced with such a problem, Wang Lu can only express helplessness: because this problem itself has already "convicted" the variety screenwriters, "We designed the theme and situation, and the plot is played by the MCs, not made up."
In Wang Lu’s eyes, "the biggest charm of reality shows is that you don’t know what will happen during the recording process. Even in the fourth season of Running Man, we have a good understanding of the mindset of the members, but we still can’t guess how they will play each game, and we never presuppose their win or loss. The performance of the stars you see is all about authenticity, because the input and authenticity of MC is the part we try our best to protect. In the final analysis, reality shows are not about the game itself, but about people."
In the work practice, in addition to the basic program settings, the screenwriters will pay more attention to the characters and highlights of the artists from the program, and then give them more opportunities to explode this trait in the follow-up game settings, and strengthen it. Wang Lu repeatedly emphasizes the unscientific word "performance", "We have not and will not do this kind of attempt, and I believe that no artist will be willing to accept this kind of lifeless setting." Looking back at the details that have impressed Running Man since the four seasons, whether it is the "unexpected situation" when Kaikai lifted weights in the Hanok gym in the first season, or the accidental "we are tired of logging" by Brother Chao, and the "" and "can’t check" in the memorized text of the just-broadcast "My Student Time", are far from being designed by screenwriters. Wang Lu said, "The only thing we can do is to design the game, and then expect the members to play it out."
For the safety of the Running Men’s Group, the writers and directors will personally test each game and give a general psychological expectation of how fun the show is. For those particularly abusive parts, they will also specially measure the acceptance of the MCs. Wang Lu believes that this is a very necessary process. "The writers and directors will try the game together, play it as an MC, and then make a trade-off. Physical strength is only the most basic and the most regular. Since the third season, we have been gradually reducing the use of this type of game. Although our MC is really dedicated, the acupressure board, the quagmire, and the swimming pool have never been two words, but not all’abuse ‘is equal to good-looking. Now we will try to’abuse’ in some more clever ways.
Wang Lu broke the news: "Most of the time, the effect of the live recording will be countless times more funny than the effect of our closed beta, and sometimes even before the game has started to play, everyone has already laughed, because these seven standing there is a play. For us, they are more like family, and everyone is too vivid."
The guests who come to Running Man as guests are also a sight. And this show has a very magical aura, that is, no matter what kind of star comes, they can get along with the Running Man Seven, play sparks, and have no sense of alienation or dissociation. On the flying guests, the Running Man editorial team is also tailor-made, Wang Lu introduced, "Generally, in terms of themes, games and special identities, they will do different degrees of design, and sometimes they will overturn the case for a certain guest. For example, Fan Bingbing participated in that episode to overturn and rewrite the original plan. Song Zhongji’s participation is tailor-made for him."
There are no path dependencies
"We are all a group of people with big brains, there is no need to open it again…"
A good-looking show is nothing more than a little more sincerity and a little less routine. Concerned viewers will notice that this season’s running man is getting fresher and fresher, and the brain circuit is simply amazing. Even the classic brand-tearing game can be played with new gameplay every issue. As Wang Lu said, "In fact, there is no path dependence. Tearing a brand-name is a super classic game that cannot be copied and difficult to imitate, but it also needs new gameplay and new guests to bring freshness to the MC and the audience. This season, we have been trying new and different ways of tearing a brand (sticking a brand-name). Basically, there are no duplicates in one season, and there are also brain-burning specials without tearing a brand. I also want to bring you a different feeling."
In addition to playing fresh, "Running Man" has been committed to localization. Although it was jointly developed with the Korean "running man", "Running Man" also tried to play its own aura on the basis of the classic gameplay of the original version. Wang Lu introduced that whether it is game design or scene setting, it is to stimulate the performance of "people". "Everyone often sees different variety shows playing similar games, but as long as the people playing are different, the effect is definitely different. In the first issue of this season, we made a lot of adjustments to the contents (on the basis of the original version). The screenwriter and director team spent a lot of effort on this, and even the temperature and humidity were taken into account. I was too scared to pull my hand out of the box too quickly and broke it, so I later dealt with the soft packaging of the box. The feeling of watching others play is indeed different from the feeling of playing it yourself, and the MCs also expressed their love for this game after recording. "
The original design plays an absolutely major role in "Running Brothers". In Wang Lu’s understanding, "localization is to make our audience resonate. Themes, games, cities (scenes) that resonate are what we have been working hard to do. In the" My Student Days "that just aired, the Four Party Games are all our original games, and they are all carefully designed according to the childhood memories of the 1980s and 1990s. You will see more original games later. Just like children must learn to walk before they can run. The Korean screenwriting system has been established for 30 years. The variety screenwriting industry in China has just started, and there will indeed be a growth process. This is not just for the show Running Man, but for the entire industry. We have been growing, and we will not disappoint the audience."
Many of the various games interspersed with "Running Brothers" come from life. How can creativity emerge in an endless stream? It is understood that Zhejiang Satellite TV’s selection criteria for screenwriters are also bright, one is fun, and the other is strong logical thinking ability. "Themes and game ideas are not difficult for everyone now, but it is difficult to produce high-quality products. Because the audience is actually becoming more and more professional, and the requirements for the watchability and connotation of the program are getting higher and higher." Wang Lu likes the word "craftsman" very much. "Screenwriting is a kind of work that can calm down and study. Looking for inspiration everywhere in life, there will be a lot of fun ideas and games in the mind. It is necessary to be very calm, and at the same time have an open and inclusive attitude. It is necessary to collect a wide range of information, and then screen and precipitate. Watching programs, reading books, watching movies, watching news, reading Weibo, and reading gossip every day are all my homework, and I will feel very uncomfortable if I can’t finish it. "
With so much dabbling and accumulation, how do screenwriters usually open their minds?
"We are all a group of people with big brains, there is no need to open it again…"
