Chapter 31: Landing the Role

Tangren Media is headquartered in Shanghai, but its operations are primarily based in Hengdian.

In Hengdian, Tangren Film & Television has its own studios. The most well-known structures are the "Tangren Mansion" and the small three-story building at the Tangren Hengdian Production Center. This small building contains over thirty rooms, primarily used for housing key creative staff, props storage, costume and makeup workshops, and post-production facilities. When filming is not in progress, it remains locked and is strictly never rented out to outsiders.

The Tangren Mansion covers an area of over 6,000 square meters. The first floor serves as a studio, occupying more than 4,000 square meters, while the second floor houses the costume department, makeup rooms, and administrative offices. Additionally, there is a massive warehouse stocked with a vast array of props, sets, costumes, equipment, and various production supplies.

By the time of *Secret of the Three Kingdoms*, Tangren was already on the decline, yet it could still maintain some dignity thanks to its elegant and authentic late Han Dynasty aesthetic. Although it is often said that a centipede dies but never falls over, this was essentially the only remaining foundation Tangren could afford to exhaust.

During the era of *The Vigilantes in Masks*, Tangren was still at its peak. The chief director was Lee Kwok-lap, with co-directors including Wu Jinyuan, Leung Sing-kuen, and Yau Tat-chi—all of whom were formidable figures capable of standing on their own. Wu Jinyuan served as the chief director of *Princess Agents*; Leung Sing-kuen directed *Swords of Legends*; and as for Yau Tat-chi, he was the chief director of *The Mekong River Case* and *Secret of the Three Kingdoms*. Their action design and cinematography teams were also comprised of renowned experts and long-time collaborators. Later on, this entire group was poached by Huanyu, which is why the lighting in *Scarlet Heart* was so poor—either pitch black or so bright that the actors' faces looked greasy.

Returning to Shen Yan: after he and Ji Xiang arrived in Hengdian, they found a hotel, and then he accompanied Ji to visit several of Tangren's management staff. Shen Yan had a few drinks, and early the next morning, he got up to go to his audition. An audition was mandatory; you have to let the director see your appearance, your acting skills, and so on. For a newcomer, this is a necessary process.

Many people say that actors can prepare for auditions in advance, but that only applies to established stars. Ordinary actors find it difficult to prepare because, during the audition phase, it is almost impossible for them to get a script. Even if you want to prepare, the production crew won't tell you what to focus on; you might not even know what role you are auditioning for. It's not that the crew doesn't take you seriously; it's simply unnecessary. You perform for ten seconds, and the director knows whether you can play the part. The ten-second cutoff in the film *La La Land* or the audition scene with Jackie Chan in *King of Comedy* are both very realistic. The reason it doesn't happen that quickly in real life is often because people are too embarrassed to call a halt; after all, it’s quite cruel.

Stars are different. Generally, when a crew seeks out a specific star, it means that star’s temperament is already a match for the role—this is what we call being "pre-selected." Shen Yan, being a newcomer, only had the script outline. What should he do during the audition? Naturally, you listen to whoever is directing you. He wasn't nervous at all.

Arriving at the Tangren Mansion and entering the audition office, he introduced himself. Lee Kwok-lap, who was sitting in the center, looked him over and called for a stylist to have him change into costume. As Shen Yan followed the stylist to the room next door, he vaguely heard Lee Kwok-lap speaking Cantonese to the person beside him: "He’s really better-looking than Andy Lau!" "Is he too young?" "...Let's see later..."

Shen Yan understood; they were calling him a handsome guy! That’s great—being called a "handsome guy" is much better than being called a "nobody." *Don't call me a nobody anymore; I traveled thousands of miles to Guangdong just to have you call me a handsome guy!*

After changing into a long gown, Shen Yan walked out with a measured, traditional gait. The man sitting on the right brightened: "You know how to walk with the traditional four-corner gait?" Shen Yan nodded: "I’ve learned a little!" "That's truly excellent... Walk for us again!"

Shen Yan asked: "What is my status?"
"Does it make a difference?"
"In the Han Dynasty Yuefu poem *Mulberry Lane*, the character Luofu praises her husband, saying: 'Gracefully he walks in the public office, slowly he moves within the mansion.' Walking within one's own mansion is a 'step' (*bu*), while exiting the government gate requires a 'hurried pace' (*qu*). These two standard postures of ancient walking are detailed in the *Shiming: Explaining Postures and Appearance*: 'Moving the feet is called walking; slow walking is a *step*; fast walking is a *qu*; rapid movement is running.' Furthermore, gait varies by status. The 'formal step' requires a steady, upright posture with a moderate stride, maintaining a specific speed and rhythm. The body must be straight, without swaying—this was considered a sign of stability and dignity, often used by officials at court."

As he spoke, Shen Yan walked a few paces, then changed his posture, bowing his head and waist, taking small, quick steps: "When someone of lower status passes someone of higher status, they must bow and take small, rapid steps to show respect. This is called the 'ritual of the hurried pace'..."

"It’s a period drama, after all. Even if the core is modern, it still demands an ancient charm..." Lee Kwok-lap nodded. "Not bad. You... who did you learn this from?"

"...Mr. Lee, you can speak Cantonese; I understand it," Shen Yan replied in Cantonese. "We have a drama troupe in Shunde; I was interested and studied for a while."
"Are you from Guangdong?"
"No, I'm from Hunan... but I'm interested in Cantonese, so I studied it for some time."
"Very standard..."

Lee Kwok-lap nodded and asked his assistant to bring out the script. "Try this scene..."

Shen Yan took the script. It was indeed the role of Ying Wuqiu—or rather, the scene where Bao Laiying sees Ruyi marrying Li Gexiao. Shen Yan briefly scanned the pages and set the script down. "...I'm ready... Give me a glass of water."

It was a simple plot: the look in Bao Laiying’s eyes when he sees the woman he loves marry a man he dislikes, followed by him getting drunk, berating Li Gexiao, getting into a fight with him, and using his drunken state to confess his long-held love for Ruyi.

Shen Yan began with an intense tone: "~What do you know! All these years, what she and I have been through—life and death—do you really know? You don't know. You don't know what we've experienced; you don't know that we've lived and died together. I cannot live without Ruyi..."

Then he became dejected: "It's because I'm useless. I didn't cherish the woman I loved... I'm useless. I loved her for so many years, yet I never left a place for myself in her heart. I'm useless. I couldn't even say 'I love you.' I'm useless. Today she is marrying another man, and I can do nothing..." Finally, he began to weep.

Lee Kwok-lap watched his expressions the entire time. When the tears fell, he applauded: "Good, excellent!"

Shen Yan immediately pulled himself out of the emotion: "...Thank you..."
"...You really didn't graduate from a professional acting school?"
Shen Yan replied: "No, I just finished high school... I didn't take the art exams; I always felt I wouldn't get in..."
"Then your acting is quite good. How did you practice?"
"I worked as a set-based actor for a year... I learned some acting techniques..."
"An extra?"
"Something like that..."
Lee Kwok-lap nodded: "Alright, I see..."