Eye Catcher Incubation Programme 2023/24
Date: 2 December, 2023 (Sat)
Venue: Hong Kong Institute of Contemporary Culture Lee Shau Kee School of Creativity (HKSC), Room 501 – 502 (135 Junction Road)
Guests:
Chan Kin-long | Director
Debbie Lam Suk-Yin | Producer
Ho Siu Hong【Ho Hei yin】| Original Author & Script Editor, Online Participation
Shin Cheung | Actor
Moderator:
Dr. Li Mei Ting | Lecturer, Department of Cultural and Religious Studies, CUHK
During the first public event of Eye Catcher Incubation Programme 2023/24, we invited the team of Left On Read, ViuTV’s hit series of 2023, to return to HKSC to discuss the adaptation of the novel into a TV series, the determination and theme on creation, as well as different kinds of considerations and what to insist during production, how to keep yourselves into the creation mode and more… Audience were deeply immersed in the 2-hour in-depth discussion, leaving them with a deep impression.
Firstly, it was the collaboration between Dir. Chan Kin-long and the original author and script editor Ho Siu Hong. The 2 good friends used their talents in literature and film to adapt the original text, Left On Read, which consisted of enough content to only run 8 to 10 episodes, into the free-to-air television series we can enjoy currently.
“Some works based on novels aim for a 100% complete adaptation, and there are some that adopt the concept of the original work and write a whole new story, but we want to take a middle ground.” Said Ho Siu Hong. Ho’s remark related to the original-to-adaptation character of Shek Hiu Yeung (Shek Tsai) in the series: in the original text, some high school students devised strategies to beat the “game”, some relied on their instincts to become the remaining survivor, the rest of them looked for the mastermind behind the game. From the beginning to the conclusion of the series, the character of Shek Tsai acted to lead the audience in finding the clues that sussed out the “target person”. While retaining the style and flair of the original novel, the adaptation created a natural rapport and engagement between the characters as the plot develops.
Dir. Chan also shared his thought process in regard to the series’ creation and production throughout the shooting period. The director’s role is multifaceted like an octagon – when introducing his own stories, he explained that it is key for a director to clearly know what they want to achieve, and to believe in themselves. Clarity of mind and being able to think through problems is the first step, after that, no matter who you meet, you will be able to introduce your story’s central theme, to let the story take on a unique impact based on the impression you make. The ultimate goal is to convey a message to the audience while retaining one’s own identity and value, so that the story can be appreciated by all.
With regards to the production process, Producer Debbie Lam mentioned that working with the new generation of directors and a young production team on this series has touched her. Sometimes, in the circumstance where resources are limited, our creativity has to be maximised – and in the production of this adaptation, each department were deeply involved in the creative process, working together and contributing toward the betterment of the production. From location scouting to getting the actors who play the students into shape, the production of the series created a fluid and symbiotic space for everyone to explore, develop and break through the imaginations of entertainment and performance.
“Like a sponge that is in contact with all forms of art, what is left after filtration is its own thing.” Shin responded about acting, expressing that the acting process is similar to the way we watch, digest and create our own unique works. As the sun set outside the classroom window, one is reminded of the crimson colour present in the series. The unsaid encouragements and new inspirations remained inside the audiences’ hearts.
奪目影像孵化計劃2023/24
日期：2023年12月2日（六）
地點：香港兆基創意書院
嘉賓：
陳健朗｜導演
林淑賢（Debbie）｜監製
何肇康【何晞賢】｜原著作者及劇集編審（線上參與）
張毓軒（Shin）｜演員
主持：
李薇婷博士｜香港中文大學文化及宗教研究系講師
第三屆孵化計劃2023-24活動第一彈！奪目影像特別邀請到今年ViuTV大熱劇集——《那年盛夏我們綻放如花》的團隊，回到取景場地香港兆基創意書院，從小說改編劇集的無間合作，談及創作者的決心和主題，再講到製作時的考量、堅持以及進入狀態的方法等等⋯⋯兩個多小時就在這深度討論中，不知不覺流逝、留在各位觀眾的心中。
首先談到的，是導演陳健朗和原著作者兼任劇集編審何晞賢（阿月）的合作。本來就是好友的兩人各自運用自己文字和影像的腦袋，把原著《已讀不回死全家》文本只有八至十集的內容，變成最後我們最後能夠在免費電視臺觀看的版本。
「有的影視化作品是追求百分百的改編，有的是抽取原本的概念再寫一個全新的故事，而我想取一個中間位。」阿月如是說道。這點也關係到劇中原創角色石曉陽（石仔）的出現：原著中學生們有幾種應對遊戲的方法，或是只求自己成為最後倖存者，或是希望尋求幕後黑手。而石仔對比原著，正正是那個帶著觀眾從頭到尾找尋「目標人物」線索的角色。在保留原著小說那種味道的同時，也能產生更多人物之間的化學反應和發展。
導演亦藉著這次的拍攝經驗，分享了很多他對於創作及製作的想法。導演宛如面面俱到的八角形，在介紹自己故事時，最重要是清晰地知道自己想要做什麼，相信自己。自己想通想透是第一步，在這之後無論遇到誰，講自己的故事時就都可以圍繞主題的原點，讓故事擁有獨特的感染力和韻味。在保留自己的同時，也能夠把訊息傳達給觀眾，以雅俗共賞為最終目標。
而在劇集製作方面，監製Debbie提到這次與新一代導演，以至劇集整個年輕團隊的合作，都給予她許多的感受。有時候，創意就是在有限的資源下發揮最大的空間，而這次的製作中，每個部門都有他們各自創作的參與，共同為更好的作品一起向前邁進。從勘景到讓一眾飾演學生的演員進入狀態，劇集都給予了一個流動的、有機的空間，讓存在當中的大家一起探索、發展，打破原有對於表演的既定想像。
「就像海綿一樣，接收所有藝術形式，過濾後明瞭了的、保留下來的，就會是屬於自己的東西。」Shin對於演戲的回應，同樣也適用於我們觀看、消化、創作不同的作品上。伴隨著書院課室窗外漸漸落下的夕陽，讓人想起劇中的那末鮮紅。還有許多不用言明的思考和勉勵，相信已留在大家心中。