Huang Qianghua, born in 1955, is the chairman of thunderbolt international multimedia Co., Ltd.
In the early days, he joined the video market, and then established the thunderbolt satellite TV station, developed into a diversified international multimedia company, and launched the thunderbolt puppet show combining technology and tradition, creating a miracle of Taiwan puppet show. And the passions of all classes of authors and the emotions that affect the audience and the story are the ten books that China has known. Huang Qianghua, who has rich imagination, runs through traditional operas, and brings the essence of Chinese schools of thought to the world, creating a brilliant thunderbolt and martial arts world. Huang Wenze, born in 1956, is the general manager of thunderbolt international multimedia Co., Ltd. Known as the talent of eight tones, it is the first top performer in the dubbing field of puppet show. Adhering to the tradition of Taiwan's puppet opera, all the roles of pili puppet opera are independently voiced by Huang Wen. His expressive voice performance not only gives the puppets vitality, but also makes them perform in a moving way. It is far beyond the imagination of ordinary people for personal dubbing. Over the years, it has attracted countless fans and is the object of imitation by many aspiring puppet opera dubbing people, even abroad Excellent professional dubbing actors are also marvelous.
At the age of 19, he worked as a keyboard player in an orchestra. After he retired from the army, he began to develop his family puppet business
2. In 1970, a studio was set up in Huwei, Yunlin.
3. He has been a screenwriter since 1980. (at present, there are 20 pili puppet operas with 560 episodes, as well as the film legend of the sacred stone.)
Huang Qianghua, who is also a director and screenwriter, is not only the chairman of big break group, but also the fourth generation leader of Taiwan's Yunlin puppet family, the grandson of Huang Haidai, the ancestor of Wuzhou, and the son of Huang Junxiong. He grew up in a family of puppet operas. After taking over the third generation of Huang family's puppet operas, he kept looking for new life for puppet operas in order to maintain Taiwan's traditional culture.
He is also the chief screenwriter of pili puppet opera. He combines rich cultural connotation with puppet opera and constantly brings forth new ideas. In August 1994, Huang Qianghua and Huang Wenze established the "Thunderbolt satellite TV station", which focuses on traditional Taiwanese operas such as puppet opera and Gezai Opera. In April 1998, he became a film director for the first time and began to make the first puppet film, hoping to promote Taiwan's traditional art to the world. In August 1998, it was the first time for puppet show to be performed in Taiwan theater, the palace of Taiwan art.
Huang Qianghua, who has transformed himself from a director to a screenwriter, uses the lens to think when he writes the script because of his previous experience as a director, creating a series of pili puppet operas with rich plot changes. The fans of pili puppet operas are obsessed with their distinctive characters and complicated changes in time and space. More use of Hollywood film production technology and modern technology, so that the screen is more exquisite and outstanding, in the use of the lens is to strive for a breakthrough.
Interview with thunderbolt Club
In commemoration of the 100 full episodes of the monthly magazine of the thunderbolt club, let the Ministry of Drama (hereinafter referred to as the editor) interview Chairman Huang Qianghua (hereinafter referred to as Dong), and divide the interview into two aspects: thunderbolt puppet show and enterprise leaders, so that the fans can get closer to the parent of thunderbolt. (the following interview is slightly revised)
Editor: May I ask the chairman, when you write a drama, how do you decide the outline of a play? Usually, there are several episodes or even several plays in the pre production and plot preparation.
Dong: Pili puppet show is a continuous plot, which has more than hundreds of episodes since Su Huanzhen. For such series and other things, I think it has timeliness and immediacy. So the advantage of serials and other things is that after the program goes out, the audience will certainly have an echo, and we will know which plot or character is more popular; or which bridge segment is more popular, so we will make some modifications.
Therefore, in the formulation of the overall outline, basically, we are based on one play. For example, the ninth throne is now on stage. We will first set the story structure of the entire 50 episodes of the ninth throne. Of course, we will also go to design the next play. After the structure of the next play comes out, we will gradually put the following things in when we are about 45 episodes of the ninth throne of thunderbolt. However, in fact, we will lay a lot of foreshadowing in the whole nine throne play, which is about the next play.
So it seems that our drama is very independent on the stage, but under the stage, metaphorical and foreshadowing are connected to the next play, or the next play. We may make such a setting, but the important thing is that foreshadowing should be solved in the next play or the next play. In fact, it still needs some response from the market. I think it's more flexible, because screenwriters can immediately change what audiences don't like. Of course, audiences watch programs to see what they like. That is to say, it should be to meet the needs of consumers, but the screenwriter still has to have his own ideas, not fully meet the needs of consumers.
There are risks
Editor: according to the current shooting schedule of thunderbolt series, the accumulated amount of archives has been enlarged, and it is unable to respond to the market response as before. Is there so-called risk.
Dong: we can't cover everything. We have to face such risks in order to keep records and give us more time to do other things. The advantage of having an archive is that when we look at these scripts repeatedly, if there is a bug, we still have a chance to fix it. If today's recording is going to be broadcast tomorrow, then Wrong is wrong, there is no chance to modify. Wrong is wrong, that is to say, to explain how to rationalize the mistakes in the future, we must find a pattern to rationalize the mistakes. Of course, this is a phenomenon that we do not want to see, but once it is inevitable that it has happened, we will try to solve it. Therefore, archiving more is also good for the plot.
The direction of the plot
Editor: May I ask the chairman what is his plan and direction for the future of thunderbolt.
Dong: I think thunderbolt puppet show is basically a martial arts science fiction thing. The so-called science fiction, I think, is the plot of science and technology and fantasy. If the puppet show is only a single martial arts play, then the space is very narrow, because the martial arts play is made up of people after all, and there is a relatively standard, which must be subject to certain behavioral restrictions, not too much supernatural. If there are some sci-fi things in it, I think it will have more space, and it will be better to produce the unconstrained plot.
Of course, it's a little exaggeration for some people who are more rigid in the theatre or are not used to watching science fiction martial arts dramas. But for some teenagers, they can satisfy their pursuit of novelty and visual shock. So his space, because it is all inclusive, is relatively broad. To make a long series, we must give him such space and conditions. If you can only do martial arts things, I think between the 100 episodes and 200 episodes, you have to be forced to end. If you drag on, you will get a lot of repeated plots.
Pili puppet opera itself is a long drama. As long as there is a pili, the series of pili may not end. It may last for 20 or 30 years, or even we have a successor, so it may continue to play. Therefore, we must give him a condition and environment, so that pili can go on for a long time.
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