Chinese screenwriter sets example, fends off controversies

He is a top Chinese screenwriter, renowned film and television producer, writer, lyricist and co-founder of Huanyu Entertainment. Forty-seven-year-old Yu Zheng has been working in the film and television industry for over two decades, having been involved in the production of over 50 works to date, including the earlier Beauty’s Rival in Palace (《美人心计》), Palace (《宫》), Female Prime Minister (《陆贞传奇》), The Romance of the Condor Heroes (《神雕侠侣》, starring Michelle Chen), Story of Yanxi Palace (《延禧攻略》), Winter Begonia (《鬓边不是海棠红》), and the hit 2024 drama The Double (《墨雨云间》). Many of the productions have been both topical and popular, captivating audiences for a time. Despite being embroiled in numerous controversies and various scandals over the years, Yu’s significant position in the Chinese entertainment industry remains undeniable.

In December 2024, Yu sat down for an exclusive interview with Lianhe Zaobao while attending the Asia TV Forum & Market (ATF) conference in Singapore. This is not Yu’s first visit to the Lion City; in fact, he is quite familiar with Singapore. The interview was conducted in a small room at the Sands Expo and Convention Centre. Although his team did not request to see the interview outline beforehand, Yu appeared completely at ease while sitting on the sofa. “I’ve been here many times, both for work and leisure, but mostly for work. I was here for the television festival and also once for the Asian screenplay award.”

During this whirlwind 24-hour visit to Singapore, Yu first gave an interview to Lianhe Zaobao before speaking at a panel discussion at the ATF, where he shared his views on the rapidly emerging trend of short dramas. That was also the starting point of our interview.

The meteoric rise of short-form dramas in mainland China has been underway for at least four, five years.The industry has been on fast-forward over the past few years, experiencing explosive growth in quantity. It has also gradually transitioned from a period of unregulated growth to a more refined and standardised model.

Entering the era of Douyin and RedNote, Yu noted that the audience now needs to gain the most amount of information in the shortest possible time. He thinks that film and television works must adapt to this change, and amplify the emotional value and intensity of storytelling.

In 2022, he took a year off from filming to contemplate this issue. In 2023, he embarked on the production of revenge-themed period drama The Double via the “long-drama-shortened” format. Starring Wu Jinyan and Wang Xingyue, the drama became an instant hit upon its release, garnering both high popularity and significant online traffic, establishing itself as one of the dark horses of 2024.

Having achieved impressive results with the “long-drama-shortened” format, Yu’s next goal is to refine and elevate the quality of short dramas. The filming of Lucky Strike (《吉天照》), his first-ever short drama, ended last month. Its production value is “comparable to, if not exceeding”, those of his previous long dramas. Yu said that although viewership for short dramas is substantial in China, its audience is mostly from the sinking markets. “It is extremely difficult for the audience watching long dramas in first- and second-tier cities to watch short dramas because the latter are often crudely made, low-budget, and lack good actors. Therefore, I wish to refine the production of short dramas.”

He thinks that the rise of short dramas does not mean the decline of long dramas, just as short novels and long novels have always coexisted. He said, “My 2024 productions Perfect Match (《五福临门》) and Lin Jiang Xian (《临江仙》) are both what you would call ‘conventional’ long dramas. The long-drama-shortened approach involves highly condensing the storyline. Palace, Female Prime Minister and Story of Yanxi Palace all used this format. Now, the pace is simply accelerated.” Meanwhile, some dramas, such as the New Year series Perfect Match, require the portrayal of family warmth and emotional development, and may not be suitable to be filmed in this way.

Although the barrier to entry for short drama actors is relatively low, it is also challenging for long drama actors to switch tracks. Yu pointed out that short drama actors often complete shooting for a series in ten days, which means that they must be able to get into character quickly and precisely, instantly capturing the audience’s emotions. In contrast, while long drama actors take longer to get into character, their performance logic is more relatable and true to life. He thinks that both types of actors can learn from each other — long drama actors can learn how to engage the audience’s emotions, while short drama actors can learn how to act in a more natural and relatable way.

When asked about the current absence of A-list celebrities starring in short dramas, Yu said that short dramas have cultivated their own stars and that the most popular actors in short dramas never appear in long dramas and are not recognised by the audience of long dramas. “I cast two top actors from the short drama category in Lucky Strike. If the drama becomes a hit, it could mark the beginning of a shift in a race track of Chinese entertainment.”

Given Wu Jinyan’s mature performance in The Double, which features the long-drama-shortened format, will she be cast in short dramas next? Yu replied, “It’s not time yet. My intention with short dramas is to provide opportunities for actors who have yet to gain fame. A-list celebrities already have overflowing schedules; why would they want to try out a different track?”

When there comes a day when short dramas are successfully refined, Yu does not think that A-list celebrities would cross over to act in them as well. Instead, he hopes to see short dramas having their own stars, and long dramas having theirs, with some integration between the two. In the future, there should only be a distinction between good and bad dramas, not between long and short ones. However, Yu did not completely rule out the possibility: “If one day, short drama actors are also doing very well in terms of commercial opportunities (endorsements, commercial performances, and so on), then long drama actors and A-list celebrities can also consider acting in short dramas.”

Apart from producing hit drama series, Yu’s star-making ability is also widely recognised. Huanyu Entertainment boasts a roster of popular young actors and actresses, including Xu Kai, Wang Xingyue, Wu Jinyan and Bai Lu. 

When it comes to discovering new stars with potential, he says that as a screenwriter, he constantly observes different people. “You will find that all financial professionals look similar, as do lawyers — there’s a ‘system’ to it. This is also the reason why ancient people categorised facial features into different types.”

To become the next Xu Kai or Bai Lu, what should you look like? Yu pointed out that one can find traces of stars who had gained fame in the past on their faces, which is “star quality”. “Take a look at actresses such as Bai Lu, Li Yitong, Sun Yi and Li Qin — don’t they all look similar? As for who becomes more popular, that would depend on their acting skills and audience appeal.”

Besides physical appearance and star quality, Yu also values acting skill and ambition when signing new artistes. In the past two years, he has added a new criterion: a preference for individuals from “slightly better” family backgrounds. He revealed that he once met individuals from impoverished families, saying, “I’ve encountered such cases, and those collaborations have ended. They had an obsession with money and no matter how much we talked, we couldn’t relate to one another… The process was agonising because they would obsess over every penny.” This included demanding payment for working even a minute or two overtime; or insisting that their parents accompany them on out-of-town advertisement shoots, all flying first class, and expecting reimbursement for the airfare. These kinds of behaviours were incredibly frustrating for him.

A little known fact is that Yu is quite a believer of astrology. He shared that his artistes were mostly water signs in the past, but since signing Wu Jinyan, a Leo, the artistes he signed in the past two years were mostly fire signs. “No matter what happens, she [Wu Jinyan] never broods over it and is happy every day. Whether her drama is doing well or whether she has endorsement deals, her mood is never affected. I really envy her; she’s always a ray of sunshine!”

In 2024, Yu formally announced that he had signed five new artistes, including Zhang Wanying and Bai Chuan. He mentioned that Huanyu Entertainment doesn’t sign artistes every year, but a large number of people submit applications hoping to join the company.

As for whether he would sign overseas artistes, Yu responded, “Didn’t we sign Ayden Sng? (Is he considered an actor under Huanyu Entertainment?) Yes, we have a partnership with Mediacorp, and Sng has filmed almost four series in mainland China.” 

Huanyu Entertainment and Mediacorp established a strategic partnership in 2023 to provide more resources for their respective artists and expand into the global market. In terms of Singaporean artistes, Huanyu Entertainment will support Sng, Hong Ling and Chantalle Ng in exploring opportunities in China.

The currently airing Perfect Match is Sng’s first Chinese drama. Commenting on Sng’s performance, Yu said that Sng was given a smaller role this time due to a past incident, which made him lack confidence in actors he collaborates with for the first time. As a result, he avoids assigning them to substantial roles initially. 

He explained, “Previously, I had a drama with an incredible script but it was all ruined by an actor. Back then, I decided to cast him because I believed he was a skilled actor. But he constantly drank, his hands trembled, and he wouldn’t look at the female lead during scenes, and the drama performed poorly in the end.” He blamed himself for the incident, pointing out that the female actress was exceptionally talented but couldn’t salvage the drama, and that he still feels guilty towards her.

Since then, Yu never allowed actors he is collaborating with for the first time to take on major roles. “The first role will definitely be a small one. I want to cast you as the male or female lead, but first, I need you to do a cameo. This has been my practice for years.”

Sng’s performance in Perfect Match clearly met expectations. Yu praised his fluency in Mandarin, his ability to focus intently on his performance, and his lack of an “idol baggage”, which allowed him to portray a villainous character to a T. He was thus cast in a major antagonist role in Lin Jiang Xian. 

Many young actors and actresses seek to transition their image and the types of roles they play when they reach a certain age. As for whether this transition is necessary, Yu said that even the most skilled actors need to constantly evolve and change; otherwise, the audience will grow tired of them. “If an actor doesn’t improve, s/he may be eliminated in eight or ten years. Nowadays, it might happen even faster,” he noted. He cited Bai Lu as an example of an actress who continually pushes her boundaries. A few years ago, she starred in the urban drama Ordinary Greatness (《警察荣誉》). Later, she wore braces for her role in modern drama Northward (《北上》).

Yu said that it is challenging for actors accustomed to filming period idol dramas from breaking out of that mould. But slowly, everyone realises the need to bring something fresh to the audience. For example, Tan Songyun has started acting in serious dramas, and Xu Kai has also stepped outside of his comfort zone. He said, “Xu Kai turned down all period idol dramas in 2024 regardless of the offered compensation to star in suspense drama Fire Investigator (《火场追凶》) and Fang Yuan Ba Bai Mi (《方圆八百米》). Actors need to constantly show the audience a new side of themselves, and to achieve breakthroughs in genre, performance, and other aspects.”

From plagiarism controversies and copyright disputes to his candid way of speaking, Yu has repeatedly found himself at the centre of public opinion storms yet he never backs down, continuing to post on Weibo and to clap back at his haters.

Yu said that he writes on Weibo for two reasons: one, to record beautiful moments in life; and two, as a veteran of the film and television industry, he hopes to have a voice, advocating for things like urging people not to blindly trust celebrities, giving newcomers opportunities, and imploring others to choose actors who are actually suitable for the roles. 

As for rebutting haters and responding to comments, he said, “I don’t think working in the film and television industry puts me above others. I’m also an ordinary human, and I hope to be on the same wavelength as them and think from their perspective. But when it comes to malicious comments, I want to set an example for my artistes.”

He laments that every celebrity, after becoming famous, is not very happy — afraid of gaining weight, they never dare to eat too much; they are also always wearing the clothes from their dramas, reluctant to buy expensive ones; and they buy big houses for their parents, but live in accommodations provided by the production crew, always living a tiring life. “Even if they receive 1,000 comments of praise and compliments, they break down at the sight of just three nasty ones. This is because they can’t see the people who are praising them, only those who are scolding them. This is human nature.”

Yu admitted that he was the same when he was younger too. But at a certain point, he was no longer willing to be affected by the criticisms, so he chose to confront it head on. “Am I like that [what they say I am]? No. I just think it’s pretty laughable, and in the process of clapping back at them [haters], I continually strengthen myself.” Now, he has become bulletproof — he is completely unaffected by criticisms and will not change his mind because of what others say.

Nowadays, Yu also shoulders the responsibility of counselling and guiding his artistes, which he deems “a pretty difficult” task. When his artistes are struggling and confide in him, they may seem to understand his advice on the surface, but putting it into practice is hard. “I can’t do it 100% either. Sometimes I get angry, but as soon as I sense that I am getting angry, I address it straightaway. Before, I was the type who would get very angry if someone said [something bad] about me. Later on, I didn’t care if they talked about me, but I would get angry if they talked about my artistes. But lately, I am unbothered by people who insult us as well. They can talk about us all they want; it doesn’t hurt us. There are many haters, but those destined for success will still succeed, right?”

In fact, before his artistes become famous, Yu constantly talks to them, instilling the idea that money is just a tool, and that the essence of life is to be happy. “Sometimes talking to the artistes will help them understand certain things. But even with repeated conversations, they still get anxious when they become famous, but that duration is shorter. In the past, without these discussions, they seemed to be anxious for three, five years. Now, some artistes only experience anxiety for a month or two.”

On hoping to convey his thoughts on women through his film and television works: “Take for example your criteria for choosing your spouse — what others think doesn’t matter; only the feet know if the shoes fit. Maybe he’s just someone who blows hot and cold; then, you have to love yourself and put yourself first. These are some of my thoughts regarding women. I am not saying that women always need saving. Recently, there are a few Chinese dramas where the female protagonists are businesswomen. I find this especially laughable — selling things does not necessarily mean that a woman is independent, right?”

On casting, Yu thinks that suitability is more important than fame: “The platform heavily relies on celebrities, because they indeed draw some audience. But when two celebrities lack on-screen chemistry, you will get very frustrated. But there’s nothing you can do apart from watching helplessly. This is why I always say that suitability is more important than fame. I will take care of attracting the audience.” 

Yu thinks that being anxious doesn’t change other’s opinions; so instead of feeling anxious, why not focus on self-care: “Everyone should first live in the moment, savour each meal, enjoy every sip, appreciate the clothes they wear, and never ignore any physical discomfort. Work and earning money are tools meant to enhance our lives. If we sacrifice a better life for these things, then work and money become meaningless.”

On the definition of gouxue (狗血, exaggerated, inconceivable, ridiculous or nonsensical plots): “It [gouxue] refers to the amplification of emotions in situations that defy logic. For example, a Cinderella-like character (that is, a young woman from a humble background) or even a cleaning auntie falls in love with a domineering CEO — these are gouxue scenarios. However, if the domineering CEO was deprived of parental love during his childhood and suddenly finds solace and warmth in the kind-hearted female lead, then I wouldn’t find it gouxue.”

Yu thinks that the good and bad of the past are part and parcel of life and have already gone by, so there is nothing that cannot be discussed: “In life, whether we do right or wrong, no single event can define us. We have to accept our imperfect selves before others can accept us. I have no reservations about this at all.”

This article was first published in Lianhe Zaobao as “中国金牌编剧于正 言传身教直面争议”.

Related: [Video] China’s micro-dramas: Big views, big money, big concerns | Love after 50: How ‘vulgar’ short dramas are captivating China | [Video] How China’s film industry is evolving