The first generation of film sets: the daily laughter behind the "evil"
During the filming of the scene where black juice pooled beneath the locust tree stake, the prop crew used ink mixed with syrup to create the "black juice." Just two minutes after the mixture was laid, the actor playing Su Mo accidentally stepped into it. The sole of his shoe became so sticky that he couldn't pull his foot out, nearly tripping and falling. The supposedly eerie atmosphere was instantly ruined. The veteran actor playing the "black-robed evil wizard" was so stifled from laughing that his shoulders shook, and the scar makeup under his left eye was nearly cracked. The director had no choice but to call a halt and have the crew apply non-slip tape to the sole of Su Mo's shoe.
The scene where Chen Yan spits black blood left the most lasting impression on the crew. The props team prepared the "black blood" using mulberry juice and food coloring, creating a sweet and sour taste. During the first take, Chen Yan, just as he took the "blood," choked on windblown sand, causing him to cough. The blood sprayed all over his face, and he subconsciously licked the corner of his mouth, mumbling, "It's a bit sweet," which brought laughter to the entire audience. Later, during the retake, the director specifically asked him to hold a sip of water first, which allowed the take to complete smoothly.
There's also the "Ivy Corpse Siege" scene, where the extras portraying the vine corpses wore heavy vine costumes, making movement difficult. One extra moved too hastily, and the vine prop caught the corner of "Su Nian's" clothing, ripping the copper box prop completely off her. The "Red Sun Fire" LED light inside spilled onto the floor, like a field of falling stars. The extra froze in place, but "Su Nian" picked up the light and smiled, saying, "It's okay. Just think of it as the Red Sun Fire erupting prematurely."
Second Generation Film Set: Heartwarming Details in "The Evil of the Earth"
When filming the scene of "The Raid on the Black Vine in the Underground Soul Nest", the young actor who played "Lin Ye" had to swing a peach wood sword to chop the "black vine". The "black vine" made by the props team was made of sponge wrapped in iron wire. It looked hard, but it was actually very light. But "Lin Ye" was too involved and used all his strength to chop it every time. As a result, the sword blade accidentally rubbed the arm of the actor who played his "companion". Although he was not injured, he scared the other party. In the subsequent filming, "Lin Ye" deliberately slowed down the action and said to the other party in advance: "When I chop later, remember to hide to the side a little, so that you don't get rubbed by me."
When the young actress playing Chen Xi first saw the "Gu King" prop, she was so frightened she didn't dare approach it—the half-foot-long mechanical Gu King made a hissing sound and emitted black smoke when it moved. The props teacher, fearing she might be frightened, turned off the Gu King's power and held it in her hands to demonstrate: "Look, it's just a toy. It's filled with dry ice. It's not scary at all." Later, during the filming of the scene where Chen Xi releases the Yang Gu, the young actress even took the initiative to help the props team organize the Yang Gu props, saying she wanted to "build a good relationship" with them.
The scene where the evil sorcerer detonates the evil ley lines required extensive use of smoke and lighting effects. The temperature was freezing on the day of filming, and the actor playing the "evil sorcerer," clad in a thin black robe, shivered with cold. As soon as the director called "act," he instantly snapped into action, roaring and lunging at the evil stone. But after just two steps, he tripped over an electrical wire and nearly fell into the smoke. A staff member rushed to help him, but he scrambled to his feet and said with a smile, "It's okay. Just think of it as the evil sorcerer being knocked off his feet by the yang energy." After the shoot, "Su Nian" even offered him his own hand warmer to warm his hands.
On the sets of these two generations of ghost hunters, there's no real thriller, only laughter and warmth hidden behind the "evil" and "evil." As the director often says, whether it's the first or second generation, the most important thing isn't to play the "ghost" well, but to play the "human" well—to play the people who, even when trembling with fear, will never retreat in order to protect each other.
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