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专访台湾编剧何昕明：创作很孤独，所以要打团体战_我的网站

一 |     中新社北京8月21日电 题：专访台湾编剧何昕明：创作很孤独，所以要打团体战          　　作者 李百加 金志成          　　“我做两岸合拍已经16年了。    Ranveer Singh's Dhurandhar had an explosive opening at the Indian box office. The Aditya Dhar directorial is a spy thriller revolving around a RAW agent and his covert missions in the criminal underworld of Karachi and its link to India. According to industry tracker Sacnilk, the film has earned Rs 27 crore on its release day, December 5.     This surpasses the predictions made by trade experts, who estimated the film's opening day earnings to fall in the range of Rs 15-18 crore. With a stronger start than Saiyaara, which collected Rs ₹21.50 crore on Day 1, Dhurandhar has already outperformed expectations.               It has also come very close to Chhaava's opening day collection of Rs 31 crore, making it a solid comeback for Singh. Dhurandhar has now recorded the third-biggest opening of 2025 after War 2 (Rs 52 crore) and Chhaava. It also stands as Ranveer Singh's biggest opener to date, surpassing his previous record, Simmba, which opened at Rs 20 crore in 2018.     Besides Ranveer, Dhurandhar features an ensemble cast featuring Akshaye Khanna, R Madhavan, Sanjay Dutt, Sara Arjun, Rakesh Bedi and Arjun Rampal among others.                    Filmfare's Review of Dhurandhar     Filmfare rated the film 3.5 out of 5 and said in its review, "At the centre of this world stands Ranveer Singh, playing the hard-edged agent who slips into the shadow world of sleeper operatives as a cross-border conspiracy erupts. It’s a performance of restraint, a departure from his flamboyant screen persona. This Ranveer is raw yet internalised, driven yet fraying. The role demands both physical ferocity and emotional weariness, and he delivers both with remarkable control. His silences speak as loudly as his action beats, grounding the film even when its narrative ambitions begin to overtake its focus."     Meanwhile, Dhurandhar's sequel will be released in March next year.     Also Read: Yami Gautam Praises Aditya Dhar’s Hard Work As Dhurandhar Releases in Theatres。”正在北京参与两岸电影交流会的台湾知名编剧何昕明接受中新社专访时表示，创作很孤独，所以要打团体战。

二 |          　　8月20日至21日举行的这场交流会上，何昕明登台推介已打磨多年的合拍剧本。

三 | 自美国波士顿大学电影制作方向硕士毕业、1996年入行后，他活跃于华语影视产业。                   8月20日至21日，“光影同舟”两岸电影交流会在北京举行。图为台湾知名编剧何昕明(中)在现场分享创作经验。金志成 摄          　　2010年创办好故事工作坊，何昕明不久后就以一部两岸合拍现代都市情感剧《胜女的代价》走红。“当时花费了不少心思，去寻找两岸创作的契合点。既保留台式偶像剧的美学特质，也适配大陆市场的价值取向与制作体系。”他介绍，工作坊创立之初，便招募大陆编剧，就两岸语感、节奏和观众预期的不同进行调整。         　　《胜女的代价》成为当年爆款后，何昕明团队陆续参与《杉杉来了》《微微一笑很倾城》等高人气剧集开发。         　　“合作与沟通，对文化创意行业而言是手段，也是目的。

四 | ”他认为，两岸影人对彼此的创作方式、理念和背景抱有好奇，可转化为创作资源，回应两岸对美和情感的共通需求。

五 |          　　这一点，在他参与编剧的电影《后来的我们》中得到印证。         　　“最初打算做的，是一个从台北到高雄的返乡故事。”何昕明说，团队发现，在大陆“过年回家”对许多人而言也是一种共同的情怀：春运、抢票、一年一次的团圆……因此，他们将电影背景改换至大陆，“同一个情感内核，我们找到了一个拥有更大地理空间与集体经验的‘容器’”。         　　《后来的我们》虽未在台湾商业院线上映，但岛内观众通过串流平台观看、讨论，热度不减。

六 | 电影还获得金马奖最佳改编剧本提名。“发行的墙，其实早就比我们想象的矮了”。         　　担任台湾政治大学广播电视学系兼任助理教授以来，何昕明注意到，上课举例时，学生的参照(作品)开始从欧美、日韩转向大陆剧集，讨论人设、讨论节奏。此番参加交流会，他也观察到，业内人士交流热络。

七 |          　　何昕明认为，这些讯息折射出业界对扩大交流的诉求，也印证两岸影视合作有深厚受众基础与广阔市场前景。         　　人工智能等新技术快速迭代，影视行业市场环境也在发生变化，何昕明认为，当下，更不是一个适合“单打独斗”的时候。“在最难预测未来、但也有最大可能性的时代，保持好奇、开放、对话。

八 | ”他说，总能找到一起往前走的办法。(完)                【编辑:万纪玮】。

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