"Look at me, I'm a tough guy, and I'm afraid to talk to you."
Q: Today, this project, The Howlers on the Top, is the first time I've come to see you today, and I've just come down here and I don't know you very well, and then I find you talking.
A: It's normal that I've been in this state, that I can only be in this state, with you or with someone else.
Q: What did you come to P4 Theater for?
A: A very good friend introduced me. Let me try. I didn't know what p4 was. I wanted to come over and experience it.
Q: Does P4 Theater meet your expectations?
A: I don't care if anything is ahead of expectations or if I'm in an atmosphere. I'm here. I'm happy. I'm very happy. I've been to other theatres before, and I've seen what's called a state of affairs, and you're not going into a front, behind.
Q: Is it deeper to experience?
A: Yeah, and it's an honor to play that role.
Q: What do you think of your role as a musician?
A: He's a very lost man, who wants attention to him. He's powerful, but more often a decorative role.
Q: When you came to P4 Theater, what were you thinking about what was going on in the theater and other actors?
A: I'm an observer, and I've been watching this role, me and the director, me and the actor, me and the writer, me and the staff, and this place. I'm a bystander.
Q: What is the idea of what you see now?
A: It's all very satisfying, and it's very nice for you to come up with your own ideas. I'm happier after this. At first, I wasn't unhappy, I didn't know, I didn't know why I came here. It's like a kid goes to a playground, and he's happy, but he doesn't know what to do, and he plays this, he plays that, and he knows he wants to play the bumper, and he's in a comfortable state.
Q: Is this the first time you've ever been to a show like this?
A: Yeah, this is my first time. I'd like to try, but my lines are very poor, and I'm very slow and worried about overall progress.
Q: The musicians have fewer lines.
A: Yes, musicians have very few lines, only a few words. But I don't really match the characters in the play, I'm in my state, the director needs a state in the play, and if I don't understand the role the director needs in the play, I just need a change in reality.
Q: Did I just ask if it's too shallow and not very clear?
A: Not too bad, you just relax, you have the initiative. Ask me how I can tell you. Don't be afraid. You can interview people in my way. You see me as mean. People think I'm mean and afraid to talk to me. I can understand your state. My first interview with a band, I didn't even turn on the tape.
"Life is ridiculous. Why become a life?"
Q: Have you ever thought about your ideal life?
A: It's simple: I open my eyes to art every day, and my work is bought, and I give my parents some money, and I rent a little yard, and I find a lover, and my lover has a puppy or a cat.
Q: Where did this happen?
A: Beijing, Mixing Cloud, Huairou. I rarely go out of Beijing, hardly travel. Why would I spend a long journey exploring an unknown city, a place I have nothing to do with. Then why don't I choose where I was born and I'll shoot it and do it. I'm a city boy. I don't like the city's speed. I don't deny the convenience it gives me. I was born here, I loved it here, although I didn't understand the rapid demise of something.
Q: Where are you more impressed than Beijing?
A: I've been to Lhasa, and I love Lhasa very much, and although it's now a sign, there are still simple people in it. The moment I got off the train from Lhasa, just outside at midnight, I was blowing, and I cried, and I cried.
Before Beijing, I smiled with strangers. I was a jerk. When I got off Lhasa, one of the Lama came to touch my face, to touch my beard, to hold me. I've had too many smiles and hugs in Tibet, and I'm sitting in the city in the sun.
Q: Will this real emotion touch you?
A: I've always thought that human emotions are only rarely developed, and I think people are stupid and more intelligent. I like face-to-face collisions, but I respect them. You can choose a comfortable state as you move forward. The yellow car, Wesson, it's a social convenience behind you that you don't cook, you don't buy a fruit from a field for a minute and have sex with people.
Q: Can I understand the convenience of symbolic symbolism for you and the loss of more practical contact with "matters"?
A: Yeah, so that's what it means before and after, from point to point, not to make something out of it. Of course, you can choose between. The creators, whether they're good or bad, have a low income, and he's thinking about it, and he's promoting it, including art, music, theatre. It may not be perfect right now, and what is needed is a team behind it, the difference being that someone knows and nobody knows.
Q: This distinction also manifests a difference in social media that is seen by others rather than by themselves (the difference in scope)?
A: Like "Ugly People," now you look at a lot of analysis (philosophical), and in the past there were not many systems. What many systems are is to make the attribution of each "occupation" more explicit, but not to get in and separate the relationship between thought and labour.
Q: What do you think about the state of life of some people, such as online talk about "life that others envy"?
A: That's him. That's his social identity. You see the A side, you don't see the B side. You see the cake in the cupboard, you don't see the cake workers squeezing cake, putting sugar beans, that boring stuff. What you see is the result of every boring event that countless people pay for. You see the aces, it's stereo, back and back. It is a metaphor of words, and it is not the exact result, but the beginning.
Q: Is it possible to kill many possibilities (the beginning of extinction) by defining something, using framework deprogramming?
A: Reversing your statements is actually a determination. I've got a lot of people around me, all kinds of people, dentists, lawyers. The most envious thing in my mind is the farmer, he's working on something to eat, but they don't think. Even if I don't leave his culture low, I don't know.
Q: I can understand that being there is also a ridiculous thing, like the "howers"? Always looking for meaning, not finding, not knowing what, there's no particular thing, a particular person.
A: Yes, life is ridiculous. Then why be a life, why not kill yourself?
The interviewer, the fish.
The interviewee, Monroe.