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旺盛的、不枯竭的创作灵感，使王潮歌成为评论家笔下的“最具创新精神的导演”。作为一位女性导演，她用天赋和努力为自己撑起了一片天地。
Known for her inexhaustible inspirations，female director Wang Chaoge has established herself as the “Most Innovative Director” among film critics with her gift and efforts.
8月的北京酷热难耐，而此时的五台山最高气温只有17摄氏度，是真正的清凉世界。王潮歌正在五台山紧张筹备着9月19号首演的大型情境体验剧《又见五台山》。于是，此次《私人飞机》杂志和导演王潮歌的“清凉”对话，也就放在了清新超凡的五台山上。
才华横溢
在王潮歌成长的年代，可供阅读的文学作品极度匮乏。“那个时候，如果听说谁能拿到一本小说，谁能订一本文学杂志，都是很奢侈的事情。”她说道。每当看到邮递员把《人民文学》《小说月报》这些杂志带来的时候，离着老远她就会飞快地迎上去把书接过来，然后带着仪式感回到自己的小屋，洗干净手，拉上窗帘，把喜欢的小零食摆好，躺在一个自己觉得特舒服的角落慢慢观看。有时候没有看过瘾，合上书的时候还会抹眼泪。
在很小的时候，爱书的王潮歌就读了马尔克斯的《百年孤独》。读的时候她就感觉全身像要爆炸了一般，“怎么可能有一个人内心空间是如此丰富”？甚至觉得凭她的阅历和对生活的理解是“吃”不下这本书的。“不光是信息量太大，巨大的压迫感压得我已经垮塌了，我只能把它放下，过些时候平静了再继续看。”王潮歌回忆道：“最终读了4次才读完，即使现在还觉得是囫囵吞下去的，还没有细致地把真正的美和寓意全部吃透。”正是因为“偏执”地热爱阅读，才使得王潮歌即便数理化均不及格，但语文仍能拿到全班第一。
从小到大，在王潮歌眼里，她全身上下最漂亮的地方就是她手中的“笔”。这支笔甚至好过她的导演才华，好过她的相貌和身材，好过她的一切。当她用这支笔去表达的时候，她发现它不仅能让别人感到惊喜，更怪异的是也能让她自己感到惊喜，“我会因为自己写出一段好文字兴奋地喘气不均匀”。14岁的时候，她已经有两首诗歌发表在当时一本儿童读物《丑小鸭》上。当时拿到之后打开一看，王潮歌发现对页的左边是贾平凹的两首诗，右边就是自己的两首诗歌，很是开心。后来直到上大学前，王潮歌的作品几乎一期不落都能登上杂志。“我当时就认为，我长大后肯定、必然、一定就是个作家，但是命运就不这么安排。”说完她自己大笑起来。
August is sizzling hot in Beijing， but refreshingly cool on Mount Wutai， where the highest temperature a mere 17°C. Wang Chaoge is busy preparing the large scale outdoor performance Mount Wutai Revisited， scheduled for first show on the 19th September 2014 on the namesake mountain. The “refreshing” dialogue between U-Jet and Wang Chaoge is therefore set on Mount Wutai.
Born to Be Brilliant
During her youth， literary works are extremely rare to come by. “At that time， acquiring a novel or booking a literature magazine was considered a luxury.” Whenever the postman arrived with People’s Literature or Novel Monthly， she would rush to the door， carry the magazines ceremonially to her room， wash her hands， pull the curtain， prepare her favorite snacks， and lie in a cozy corner to read. Sometimes she may even break into tears when she finished the magazine but wanted to read more.
At a very young age， the book-craving Wang Chaoge had read Márquez’s One Hundred Years of Solitude. She felt as if her body was about to explode， “how could a person’s inner world so rich and colorful，” she could even tell that she could not “digest” the book with her experience and perception of life. “Not only because it is informative， but because it overwhelmed me with its graveness. I had to put it down， and picked it up another time when I calmed down.” She recalls， “It took me four attempts to read it through， even to date， I think I haven’t grasped it fully or digested its true beauty and meaning.” It is with this “stubbornness” that she managed to get the highest score in Chinese Language when she failed mathematics， physics and chemistry. In her eyes， the most beautiful part of herself has always been her “pen”. It is even better than her talent in directing， her appearance， her body， her everything. Whenever she penned her ideas， she finds out that it not only brings pleasant surprises to others， but also to herself. “I would be breathlessly excited whenever I wrote a nice paragraph.” At 14， she had published two poems on a kids’ magazine called the Ugly Duckling. She was even more delighted to see her poems printed alongside two poems by famous writer Jia Pingwa. Her poems could be found on nearly every edition of the magazine until she went to college. “I thought that I will， surely， definitely， absolutely， grow up to be a writer， but fate has other arrangements for me.” She laughed out loud.
命运安排
1988年，20岁的王潮歌考入北京广播学院导演系。王潮歌最初的大学生活过得不是特别顺利，同学都是在剧团里工作了好多年的，比她大，社会阅历、经验比她多。而她更像一张白纸，觉得自己什么都不行。直到大学三年级，一个剧作课的作业彻底改变了王潮歌对自己的认识。
因为从小的兴趣就是读书写作，对王潮歌来讲，写作是她的强项。有一次，王潮歌写了一个剧本作为剧作课的作业。老师看完后觉得这个本子写得太棒了，就找到她谈话，第一句话就问：“这是你写的吗？”她连忙答道：“是我写的。”因为这剧本写的太好了，老师就建议她把它拍成电视剧。作为一个大三的小女孩，王潮歌一听就来了精神，但是在具体操作上却一头雾水。老师告诉她首先得找到投资方，因为剧本写的是一个独生子女教育的故事，老师就建议她去问问计生委看有没有这样的经费。得到老师的点拨后，王潮歌就带着省吃俭用的20块钱，去了北京电报大楼，抱着大厚本的电话册子来来回回找，把全中国的计划生育委员会的电话全部抄了一遍，然后挨个打电话。功夫不负有心人，终于让她找到了国家计生委和四川计生委来共同投资。后来，她又找到日本的NHK电视台合作拍摄，第二年这个片子就得了NHK的教育类大奖。那时候，王潮歌就是一个23岁、身材娇小、还未毕业的在校大学生，突然之间，就能执导一部中日合拍的电视连续剧，这在中国历史上几乎是没有的。“我觉得那就是一个奇迹，根本就不单单是我努力的结果，命运帮了特别大的忙。”
在那次王潮歌以导演身份执导电视剧之后，她又参与导演了许多其他电视剧和电影，但都感觉不刺激。直到1995年，她导演了《华夏民族魂》大型舞台剧，当时在人民大会堂演出，整场演出8000名观众3次自发起立鼓掌，这让她找到了自己想要的感觉。“我需要这种强烈的现场感，后来就一直做现场，直到想出了实景演出的创意。”此时的她，已经全然被执导现场演出的魅力深深吸引，无法自拔。
Arrangements of Fate
In 1998， the 20-year-old Wang Chaoge was admitted to the Beijing Broadcasting Institute as a director major. Her college life was not so smooth though. Her classmates were older and more experienced， having come from theaters with years of performance experience. Whereas she was a blank paper， not knowing what she could achieve. But the assignment of a screenplay writing course at her third year in college changed her perception of herself.
Interested in reading and writing since a kid， writing is the one thing she is good at. Once， her screenplay was so well written that her teacher called her up for a talk. The first question from the teacher was， “Did you write this yourself？” Wang Chaoge immediately said， “Yes I did.” Her teacher went on to suggest that she should make it into a TV series. Belated but not knowing how to start， she came to her teacher for advice， and was told that she should first look for an investor. Since the play was about single child education， she was advised to seek funding from the Family Planning Committees. With the advise and all her savings， 20 yuan in total， she got to the Beijing Telegraph Building， where she copied the telephone numbers of all Family Planning Committees across China， and called everyone of them. Her efforts paid off. She got funding from two investors， the State Family Planning Committee and the Sichuan Family Planning Committee. And she cooperated with NHK for the shooting. The next year， she won the Education Award of NHK. All of a sudden， a 23-year-old college student had directed a China-Japan cooperated TV series. She made history. “I think it was a miracle， it is not only because of my efforts. Fate also plays a helping hand.” Since then， she has co-directed many other TV series and movies， but she could not feel the same excitement. It was not until 1995 when The National Soul of China， a stage play she directed， was performed in the Hall of the People and earned her three rounds of standing ovation from the 8，000 audience， that she realized what she wants. “I need this strong live feedback， so I have been working on live performances since， till the idea of performance in real background came up.” She was deeply drawn to the charming art of directing live performances.
生活即工作
王潮歌现在为人所熟知，和她在2004年执导的“印象·刘三姐”大型山水实景演出密不可分。“印象·刘三姐”是王潮歌、樊跃和张艺谋这个著名铁三角组合最早合作的一部剧。在这之前，王潮歌和樊跃最初在桂林执导了一部叫《欢乐漓江》的演出，是博鳌亚洲旅游论坛的一个闭幕式晚会。当《欢乐漓江》首演的时候，张艺谋专门从北京飞到桂林，事后张艺谋回忆，他之前就收到消息，说这两个导演做的东西挺奇怪的。等看完这部剧之后，张艺谋就问王潮歌和樊跃能不能跟他见一面。结果到了张艺谋住的酒店后，3个人一见如故，“印象·刘三姐”也就这么开始了。在后来的十几年里，3个人也是工作生活都连在一起。在王潮歌眼里，张艺谋有一点跟她特别像，“完全没有人世间这种朋友圈，全情扎在工作里”。
“我很幸运，我的兴趣、我的工作和我的生活高度统一。”在王潮歌这里，要问她喜欢什么生活方式、平常有什么消遣，永远只有一个答案：“排戏”。在五台山采访之时，她告诉笔者：“如果你让我此时此刻回北京，我会觉得这是对我的惩罚。这个山里，虽然连个像样的超市都没有，更不可能有商场、高尔夫、电影院、卡拉OK，但我觉得我这种生活状态特别有意思。”
她的作息时间很“规律”，几乎每天都是枕着朝阳入睡。就在采访前一天凌晨一点钟，她还召集剧组里的工作人员聚在一起吃夜宵。两大盆夜宵，一盆生菜，一盆小葱和黄瓜，所有人拿着葱蘸着大酱，这个时候没有形象之说，不管南方人还是北方人，都抢着吃葱，然后互相呼气。聊到这里，王潮歌已经笑得合不拢嘴。看得出来，她是发自内心的快乐。
吃完夜宵后继续工作，到凌晨3点钟结束。“你觉得这是游戏吗？我觉得挺游戏的，但实际上也是工作。这是工作和生活的高度统一，还有兴趣的高度统一。”
和王潮歌对话，总能听到她说“幸运”这个词。其实，命运对每个人都是公平的，之所以有幸运或者不幸，和自身的认识和追求有很大关系。而王潮歌最大的幸运，恰恰就是她做到了把自己的兴趣、生活和工作高度统一起来。
Work is Life
Her reputation spreads partly thanks to the Impression Liu Sanjie outdoor performance she directed in 2004. Impression Liu Sanjie is the first performance directed by the famous trio， Wang Chaoge， Fan Yue， and Zhang Yimou. Before this show， she and Fan Yue directed a Happy Lijiang performance in Guilin for the closing gala event of the Boao Travel Forum for Asia. Learning of their unorthodox directing， Zhang Yimou flew all the way from Beijing to Guilin to watch the first show. After watching Happy Lijiang， Zhang Yimou asked for a meeting with Wang Chaoge and Fan Yue. In Zhang’s hotel room， the three became instant friends， and the idea of Impression Liu Sanjie was created. In the following decades， the work and life of the three are closely intervined. In her eyes， Zhang Yimou has one thing in common with her， “（he has） no worldly friend circles， and is totally immersed in work.”
“I am lucky， that my interest， my work， and my life are highly aligned.” If you ask her what is her favorite lifestyle or pastime， her answer would always be the same， “directing”. On Mount Wutai， she told U-Jet， “If you ask me to return to Beijing right now， I would think it as a punishment. Although on this mountain， there is no supermarket， no shopping mall， or golf course， no cinema， and no Karaoke， I find this way of life attractive.” She works and rests at “regular” hours， sleeping everyday at sunrise. At 1 a.m. on the day of the interview， she was still calling upon her team to eat snacks， which is two basins of snacks， a basin of lettuce， and a basin of cucumber and scallion. Everyone is fighting for the scallion， chewing with sauces， and blowing air to each other. At that moment， it does not matter where you are from， the north or the south， or what kind of image you have to put on. She broke into laughter， which clearly is from the bottom of her heart.
Work continued after the snack until 3 a.m. “Do you think it is like a game？ I think it is gamy， but it is work. This is how work and life， and interest come together.”
She often describes herself as “lucky”. But fate is fair to everyone， being lucky or unlucky， is decided by your self-perception and ambition. The luckiest thing for her is that she turns her interest into her work and life.
Q：因为“印象系列”，你和很多城市都结下了不解之缘，更欣赏哪座城市？
王潮歌：每座城市各有特色，我都很欣赏。举个例子，重庆武隆，巴蜀群山之中出了这么一个小县城。那里没有一块地是平的，想种点东西都是很困难的，所以那个地方的人极度勤奋、隐忍和不怕吃苦。我记得有一次，下着中雨，眼睛都睁不开，但训练的时候，只要说趴下，所有人全躺一片，没有任何一个演员有任何怨言。还有一次，我看到当地的一个小女孩被脚手架的大圆钢很重地撞了一下，血瞬间流了一脸。按理说，这个时候一个女孩应该立刻叫起来了，但她却马上挡起来、藏起来。她觉得不好意思，不希望让人看见她受伤，不希望让人知道她有问题。我当时身上就一块小纸巾，赶快递给她，然后马上叫人来帮忙。她却说：“导演，我一点事也没有，你快去忙吧。”我在她身边她可能心理压力更大，我就躲开了，但实际上我心里已经受不了了。
Q：是什么激发了你创作《又见五台山》的灵感？
王潮歌：对现代生活的看法。我觉得我们现代的人生活得不幸福，我就希望通过我的努力，把我想表达的世界观和价值观阐述出来，让更多的人在一个瞬间能有所悟。我把我想说的话说出来，希望你听得懂，希望你喜欢我这么说，更奢侈一点，希望你认同我的说法。它不能带给你任何物质上的东西，但会在无形之中纠正你很多看法。
Q：《又见五台山》和“又见系列”中的其他作品进行比较，不同之处是什么？
王潮歌：“又见系列”目前只有两部，一部是《又见平遥》，另一部就是现在在做的《又见五台山》。从主题上说，“平遥”讲的是穿越百年的人世间的故事，“五台山”就不说人世间的事了，而是说精神世界。人生而何来死往何去？相不相信有轮回转世？信的话会怎样，不信又会怎样？对现世的现实生活，我其实有话要说。
You have ties with many cities thanks to the Impression series， which city do you like the most？
Wang Chaoge： Each city has its own characteristics， and I like them all. Take Wulong for example. In this small county of Chongqing， you could barely find a level field to grow something on， so the local people are extremely hardworking， forbearing， and enduring. I remember once when we were training in pouring rain where we could barely keep our eyes open， but when I say “down”， everyone fell to the ground without a single complaint. There was another time， a girl was hit by the steel tube of the scaffold， and soon her face was covered with blood. Normally， she should shout out， but she hid his wound and tried to hide. She was embarrassed， and did not want to be found having a problem. I hurriedly hand her the only piece of paper napkin on me， and asked for first aid. But she said， “Director， I am fine， I don’t want to take your busy here.” I left her because she might be stressed when I am around， but at that moment， I could barely hold back my feelings. What inspired you to create Mount Wutai Revisited？
Wang Chaoge： My perspective on modern life. I think modern people are not happy， so I want to express my view of the world and my values， hoping that through my efforts， more people could be inspired at a certain point. I expressed my feelings， hoping you would understand， like the way I say it， or if I am not asking for too much， agree with me. It cannot bring you anything material， but will correct many of your thoughts in an intangible way.
What sets Mount Mutai Revisited apart from other “Revisit series”？
Wang Chaoge：There are only two of the “Revisit series”， the Pingyao Revisited， and the Mount Wutai Revisited I am working on. Pingyao Revisited is an everyday story that spans over a hundred years， while Mount Wutai Revisited touches on the spiritual world – Where are we from？ Where are we going after death？ Should we believe in reincarnation？ What if we do， and what if we don’t？ There is something I want to say about life in the real world.
Known for her inexhaustible inspirations，female director Wang Chaoge has established herself as the “Most Innovative Director” among film critics with her gift and efforts.
8月的北京酷热难耐，而此时的五台山最高气温只有17摄氏度，是真正的清凉世界。王潮歌正在五台山紧张筹备着9月19号首演的大型情境体验剧《又见五台山》。于是，此次《私人飞机》杂志和导演王潮歌的“清凉”对话，也就放在了清新超凡的五台山上。
才华横溢
在王潮歌成长的年代，可供阅读的文学作品极度匮乏。“那个时候，如果听说谁能拿到一本小说，谁能订一本文学杂志，都是很奢侈的事情。”她说道。每当看到邮递员把《人民文学》《小说月报》这些杂志带来的时候，离着老远她就会飞快地迎上去把书接过来，然后带着仪式感回到自己的小屋，洗干净手，拉上窗帘，把喜欢的小零食摆好，躺在一个自己觉得特舒服的角落慢慢观看。有时候没有看过瘾，合上书的时候还会抹眼泪。
在很小的时候，爱书的王潮歌就读了马尔克斯的《百年孤独》。读的时候她就感觉全身像要爆炸了一般，“怎么可能有一个人内心空间是如此丰富”？甚至觉得凭她的阅历和对生活的理解是“吃”不下这本书的。“不光是信息量太大，巨大的压迫感压得我已经垮塌了，我只能把它放下，过些时候平静了再继续看。”王潮歌回忆道：“最终读了4次才读完，即使现在还觉得是囫囵吞下去的，还没有细致地把真正的美和寓意全部吃透。”正是因为“偏执”地热爱阅读，才使得王潮歌即便数理化均不及格，但语文仍能拿到全班第一。
从小到大，在王潮歌眼里，她全身上下最漂亮的地方就是她手中的“笔”。这支笔甚至好过她的导演才华，好过她的相貌和身材，好过她的一切。当她用这支笔去表达的时候，她发现它不仅能让别人感到惊喜，更怪异的是也能让她自己感到惊喜，“我会因为自己写出一段好文字兴奋地喘气不均匀”。14岁的时候，她已经有两首诗歌发表在当时一本儿童读物《丑小鸭》上。当时拿到之后打开一看，王潮歌发现对页的左边是贾平凹的两首诗，右边就是自己的两首诗歌，很是开心。后来直到上大学前，王潮歌的作品几乎一期不落都能登上杂志。“我当时就认为，我长大后肯定、必然、一定就是个作家，但是命运就不这么安排。”说完她自己大笑起来。
August is sizzling hot in Beijing， but refreshingly cool on Mount Wutai， where the highest temperature a mere 17°C. Wang Chaoge is busy preparing the large scale outdoor performance Mount Wutai Revisited， scheduled for first show on the 19th September 2014 on the namesake mountain. The “refreshing” dialogue between U-Jet and Wang Chaoge is therefore set on Mount Wutai.
Born to Be Brilliant
During her youth， literary works are extremely rare to come by. “At that time， acquiring a novel or booking a literature magazine was considered a luxury.” Whenever the postman arrived with People’s Literature or Novel Monthly， she would rush to the door， carry the magazines ceremonially to her room， wash her hands， pull the curtain， prepare her favorite snacks， and lie in a cozy corner to read. Sometimes she may even break into tears when she finished the magazine but wanted to read more.
At a very young age， the book-craving Wang Chaoge had read Márquez’s One Hundred Years of Solitude. She felt as if her body was about to explode， “how could a person’s inner world so rich and colorful，” she could even tell that she could not “digest” the book with her experience and perception of life. “Not only because it is informative， but because it overwhelmed me with its graveness. I had to put it down， and picked it up another time when I calmed down.” She recalls， “It took me four attempts to read it through， even to date， I think I haven’t grasped it fully or digested its true beauty and meaning.” It is with this “stubbornness” that she managed to get the highest score in Chinese Language when she failed mathematics， physics and chemistry. In her eyes， the most beautiful part of herself has always been her “pen”. It is even better than her talent in directing， her appearance， her body， her everything. Whenever she penned her ideas， she finds out that it not only brings pleasant surprises to others， but also to herself. “I would be breathlessly excited whenever I wrote a nice paragraph.” At 14， she had published two poems on a kids’ magazine called the Ugly Duckling. She was even more delighted to see her poems printed alongside two poems by famous writer Jia Pingwa. Her poems could be found on nearly every edition of the magazine until she went to college. “I thought that I will， surely， definitely， absolutely， grow up to be a writer， but fate has other arrangements for me.” She laughed out loud.
命运安排
1988年，20岁的王潮歌考入北京广播学院导演系。王潮歌最初的大学生活过得不是特别顺利，同学都是在剧团里工作了好多年的，比她大，社会阅历、经验比她多。而她更像一张白纸，觉得自己什么都不行。直到大学三年级，一个剧作课的作业彻底改变了王潮歌对自己的认识。
因为从小的兴趣就是读书写作，对王潮歌来讲，写作是她的强项。有一次，王潮歌写了一个剧本作为剧作课的作业。老师看完后觉得这个本子写得太棒了，就找到她谈话，第一句话就问：“这是你写的吗？”她连忙答道：“是我写的。”因为这剧本写的太好了，老师就建议她把它拍成电视剧。作为一个大三的小女孩，王潮歌一听就来了精神，但是在具体操作上却一头雾水。老师告诉她首先得找到投资方，因为剧本写的是一个独生子女教育的故事，老师就建议她去问问计生委看有没有这样的经费。得到老师的点拨后，王潮歌就带着省吃俭用的20块钱，去了北京电报大楼，抱着大厚本的电话册子来来回回找，把全中国的计划生育委员会的电话全部抄了一遍，然后挨个打电话。功夫不负有心人，终于让她找到了国家计生委和四川计生委来共同投资。后来，她又找到日本的NHK电视台合作拍摄，第二年这个片子就得了NHK的教育类大奖。那时候，王潮歌就是一个23岁、身材娇小、还未毕业的在校大学生，突然之间，就能执导一部中日合拍的电视连续剧，这在中国历史上几乎是没有的。“我觉得那就是一个奇迹，根本就不单单是我努力的结果，命运帮了特别大的忙。”
在那次王潮歌以导演身份执导电视剧之后，她又参与导演了许多其他电视剧和电影，但都感觉不刺激。直到1995年，她导演了《华夏民族魂》大型舞台剧，当时在人民大会堂演出，整场演出8000名观众3次自发起立鼓掌，这让她找到了自己想要的感觉。“我需要这种强烈的现场感，后来就一直做现场，直到想出了实景演出的创意。”此时的她，已经全然被执导现场演出的魅力深深吸引，无法自拔。
Arrangements of Fate
In 1998， the 20-year-old Wang Chaoge was admitted to the Beijing Broadcasting Institute as a director major. Her college life was not so smooth though. Her classmates were older and more experienced， having come from theaters with years of performance experience. Whereas she was a blank paper， not knowing what she could achieve. But the assignment of a screenplay writing course at her third year in college changed her perception of herself.
Interested in reading and writing since a kid， writing is the one thing she is good at. Once， her screenplay was so well written that her teacher called her up for a talk. The first question from the teacher was， “Did you write this yourself？” Wang Chaoge immediately said， “Yes I did.” Her teacher went on to suggest that she should make it into a TV series. Belated but not knowing how to start， she came to her teacher for advice， and was told that she should first look for an investor. Since the play was about single child education， she was advised to seek funding from the Family Planning Committees. With the advise and all her savings， 20 yuan in total， she got to the Beijing Telegraph Building， where she copied the telephone numbers of all Family Planning Committees across China， and called everyone of them. Her efforts paid off. She got funding from two investors， the State Family Planning Committee and the Sichuan Family Planning Committee. And she cooperated with NHK for the shooting. The next year， she won the Education Award of NHK. All of a sudden， a 23-year-old college student had directed a China-Japan cooperated TV series. She made history. “I think it was a miracle， it is not only because of my efforts. Fate also plays a helping hand.” Since then， she has co-directed many other TV series and movies， but she could not feel the same excitement. It was not until 1995 when The National Soul of China， a stage play she directed， was performed in the Hall of the People and earned her three rounds of standing ovation from the 8，000 audience， that she realized what she wants. “I need this strong live feedback， so I have been working on live performances since， till the idea of performance in real background came up.” She was deeply drawn to the charming art of directing live performances.
生活即工作
王潮歌现在为人所熟知，和她在2004年执导的“印象·刘三姐”大型山水实景演出密不可分。“印象·刘三姐”是王潮歌、樊跃和张艺谋这个著名铁三角组合最早合作的一部剧。在这之前，王潮歌和樊跃最初在桂林执导了一部叫《欢乐漓江》的演出，是博鳌亚洲旅游论坛的一个闭幕式晚会。当《欢乐漓江》首演的时候，张艺谋专门从北京飞到桂林，事后张艺谋回忆，他之前就收到消息，说这两个导演做的东西挺奇怪的。等看完这部剧之后，张艺谋就问王潮歌和樊跃能不能跟他见一面。结果到了张艺谋住的酒店后，3个人一见如故，“印象·刘三姐”也就这么开始了。在后来的十几年里，3个人也是工作生活都连在一起。在王潮歌眼里，张艺谋有一点跟她特别像，“完全没有人世间这种朋友圈，全情扎在工作里”。
“我很幸运，我的兴趣、我的工作和我的生活高度统一。”在王潮歌这里，要问她喜欢什么生活方式、平常有什么消遣，永远只有一个答案：“排戏”。在五台山采访之时，她告诉笔者：“如果你让我此时此刻回北京，我会觉得这是对我的惩罚。这个山里，虽然连个像样的超市都没有，更不可能有商场、高尔夫、电影院、卡拉OK，但我觉得我这种生活状态特别有意思。”
她的作息时间很“规律”，几乎每天都是枕着朝阳入睡。就在采访前一天凌晨一点钟，她还召集剧组里的工作人员聚在一起吃夜宵。两大盆夜宵，一盆生菜，一盆小葱和黄瓜，所有人拿着葱蘸着大酱，这个时候没有形象之说，不管南方人还是北方人，都抢着吃葱，然后互相呼气。聊到这里，王潮歌已经笑得合不拢嘴。看得出来，她是发自内心的快乐。
吃完夜宵后继续工作，到凌晨3点钟结束。“你觉得这是游戏吗？我觉得挺游戏的，但实际上也是工作。这是工作和生活的高度统一，还有兴趣的高度统一。”
和王潮歌对话，总能听到她说“幸运”这个词。其实，命运对每个人都是公平的，之所以有幸运或者不幸，和自身的认识和追求有很大关系。而王潮歌最大的幸运，恰恰就是她做到了把自己的兴趣、生活和工作高度统一起来。
Work is Life
Her reputation spreads partly thanks to the Impression Liu Sanjie outdoor performance she directed in 2004. Impression Liu Sanjie is the first performance directed by the famous trio， Wang Chaoge， Fan Yue， and Zhang Yimou. Before this show， she and Fan Yue directed a Happy Lijiang performance in Guilin for the closing gala event of the Boao Travel Forum for Asia. Learning of their unorthodox directing， Zhang Yimou flew all the way from Beijing to Guilin to watch the first show. After watching Happy Lijiang， Zhang Yimou asked for a meeting with Wang Chaoge and Fan Yue. In Zhang’s hotel room， the three became instant friends， and the idea of Impression Liu Sanjie was created. In the following decades， the work and life of the three are closely intervined. In her eyes， Zhang Yimou has one thing in common with her， “（he has） no worldly friend circles， and is totally immersed in work.”
“I am lucky， that my interest， my work， and my life are highly aligned.” If you ask her what is her favorite lifestyle or pastime， her answer would always be the same， “directing”. On Mount Wutai， she told U-Jet， “If you ask me to return to Beijing right now， I would think it as a punishment. Although on this mountain， there is no supermarket， no shopping mall， or golf course， no cinema， and no Karaoke， I find this way of life attractive.” She works and rests at “regular” hours， sleeping everyday at sunrise. At 1 a.m. on the day of the interview， she was still calling upon her team to eat snacks， which is two basins of snacks， a basin of lettuce， and a basin of cucumber and scallion. Everyone is fighting for the scallion， chewing with sauces， and blowing air to each other. At that moment， it does not matter where you are from， the north or the south， or what kind of image you have to put on. She broke into laughter， which clearly is from the bottom of her heart.
Work continued after the snack until 3 a.m. “Do you think it is like a game？ I think it is gamy， but it is work. This is how work and life， and interest come together.”
She often describes herself as “lucky”. But fate is fair to everyone， being lucky or unlucky， is decided by your self-perception and ambition. The luckiest thing for her is that she turns her interest into her work and life.
Q：因为“印象系列”，你和很多城市都结下了不解之缘，更欣赏哪座城市？
王潮歌：每座城市各有特色，我都很欣赏。举个例子，重庆武隆，巴蜀群山之中出了这么一个小县城。那里没有一块地是平的，想种点东西都是很困难的，所以那个地方的人极度勤奋、隐忍和不怕吃苦。我记得有一次，下着中雨，眼睛都睁不开，但训练的时候，只要说趴下，所有人全躺一片，没有任何一个演员有任何怨言。还有一次，我看到当地的一个小女孩被脚手架的大圆钢很重地撞了一下，血瞬间流了一脸。按理说，这个时候一个女孩应该立刻叫起来了，但她却马上挡起来、藏起来。她觉得不好意思，不希望让人看见她受伤，不希望让人知道她有问题。我当时身上就一块小纸巾，赶快递给她，然后马上叫人来帮忙。她却说：“导演，我一点事也没有，你快去忙吧。”我在她身边她可能心理压力更大，我就躲开了，但实际上我心里已经受不了了。
Q：是什么激发了你创作《又见五台山》的灵感？
王潮歌：对现代生活的看法。我觉得我们现代的人生活得不幸福，我就希望通过我的努力，把我想表达的世界观和价值观阐述出来，让更多的人在一个瞬间能有所悟。我把我想说的话说出来，希望你听得懂，希望你喜欢我这么说，更奢侈一点，希望你认同我的说法。它不能带给你任何物质上的东西，但会在无形之中纠正你很多看法。
Q：《又见五台山》和“又见系列”中的其他作品进行比较，不同之处是什么？
王潮歌：“又见系列”目前只有两部，一部是《又见平遥》，另一部就是现在在做的《又见五台山》。从主题上说，“平遥”讲的是穿越百年的人世间的故事，“五台山”就不说人世间的事了，而是说精神世界。人生而何来死往何去？相不相信有轮回转世？信的话会怎样，不信又会怎样？对现世的现实生活，我其实有话要说。
You have ties with many cities thanks to the Impression series， which city do you like the most？
Wang Chaoge： Each city has its own characteristics， and I like them all. Take Wulong for example. In this small county of Chongqing， you could barely find a level field to grow something on， so the local people are extremely hardworking， forbearing， and enduring. I remember once when we were training in pouring rain where we could barely keep our eyes open， but when I say “down”， everyone fell to the ground without a single complaint. There was another time， a girl was hit by the steel tube of the scaffold， and soon her face was covered with blood. Normally， she should shout out， but she hid his wound and tried to hide. She was embarrassed， and did not want to be found having a problem. I hurriedly hand her the only piece of paper napkin on me， and asked for first aid. But she said， “Director， I am fine， I don’t want to take your busy here.” I left her because she might be stressed when I am around， but at that moment， I could barely hold back my feelings. What inspired you to create Mount Wutai Revisited？
Wang Chaoge： My perspective on modern life. I think modern people are not happy， so I want to express my view of the world and my values， hoping that through my efforts， more people could be inspired at a certain point. I expressed my feelings， hoping you would understand， like the way I say it， or if I am not asking for too much， agree with me. It cannot bring you anything material， but will correct many of your thoughts in an intangible way.
What sets Mount Mutai Revisited apart from other “Revisit series”？
Wang Chaoge：There are only two of the “Revisit series”， the Pingyao Revisited， and the Mount Wutai Revisited I am working on. Pingyao Revisited is an everyday story that spans over a hundred years， while Mount Wutai Revisited touches on the spiritual world – Where are we from？ Where are we going after death？ Should we believe in reincarnation？ What if we do， and what if we don’t？ There is something I want to say about life in the real world.