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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

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一 | Ajay Devgn was one of the earliest to lock in an Eid 2026 release for his comedy entertainer Dhamaal 4. But the holiday frame has become increasingly crowded in recent weeks, especially after Ranveer Singh and Jio Studios announced Dhurandhar 2 for the same date, March 19, 2026. Yash’s Toxic is also slated to arrive that day. With the box office landscape getting complicated, Ajay has decided to take a considerate step. Highly placed industry sources reveal that Ajay Devgn and his team have now stepped away from the Eid window. A source told Bollywood Hungama, "After several rounds of discussions, and following the historic success of Dhurandhar, Ajay Devgn is not willing to take the risk of clashing with the sequel of this Aditya Dhar film. He and his team are now looking to release the film in the month of May 2026."The insider further added that the shift is purely a practical move, reflecting Ajay’s clarity about how the business works. According to the source, "Ajay has always been a kind who stands for the industry, and he is well aware of the fact that Dhurandhar 2 could redefine the film business for Bollywood. He is in sync with the business of the first part and doesn't want to bring a comic caper against a film that speaks to the masses of India about the political conflicts. He feels Dhurandhar is an important franchise that deserves a clear run." With Eid out of the picture, Dhamaal 4 is now eyeing a Summer 2026 rollout, most likely in May. The team believes this window is better suited for a family comedy and could draw children and younger audiences to theatres in large numbers.Also Read: Ajay Devgn Shares Nostalgic Photos With Kajol As Ishq Completes 28 Years Since Release。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。”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。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。”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。　　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。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。