VOL.6
ZhouYou: From Beijing Dreamer to Berlinale -
An Actor's Journey
Zhou You's journey from being one of countless dreamers in Beijing to becoming a leading actor recognized at Cannes and Berlinale was anything but smooth. He tried his hand at various trades - print model, stage extra, makeup artist props master, lighting assistant, commercial actor - whether directly related to acting or not. Yet from a certain moment onward，he made a resolute choice: to wholeheartedly love the art of performance.
In this episode of "So GROTTO" Vol. 6, we step into the world of actor Zhou You.
"Look... It's all dark ahead... Can't see anything. / Well, not exactly. / It'll be beautiful at sunrise."
This dialogue from the film King of Comedy left a profound impression on Zhou You during his teenage years. Starting from a similarly "dark", confusing，and uncertain phase in his own life，he persevered until that moment when a beam of light finally broke through - solidifying his determination to pursue acting.
Throughout his acting journey, Zhou You has always sought to coexist with his characters, persistently exploring possibilities beyond his existing experience and striking new sparks through his creative encounters with each role.
Q&A
Q1. When did you first realize that the "sensitivity" which made you feel unsettled and adrift in your childhood could also be a "gift" beneficial to acting?
Since childhood, I've developed my own unique way of perceiving things - observing people closely, instinctively reading situations through others' movements and gazes.
I often applied this sensitivity to interpreting my family's gestures, expressions, and body language. So when minor frictions or disagreements arose during my growth, my family - without fully understanding my perspective - would summarize it with that sweeping remark: "You're too sensitive" or "Don't overthink things." Of course, they meant it out of care, hoping life could feel simpler and easier for me.
Later，I discovered acting - a profession that happened to require exactly this sensitivity. It demanded that I use it to perceive the essence beneath surfaces, the unspoken meanings behind movements, and the subtleties of body language and emotion. This innate gift from my parents allowed me to quickly apply it in my work.
Q2. Did you ever fantasize about playing a specific role when you were a child?
No, I never fantasized about specific roles as a child. But when my father took me to the movie, I discovered I had a strong sensitivity - watching war films, for instance, I could deeply feel the suffocating atmosphere，the sense of fragmentation, and the characters' anguish.
Although I never had such fantasies, I realized that every child, placed in different environments and contexts, instinctively performs - you act one way in front of your parents, another for your teachers, and yet another among classmates. This constant shifting between different versions of yourself reveals an innate performativity in us, rather than maintaining a single, unchanging identity.
Q3. Your name is "Zhou You" (which means 'to travel around' in Chinese) - do you feel you've lived up to it by journeying through the world, whether geographically or by immersing yourself into entirely new characters?
I recall hearing that my grandfather gave me this name，perhaps hoping I would travel around the world. From a filming perspective，I do get to visit different cities and countries for various roles and projects，experiencing diverse cultures - that's my personal way of "journeying around the world." As for following a character，it becomes more of an inner exploration - a process of roaming through the character's inner world，tracing where they would go，and moving along with their emotions and feelings.
As for future "journeys", internationally, I'd like to go to Venice, because of the Venice Film Festival. I've been to Cannes and Berlin，and I hope my next work will take me to Venice. Domestically, I wish to explore every piece of land through different roles to see, feel and experience the unique cultural landscapes of each place.
Q4. You've mentioned that every character represents a part of yourself - so how do you approach the aspects of a role that resonate with your own experiences or personality? And conversely, how do you portray traits that feel distant from who you are?
Actually, each role is a means for me to explore myself - not that every character is a part of me. Through these roles, I get to see aspects of myself I had never discovered before.
During the initial script reading sessions, I often struggle to fully grasp the character - constantly wondering what they should truly be like. But once I physically enter the actual space, an instinctual feeling and awareness naturally emerge within me. The character gradually reveals themselves, though I can never precisely define their form. This organic, intuitive process is exactly what I'm pursuing in my current stage of growth.
Q5. Could you share when you first realized that acting could become your profession? Was this a gradual process of discovery for you?
It was a gradual process, like a seed planted deep in my heart that slowly took root and sprouted. Every job acted like a drop of water nurturing that seed, eventually leading me to the true path of performance.
It started when author Rao Xueman invited me to be a book model. Then I worked as an extra in a theater troupe and went to casting agencies for TV commercial auditions. Those were my closest encounters with acting - the moments I began genuinely pondering my characters' pasts and futures, considering what props they might need. I'd personally prepare these items and bring them along, gradually putting theory into practice.
Looking back now, from my days as a Beijing drifter to every career decision I've made, I always followed the signals and feelings inside my heart. Whenever I sensed it was time to let it go, I wouldn't hesitate to move on.
Q6. What kind of creative habits do you maintain in your daily life?
For every project and every character, I make a point of writing down my understanding of the person early on. I've always enjoyed documenting things - whether it's thoughts about a role in the script, or short film ideas in my head, which I still do now.
During productions, if the director or crew needs to discuss anything with me, I make myself available immediately. I clearly share my feelings and my overall vision for the character's direction.
I believe communication is a vital part of the creative process. Without it, creativity often becomes rigid, and those so called "firework moments" in art might never ignite.
"I have always followed the signals and feelings from within at every stage of my life."