Chapter 1567

As soon as they arrived at the cast, they didn't even have time to introduce themselves. Lanli and Jessica had already begun to discuss the role and performance. These two people really explained what is called "drama Mania". From this perspective, not all the negative rumors about lanli are wrong.

Both McKenzie and Timothy noticed this scene. Although they were both minors, they still belonged to the category of children; But for the performance, they have begun to breed their own ideas and ideas, just like a sponge. As long as they meet the right guidance, they can get more potential.

After entering the cabin, McKenzie secretly sat down on Jessica's side, just like a harmless baby, quietly sitting beside and listening - many times, when parents talk or quarrel, it is easy to ignore the existence of children, that is the truth.

Timothy, on the other hand, wanders around the sofa in front of the door. It looks like he's idling around, but his ears are always elongated, like a mouse eavesdropping on the corner. His eyes that keep on dodging are completely stealthy. Is it invisible without eye contact?

Jessica's sight Yu Guang noticed Timothy's melancholy and nervous look. After all, she still couldn't hold back and chuckled, "Timothy, come and sit here. We're not talking about trade secrets. You can come over if you want, just like McKenzie. "

McKenzie, sitting next to him, tried his best to bow his back and tuck himself into the sponge on the back of the sofa to hide his existence. However, he suddenly realized that his whereabouts were no secret for a long time. He couldn't help sticking out his tongue and making a face, but he still quietly straightened up and began to "steal" the news.

Timothy's step was still a little hesitant. After he was exposed, he scratched his head shyly and awkwardly. His face was still filled with a brilliant smile to cover up his shyness. His step hovered near the gate. His eyes secretly glanced at Lan Li, and then he saw the smile on the corner of Lan Li's mouth. After he got the approval, he quickly walked over and sat down next to him.

In fact, Lan Li also noticed the change of the two little guys, but he didn't take the initiative to put forward it. In this respect, the perspective and treatment of women and men are different after all.

Langley looked back at Jessica again. "I'm thinking about cutting the branch of Cooper's role to make the performance more pure and focused."

Jessica looked curious. "Why? In gravity, Alfonso's director is doing subtraction, and your performance is doing addition. In my opinion, Chris and Alfonso have the same intention in essence. "

"What Chris and Alfonso have in common is that they both hope to reflect a grand and huge motif through human emotions." Lanli nodded in agreement, and then further explained, "but the difference is that the final destination of the two is very different."

In the "gravity", Alfonso uses space to survive to reflect the origin of life. According to the original script, there is no problem; However, in the actual interpretation, lanli digs out more content for the two characters and endows the film with more philosophical thinking: who am I? Where does it come from? Where to go?

This is undoubtedly a further explanation of the origin of life, giving the film more profound meaning.

In "Star Trek", Christopher uses wormhole time folding to reflect human emotions. Can be simply understood as, in the vicissitudes of life is there eternal? The definition of emotion in the play is very intuitive and simple: the family relationship between Cooper and a pair of children, especially the fetters between Cooper and Murphy, will this emotion become thin or even dissipate with the passage of time? Further, will faith die out?

In other words, the foothold of "gravity" is life, while the foothold of "interstellar crossing" is emotion. The former can be given more philosophical interpretation, while the latter needs to be more simple and pure.

In fact, this is similar to the motif of "Inception".

What "Inception" discusses is, is there any fetters in reality that can bring dream builders back? "Interstellar crossing" is about whether there are shackles on the earth for those star travelers to break the shackles of time and return again?

In Nolan brothers' play, the whole core idea revolves around the emotion between Cooper and Murphy, which does not need too much embellishment——

Why are Cooper and Murphy so close? What happened between Cooper and his wife? How alienated are Cooper and Tom? Why is Murphy willing to trust his father wholeheartedly? And what beliefs make Cooper and Murphy's bond unbreakable? Why does Cooper still choose to come back? Why did Murphy wait?

All of this is cumbersome.

family affection.

Just one answer is enough. It's not that I don't want to explore and expand in depth, but because the script wants to explore the most primitive emotional fetters of human beings, and form a contrast with the most primitive world structure such as time and space, which can be understood as the collision and confrontation between rationality and sensibility.

If things get complicated, for example, Murphy hates her mother, so she has a fetter with her father; For example, after Cooper lost his wife, he found the projection of his wife in Murphy; For example, Cooper and Murphy have a common interest in science, which allows them to spend more time together... When such reasons come out, things will lose their original pure texture.

The purpose of cutting branches and branches is to further highlight the conflict between emotion and time. It is only fair to compare the two most essential and purest things at one time.

In addition, the director's style is also a very important reference factor.

Although Alfonso is not a director who is good at training actors, his lens can always show the emotion of roles and stories.

Whether it's "the son of man" or "Harry Potter and the prisoner of Azkaban", or even Alfonso's early films, he can always show the flow of emotion, loneliness, sadness, despair, pain and so on through the temperament and characteristics of the image. The construction of light and lens can leave more blanks and lingering Rhymes for the audience to complete.

Of course, the actor's performance is even more important.

Christopher is another kind of director, he is good at showing the diversity of the story through camera scheduling, rhythm control and editing.

In Christopher's films, emotion and role are relatively weak parts. What he presents is often a single emotion, the loneliness of "Inception", "the struggle of the Dark Knight", "the sacrifice of the fatal magic", "the loneliness of following", and so on. But when his emotion begins to become complicated, he is often easy to lose control.

Therefore, Christopher must direct his own script, because the characters, emotions and stories can be controlled; The overall quality of the "chasing murderers in the white night" adapted from the script is obviously weak. On the whole, Christopher is a director who is good at telling stories, but not emotional.

Therefore, the actors need to cooperate with Christopher's scheduling and combine with the story as much as possible. If the actors play too much by themselves, it is easy to break the structure of the whole work; On the contrary, the actor will further deepen his emotion on the basis of Christopher's setting, and then he will win a wide range of play space. The clown of "Dark Knight" will play his own right and evil madness to the extreme, without extra emotion, but with a deep heart.

There is no derogatory malice, but an objective statement: to play in a work directed by Christopher, the work of actors is relatively simple, they only need to follow the framework of the script role, which is enough. In fact, this is similar to Alfred Hitchcock——

This horror film master is interested in expressionism. Fear is fear, and panic is panic. He hopes that the actor will not have his own redundant ideas, and will appear in the right position at the right time according to his own setting, just like a chess piece, so that his film can achieve the expected effect. Therefore, Alfred always sneers at the method school acting.

In "gravity", Langley needs to add; In "Star Trek", however, Lanley needs to do subtraction.

What is subtraction?

"Just focus on family. There is a fetter of faith between Cooper and Murphy. He tries to go home, and he also wants to go home, which is the only idea. No reason, no story. Cooper loves Murphy because Murphy is his daughter; Murphy believed Cooper because he was her father. It's that simple. "

Lan Li expounded his own views.

Playing "Star Trek" will be a new challenge. For the first time, lanli will put into the performance with expressionism acting skills. He will try his best to cut down the branches of Fangfa acting skills and show the delicate, moving and profound emotion, which is enough.

In the last life, Matthew McConnell's performance failed to achieve this. He tried to add more details to the role, but all these details were submerged in Christopher's lens, and eventually became useless. Instead, Matthew's Cooper drifted away from the story, affecting the connection between the audience and the film.

It's not that Matthew is not good enough, it's just that the method is not suitable. Christopher is not good at training his acting skills, which can be seen from here: he doesn't realize that Matthew's method is not suitable for the film.

Of course, this is just lanli's personal idea.

When lanli's explanation came to a paragraph for the time being, Jessica fell into her own thinking and savored the words carefully. "You mean that we just need to show that kind of emotion, and then deepen it step by step in this kind of emotion, and continue to enlarge the faith of missing and love, right?"