Chapter 2273

Felicity felt trapped.

At the beginning, it was just nervousness, maybe a little anxiety. For the first time, he played an important role in large-scale production. Subtle changes in his mentality created invisible pressure, and he performed in front of Lan Li for a long time without seeing him for a long time. He also asked Lan Li to play for himself. That kind of subtle special feeling is really hard to describe.

Gradually, after failing to pass three times in a row, he began to try the arrangement and combination of different performance methods. However, he lacked a firm belief in the performance process, that is, he did not succeed in the performance method he firmly believed in. Naturally, he began to doubt whether his understanding of the role was correct, and then began to explore different performance methods, So that the whole performance style will appear uncertain and unstable floating.

More variables means that the performance is unstable.

Then, things seem to be so rigid in a pattern. Lack of confidence leads to instability, instability leads to lack of confidence, forming a vicious circle, and the core of the performance begins to get lost. It always feels like I'm repeating myself, but it's getting worse. That kind of confusion and blankness is making people gasp little by little, trying to struggle against it, But I don't know what happened, and I don't know how to deal with it.

Slowly, slowly, the feeling of drowning and suffocation gradually surrounded me. At last, it was as if all my hands and feet were firmly tied and sank into the bottom of the lake. I watched myself being swallowed by the dark blue, but I could not make any response, or even cry for help, so I could only get angry with myself.

"Card!"

When Garris finished shooting again, Felicity couldn't tell exactly what time it was. She didn't dare to look up at the director's expression at this time. She bowed her head in embarrassment, clenched her hands into fists, and tried her best to suppress the surge of her mood.

The set is slightly ringing those trivial sounds, but more and more make the shooting area appear quiet, the director did not speak, other people do not dare to speak.

Garris doesn't want to speak or dare, but he doesn't know what to say: he also knows that the performance state is wrong, but he doesn't know how to adjust it - in fact, the general direction is correct, but in the picture conceived in Garris's mind, he always feels that it is not in place. He can't say this subtle deviation himself, How to pass it on to the actors? Therefore, he can only choose the most clumsy way, let the actors try again and again, find inspiration in the attempt, and expect to finally find the feeling in the ideal state.

At the moment, Garris is also savoring the performance. Some parts are right, but some parts are wrong. So how to coordinate? In other words, he can use the lens clips to cut up the whole performance, and the final product presented on the large screen is no problem.

Langley is also thinking - because he is also a part of the play. Although his lines are only a few lines, Garris filmed eight times and performed eight times. There is no labor-saving way, which makes him have to start thinking about the balance of the play.

It's a very interesting thing to look at the performance of group plays from the overall perspective“ "Burst drummer" took the post of producer for the first time, and the subsequent "Jurassic world" and "lobster" also enabled Langley to stand in a higher position as a producer to observe the work of art "film". Although he rarely interfered in the work of director, he still gave him a new perspective and had a more understanding of performance.

Acting is not about one person.

Lanli knew this before, and his teachers have emphasized this point repeatedly since the beginning of the college. But lanli's understanding is always relatively narrow: opponent drama, he just takes it for granted that actors need to interact with their own opponent partners. Only when sparks burst out between you and me can we find the balance of performance; Now lanli has opened his eyes. Performance should interact with lens, light, sound and so on, just as stage play must make full use of stage space and light. In movies, actors must also learn to use these weapons.

Therefore, people say that performance is never a person's business, even if it is a one-man show. This is the unique feature of film art.

Now the play is the best interpretation.

Garris is a very good use of light changes to mobilize space director.

We all know the simplest example. The larger the window on the sunny side, the stronger the sense of interior space; On the contrary, the sense of interior space will become narrow and oppressive.

In the movie, this is called "lens language". From light to motion track to picture composition, it also includes the use of color, position, background and other details. It can purchase a large screen picture, which enables the director to show the change of psychological hint through the picture, such as "desperate driving" starring Ryan gosling, Through the use of giant lights, director Nicholas wending Raven has created a vertical, tall and alienated light in Los Angeles, which is similar to that of a Nordic city, creating the loneliness and emptiness of the whole city. This is the lens language.

The same is true of Garris. Godzilla can feel his use of light and color, which can be seen in today's first play.

Garris turned off all the main lighting in the conference room, leaving only the light of the computer or instrument; In addition, the background of the meeting room is set up with neon blue-green fluorescence to ensure the lighting effect like fireflies; The most ingenious is undoubtedly to place a off white energy-saving lamp in the central groove of the round conference table, and cover it with a fog lamp cover to weaken the light and achieve a fuzzy and hazy halo effect.

In this way, the main tone of the whole conference room is still dark, creating a mysterious and even repressive underground effect, which implies the status quo of the resistance. At the same time, it can also exert invisible pressure to lay the foundation for the dignified atmosphere at the beginning of the film, thus casting the tragic tone of the whole film.

So, what should actors do? Can't let the audience open their eyes and feel blind to look for the actor's face and expression in a hazy halo?

At the fixed position of each actor's position, the lighting engineer sets a separate light according to the angle, and gathers the low light in the side way, so that the actor's expression can be presented according to the effect expected by Garris - more often, it may be part of the expression, but it is enough.

In other words, every actor is standing under the "Spotlight", but on the whole, the light of the whole scene is dim.

In addition, compared with close-up and close-up, Garris wants to capture the slightly tense atmosphere of the scene, and the medium and panoramic scenes undoubtedly occupy more space. As a result, it forms a sense of contradiction: on the one hand, the light is focused on the actor's face, although it is low light; On the other hand, the lens is capturing the medium and panoramic view, which is relatively far away.

The above is the premise.

Only when we really grasp the layout of the lens and the changes of the scene, we can adjust our way of performance according to the actual situation, especially we should have more communication with the director. For example, Langley knew the overall idea of Garris, and he still wanted to present a grand atmosphere, because the story of "grand theft one" was set in space; Because the whole story is about the struggle of a group of people with lofty ideals for a common goal, rather than focusing on a heroic individual, he still hopes to present the whole picture and show the heroism of the whole group.

What does all this mean?

The performance needs to be concise and neat, with the mood as low as possible to reduce the sense of hierarchy, but with the precise location as far as possible: panic. Anger. nervous. and so on. Of course, every kind of emotion can not be pure and straightforward, such as panic, often with fear and tension, those derived emotions are inevitable, which also means that actors must be clear about the core of their performance, and then in a delicate and complex way, crisp to present the characteristics of the whole emotion.

Any unnecessary modification and extension, including exploration and in-depth, is a tardy performance, which may not only destroy the integrity of the picture, but also be lost in Garris's lens - the medium or long-range lens can not capture these details at all, and the actor on the picture will only look like a fool.

It would be a complete disaster if we put the performance style of lanli in "pop drummer" or "gravity" into "grand theft one".

Now, the crew is facing such a difficult problem.

Garris couldn't know exactly what the problem was because he didn't know much about acting; But even if he knows it, he can't be sure how to adjust it, because it's a professional problem for actors, and even actors themselves often don't know what to do - experience becomes very valuable at this moment. Actors like Max, Forrest and Langley who have had large acting experience will be much more comfortable, but they still need time to adjust.

The problem does appear in felicity, but it's not just felicity alone.

First of all, Felicity's performance is too delicate. She continues the performance style of independent movies. Her emotional treatment is very good, but all of them are "ignored" by the camera. On the contrary, her performance rhythm is derailed, and the whole shooting process is out of place, just like every tooth of the gear wheel is not aligned.

Of course, it's not just felicity's problem, the rhythm of other actors is not right.

In addition to felicity, Langley, Angus Wright and may bell all have lines, and they form the core of the theme of the play.

But Angus's performance is too much of a stage play, basically maintaining the posture and tone on the stage. It seems that there is something wrong with the way of holding his head high. It is another style of painting with the whole picture. Although "Star Wars Series" is known as "space opera", it is not a real opera.

May Bell's performance is too tight, the most basic emotions are not able to transfer in place, so that the whole picture appears obvious imbalance.

Even without waiting for Langley to appear, the basic tonality has gone wrong.