Chapter 575： Director's Perspective

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"Evan, your expression is not enough, I need more, and the emotions in the eyes and the corners of the mouth are more forceful. Device: no ads, full text, more" Paul Haggis took a trumpet to Evan Bell and Matt- Dillon's direction shouted.

Evan Bell did not reply directly, but trotted a few steps in the direction of Paul Haggis and walked in front of Paul Haggis, "Paul, do you want your emotions to be clearer?" Evan -Bell thinks that his performance just now is in place, and he needs to confirm what the director needs.

No, Paul Haggis shook his head, "No, your expression just now was actually very good, but you always felt that something was missing. Give me a little more, and I'll see how it works."

Evan Bell thought for a while and thought, "Paul, can I take a look at the monitor of the scene just now?" Although Evan Bell is a producer, he absolutely has the right to monitor the filming process , but Evan Bell did not ask for it, he just tried to communicate with the director as an actor and made a request.

Paul Haggis hardly hesitated, nodded and waved to Evan Bell, "Come here."

Paul Haggis took the assistant director's seat and put Evan Bell in the director's folding chair. Evan Bell sat down, there was still a little residual heat on the chair, but at this time it was after two in the morning, and the surrounding temperature was not high, so there was not much difference. Sitting in this position, the monitor is in front of you. The surrounding light shields were lifted up, and Evan Bell saw the position the camera was aiming at at once. This was on the edge of an ordinary road, with vehicles coming and going in the middle of the road on the right, and pedestrians on the left. There was no one person on the street, and the camera was aimed at the police car under a big tree.

"Paul, replay." Evan Bell said he was ready.

What's being filmed right now is the story line involving Evan Bell, in this thread. Senior Constable John, played by Matt Dillon. Terrence - Howard played the black TV director Cameron, and Thandie - Newton played the director's wife Christina, a château occurred.

Senior Constable John was repeatedly turned down by black staff because of his father's insurance, which made him very grumpy. And then. Inside the police station, because little húnhún Anthony and Pete stole the black sèsuv of the district attorney's husband fù, they asked the police officers on the mission to pay special attention to the black sèsuv. John was on duty with the young detective Tom, and he spotted a black SUV, so he followed.

But not long after they went out, Tom realized that the black sèsuv in front of him was not the target, because the driver was a middle-aged black man. rather than young people. Also, the car came from the set, it wasn't the car that was robbed. But after John turned on the light, he found that the nun in the car was talking to the man who was driving. This is an act against the order, and they still have reason to give a warning.

John stopped Cameron and Christina, the drunk Christina was full of foul language, and John took out his anger just because of the black insurance staff on Cameron, the black TV director. He began to search Christina closely, including secret places, and brought insults to Christina with both hands. Under the power of the police, Cameron chose to settle down. Not only did he not stand up for his wife, but he also swallowed his anger and apologized.

John's excessive behavior. Tom is very disgusted, he thinks that John is using his position to carry out soft violence. But he couldn't stop it. On the one hand, he hates John's badness, on the other hand, he expresses guilt for the TV director and his wife, and at the same time, he is powerless to this social reality.

Tom is a typical budding policeman full of enthusiasm. He believes that it is necessary to combat the unfair scene in this society and maintain judicial justice. In his cognition, black is black and white is white. And John is an old policeman. He will use his power to properly vent his anger. His vileness is disgusting, but he is powerless to resist, because this is the general scene of society.

It was Tom, played by Evan Bell, who Paul Haggis called to stop just now. Facing such a situation that challenged his bottom line of justice, his expression changed delicately. Evan Bell must express Tom's youthful and righteous temperament, and his inner tumbling must be clearly conveyed through his facial expressions. Because in this scene, Tom's lines are only a few sentences, and more are just a few words. He can't convey the charm of the characters from his lines, and he must achieve it through his eyes and expressions.

This is not difficult for Evan Bell. He can now control this angle very easily. When the acting skills are mastered, this is a very wonderful state. After you have a sufficient understanding of the angle, you can clearly understand how the reaction of the angle should be, and more importantly, you will have a clear picture in your head as a guide, and then you can reach it very smoothly. ideas in . It was as if a layer of window paper was finally pierced, and the whole world became clear.

However, Evan Bell's outstanding performance, in Paul Haggis's view, always lacks something. This scene has been remade for the fourth time. Matt Dillon and others stood beside him, and they all felt that Evan Bell performed very well, and every performance was amazing. But they are also actors. They don't know what the director wants, so they can only follow the director's rhythm.

After Evan Bell sat in the director's seat, the perspective suddenly changed. He did feel a little difference, and it really felt that two points were not enough. "Paul, pour a little more tape, starting from..." Evan Bell sighed, "Start when the two cars pull over."

Paul Haggis heard Evan Bell's tone and knew that he seemed to have some clues, so he couldn't help but lean over and reverse the belt. This scene is about five or six minutes before and after. It has been filmed for nearly half an hour just now. Now I look at it again. Paul Haggis noticed that something was wrong, but he couldn't say it.

After Evan Bell watched it twice, and then watched it for the third time, his left hand was once again accustomed to holding the ring finger of his right hand. This action always allowed him to easily enter a state of thinking. Suddenly, Evan Bell suddenly thought of something, turned his head, and saw Paul Haggis' enlarged face in front of him. I ignored it, and immediately said, "Paul, I know what's going on."

Paul Haggis shifted his gaze from the monitor to Evan Bell's face, as if listening.

Evan Bell knew before that, sitting in the director's position, the perspective will be completely different. This position needs to take into account the overall situation, consider the entire scene, and even consider the direction of the plot from the perspective of God if necessary; at the same time; It is also necessary to carve out the details, to think and consider the other side, and only in this way can a beautiful work be produced.

Evan Bell pointed to the screen of the monitor, "The atmosphere of this scene is relatively heavy, not only is John's violation of Christina, but also Tom's indignation at such a phenomenon, and the eyes between Cameron and Christina āo Liu, the struggle between the two couples. All these clues are very heavy. And you thought very well at first, using a little dark light to highlight this heavy atmosphere, but when the light is too dark, All expressions and sight lines are blurred, so when we watch it, we can feel the heaviness of the whole atmosphere, but we don’t know where the heaviness is, we can only rely on the plot and dialogue to figure it out.”

Paul Haggis is the screenwriter, he has enough knowledge of the scene, but not enough thinking about composition, lighting and so on. And Evan Bell, a journalist and an architect in his last life, has a keen intuition for structure, light and other aspects. So, all of a sudden, Evan Bell found the problem with the picture.

"I think we should move the filming location." Evan Bell looked around and pointed to a place near the viaduct, about two hundred yards away, "there is a street light, we can put lights on the street light. , to expand the light range of the street lights to create the effect of spotlights in the center of the stage. This spotlight lantern covers two cars, as if there is a play here, and the blurred lights in the distance are another world. The background to highlight the conflict in this one-act play."

As his thoughts became clear, Evan Bell spoke faster and faster, and Paul Haggis's eyes gradually lit up, "At the front, when the police car stops, you can use the blue and red lights of the police car. The effect of the sè spreads the sight, and Tom's expression becomes obscure. Then the four corners of stand under the spotlight, and all conflicts erupt. The light casts shè on the face The shadows that come down form a contrast of light and dark, which can make the actors' expressions more delicate, and at the same time use the shadows to create a heavy atmosphere."

Evan Bell's words formed a picture in Paul Haggis' mind. The shooting position of the camera, the direction of the shooting track, and the composition of the picture suddenly became clear.

"The light hitting John's face can be a little brighter to create contrast; Cameron and Christina should be positioned at a vertical angle to the spotlight, half-light and half-dark, as for Tom..." Evan Belt paused, as if in Constructing the whole picture in your mind, sitting in the director's position, and looking at the whole scene from different perspectives, is indeed a very delicate thing, "His light should be darker, subtle and can even use the blurry focus in the distance. The dots of light serve as the background and outline Tom's inner húnluàn."

Paul Haggis was moved by what Evan Bell said, and nodded, "Evan, let's try, try."

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