Chapter 1188 1188 Explore the Barriers

Hugo looked at Leonardo in front of him. He was not sure if his little butterfly began to affect Leonardo invisibly, because Leonardo's comment about Rimbaud just now was so accurate, So profound again, as if... as if he were talking about Leonardo himself.

"He didn't know what poetry meant to him at all, and it was just one of the means by which he became famous. But by the time he really realized the greatness and brilliance of poetry, his talent had been squandered."

In fact, this is the trajectory of Leonardo's acting career. Before "Titanic", Leonardo relied on his amazing talent to become the leader of the generation in acting. During this time, Leonardo also wanted to If he wants to pursue acting, he has a strong interest in acting, but Leonardo relies too much on his own talent and is unwilling to try or break through. Most of the roles he played in his prime have similar characteristics: uninhibited , casual, crazy, fragile, messy, dark, to some extent this made Leonardo, but it also limited Leonardo.

Therefore, when Leonardo was stunned by the popularity explosion ushered in by the "Titanic", he fell into confusion. When Leonardo really realized his talent and talent, he was already middle-aged, so he walked into another maze, and almost all the characters were middle-aged men who were bitter and hated - widowed also occupy the majority.

Leonardo and Rimbaud are so similar that Hugo couldn't tell whether Leonardo shaped Rimbaud based on historical facts, or Rimbaud through Leonardo's performance to shape the minds of all audiences. image.

This shocked Hugo, not only because of Leonardo's words that seemed to predict his future, but also because of the high degree of overlap between Leonardo and Rimbaud.

As Hugo said, there are too many differences between Leonardo and Rimbaud. Perhaps, Leonardo could not even understand the deep meaning of Rimbaud's poetry, nor could he understand Rimbaud's poetry in the history of literature , but Leonardo perfectly presented Rimbaud's brilliance and convinced Hugo that he was Rimbaud, and Rimbaud was him.

In fact, the method and process of Hugo's conception of the character is not much different from that of Leonardo. Leonardo was influenced by Hugo and gradually began to construct the character in a different way. The commonality between the characters triggers inner resonance, and then shapes the characters with their own understanding.

"So, what you and Rimbaud have in common is..." Hugo's brain was slightly confused, and countless information was messed up, so he chose to communicate further.

Leonardo enjoys such moments very much. He likes to discuss performances with Hugo. It is not necessarily academic method exploration, but more of each other's understanding and doubts in the process of exploring the role, but he can always let himself have a lot of reward. "Enjoy youth and be self-centered."

Leonardo's two simple sentences made Hugo stunned. After thinking about it carefully, he found that the words were so correct. Rimbaud and Leonardo are both like this. They became famous when they were young, wantonly youthful, and talented. Such young people can easily have the illusion that the world revolves around them, which makes them self-centered, even arrogant and willful. Spending time recklessly, even ignoring the efforts and talents of others, and contempt for the whole world.

Not only Rimbaud and Leonardo, but also many young and famous child stars, Macaulay - Culkin, Drew - Barrymore, Edward - Furlong (Edward. Furlong), etc., the hot spotlight make them lose their way. In the end, the talent was squandered like this.

However, Leonardo maintained a relatively clear head, found his own way in the colorful Vanity Fair, and persevered. So, when Leonardo tried to understand Rimbaud, he grasped it sensitively. Perhaps, this is not the whole of Rimbaud's personality, nor is Rimbaud's deepest imprint on history as a poet, but it allows Leonardo to shape Rimbaud's entire image vividly and vividly.

Objectively speaking, Leonardo's understanding of Rimbaud is simpler. He did not analyze Rimbaud's growth history, nor did he analyze the reasons for Rimbaud's character formation, but his understanding was deep enough to capture an important flash. After clicking, an amazing energy burst out.

Relatively speaking, Hugo's understanding is more at the psychological level. Hugo hopes to construct the psychology and experience of the character, so as to present the eyes, expressions, movements and other small links in the form of details, and the entire character image is calm. come alive in between.

But this method is more complicated and more difficult, and the result is that Hugo has to spend more effort in shaping every aspect of the character—even many things that are not needed during the filming process. Take "Seven Deadly Sins" as an example. In fact, the appearance time of Anonymous is very limited, only in the last half hour. The homework done by Hugo simply cannot be fully presented.

But Hugo knew that his preparations were not in vain. In many cases, the difference in one action, one look, and one posture would lead to the difference between the characters. Maybe the audience couldn't tell why, and maybe the college professionals couldn't give detailed instructions. Even the performers themselves can't explain where this detail comes from, but the presentation can vary wildly. This is the breakthrough and in-depth acting.

However, from Leonardo's performance, Hugo realized one thing. In fact, what he needs to find is not the balance point, but the resonance between himself and the character. The part that belongs to him is a little more, or the part that belongs to the character. A little more, it doesn't matter, the important thing is the echo between yourself and the character, and then there is a chemical reaction.

Just like Leonardo, Rimbaud is completely shaped by a single connection point. As for whether Rimbaud's image has more real attributes or Leonardo's attributes, this is not the point at all; what Hugo should have What he is looking for is the connection point between him and the character - not just one, but multiple connection points. Read to perfect the character.

Although it is said that Hugo did not come from an academic background, he never systematically studied acting skills, but in the continuous communication with the co-actors and in the continuous exploration of his own performance process, Hugo has gradually become a representative of the method school. , but at the same time out of its own different characteristics.

The so-called method performance means that when an actor interprets a role, he must be good at observing facts, figuring out the behavior in real life, and imagining the psychological spectacle of performing the role, so as to achieve accurate and credible performance effects, without the traces of performance, let the audience. The reader can forget the actor's performance and empathize with the character.

Methodism shines throughout Hollywood history, Marlon Brando, Paul Newman, Jack Nicholson, Meryl Streep, Daniel Day-Lewis, Robert De Niro, Al- Pacino, Dustin Hoffman and others are all representatives of method acting.

Al of "Smell the Fragrance and Know a Woman", Jack of "The Righteous Sea", Liam of "Schindler's List", and Samuel of "Pulp Fiction" are all representatives of method acting. Under the influence of Hugo, Hugo gradually explored his own way of acting.

The core idea of ​​method acting is actually to advocate experience, so that the actor and the character are one, the actor should actively feel the character's emotions, and think exactly as the character correctly, logically, sequentially, and like a living person. Hope, prayer and action. Simply put, it is subconscious creation through conscious psychological techniques.

So, Malone lived among dock workers for months in order to smoke "The Dock"; Robert actually drove a taxi on the streets of New York for two months in order to play "Taxi Driver"; Dustin in order to play "Taxi Driver" "Rain Man" stayed with the autistic patient for nearly a month.

In the beginning, Hugo simply imitated and simply performed, and then gradually learned to figure out the psychology of the character and put himself in the position of the character to perform. In "Schindler's List", Hugo found a breakthrough point, Amon- Goss's perfect upper body almost made Hugo unable to distinguish between the film and reality; then, Hugo began to learn to interpret the character under his own leadership, trying to make the character have more of his own style, relying on his own character to create a special character. Role.

But no matter what stage of acting, Hugo attaches great importance to the character's experience, psychology, and experience. He has always worked hard to find the resonance between himself and the character, and then truly presents the character's reaction to the story. In fact, this is a kind of method.

But now Hugo has encountered a bottleneck. He is trying to find a balance between himself and the character, showing the most accurate emotions and actions at the right time, so that each character can be marked with its own distinctive brand. In fact, this involves To another school of performance methods: expressionism.

Different from the method school's experience mode, the expression school is a traditional British performance method. In a popular sense, it is to use solid basic skills to perform the right performance at the right time, which is also the concept of acting in the traditional sense.

The performances of the two factions are irrelevant. Although the method school occupies a major position in Hollywood, there are many directors who require actors to use expressionist performances, among which Alfred Hitchcock is a typical representative.

The non-academic Hugo is trying to integrate expressionist performances on the basis of method, but the process is obviously not that simple. The conversation with Leonardo made Hugo realize that what he is looking for is not balance, but more resonance and more understanding, using his own outlook on life and values ​​to understand the character's outlook on life and values. Find the time to perform.

"Which part should be gentle, which part should be cold-blooded; which part should be gentleman, which part should be cruel; which part should be calm and which part should be violent", this is not decided by Hugo, Instead, the role is determined by the script. When you find the fit and echo point between yourself and the role, the answers to these questions will naturally come out.

But is it really that simple? How not to lose yourself in the role, and how to dig out the role in the self, is definitely not an easy task. At this moment, Hugo really felt the barrier of acting, which confused him, made him struggle and made him tangled, but also made him excited, excited and excited about the barrier that he was looking forward to.

"So, you encountered difficulties in the process of researching the character?" Leonardo asked hesitantly, looking at the mixed look in Hugo's eyes.