Chapter 1257 1257 Breaking Through the Bottleneck

Matthew Poncelet may be Hugo's split personality, maybe not, but what is certain is that Matthew represents the dark side of Hugo's body, just like Amon Goss, Anonymous, they all is an integral part of Hugo's personality.

The only difference is that Hugo controlled himself very well when he played Amon Goss; but this control was lost in the process of playing Anonymous, and finally completely destroyed in the process of playing Matthew, so Rain If the dark part of the personality begins to take over power, then there is the independent personality of Matthew.

Hugo's previous thinking was correct, he didn't have a split personality, it was just self-lost in the process of delving into acting. Hugo's cognition of Matthew deviates from the track, separates Matthew from himself and separates him from himself, so he completely loses control, and even causes the memory to appear blank, completely acting in the form of Matthew.

Just like an impulsive crime, when the anger overwhelms the reason, the criminal's brain is blank. He doesn't even know what he has done, and the crime has already been committed. Many criminals don't remember the entire crime after the fact, and even think it was just a dream, they may say that the devil took control of their body at that moment. But in fact, it is they who control them. They have never really recognized the self, the self hidden in the dark corners of their hearts.

When Hugo understood this, his troubles from the "Seven Deadly Sins" were also answered. What is method acting and what is expressive acting?

To put it simply, the process of figuring out a character is method acting, just like Robert experiencing the life of a taxi driver, he is using this method to construct a situation he has never experienced before, and then let himself really feel that situation.

But many times the Methodists can't really experience it. Just like characters like Amon Goss, Anonymous, and Matthew Poncelet, Hugo can't really kill people. He can watch World War II documentaries. He can Talking to a murderer in prison, but he can't really get blood on his hands.

The point of method acting is to empathize with oneself and let the actor fully integrate into the character. In addition to the actor's own personality, it is also necessary to create the character and life of the character, and to perform the character as realistically as possible.

As for expressive acting, it is "acting" in the traditional sense. In one sentence, it requires actors to make the most accurate movements and expressions at the exact time. In the training of many acting academies, the basic skills are "happy, anger, sadness and music", which is the simplest expressive acting.

Expressive acting focuses on thickness and accuracy, bringing people visual enjoyment. Most British actors are representatives of acting acting, because the British academy style is very strong. Actors in the UK basically need to go through such a process if they want to get ahead: professional acting academies, stage drama polishing, and entry into the film industry. Their basic acting skills are absolutely admirable.

So after entering the 21st century, many British actors began to attack Hollywood in a big way. Here's why: Hollywood is pretty much American, anyone can be an actor, even without any acting skills, but not British actors.

The difference between method acting and expressive acting is actually quite obvious. For example, it is also the role of Matthew. The former hopes to figure out what mentality Matthew will show at this moment, while the latter shows Matthew at the exact time according to the script. anger, grief, struggle, pain and remorse. The former will appear more natural and uncontrollable, relying entirely on the actor's understanding; the latter will appear more accurate, showing exactly what the director needs, and the actor's control.

There is no so-called high or low distinction between these two acting skills. Although method acting is very popular in Hollywood, many directors require actors to use expressive acting. The most famous is Alfred Hitchcock, who even Directly means "method school doesn't suit my movie".

However, with the continuous polishing and development of acting skills, some actors have begun to try to combine the two performance methods. Unfortunately, there is no absolute representative of super high achievements yet, and Al Pacino can barely be regarded as one of them.

From the very beginning, Al was a representative of Methodist acting. However, with the growth of age, Al's acting method gradually formed a routine. He began to carve out the details, integrating expressive acting skills into Methodist, "Devil's Advocate" Can be regarded as one of the representatives. However, it is a pity that after entering old age, Al lacks vitality. Although his performance is still good, he has not been able to reach the peak again.

The reason why Hugo was troubled was actually because he tried to combine method acting and expressive acting, but Hugo never found a suitable method.

But after this period of struggle and torment, especially the performance experience of performing Matthew some time ago when his soul possessed and almost split his personality, Hugo found some ways.

Hugo relies on the method to figure out his acting skills. He still uses his own understanding to build a three-dimensional image of the character. However, during the performance, the expression of some emotions needs to be more precise and delicate, such as anger, how to use eyes, mouth, body movements Expressing anger accurately, even if it is the same anger, there are differences. Anger that arises from anger and slaps the table, excessive anger and falls into self-doubt, eyes that spit fire but have to suppress your anger... These different ways and levels of anger , presenting it in the most accurate way is a huge subject.

In fact, this is also Hugo's long-standing shortcoming, because he is not a professional. Although he has taken some acting classes with Charlize and Alex, he still has not learned these things systematically. But after years of polishing his acting skills, including the performances of many wonderful rival actors, Hugo also has his own understanding of the basic skills of acting.

Although Hugo has given a lot of good performances before this, in Hugo's view, it is still not accurate enough and delicate, and Hugo is precisely the actor who wins with delicacy, his explosive power is in Al Pacino, Jack - Nicholson is lacking in these old actors. He should be more subtle and subtle actors like Dustin Hoffman and Tom Hanks.

Especially in works such as "Pulp Fiction" and "Before Sunrise", the performance requires more actors to inject soul into the character with their own understanding, so the delicacy and precision of the performance will have a great impact. However, the script of "Pulp Fiction" did not discuss too much about acting skills. After Hugo used the method school acting skills, he added his own characteristics and achieved success; the script of "Before Sunrise" focused more on acting skills. It just so happened that the script was written by Hugo himself, and Hugo's understanding was thorough enough to successfully complete the work.

However, "Seven Deadly Sins" and "Death Ramble" are different. These two roles are completely different, but both require actors to use the most delicate changes to show the inner complexities of the characters. So Hugo had an acting bottleneck.

At the beginning, Hugo thought that the direction of acting should be to explore who controls the situation between the self and the character. He believed that "Schindler's List" was the character who controlled the self, so he showed soul-like acting; while "Pulp Fiction" was self-control. character, allowing Hugo to inject his own character into the character in a limited space.

But this is a wrong idea. In fact, Hugo is controlling the character from beginning to end, and the actor is controlling the character. The difference is only in the actor's understanding of the character and how deeply he understands himself.

When an actor controls a character, he cannot be controlled by the character's personality, because he is essentially himself, just his different appearance and personality. Just like nerds have their moments of carnival, nuns have their rebellious moments, and murderers have their soft-hearted side, the actors do not invent the character out of thin air when performing, but sculpt the character based on their own understanding and using themselves as specimens.

Therefore, in the process of performing, the actor is not actually performing, but digs out the side of his heart that is closest to the character, and then presents it according to the direction of the story; but at the same time, the actor is not completely in the performance process. It's all himself, because he may show a completely different character from himself, and then release it to the fullest.

What Hugo needs to learn now is how to present the most accurate performance at the right time and in the most accurate way. What he needs to do is not to put himself into the role, but to gradually release his inner self, and then carefully experience " How do I feel when I am in a situation like this", taking the whole situation in his hands with precise and delicate control.

To put it simply, Hugo used to control the rhythm of his performance unconsciously, relying on accumulation and talent, but now Hugo needs to learn to master the rhythm consciously by himself, which requires skill and study.

It's like the character Matthew is also that strong. In the scene of rape and murder, Hugo needs to release his inner beast, but he must know clearly why Matthew chose to obey Carl at that moment, why Matthew did not resist, why Matthew pulled the trigger, all of this There is a source, and Hugo knows exactly what the source is. Then, at that moment, Hugo should know better than anyone how Matthew's madness, loss of control, hesitation, fear, cowardice, and violence burst out.

Alcohol on the brain, poison. The taste is on the brain, the anger is on the brain... The repression for many years has rotted in a corner of Matthew's heart. He habitually shied the responsibility to Carl, then indulged himself, and convinced himself that only in this way could he support The whole family, but deep down, he enjoys moments like this, he loves this kind of majesty. So, when he saw Hope struggling under him, was he really unhappy in his heart?

At this moment, Hugo could clearly feel Matthew's soul trembling in the darkness, "No, no, Carl..." Matthew tried to stop Carl's ferocity, but his voice began to tremble, and he looked blankly at it. Looking around, the first thing he saw was the shotgun in the mud, then he picked it up and aimed at Walter with shaking hands.

His mother, his brother, the insults he'd been subjected to, the days he spent with Carl, the oppression he was subjected to, the pressure the society put on him, his alcoholic father, his mother's constant weeping... it all Everything was constantly reverberating in Hugo's mind instead of Matthew's. His eyes flickered blankly, and he didn't realize that there were tears in his eyes, but his pupils suddenly widened, and then... that's it Pulled the trigger.

All this is so real!

Actors are actors and characters are characters, but actors are characters and characters are actors. Hugo finally realized what it was like. What he needed was self-control, self-expression, and self-regulation. The mountain is not the mountain, and the water is not the water, but after all, the one who watches the landscape is himself, and he is the one who takes the initiative.