Chapter 602 602 Entering the State

Acting is indeed a very mysterious thing. It seems that all actors perform the same way, but the effect presented is hugely different.

Strictly speaking, Hugo started from "smell the fragrance and know a woman". His performance styles are all in the same line. There is no such huge difference. But each work has subtle differences.

The performance experience of the role of "Pulp Fiction" Vincent is actually somewhat similar to "Sleepless in Seattle" and "Schindler's List". Vincent needs to rely more on the support of the character in the performance process, which also makes Hugo pay more attention to the habitual movements and the potential psychology of people in the process of growth to complete the performance.

This is not an easy task.

Hugo can clearly feel that when a personality is perfected, he will have different reactions to different situations, when he is happy and when he is depressed, when he stares and when he throws a fist, these are all different details, according to the story. The conditioned reflex that the plot naturally forms.

This feeling is very strange. It is different from when he played Sam Baldwin and Amon Goss at the beginning. In the performance of these two characters, Hugo actually dominated the role of the story. This caused Hugo to be too deeply involved in the play, and Amon Goss was even more serious, so that Hugo was unable to devote himself to the shooting of another work for up to three months.

But today as Vincent, Hugo himself dominates, because in Quentin's script Vincent's writing is very limited, Hugo must rely on his own understanding of the story to supplement and improve the role, so now Hugo interprets Vincent according to his own style.

So, after a scene was filmed, Hugo still had the mind to make jokes about Quentin, and that was the difference. It's not the difference between the theme of a drama or a comedy, but the difference in the actors' own sense of role substitution and comprehension. Perhaps, this performance is not a breakthrough in acting skills, but it does give Hugo a further understanding of the carving of acting skills.

Facts also proved the correctness of Hugo's entire idea. There was no NG after the start of the scene, but after changing the camera position and reshooting twice, it was officially announced. And the next shooting Hugo is also getting better.

In the next scene, Jules and Vincent were discussing an incident where a man gave a foot massage to Mia, their boss Marsha's woman, and Marsha was thrown from the fourth floor. Without words, Jules thinks the punishment is too severe, but Vincent thinks that foot massage is actually tantamount to cheating - come on. The bed was gone, so the punishment was not serious, so the two started a discussion about foot massage.

"It's too far off, maybe you massage in a different way than I do," Jules even stopped in the hallway and looked at Vincent, expressing his opinion, "but stroking the soles of a woman's feet and Putting your tongue in that bottomless cave is a completely different thing, it's not a league thing at all, it's not even the same exercise. Reflexology doesn't mean anything **** at all."

Vincent had put his hands in his trouser pockets, he raised his eyebrows and looked at Jules, took out his left hand and smoothed his hair, then put his left hand in his pocket again, full of confidence Say, "Have you ever massaged the soles of someone's feet?"

"Don't joke with me," Jules said with a sneer, "I'm a fucking massage master!"

"Experienced?" Vincent squinted his eyes and looked at Jules slightly, his thin lips pressed down slightly, although he didn't smash his mouth, his critical eyes were obviously questioning Jules' words .

"****, of course! Skilled, I'm not kidding you!" Jules said confidently.

Vincent took a small step forward and approached Jules, "Will you massage a man?" This sentence made Jules stunned, then silent for a second, only to say One word, "Fuck you!"

Jules turned around depressedly and moved on, followed by Vincent, but with a bright smile on his face, he deliberately showed the seven teeth in the upper row, as if doing a toothpaste advertisement, "Do you often do it? ?"

"Fuck you!" Jules said without looking back.

But Vincent was chasing after him. "You know, I'm a little tired and want to get a foot massage."

"Yoyo, man, if you make trouble again, I'm going to turn my face." Jules said solemnly, which made Vincent laugh.

"Card", Quentin's voice sounded again, his full smile clearly written his satisfaction, just now Vincent's sentence "Do you often do it?" "I believe that men are willing to massage men", in fact, can create a laughing fruit, but Hugo's sentence is simpler, and the counterattack is short and powerful, which further reduces the space for Jules' counterattack, and the whole laughing point is more joyful , especially with the following sentence "I'm a little tired...", which makes people really can't help laughing.

Such subtle changes may seem inconspicuous, but as a director, the feeling is very profound.

"Hugo, you are really on the right track." Quentin gave a thumbs up with satisfaction, and now Hugo presents Vincent much better than what Quentin imagined in his head, and he couldn't say a single one. So of course, but the whole character of Vincent shown by Hugo seems to be more three-dimensional, and although the changes in inner activities and expressions are very subtle, so subtle that no one except the director will pay attention to it, but it completes the whole plot. Well, this is really eye-opening for Quentin.

In fact, Quentin has also seen the previous "New York Times" news. He also admitted that the space left for actors in his works is indeed limited. He is the kind of director who relies on his own style to win. This is also Quentin's opinion on One of the reasons Hugo expressed his great gratitude for his willingness to appear in "Pulp Fiction", he knew that with Hugo's current state of momentum, he could have a large selection of excellent scripts, rather than the second film of his directing career. The little director of the work.

But now, Quentin has deeply felt the powerful driving force in the actor Hugo.

Quentin has heard of an actor who can not only do his job and present the character perfectly, but he can also interpret the character, complete and complement the plot from the character's standpoint, and sometimes even It will inspire the screenwriter's inspiration and temporarily modify the script to make the story more rounded and full. Their supplement to the plot is not to challenge the authority of the director, but to complete it with their own understanding and performance, just like a spring rain, moisturizing things silently to complete the work.

This kind of actor can be said to be the dream of all directors, because they are conscientious and talented, and can take the whole work to the next level.

And Hugo is such an actor. Quentin can clearly feel it. When Hugo and Samuel are playing opposites, Samuel's performance rhythm is vaguely guided by Hugo, and Hugo gives the plot. The details burst into infinite sparks, which made Quentin almost want to roar with joy.

Hugo didn't know that Quentin had so many rich ideas. As far as Hugo himself was concerned, he enjoyed the process of the performance. At this time, he deeply felt that the process of sculpting a character was so charming. This is a completely different feeling from performing Amon Goss. Hugo can now go according to his own feelings. A director like Quentin also has his benefits. Quentin is now giving Hugo a blank sheet of paper. , there is only a simple square frame on it, and the rest is left to Hugo to play freely. This kind of freestyle performance requires certain rules and regulations, so that Hugo can fully feel the new level of performance.

Although it is a pity that the role of Vincent is still limited, Hugo is very satisfied because he knows that he has made the right choice. Through the role of Vincent, Hugo has a further glimpse into the palace of acting. This is also after the progress of the two consecutive works of "Sleepless in Seattle" and "Schindler's List", Hugo has made progress in acting from another angle.

This feeling is really wonderful.

For Samora, this performance process is like magic, full of countless miracles. One second Hugo was a sunny gentleman talking and laughing beside him, and the next second he became a sullen hooligan , this is the charm of performance. In the past, Samora, as a movie audience, still felt that "acting is not the case" when watching it in the cinema. It is estimated that most of the audience once had this idea. It seems that acting should not be that difficult, especially It's playing ordinary characters like "Mrs. Kramers" or "Pulp Fiction", or "Transformers" popcorn movies that don't have any difficulty, but that's not the case.

You can only feel it when you are actually standing on the set, or even standing in front of the camera. Sometimes it is very difficult to just say "hello" in front of the camera. You think it is perfect, but when you go behind the monitor and see You will find that your expression is so tangled or so contrived, let alone presenting the character with your own performance, even if you are acting yourself, it is not that simple.

This also made Samora more and more amazed. Watching Hugo's preparation to show the role, he couldn't help but sigh: This world is really full of weirdness, and it seems that his assistant's life will indeed be full of countless fun.

But for Uma, watching Hugo sway freely in front of the camera made her more and more nervous. It turned out that Hugo was so good when she was working on the set, so dedicated and professional... So charming, she not only started Worrying about her performance in front of the camera - she's never been a talented actor, and she's also starting to worry about her rivalry with Hugo, will she really be fine?