Two Thousand Two Hundred and Seventy-Seven Global Control

Angus and May-Bell have conflicting emotions, and they don't know whether to be happy or worried: it turns out that they have not been forgotten by Renly, and Renly has not played big cards in a defiant way; however, after the little stormy sea just now , The emotions of the two people are a little tense, as if they are challenging the high-altitude wire, the idea of ​​turning around and running away is still surging in their minds, and there is an irresistible temptation/temptation.

Fortunately, Renly's words quickly made them fall into thinking, and there is no time to think about the survival probability of fleeing, or to put them collectively into a ditch?

"Garis, we can notice changes in the light on set, which is obviously a very important part of the scene; but what about that? Are the shots close-up, medium, long-range, or panorama? How high and low are the camera positions? And when the characters are in dialogue, what is the state of the depth of field of the position of the dialogue character in the camera, and the position of the other actors in the camera? Most importantly, what is the emotion of the camera you want to convey? Tension? Confrontation? Or what?"

Everyone's faces are stunned, aren't these states a director's profession? What does it have to do with these actors?

But Gareth showed a contemplative look, and the depth and focus in his eyes showed the activity of his brain.

"During the performance, a spotlight was left on each actor's face, which meant that the details of the expressions were clearly captured by the camera; but the composition and shot track were showing the character relationships and the overall atmosphere, which again It means that the actor's performance cannot be too trivial or too delicate, otherwise it will be lost. Now, each of us has a different understanding of the camera, the most important thing is that we cannot understand the director's pursuit, and the final performance state will be presented. , it cannot be accurately captured by the camera.”

Angus and May Bell were still full of confusion. They could understand every word of Renly, but when combined, it was like a book from heaven.

Felicity's thoughts gradually recovered, and those bright eyes looked at Renly with anticipation and excitement. All the clues were connected, and the chaotic and noisy brain became clear again, and everything made sense. Those obstacles and difficulties disappeared in an instant.

Gareth still maintained a state of absolute concentration, "You mean, the lights try to capture the state of each character, and the picture tries to capture the atmosphere of the audience, there is a conflict between the two, and the actors are not sure during the performance. How should I grasp the proportions, and finally destroy the fluency and integrity of the whole. Overall, the details are correct, and the connections are correct, but the overall blueprint is wrong?"

"No, no, no." Renly shook his head repeatedly. "You should make it clear whether you want a part or a whole, and then let us get on the right track."

"Judging from the requirements you just made for me, you are actually more inclined to the overall effect,

So you want my performance to be more restrained, but you don't want to miss the depth and layering of the characters in the camera, so I was convinced. No, this is not what we want, you should leave the performance space to ourselves, but the premise is that you need to delineate the scope of the performance space and give a direction and goal, which is correct. "

Renly's further explanation didn't make Gareth realize in an instant. Instead, he entered another bull's horn and said with a frown, "Performance space? I don't know anything about performances, all I know is that your performances are in the middle of my shots. Whether it is appropriate or not…”

"Yeah, that's what we need!" Renly interrupted Gareth, and then Gareth can be seen looking up in confusion, before he has to explain, "Your camera! That's what we need!"

"Remember? It's a sci-fi movie, and computer effects are bound to take up a lot of space. What does that mean? It means that we actors have no way of knowing how the shots and images will end up, even if we go behind the monitor now and watch You may not be able to imagine the whole blueprint in the live playback, only you know, you know how magnificent the scene is, and you know how gorgeous the picture is, all of which are in your mind.”

"On the set, you control the entire scene through your own arrangement of the camera trajectory and the depth of field. Now, you have to tell us, for example, this is a panorama, the focus is on Felicity, the actors and the camera. How much distance between them, how much emotional intensity you need the actors to show, and the rest is up to us.”

Simply put, the actors need the director to pass the ruler over so they can adjust their performance.

Renly's explanation finally woke Gareth, "Aha! Is that why? Is that why those performances are so stiff and out of proportion?"

Does this mean "Rogue One" or "Godzilla"?

The actors at the scene were a little confused: Do you want to be sad? Do you want to refute yourself? Will Gareth speak?

"Of course, there are also important differences in the actors themselves." Renly shrugged and made a joke. The subtext seemed to say: If it was me, it would be different. Inadvertently, I pushed the words of Gareth to "Godzilla", pretending that there was no problem with the performance of "Rogue One".

The relaxed and cheerful tone made everyone stunned, and then they laughed together, especially Angus and May Bell, who were in the fog, laughed extraordinarily or even a little too exaggeratedly.

Gareth also chuckled, "Sure, that's for sure." Then he cut to the point, "Mid shot, what I need is a mid shot. The light will lock on Renly and Felicity. , so, I guess, Angus, your performance should be more restrained; and May should be more extroverted, because you are at the far end of the medium shot, the camera can't capture your emotions, and, by the way, targeting you The lighting is not spotlight but astigmatism, your performance needs a focal point, otherwise the lens will be very…scattered?”

Gareth himself wasn't so sure.

"As for Renly and Felicity, I'm sure you will handle it well. The last match against each other felt good, but the strength needs to be weakened." Gareth was not good at pointing and performing, so he didn't go on.

After the explanation, Gareth patted Renly on the shoulder hesitantly and embarrassedly, but his movements were very stiff, "Thank you for your suggestion." Then he quickly turned and left, and the back of the fleeing back made people couldn't help laughing.

The atmosphere was a little dull.

Angus and May Bell are still digesting, and what happened in just five minutes is so ups and downs that they are still somewhat unable to react.

Felicity carefully pondered those conversations and understood the performance from the director's overall perspective. This is still a bit esoteric and complicated to her, and she doesn't understand what it means for a while; but she can understand the effect of depth of field changes on the details of the performance. The performance of the close-up and the long-term view is definitely different, and Renly specifically asked Garis and asked Garis to complete the composition of the picture. So, does this mean that in the performance of commercial films, actors need to More with the director?

This is an idea to break the stereotype!

The most common type of Hollywood commercial film is Lone Man, from Harrison Ford and Tom Cruise, to Bruce Willis and Arnold Schwarzenegger, to Will Smith and Johnny Depp, Even the star-studded Robert Downey Jr., the personal charisma of these heroes is the biggest reason for the success of the movie. Naturally, the core highlights of the entire movie are often concentrated on these absolute protagonists, even at the expense of letting the whole story be theirs. His charisma gives way, so much so that it destroys the structural balance of the film.

As for the director?

"The iron-clad Cruise, the flowing director", the director's ability and charm must serve the actors, and their roles are easily overlooked.

Now Renly has broken such a rule, obviously not because the protagonist is Felicity, and he is trying to steal Felicity's lightning in a vile way, but to give the film and character more possibilities.

More importantly, this is the way of performance suitable for Felicity: in the trend of the performance direction of the big frame, find her own rhythm, use her way to interpret the role of Jean-Erso, with delicate and The richness of emotion to show the character's growth is like Renly's Cassian.

"Renly, can we go over the lines again?" Felicity looked up at Renly, "I mean, off-camera, I want to try to figure out how Jyn feels..."

"Exactly, I also need to adjust the degree of Zhang Chi." Before Felicity could finish speaking, Renly actively agreed.

For Renly, he, too, needs to adjust.

Gareth re-emphasized that he still hoped that Renly would be a little more restrained, perhaps because his mind was turning upside down and he had forgotten the conversation before the argument; overall imbalance.

Renly wouldn't blame Gareth for being outspoken. In fact, in order to guide Felicity into a performance state, Renly did a little too hard, the tension was a little too intense, and the details were too much. It is too cumbersome, and it is indeed possible to make a certain degree of adjustment.

And for Felicity, she had to rearrange her mind:

How did Jean Erso feel about her father, how did she respond to the rebels' questioning, and how did she digest and understand the ensuing request for help? What is Jean-Erso's feelings about the rebels themselves, and what are her feelings when the rebels "kidnapped" her? Going a step further, in the face of Cassian's aggressive posture, what kind of character is she, resisting? dissatisfied? Hold your breath? And based on this, how should we grow in the future? What should the performance curve be like?

It is true that the performance needs to be concise, direct, restrained and efficient; but if the context and curve of the entire performance cannot be determined, then the character is still a paper man after all.