1566 Cut Branches
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As soon as they arrived on the set, they didn't even have time to introduce themselves. Renly and Jessica had already started to discuss the roles and performances. These two people really interpret what it means to be a play idiot. From this perspective, those Not all of the negative rumors about Renly are wrong.
Mackenzie and Timothy both noticed this scene. Although they are both underage, they still belong to the category of children; but they have begun to breed their own thoughts and ideas about performance, like sponges, as long as they meet With the right guidance, more potential can be tapped.
After entering the cabin, Mackenzie snuck up and sat down on Jessica's side, like a harmless baby, quietly sitting beside her and listening - many times, when parents are talking or arguing, It is often easy to ignore the existence of children, which is why.
Timothy, on the other hand, was constantly loitering near the sofa at the door, looking like he was playing idle, but his ears were always stretched out, like a little mouse eavesdropping on the corner. - Is it invisible without eye contact?
Jessica noticed the melancholy and nervous look on Timothy's face from the corner of her gaze, but she couldn't hold back and laughed lightly, "Timothy, come and sit here. We're not discussing anything. Trade secrets, you can come over if you want, just like Mackenzie."
Mackenzie, who was sitting next to him, hunched his back as hard as he could, stuffed himself into the sponge on the back of the sofa to hide his existence, but suddenly realized that his whereabouts were no longer a secret, and he couldn't help but vomit. He stuck out his tongue and made a grimacing face, but quietly straightened his back and began to "steal" listening openly.
Timothy still had some hesitation in his footsteps. After being exposed to the trick, he scratched his head shyly and embarrassedly. His face was still filled with an extremely bright smile to hide his jerkyness. He glanced at Renly, and then saw the smile on the corner of Renly's mouth. After getting the approval, he walked over quickly and sat down beside him.
In fact, Renly also noticed the change of the two little guys, but he didn't take the initiative to bring it up. In this regard, the perspective and handling of women and men are still different after all.
Renly turned around and looked at Jessica again. "I'm thinking about cutting down on the Cooper character and making the performance more pure and focused."
Jessica showed a curious look, "Why? In 'Gravity', Alfonso's director is doing subtraction, while your performance is doing addition. Through the interlacing of performance and camera, the core bursts out. The sublimation of the motif, it seems to me that the intent of Chris and Alfonso is essentially the same."
"What Chris and Alfonso have in common is that they both hope to reflect a grand and huge motif through human emotions." Renly nodded in agreement, and then went on to explain further, "But The difference is that the final destination of the two is completely different.”
In "Gravity", Alfonso uses space to survive to reflect the origin of life. According to the original script, there is no problem with this; but in the actual interpretation, Renly digs out more content about the two characters, giving the film more philosophical thinking: Who am I? Where did it come from? Where to go?
This is undoubtedly a further explanation of the origin of life, giving the film a deeper meaning.
In "Interstellar," Christopher uses the wormhole's time-folding to reflect human emotions. It can be simply understood as, is there an everlasting eternity in the vicissitudes of life? The definition of emotion in the script is very intuitive and simple: the family relationship between Cooper and a pair of children, especially the bond between Cooper and Murphy, whether this emotion will become thin with the passage of time, or even to dissipate? Going a step further, do beliefs die?
In other words, the foothold of "gravity" is life, while the foothold of "interstellar travel" is emotion. The former can be given more philosophical interpretation, while the latter needs to be simpler and purer.
In fact, this is similar to the motif of "Inception".
What "Pirates of Dreams" is discussing is, are there any fetters in reality that make those dream builders come back? And the discussion of "Interstellar Crossing" is, are there any bonds on the earth that allow those interstellar travelers to break the shackles of time and return again?
In the Nolan brothers' script, the whole core idea revolves around the emotion between Cooper and Murphy, which doesn't require too much branch decoration——
Why are Cooper and Murphy so close? What the hell happened between Cooper and his wife? How was the emotional estrangement between Cooper and Tom? Why is Murphy willing to believe in his father wholeheartedly? And what beliefs made Cooper and Murphy's bond unbreakable? Why did Cooper still choose to come back? Why did Murphy wait so hard?
All of this is cumbersome.
Affectionate.
Just this one answer is enough. It is not that I am unwilling to explore and expand in depth, but because the script hopes to explore the most primitive emotional fetters of human beings, in contrast to the most primitive world structure such as time and space, which can be understood as the collision and confrontation between reason and sensibility.
If things get complicated, for example, Murphy hates his mother, so he has a bond with his father; for example, after Cooper lost his wife, he found the projection of his wife in Murphy; another example is the relationship between Cooper and Murphy. share a common interest in science, allowing two people to spend more time together... and so on
When the reason came out, things lost their original pure texture.
The purpose of cutting the branches is to further highlight the conflict between emotion and time. It is only fair to compare the two most essential and pure things at one time.
In addition, the director's style is also a very important reference factor.
Although Alfonso is not a director who is good at tuning/teaching actors, his shots are always sensitive to the emotions of the characters and stories.
Whether it is "Son of Man" or "Harry Potter and the Prisoner of Azkaban", or even Alfonso's early films, he can always show the flow of emotions through the temperament and characteristics of the images, such as loneliness and sadness , despair, pain, etc., the construction of light and shots can leave more blanks and aftertastes for the audience to fill in.
Of course, the actor's performance is more important.
Christopher, on the other hand, is a different kind of director, who is good at presenting the diversity of the story through shot scheduling, rhythm control and editing stitching.
In Christopher's films, emotions and characters are relatively weak parts. What he presents is often a single emotion, the loneliness of "Inception", the struggle of "The Dark Knight", the sacrifice of "Deadly Magic", the "following" Loneliness, things like that, but when emotions start to get complicated, he tends to get out of control easily.
Therefore, Christopher must direct the script he wrote, because the characters, emotions, and stories can be controlled; the overall quality of "Chasing the Murderer in the White Night" adapted from the script is obviously weak. Overall, Christopher is a director who is good at telling stories, but not a director who is good at telling emotions.
Therefore, the actors need to cooperate with Christopher's scheduling and integrate with the story as much as possible. If the actor plays too much by himself, it is easy to break the structure of the whole work; on the contrary, if the actor pushes the emotion further on top of Christopher's setting, then he will win a wide range of play space - the clown of "Dark Knight" will put himself The madness of both good and evil has been brought to the extreme.
No disparaging malice, but an objective statement: in a Christopher-directed production, the actor's job is relatively simple, they just need to follow the framework of the script's character, and that's enough. In fact, this is similar to Alfred Hitchcock-
This horror movie master is interested in expressive acting. Fear is fear, and panic is panic. He hopes that the actor will have no superfluous thoughts of his own, and according to his own settings, like chess pieces, appear in the right place at the right time, then His films were able to live up to expectations. Therefore, Alfred has always scoffed at method acting.
In "Gravity", Renly needs to do addition; in "Interstellar", Renly needs to do subtraction.
What is a subtraction?
"Just focus on the family. There's a bond of faith between Cooper and Murphy, he's trying to go home, he wants to go home, that's the only thought. No reason, no story. Cooper's So love Murphy because Murphy is his daughter, and Murphy believes in Cooper because he is her father. It's that simple."
Renly expressed his views and opinions.
Acting in "Interstellar" will be a brand new challenge. Renly will use expressive acting skills for the first time in the performance, cutting down the branches of method acting skills as much as possible, showing the delicate, moving and profound emotions, which is enough.
In the last life, Matthew McConaughey's performance failed to do this. He tried to add more details to the character, but these details were all submerged in Christopher's shots, and eventually became useless. Cooper, played by Ma Jiao, is separated from the story and affects the connection between the audience and the film.
It's not that Matthew is not good enough, it's just that the method is not suitable. Christopher is not good at tuning/teaching the acting side, and here is a glimpse: he simply doesn't realize that Matthew's method is not suitable for this film.
Of course, this is just Renly's personal opinion.
Renly's explanation came to a point, and Jessica fell into her own thoughts, savoring the words just now, "You mean, we just need to show that emotion, and then This kind of emotion deepens step by step, and continues to magnify the belief in missing and love, right?"
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