2272 Finding Rhythm

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Felicity felt trapped.

In the beginning, I was just nervous and maybe a little anxious. For the first time, I took on a heavy responsibility in a big production. The subtle changes in my mentality created invisible pressure, and I performed in front of Renly after a long absence—and let Renly play for him, then. This subtle special feeling is really difficult to describe in words.

Gradually, after failing to pass three times in a row, I began to try different permutations and combinations of performance methods, but I lacked a firm belief in the performance process-the performance method I believed in did not succeed, and naturally I began to doubt myself about the role. Whether the comprehension and understanding are correct, and then start to explore different performance methods, so that the entire performance style will appear uncertain and unstable floating.

The increase in variables means that the performance state is unstable.

And then, things seem to be stuck in a rut, lack of confidence leads to instability, instability leads to lack of confidence, forming a vicious circle, the core of the performance begins to get lost, and I always feel like I'm repeating myself, but it gets worse and worse. That kind of confusion and daze is making people breathless, trying to struggle and resist, but they don't know what happened, and they don't know how to deal with it.

Slowly, slowly, the feeling of drowning and suffocation gradually surrounded me, and finally it was as if all my hands and feet were firmly bound and sank to the bottom of the lake. If you don't react at all, not even calling for help, you can only get angry at yourself.

"Card!"

When Gareth finished filming again, Felicity couldn't tell how many times it was. She didn't dare to look up at the director's expression. She lowered her head in embarrassment and clenched her hands tightly. He made a fist and tried his best to suppress the surging of his emotions.

The trivial voices were ringing slightly on the set, but instead made the shooting area seem more and more quiet. The director didn't speak, and others didn't dare to speak.

It's not that Gareth doesn't want to speak, nor that he doesn't dare, but that he doesn't know what to say: he also knows that the performance is not right, but he doesn't know how to adjust it - in fact, the general direction is correct, but in the In the picture conceived in Reese's mind, he always feels that it is not in place. He can't tell this subtle deviation himself, so how can he pass it on to the actors? Therefore, he can only choose the most clumsy method, let the actors try again and again, find inspiration in the attempts, and look forward to finally finding the feeling in the ideal state.

At this moment, Gareth is also savoring the performance just now. Some parts are right, but some parts are wrong, so how should we coordinate? In other words, he can use the editing of the lens to cut the entire performance into pieces, and the final product presented on the big screen will be no problem.

Renly was also thinking - because he was also part of the scene, and although his lines were only a few lines, Gareth shot eight times, and he performed it eight times, there was no way to save effort, This also made him have to start thinking about the balance of the scene.

It's a very interesting thing to look at the group performance from a holistic perspective. "The Popper" first served as a producer, and the subsequent "Jurassic World" and "The Lobster" also allowed Renly to view the "movie" art from a higher position as a producer, although He rarely interferes with the director's work, but still gives him a new perspective and has a better understanding of the acting work.

Acting is not a person's business.

Renly knew this before, and the teacher has repeatedly emphasized this since the beginning of the academy, but Renly's understanding has always been relatively narrow: he just took it for granted that the actor needs to interact with his opponent's partner, and only When you come and go, you can find the balance of the performance; now Renly has opened his eyes, and the performance should interact with the camera, light, sound, etc., just like the stage play must make full use of the stage space and Lighting is general, and in movies, actors must also learn to use these weapons.

That's why people say that acting is never a one-man thing, not even a one-man show. This is a unique feature of film art.

Now this scene is the best interpretation.

Gareth is a director who is very good at using light changes to mobilize the space.

We all know the simplest example. The larger the window facing the sun, the stronger the sense of interior space; otherwise, the sense of interior space will become narrow and oppressive.

In the movie, this is called "shot language". From light to motion trajectory to picture composition, it also includes the use of details such as color, position and background, and purchases a large-screen picture, which enables the director to present it through the picture. For example, in "Desperate Driving" starring Ryan Gosling, director Nicholas Winding Refn used giant lights to create a vertical, tall, and sturdy image in Los Angeles similar to a Nordic city. The alienated light creates the loneliness and emptiness of the entire city, which is the language of the lens.

The same is true for Gareth, "Godzilla" can feel his use of light and color, and it can also be seen in today's first scene.

Garris turned off all the main lighting in the conference room, leaving only the light from the computer or the instrument; in addition, the blue-green neon fluorescent light was set in the background of the conference room to ensure the firefly-like lighting effect; the most ingenious is undoubtedly the Place an off-white energy-saving lamp in the central groove of the round conference table, and cover it with a fog lampshade to reduce the light and achieve a hazy halo effect.

in this way

As a result, the main color of the entire conference room is still dark, creating a mysterious and even depressing underground effect, implying the status quo of the rebels, and at the same time exerting invisible pressure, laying the foundation for the solemn atmosphere at the beginning of the film, and then casting the whole The tragic tone of the film.

So what should an actor do? Can't let the audience open their eyes and feel blindly looking for the actor's face and expression in a hazy halo?

At the position where each actor moves to a fixed point, the lighting engineer sets a separate light according to the angle, and gathers the shimmer from the side, so that the expressions of the actors can be presented according to the effect expected by Gareth - more often It may be part of the expression, but it is enough.

In other words, each actor is under the "spotlight", but overall, the light of the whole scene is dim.

In addition, Garris prefers to capture the slightly tense atmosphere of the scene rather than close-ups and close-ups. Medium shots and panoramas undoubtedly occupy more space in the shot. Thus, there is a sense of contradiction: on the one hand, the light is focused on the actor's face, albeit in dim light;

The above is the premise.

Only by truly grasping the layout of the shots and the changes in the scene can you adjust your performance according to the actual situation, especially you should have more communication with the director. For example, Renly knew the overall idea of ​​Gareth, and he still hoped to present a grand and atmospheric texture, because the background of the story of "Rogue One" is space; and because the whole story is about a group of people with lofty ideals for a common goal Instead of focusing on one heroic individual, he still hopes to show the whole picture and show the heroic appearance of the whole group.

What does all of this mean?

The performance needs to be concise and neat, the emotions should be reduced as much as possible, but the precise point is: panic. anger. nervous. and so on. Of course, every emotion cannot be pure and straightforward, such as panic, which may often bring fear and tension. Those derived emotions are bound to exist, which also means that actors must clarify the core of their performance, and then use delicate The complex way, simply and neatly presents the characteristics of the whole emotion.

Any superfluous modification and extension, including exploration and depth, is a sloppy performance, which may not only destroy the integrity of the picture, but also be lost in Gareth's shots - medium or long shots cannot capture these at all. Details, the actor on the screen will only look like a fool.

Putting the way Renly performed in "Boom Drummer" or "Gravity" into "Rogue One" would be a complete disaster.

Now, the crew is facing such a problem.

Gareth couldn't know exactly what the problem was, because he knew so little about acting; but even if he did, he couldn't be sure how to adjust it, because it was an actor's professional problem, and even the actor himself was often at a loss - the experience was at the moment. It has become invaluable. Actors like Max, Forest, and Renly who have had blockbuster acting experience will be much more comfortable, but they still need time to adjust.

The problem did arise with Felicity, but it wasn't just Felicity's problem alone.

First of all, Felicity's performance is too delicate. She continues the way of acting in independent films, and her emotional handling is very good, but all of them are "ignored" by the camera. Instead, her performance rhythm is derailed, and the entire shooting process is It looks out of place, as if every tooth of the gear is out of alignment.

Of course, it's not just Felicity's problem, but the other actors' rhythm is also wrong.

In addition to Felicity, Renly, Angus Wright and May Bell all have lines, and the four of them form the thematic core of the scene.

But Angus' performance is too stage play, basically maintaining the demeanor and tone on the stage, just from the way of appearing with his head held high, it seems wrong, and the whole picture is a different style-although it is said that "Star Wars series" "It's called a "space opera," but it's not really an opera.

May Bell's performance was too tense, and the most basic emotions could not be conveyed in place, which caused the whole picture to be obviously out of balance.

You don't even need to wait for Renly to appear, the basic tonality is already wrong.

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