Chapter 283 The Beauty of White Space
“Is she okay?”
“She’ll be fine. She’s been sleeping all day.”
Mary Jane enters the hospital room , walked lightly, carefully came to the bedside, and looked at Aunt Mei quietly, like a sleeping beauty.
She was a little lost.
"Thank you for coming to visit her," Peter said.
Because of Peter's words, Mary Jane reacted from her thoughts, looked back at Peter, and said softly, "Of course." But then she turned to look at Aunt May again, and couldn't help but be lost in thought again, her thoughts scattered. open.
Self-blame, guilt, worry, loss.
Shoulders drooped feebly, and the hair hanging down on her shoulders slowly fell down. Her complex emotions could be felt without words.
Peter stood behind and couldn't see Mary Jane's expression, but he could feel her loss and struggle. But he didn't understand the reason. He didn't know where to start when trying to comfort him. He raised his right hand and looked towards He reached for Mary Jane's shoulder, and just as soon as he raised it, he lowered it weakly again.
A moment of weakness.
Behind the powerlessness, there is also fear and panic, confusion and anxiety. Because there are too many thoughts, it goes blank, and there are simply no ideas in the brain.
Peter just stared at the back of Mary Jane's head quietly, so focused and so immersed, you could see love and sadness in his eyes, overflowing like smoke.
One look is enough.
Jake Gyllenhaal himself didn't realize it. He slowed down his breathing and his thoughts were falling away bit by bit.
Although Jack didn't realize it, in fact, he was just a part of the set, and the entire crew on the set couldn't help but hold their breath, feel the heartbeat, and feel the emotions.
There is obviously no dialogue, but you can feel that the two young people are trapped by their own youthful troubles.
The world fell into silence.
For a short time, they stayed away from the chaos and noise outside. They did not need to think about those life choices and life problems for the time being, but just allowed themselves to be immersed in those emotions.
But.
Peter noticed.
In this short moment, the confusion and turbulence in his heart inadvertently leaked out. This was very dangerous, and he could not let Mary Jane be in danger.
Then Peter lowered his eyelids, discreetly and timidly covering up.
"Are you okay?" he asked, "I mean that night."
Mary Jane was shocked, thinking that her emotions were seen by others, she quickly squeezed out With a smile, he looked back at Peter with the corners of his mouth raised, "Me? I'm fine, but I shouldn't leave Aunt May behind."
If she hadn't left and left Aunt May alone at home, maybe the Green Goblin wouldn't have found Aunt May, and maybe Aunt May wouldn't have fallen asleep.
Peter opened his mouth, because he knew that what happened with Aunt May was not Mary Jane's fault, but the words were already on the tip of his tongue but he swallowed them all.
He couldn't say.
After the emergency brake, Peter changed his words and said, "Have you talked to Harry?"
A 180-degree turn, very jerky and very stiff.
Peter was a little annoyed and pulled the corner of his mouth slightly, as if he had a toothache, and then quickly covered it up. Fortunately, Mary Jane was also distracted and didn't notice. She let out a long breath with an annoyed look on her face.
“He called me.”
—But.
Obviously, that tone means that the words are not over yet, and there is a turning point behind.
However, Mary Jane was also hesitant to speak. She swallowed the words on her lips and walked around the hospital bed to the window sill, trying to find a place to place the flowers she brought, using such actions to cover herself up. panic.
Thousands of words were said, but in the end there was only one sentence left, "I haven't called back yet." What should she say?
What else could she say?
Mary-Jane felt agitated and stood in front of the window, lowering her head and looking at the flowers in her hands. The sparse sunlight penetrated the glass and fell on her face.
Mary Jane did not speak, and Peter did not urge him. He stood quietly, motionless, but his body moved slightly towards Mary Jane as if he could feel the attraction of a magnet.
There was silence in the air, no one spoke, but one could clearly feel Peter's restraint and Mary Jane's confusion. Emotions were quietly surging, leaving unlimited room for interpretation and allowing thoughts to sprout.
Behind the monitor, Sam still looked like Sloth Lightning, 100% focused and 100% dedicated, with a firm look in his eyes——
He was very sure and certain that Anson and Ke Risten can surprise.
In such a scene, complex emotions and chaotic thoughts all surge together.
If you only rely on simple dialogues in the script, you will not be able to show the context at all. You will only have a messy stew thrown up and stuffed into the audience's mouth simply and roughly, regardless of the audience's feelings, and asking the audience involuntarily. Accept the emotional changes of Peter Parker and Mary Jane.
Are all commercial movies so unreasonable?
But now, the situation is different.
Sam saw the entanglements, struggles, hesitations, and repetitions. The characters' emotions were delicately and fragilely displayed, just like exposing wounds.
Not only the silence, but also the surge conveyed by body language.
Whether it is Christen’s loss and stiffness immersed in her own thoughts, or the complexity and restraint conveyed by Anson’s eyes, movements, and expressions, this little bit of blank space already has many possibilities.
In fact, not everything needs to be explained clearly, especially feelings. It only needs to leave some blanks to ferment in the minds of the audience. This is enough. The information hidden outside the dialogue is what makes this game. The reason for the excitement is the play.
However, Sam immediately realized——
Relying solely on the power of performance was not enough.
Movies, why they are movies, are because the director needs to use all means to create an atmosphere, an experience, and an immersive feeling.
Here, they should add electrocardiograms and trivial sounds, maybe a blue alert in the corridor, maybe there are cars passing by outside the window, and use these noisy and chaotic sounds to create a sense that the world is falling apart. The illusion reflects the ripples of emotions between the two people.
Background sound, alluding to the character's mental state.
This kind of shooting technique is a piece of cake for Sam.
The most important thing is that you cannot use front and back.
Simple and crude shooting techniques such as front-reverse shooting cannot express the intense tension between the two people, and it is a complete waste of the two actors' understanding and interpretation of the characters.
But similarly, the camera position of this scene also needs to be adjusted.
Thoughts were surging in his mind, and Sam also knew that this scene was not perfect, and might need to be re-shot, re-shot, or even adjusted.
However, Sam did not call to stop, but quietly enjoyed it, slowing down amidst the bustle and hustle and bustle, allowing the two actors to continue to sort out the emotions of the characters.
It was only then that Sam suddenly remembered a key point:
When did Mary Jane fall in love with Peter Parker?
Not Spider-Man, but Peter Parker.
His thoughts only had time to pause briefly in his mind, and then Sam's attention was once again drawn to the two figures on the monitor.
It seems extremely long to describe, but in fact it only takes one second.
A blank key, a blank key that exists objectively but does not disrupt the rhythm.
(End of this chapter)