Chapter 610: Open Your Imagination
Scarlett’s question sounds very similar to Chris Evans’s. After all, both of them are on the same set facing the same director; but in detail After chewing it carefully, Anson thought that Scarlett and Chris had different problems.
It can be said that the problems Chris encountered are still at a shallow level. His problem lies in communication with the director; while Scarlett’s understanding and exploration of performance have entered the next step, focusing more on herself. Communicate with the role.
But if you think about it seriously, Scarlett will have a big breakout next year. The two works "Lost in Translation" and "Girl with a Pearl Earring" made people aware of this genius. With the talent of a young girl, she is now exploring acting and exploring her own path as an actor.
Anson spread his hands and said, "Scarlett, are you sure the person asking the question is the right one?"
Asking a vase for acting advice?
Scarlett tasted the self-deprecation in Anson's words. She lowered her head and looked at herself, "Why don't you look at me?"
"Vase vs. Vase" seems to be fine.
“Ha.” This time, it was Anson’s turn to laugh out loud, but how should he guide Scarlett?
Anson himself is still in the exploratory stage now, and is far from being a teacher. He does not think he can give the correct answer.
But thinking about it from another angle, he does not need to guide Scarlett, but to discuss and research with Scarlett around the performance. It is also a rare opportunity for him -
Compared with working behind closed doors, a threesome It is obviously the right choice to have my teacher. Exchanges between actors can often bring about new understandings.
So, how did Anson create the character?
This is a good question.
Raising his head, Anson looked towards the street, just in time to see the two women on the opposite side of the street, meeting each other face to face. At first glance, he knew they were acquaintances. They not only stopped to say hello, but also greeted each other with smiles on their faces.
then.
Anson raised his chin slightly and asked, "What do you think of that woman?"
Scarlett looked over, not sure why, "Are you planning to strike up a conversation and invite me to be the Wingman?"
Anson didn't mind, with a calm face, "I don't think being a wingman will increase the success rate." Will other women perceive a threat when they see Scarlett?
Scarlett noticed Anson's gaze, and her cheeks felt slightly hot. She originally meant to tease Anson, but she didn't expect to be turned against him. Scarlett glanced at Anson in a hurry, and didn't have time to see clearly. Feeling Anson's meaningful gaze, she quickly withdrew her gaze, continued to look forward, and quickly changed the topic.
"Which woman?"
Anson did not pursue her, "Whatever. You pick a character at random and look at her story, occupation, age, anything."
Shape The biggest difference between characters and reciting lines is that lines are lifeless, but characters are not.
The line itself is just a statement, with at most a state added. The emotion and power it carries all come from the character and the plot.
The character is completely different. Its flesh and soul depend entirely on the actor. If the actor thinks the character is a passerby and tool man, even if he stands under the spotlight, he will still appear as a paper man; If an actor believes that the character has a story, a life, and a context, even if he stands in a corner and rushes by, he can still become a vital person.
In "The King of Comedy", the supporting actor played by Stephen Chow is the simplest and most intuitive example.
Similarly, director Alfred Hitchcock hated method acting for the same reason. In his movies, actors do not need to dig into the story and soul of the character, but only need the actor to present an emotion. In this state, he needs actors to compose his shots like marionettes.
It is precisely because of this that Alfred Hitchcock's favorite actors are all types with their own charm, skin and appearance are the most important. Therefore, the key to shaping a character is to give the character precise, vivid, real and convincing details.
The costumes of "Friends", the book accessories of "Princess Diaries", the camera and bookshelf of "Spider-Man", etc. are all like this. This is what Anson is currently working on. The groping performance path——
Breathe life into the characters with details.
The same is true before our eyes.
The two people standing across the street, to Anson and Scarlett, are just two passers-by who happen to be passing by. If no more attention is paid to them, they will just pass by in a hurry and then disappear in the long river of their lives. It was just a paper man in the book; but now, Anson is trying to use their imagination to inject flesh and blood into the paper man.
Although Scarlett didn’t know what kind of medicine Anson was selling in his gourd, she still stayed focused and followed Anson’s words, unfolding her thoughts bit by bit.
As actors, they all have basic observation skills, and these basic skills are not difficult.
After thinking for a moment, Scarlett spoke.
"The woman on the right, she looks...she should be in her early thirties, but she has no obvious features and does not look like a person who is experiencing the story."
Anson Qing Shrugging lightly, "Even a person without a story has his own story in his own life, those ordinary stories. You don't need to pay too much attention to it, just follow your own observation and imagination."
Scarlett nodded slightly, keeping her eyes on the woman, and continued to observe, "She was wearing a business suit but did not bring a satchel, just a wallet. She is most likely working nearby and came out to buy something for the afternoon. Tea.”
“Her hair is a little dry at the end, she is not wearing full makeup, and she is wearing flat shoes. She does not seem to be the type who likes to dress up. In addition, she is in a hurry and seems a little busy. Her mind may be elsewhere. , most likely the child’s mother.”
Unhurriedly, Scarlett slowly painted the image of a woman in her mind. What was originally just a thin image of a passerby gradually became fuller.
But Anson noticed that Scarlett’s observations were still based on appearance, especially makeup and styling. These are also details that women will notice, but men often ignore.
However, the point is not here, but the flesh and blood that the actor gives to the character, which should not just be the shape, but also the story and roots behind the shape. Only in this way can the character come alive.
Of course, Anson himself is in the process of learning and growing step by step. Compared with Scarlett, there is no huge difference.
Scarlett turned to look at Anson. She did not show off triumphantly, but was a little confused and uneasy. She seemed to be waiting for Anson's response, and seemed to be curious about her own performance, waiting patiently. .
Anson didn't say good or bad. To be precise, he wasn't going to comment on Scarlett -
This was a discussion and exchange, not an instruction.
Anson looked across the street and his eyes fell on the woman on the left. He did not speak in a hurry or judge in a hurry, but observed carefully.
It is precisely because of this that Anson has not realized his progress and growth until now, and the woman in his field of vision actually takes on a completely different appearance in his mind.
Anson himself became very interested. This matter seemed quite interesting.
(End of this chapter)