My Hong Kong Island Filmmaker

Chapter 1048 Filming, Acting and Becoming a Man

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In a 14-storey tenement house in Chinatown, San Francisco, the props and camera crews of "Detective Chinatown" were adjusting tools and equipment on site, and the lighting, art, and set crews were also busy.

Several old faces from the family-making class stood aside to check the Wia for Cheng Long, and did jumping drills, while Xiao Lizi stood on the edge of the roof with a full face of hesitation, looking downstairs, with fear in his eyes.

"Don't worry, you don't need to jump."

The eldest brother Long smiled and patted Xiao Lizi on the shoulder, his whole body revealing the ease of watching death like a child's play, "Don't look at the height, it's actually not difficult to jump up."

"Do you have to risk your life so much to make a movie?" Xiao Lizi asked tremblingly.

This is much more dangerous than running around with a water gun.

"My movies have always been like this. For action movies, you always have to let the audience pay for the ticket price, right? Wu told me that our performance in the movie must be ahead of the audience. Only in this way can there be a sense of expectation.

But don't worry, under normal circumstances there are substitutes.My group of brothers followed me all over the world and experienced many battles. "Cheng Long spoke with a substandard English pronunciation, and he didn't know if Xiao Lizi could understand or not.

"Jack—"

Wu Xiaozu suddenly waved at Tool Dragon, and Lin Chaochen and Jiang Digui walked over smiling.

"Director." Xiao Lizi hurriedly stood to attention and said hello.

Wu Xiaozu glanced at the handsome little plum who was about to catch up with him, and smiled like a father, "How is it?"

"Unbelievably, it's harder to do film than I thought. My experience acting in TV shows doesn't help much here."

Xiao Lizi stared cautiously at Wu Xiaozu, who was more handsome than him, and at the same time more mature and masculine.

Who wouldn't want to be such an attractive man?right.

"Don't be nervous, sit down."

Looking at Xiao Lizi, who looked like a six-to-seven percent of his beautiful shadow when he was young, he pressed his hands in a calm tone and sat down together.

"Leon, what do you think acting is?"

"Play a character well." Xiao Lizi, who is not highly educated, described it with his only knowledge reserve: "It is to play a character very like..."

"You are too general." Wu Xiaozu turned his head to look at Lin Chaochen and Jiang Digui again, "What do you think?"

"It should be a way to convey drama." Jiang Digui preached according to the script very seriously.

Lin Chaochen also nodded, agreeing with his words,
"This is an understanding and definition of acting, but have you ever thought about how to tap the potential of an actor, or how to do what you said?" Wu Xiaozu raised his legs and stretched out his hands. Hurriedly offering a cigar, Jiang Digui helped to light it.

Xiao Lizi also took the ashtray and put it in Director Wu's convenient place.

"The audience feels the play from the outside to the inside. It needs to see the content of the play itself and the inner thoughts of the characters through the language, body, clothing, makeup, modeling, etc. of the actors. When you start 'acting', you Lost the most moving physique."

Wu Xiaozu's voice attracted the attention of many people, and Cheng Long, Chen Chong, and others also came together, except for Chen Chong, all of them were from Yeluzi.

"So, since you start acting, the first thing you need to understand is what performance is. Performance is expression, performance, and performance is deduction. To sum it up in the simplest terms, it is to feel the heart through our outside, that is, the body, and then through The body expresses what is inside. Therefore, for an actor, acting is an outside-in-out process.

Therefore, actors should express to the audience the script, lines, characters, and inner hearts we know from the inside out.The audience feels the theater from the outside to the inside.If you don't feel the inner things when you act, for example, you cry for the sake of crying, what you are acting is the surface.

Then it's not acting, it's acting.Acting is an outside-out process.This is the opposite of acting... So, in the early stages of acting, your teacher will definitely tell you to listen, see, and feel.At this stage, what you cry is not the character, but your own sadness. "

Speaking of this, Wu Xiaozu looked at Lin Chaochen and Jiang Digui, "For new actors, it is most effective to use real experiences to inspire inexperienced actors. For example, if you can't cry in a crying scene, you can think about your deceased relatives.

Of course, as you eat in this line of work, you can’t keep thinking about your loved one’s death, lovelorn, just once or twice...you will become numb if you have too much. "

"Then what should I do?" Chen Chong asked sincerely for advice while holding a small notebook.

"If you have more and more experience in acting, then you have entered a golden stage of an actor, which is a purely technical stage. You can make up your own hands with wry smiles and blames, cry very quickly, and stop immediately after the performance. The technique is very good, The acting is right, what you lack at this time is emotion and explosive power. Some actors even stagnate at this stage, and can continue to extract their own 'emoticons' to complete the performance.

If you just start to enjoy your technical performance, then you have stopped in the process of going from vulgar to elegant.All your emotes are on point, and the characters are well done, but lack luster.If you want to really shine, then you have come to the last place of vulgarity. "

Don't think that Wu Xiaozu didn't gain anything from auditing at the film academy. He has indeed perfected his systematic cognition and sublimation of film performance.

In other words, the ability to train actors is stronger.

With a slight movement, the actor's whole body trembled in an instant.

"In this line book, don't always think about the 'happy' and 'sad' that the screenwriter marked the characters in brackets. Let me ask you, how do you play 'happy' and 'sad'?" You have to combine the front and back plots, You have to grasp the whole scene.

A line, performed in one go, is touching, but where is the emotional explosion?Which has slowed down?This must have been controlled layer by layer by you.Your highlight may not be in this word, but there must be an emotional explosion in this area, and then give the lines the emotion from the inside and outside. At this time, whether crying or laughing, it is the emotion of the characters.The "truth" at this time is definitely not the truth of your first stage, but the truth of the characters.

Taking crying as an example, the first stage is real emotional crying, the second stage is technical crying, and the third stage is real emotional crying, but this is crying with the emotions of the characters.

So I often say that rhythm is very important.This requires you to constantly practice and control your body, your volume, the rhythm of your lines, and the rhythm of your performance. "

Wu Xiaozu talked about his self-awareness about acting, which benefited everyone at the scene a lot.

Xiao Lizi began to understand how he should express his emotions, which was nothing more than substituting in.

Chen Chong is also thinking about how to rise from the technical to the third stage.

"Don't play the 'first time'."

Wu Xiaozu looked at Chen Chong, "When you play the role of a policeman, you will often play it according to the first time. It's like the first day you go to work. However, a policeman who has worked for more than ten years, when she talks to the family members of the deceased , can be sympathetic, but it must be professional, because it is definitely not the first time she has encountered such a thing.

Also, I think you are used to writing biographies, right?Have you ever thought about why you wrote so much, but you were so awkward when you played against Brother Long and the others on the scene?Frequently being called out by me? "

Chen Chong put his legs together, with a look of shame on his face.

She has seen the world...

But in the crew of "Detective Chinatown", there were really embarrassments. Except for Xiao Lizi who was often called "hack" because she was immature, she was called "hack" more than a dozen times.This is definitely a blow for an actor.

"You guys go and prepare for the upcoming filming first. Ah Xian and you, Jiang Digui, go and tell Leon about the upcoming filming. The rest of you should leave too." Wu Xiaozu waved his hand.

The on-site staff also returned to their respective jobs.

Then, Wu Xiaozu waved his hand towards Chen Chong, motioning to sit next to him.The latter sat next to Wu Xiaozu, and when he sat down, his buttocks were plump and fleshy.

"Have you written a short biography?"

"Yes."

"Let me take a look." Wu Xiaozu took the other party's notebook and said with a smile: "You wrote the biography of the characters after reading the script, which is a good advantage."

Wu Xiaozu exaggerated, and then changed his voice.

"However, this also misleads your understanding of the characters. You designed various plots at home, designed the way to say lines, and designed the rhythm...

However, when you go to the live rehearsal, you will actually find that you are working behind closed doors.Because during the rehearsal, the opponent actors keep giving you different stimuli.From the beginning of the audition to the final shooting, many things often change.

Not only is your understanding of the characters changing, the direction of the characters will also change, your opponents will also change, and I will even need to make certain adjustments in the scheduling of the scene.But you have already defined the characters in your mind, which hinders your judgment of the characters.

The real biography of the characters is what you have to do after you have been running in and correcting your opponents.In this way, you will have a better understanding of what you are going to play when the filming starts.It's not that you draw a tree in your mind in advance, and then grow and perform according to the shape of the tree. "

Chen Chong was next to Director Wu, and when he heard what the other party said, he suddenly understood, and he felt a sudden understanding.

"I have always believed that those who can't act are actors, and those who can act are actors."

Wu Xiaozu smiled slightly and patted Chen Chong's thigh three times. The latter seemed to realize something, and hurriedly brushed the hanging hair of his short hair.

"Director..." Seeing the other party get up, Chen Chong suddenly took the initiative to say: "I think your film theory posture is really inspiring to me. Can I visit to ask for advice at night?"

"Your performance has been adding, from liberating nature, practicing without objects, imitating animals, concentrating, improvising, observing characters, skits and finally shaping characters.

This is like the process of getting dressed, put on underwear, vest, autumn clothes, long johns, then a sweater, wool trousers, then a coat, and finally a down jacket. You said you can still perform freely嚒?If you want to improve, what you need is to do subtraction. "

Wu Xiaozu smiled slightly, "If you really want to know, then I can do the subtraction for you."

"I am willing." Chen Chong nodded quickly.

How else can we say that Wu Xiaozu is good at training actors?He is really expected.

One of Grotowski's performance theories is called: physiological stimulation.Don't think he's making it up, it's true!It is also a particularly important link in performance theory!
PS: There are more.

(End of this chapter)