This director needs to apologize

Chapter 236 A world where only one person is injured

In fact, Chen Yiming knew that Yu Nan was resentful towards him. In fact, not only Yu Nan, but also Nie Yuan and Lin Geng, who had more roles in the early stage, were also secretly puzzled.

For such a blockbuster, the training time is nearly half a year, but you can't even arrange three to five days of script reading?

The actors could only conclude that Director Chen might not have the habit of reading scripts around him.

Yu Nan and the others had never cooperated with Chen Yiming, so it was not surprising that they would think so. However, Zhang Yu, Zhang Yi, and Guyuehe knew that Chen Yiming did this on purpose.

After all, when we were filming "Holiday" and "1951" before, we had to read the scripts for as long as a week, and the filming didn't officially start until all the main creators had read the scripts thoroughly.

It's a good thing now. Not only did Chen Yiming not read the script, he rarely even communicated with the actors. He relied on his own right to reshoot and let the actors figure out how to act.

Zhang Yu and Zhang Yi have only a small friendship. They just murmur in private and don't dare to question them face to face. Gu Yuehe is not in the group, so the only one who usually chants his curse is Lin Xiao.

In the words of Lin Dashen, Chen Yiming spent a lot of money. After becoming famous, he no longer had any restrictions and began to let himself go.

Heaven and earth conscience!

Chen Yiming believes that no one knows how to save money better than him!

The reason why he adopted Wang Jiawei's "reshooting flow" was simply because "Mulan" is a movie with a female protagonist, and Yu Nan happens to be a good actor with brains.

"Mulan" and "1951" are actually very similar. They are both radiating dramatic relationships. There is only one core character throughout the entire film.

Chen Yiming has always insisted that actors, as the main creative, are not naturally in a position of being dominated by the director. The higher the role's task, the greater the creative space of the character itself.

If the actor's acting skills and charm are strong enough, it is nothing new to bend the director and screenwriter to reconstruct the entire film according to their own performance logic.

Chen Yiming is not a tyrant on the set, and he does not think that the director should have the entire crew tightly in his hands. Any slightest disobedience is a treason, and he must suppress them, drive them away, and then speed up.

On the contrary, he welcomes actors showing him certain "unimagined roads," as long as they don't go outside the original frame and drive the car into a ditch.

Liu Dongjun, the male protagonist of "1951", is a newbie. Not to mention driving, he is lucky enough not to fall off while hitchhiking, so reading the script is a last resort.

Yu Nan is different. His acting skills and experience are both top choices. The most valuable thing is having a brain.

The word "brain" here does not refer to IQ. There are no idiots among actors with good acting skills in the industry. They are all extremely smart people.

Having a brain means being willing to think proactively and not being stubborn in the thinking process.

These two points have little to do with acting skills, but are closely related to emotional intelligence and professionalism.

There is only one heroine in a major heroine movie, and she is the center point of all the relationships between the characters. In other words, all the supporting characters have more or less opposite roles with her.

In his previous life, Chen Yiming had filmed many ancient puppet dramas with leading heroines. There were more than one case where the actors brought in their own writers and drastically changed the scripts to promote themselves as leading heroines. However, after filming and broadcasting of those dramas, without exception, they were all ignored. .

The reason is very simple. A female lead is not called a leading heroine because she has more lines and more roles. If the heroine takes all the highlights of the supporting roles to herself, will the audience like the heroine?

That's not the case. As the saying goes, birds of a feather flock together. The heroine's relatives, friends, and enemies are all idiots. The heroine herself must not be very smart. This is the thinking logic of normal people.

Today's Chen Yiming is not a tool director in his previous life, and the scripts he writes will not allow capital and actors to modify them at will. This requires actors to be even higher.

Yu Nan's creation is equivalent to dancing with shackles. He can only toss within the framework defined by Chen Yiming and cannot go beyond the limits.

At the same time, Yu Nan also has to take care of the many supporting characters, adjust and drive the performances of the supporting characters under the setting of the script, so as to achieve the desired effect.

In the scenes that had been filmed before, Yu Nan was always in the spotlight. The acting skills and experience of Nie Yuan and others were indeed inferior to hers. Therefore, with Chen Yiming's tacit approval, Yu Nan acted very freely.

What we were filming now was a group portrait scene. Yu Nan was a natural inferior in the scene, and her actors were all seasoned actors who were as good as her in acting and had far more experience than her, so Yu Nan suddenly gave So confused.

Why did everyone inside and outside the venue agree to retake it after shouting "Click!"? Because the crowd's eyes were sharp, Yu Nan, who had been the focus of attention in the past, suddenly disappeared from everyone. The contrast between before and after was too great.

What Chen Yiming mainly looked at was not Yu Nan, but Wang Jinsong, Hou Tianlai and Jiang Huiwu.

He keenly discovered that the three elders were not led by Yu Nan at all, and it could even be said that there was no interaction at all. On the contrary, there was full of tension between Wang and Hou.

What does this mean?

It shows that Yu Nan couldn't even hold the position of the scene. The three veteran actors just did their duty and walked through the scene.

Chen Yiming was still a little nervous. Wang Jinsong and Jiang Huiwu were just guest appearances, so it was not good to waste too much time.

However, this scene is quite important. It connects the past and the next in the plot. It is also an important part of Mulan's growth and transformation. It is directly related to whether Mulan's character can stand up in the second half.

Because of this, Chen Yiming didn't say a harsh word to Yu Nan, just because he didn't want to put too much pressure on her.

He thought that if it didn't work out, he might as well stop making guest appearances and just perform all the special performances. It was just a matter of paying more for the film, and a few teachers were worth the price.

Yu Nan's retreat was not just half an hour, but an hour and a half. When she came out again, it was almost eleven o'clock, and Chen Yiming simply announced that dinner was ready.

After a short nap after dinner, the shooting continued at 2 p.m.

This time, Yu Nan's improvement is visible to the naked eye. Although generally he still has a face with sparse expressions. Due to the position in the film, it is difficult to use large-scale body movements, but what Chen Yiming saw on the monitor is indeed a Fresh magnolia.

The camera arrangement for this scene is relatively complex. The main camera is Qi Yu's camera aimed at the actors speaking the lines. The second and third cameras are remote-controlled cantilevers, and Cui Fang's camera switches to panoramic close-ups.

This time Chen Yiming finally saw the interaction between Yu Nan and the other leading actors. When Wang Jinsong stood up to speak his lines, the temperature of his eyes changed as he looked at Yu Nan.

Because in the second and third camera positions, Yu Nan gave a series of responses.

Similarly, Hou Tianlai's performance also had more changes in rhythm. He no longer even sat upright and said his lines, but stood up and walked up to Yu Nan, with a slight smile and a cunning expression on his face, showing off the national level The charisma of a third-level actor.

The path is almost on the right track, and the next step is to refine it carefully.

After having a shot above the standard, Chen Yiming handed over the right to resume filming to Yu Nan.

After one take, as long as Yu Nan wanted to continue filming, Chen Yiming never shouted.

As for how Yu Nan persuaded the three teachers Wang, Hou, and Jiang to agree to cooperate, it was none of Chen Yiming's business.

Facts have proved that whether an actor pays attention or not, the actor who plays the role knows best.

The more Yu Nan thought about it and acted in detail, the greater the "stimulus" for the three teachers was, and their desire to act became more and more uncontrollable.

Thus, a world where only Guo Jingfei was injured was achieved.

The more delicate the performances of those who take the reserved route are, the more stringent the requirements are for Guo Jingfei, who is the only one who takes the external route.

Not only did he have to act tough but he also had to act fearful, because the consequences of escaping in battle would be serious, even to the point of death.

He was also embarrassed and annoyed because his civilian subordinates, who he had always looked down upon, actually questioned him head-on. It was so outrageous!

Until the last faint plea, his underwear was lifted, his reputation was ruined, and the only one who could save him now was his uncle.

Of course, so many levels of performance are not developed all at once, but are the result of Guo Jingfei's self-"squeezing" as the first supporting actor during the continuous drama between Yu Nan and the three teachers.

There was no way. If it was in Hengcheng, his guest role would be considered a "big one" to some extent. He couldn't perform worse than the extras in the big tent. He couldn't afford to lose that person.

(End of this chapter)