This director needs to apologize

Chapter 397 I owe him a favor

For novice actors, emotional substitution is the only reliable way of acting.

What if you don't have personal experience of losing a loved one? It doesn't matter. Just recall your own past experiences of losing a loved one. As long as you are not a sea king, you can basically relate to the situation.

The state of laughing while crying is not presented well? It’s a small matter. Learn from the early Man Shen, recall the sad memories in your mind, and ask the stage manager to make some fun outside the camera. Isn’t it possible to laugh through the tears?
The same principle applies to Shen Ming's operation just now.

At the end of the scene, Xun Xin was convinced by what was really happening. He refused to admit it intellectually, but felt a very awkward state of mind.

Logically speaking, this state is quite common for a young person in his early twenties. At the end of the rebellious period of adolescence, everyone has a time when they are the toughest in their body.

But everything is afraid of comparison. With Shen Ming's sincere monologue and colorful performance as a precedent, it is equivalent to greatly raising the threshold for Liu Haoran to accept the role. Under the momentum of a cliff and a waterfall, if the subsequent actor lies down and gets beaten, the flavor of the whole play will immediately be wrong, and it is not enough to describe it as a tiger with a head but a snake with a tail.

However, Liu Haoran's experience, accumulation and acting skills alone are not enough to meet Chen Yiming's requirements, and the close-up of the face here cannot be "added with special effects", so Liu Haoran has to rely on himself to handle it.

No matter how reluctant Shen Ming was, he had to take a shortcut.

Off-camera, sufficient pressure was applied to deliberately increase Xiao Liu's self-doubt. Actor Shen only needed to release his aura and put on a stern face to make his cheap apprentice feel helpless without any verbal attacks, and the fear in his heart could not be suppressed at all.

Repeat it a few times and you'll get it just right. Then it's just a matter of shooting it a few more times.

At this moment, Shen Ming is teaching Liu Haoran a lesson while the iron is hot. With the personal experience just now, it is the best time to understand the method of emotional substitution. In the future, when performing similar operations, perhaps there is no need to use unconventional tricks.

Chen Yiming returned to the studio to check the materials. It was already around 4 p.m., so he had to start early if he wanted to reshoot.

Half an hour later, Chen Yiming gave the order to clear the site and finish work.

The progress of this important rivalry scene far exceeded Chen Yiming's initial expectations.

There were exterior scenes, long shots, new actors, and DEBUFFs all stacked up, so he reserved half a week specifically to polish this scene.

Unexpectedly, it was completed in one day.

What is even more commendable is that after this day's training, Xiao Liu seemed to have achieved a state of rapid development. He was able to perform the method of emotional substitution quite well, and his performance in the following days was quite remarkable.

The daily segments of friendship, love, and career were basically called out before they even reached double digits. Although Chen Yiming did not make any comments or give him further praise, Liu Haoran's self-confidence continued to rise visibly.

Compared to the timid quail when he first joined the group, he is like a completely different person!
As Liu Haoran's personal state was fully mobilized, "Searching for the Heart" basically completed the outdoor shooting on campus. Chen Yiming gave the crew two days off and then switched to shooting the interior scenes.

Boss Shen appeared for the second time, and the content was the third "talk therapy" between the two.

After the previous conversation by the lake, Xun Xin put away the thorns on his body and allowed the psychological counselor to get closer to his inner world. For the first time, the two established a real psychological connection.

The performance wasn't too difficult, the two were actually just chatting, the kind that got along better and better the more they talked, with Actor Shen setting the pace of the whole scene and subtly stirring Liu Haoran's emotions, and the latter just had to follow his heart and relax.

Technically, it also helps the actors to "be lazy". Although two people are sitting and talking in a small room, the composition designed by Chen Yiming is mainly based on close-ups of a single person. The shots and lines are deliberately separated, and the single shots progress layer by layer from full body to half body and then to close-ups of the face.

Only at the end of the whole scene, when the two of them were chatting excitedly and dancing, there was a short shot of the two of them in the same frame.

The implication is simple, harmonious communication is only superficial, seeking new cooperation and excitement involves a large element of performance, a closed mind is not so easy to open up, and the two are still far from truly opening their hearts.

Chen Yiming once again used his usual "bad-ass" shooting method, giving complete control to Shen Ming. Even the timing of the camera assistant pushing and pulling the camera was left to the master and apprentice to decide.

He just stayed in the studio and didn't show up. Shen Ming could shoot as long as he wanted and act however he wanted, and he could act until he was satisfied.

In fact, this scene took quite a long time to shoot. It took four full days before Shen Ming stopped, feeling unsatisfied.

Chen Yiming watched coldly. During these four days, Liu Haoran was much more relaxed than the day by the lake. On the last day, he even seemed eager to compete with his master.

He had to admit that he was impressed. In the field of acting training, he was not even worthy of carrying Shen Ming's shoes.

Chen Yiming himself can't act, so he can only teach actors by asking inspiring questions, and after that it's up to the actors to figure it out. All he can do is reshoot the scene over and over again. For example, when filming "1951", Liu Dongjun was tortured a lot. If his willpower was a little weak, it wouldn't be surprising if he collapsed during filming.

But Shen Ming is different. With his top acting skills, he knows the key points of a certain scene. More importantly, he knows how to approach and integrate into a certain emotional state.

For example, in this indoor dialogue scene, his choice was to chat with Liu Haoran first.

We chat freely around the conversation topics marked in the script, without forcing the dialogue to be exactly the same as in the script. In a sense, we even deliberately seek to be different.

As Liu Haoran gradually got used to and ignored the camera facing him, the state of the two became more and more natural, and Liu Haoran's immersion became higher and higher, which could be clearly reflected in his unintentional eccentricities in the lines.

After smoothing out his emotions and diction, Shen Ming turned back and began to work on the details of the performance. He was even more particular about the lines, trying every pause, modal particle and even intonation repeatedly until they became muscle memory.

When an actor can clearly feel the progress he makes with each retake, it is no less than a game player being able to calculate the experience points he gains each time he passes a level.

The emotional stimulation brought about by this is totally beyond the ability of the newbie Xiao Liu to resist, and shooting at this time is naturally no longer painful, hesitant and tormenting.

If Master Shen hadn’t called for a stop, Liu Haoran would have been willing to keep filming until the end of time.

After the second scene was finished, although Liu Haoran did not undergo a complete transformation like he did after the first scene, he felt much more comfortable facing Shen Ming. The auras of the two gradually became integrated, and they were no longer as incompatible as when the filming just started.

Chen Yiming struck while the iron was hot and moved the segment where the two of them were "pretending to be cool and getting slapped in the face" together in the university town to the front. The filming progress, which had been stagnant for a while, suddenly made great progress.

The crew continued to work during the May Day holiday and completed all the scenes in the university town. The next day, they moved to the urban village and finished all the exterior scenes in two days.

Liu Haoran's condition is getting better and better. He was not at all inferior to Zhang Yu in the rivalry scene. It is obvious that he has practiced hard.

This is a famous scene in the original film. The good brother played by Ben Affleck gives Damon a wake-up call, making him understand that true friendship is not about sinking together, but about blessing others to stay away. The protagonist also uses this to completely break free from the dark past and move towards a bright unknown.

Chen Yiming borrowed the famous lines from the original film, but changed the setting. In his opinion, the casting of "Good Will Hunting" is not successful. The fledgling Naimeng chose to bring along all his close friends, but both Ben and Ben's brother Cassie were too handsome, and there was not a bit of grassroots temperament around them.

This handsome guy has the title of construction worker, but he acts like a contractor when he is moving bricks at the construction site. When he persuades Dai Meng to pursue a bright future, he lacks a bit of persuasiveness.

Zhang Yu is different. He has a strong migrant worker vibe in his bones. When he puts on his safety helmet, he looks like a genuine plasterer. When Liu Haoran stands next to him, they can tell at first glance that they are not of the same kind.

He held a cigarette in his mouth and looked up at the sky, speaking lines that were totally inconsistent with his identity and temperament. However, when he actually said them, there was inexplicably no sense of incongruity.

"I called your name outside the purchasing station, watched you run out, and then hooked my arm around your shoulders and spent a lot of time together. Every day was happy.

But you know, the distance from the alley entrance to your doorstep is exactly half a minute, and it is my greatest pleasure every day. I have always been thinking that one day, when I call you at the door, the old man shouts at me, he's gone!

You don't belong here at all, and you shouldn't rot in that broken yard. Every night when we say goodbye, it should mean we will never see each other again.

I don't need you to say goodbye to us, don't say anything, just leave. I have little education and don't know much, but I know this very well. "

After Zhang Yu finished speaking, he flicked away his cigarette butt and continued to bend over and move bricks. Liu Haoran helped him very naturally. He didn't say anything, but his eyes were no longer blank.

After finishing the highlight scene on the construction site neatly, the crew moved directly to the scrap collection station and finished filming Liu Haoran and Zhang Yu’s two scenes each in one afternoon.

As Zhang Yu said, he came to the broken yard again to look for something new, and as he wished, he heard the old man's voice "He's gone". The next moment, Zhang Yu turned and walked towards the entrance of the alley, and the chasing camera gave a picture of his back.

The brisk steps of relief, the hesitant look back with reluctance, and the limited performance space, Zhang Yu's performance design is impeccable.

Chen Yiming secretly praised in his heart, what a good actor.

The only pity is that his appearance limits his acting range and he was born with a face that could play a supporting role.

After Zhang Yu finished filming, Chen Yiming secretly made a note that he owed him a favor.

(End of this chapter)