From Flower Vase to Film Emperor in Hollywood

Reese: Me? A recording studio? Is this a joke?

However, Anson was all smiles, with not a hint of jest, looking at Reese with bright eyes, extending an invitation—

This was Anson's real purpose for coming to the recording studio today.

Honestly, Anson's voice wasn't in its best condition right now, not yet recovered from yesterday's clamor and excitement; the Grammy Awards ceremony truly burned him out.

Not just him, Myles and the others were probably in the same boat.

In this state, it was obviously not suitable for recording.

However, as soon as he got off the plane, Anson went to the recording studio immediately.

On one hand, to help the band find their groove. Anson didn't sing to protect his voice, but whether it was the single recording or the upcoming film shoot, "singing" was a key part. Anson needed to start adjusting.

Don't forget, in "Walk the Line", live performances are the focus.

On the other hand, it was to help Reese find her groove.

Reese had previously told Anson that she had been exploring and researching, but she always felt like she was missing something, yet she didn't know how to improve, as if there was a layer of film separating her, visible and tangible but impossible to break through.

The feeling was particularly bad.

Just as Anson and the others needed to go to the recording studio to complete the recording work, since the filming process of "Walk the Line" would inevitably be slightly delayed, it would be better to take advantage of this opportunity to help Reese find her feeling—

Killing two birds with one stone.

Anson was also absolutely serious about the work "Walk the Line". One hundred percent.

Although due to unforeseen circumstances, the filming of "Walk the Line" might need to be postponed for a few days; Anson still made full use of the unexpected situation in front of him, completing the work transition as seamlessly as possible.

It was preparing for Reese, and also preparing for himself.

Then, there was the scene in front of him.

Raising his head, Anson looked at Reese, inviting her with his eyes.

Reese: stunned, surprised, resistant, shy, restrained, trying to escape.

Anson laughed directly.

Obviously, this was a normal reaction. Ordinary people often need some reaction time when facing unexpected situations. After all, there are only a few people like Anson who can be content with their lot and be free and easy.

But Lily, Myles, and Connor also turned their gazes.

Enthusiastic and happy.

Reese couldn't help but be stunned.

Subconsciously, she was resisting, she refused to enter the recording studio to embarrass herself; but after a slight daze, Reese suddenly realized that she had not fully entered the role of June Carter—

Taking a deep breath, Reese mustered her courage, secretly clenched her fists to cheer herself up, raised her head and chest, and strode forward, pushing open the door of the recording booth.

Music instantly surrounded her, filled with a kind of joy and happiness.

Completely different from the feeling of standing outside and admiring, the agitation on the eardrums, the tactile sensation on the surface of the skin, and even the slightly trembling heart, everything was different, all the pores on her body were opened.

Reese herself didn't realize that the smile on the corner of her mouth was rising.

Involuntarily, she tapped along with the melody and rhythm, her eyes slightly excited and mixed with a dazed search, trying to find direction.

Live band performances and performances using backing tracks are two different things, because live band performances require cooperation, there may be deviations, there may be accidents, there may be rushing or lagging behind, and you need to be prepared for mistakes at all times. Everything is sudden and on-the-spot, but precisely because of this, each member can often collide with different sparks according to different states, and finally give the performance a unique texture.

Reese had tried performing with backing tracks, reciting June Carter's songs fluently; Reese had also tried cooperative performances, playing the guitar herself in cooperation with piano performances, but with only two instruments, everything was still within the scope of control.

Now, entering the recording studio's live band performance mode, Reese needed to find her groove.

Looking at the clueless Reese, Anson signaled the others to pause, with only Anson's guitar as a guide, preparing to cut in.

Unfortunately, Reese missed the opportunity.

Anson wasn't worried, and continued to play, coming back again after eight beats, looking at Reese with bright eyes, signaling Reese to listen carefully to the performance.

Then—

"I went to a bar one day…"

Reese spoke, although slightly cautious and restrained, but perfectly matching the rhythm, which made the smile on the corner of her mouth bloom uncontrollably.

"I dropped a dime in the jukebox to hear it play, I didn't know what song to play, I didn't wait to choose, just dropped a dime in the slot to play the jukebox blues."

Joyful, happy, jumping.

June Carter's singing is very expressive, and between the pronunciations, you can clearly feel the beating of life, and the energetic interpretation sways freely in the melody, not just presenting the lyrics.

Before her, Reese was also like this.

It could be heard that Reese had seriously studied June Carter's singing style, her pronunciation, her nasal resonance, her treatment of the ending sounds, etc., all with June Carter's signature features, with very high recognition.

It was hard to imagine how much time and energy she spent studying these details.

However, if it was just imitation, even if it was lifelike and exactly the same, it would not have its own vitality. It was difficult to imagine how an actor should make the character alive in the performance process. After all, it was just a clumsy imitation—

Basic acting class.

How to find a balance between rigid imitation and in-depth interpretation, and how to find a balance between the character's state and the actor's understanding, this is the real problem of biographical films.

Actors need to understand "characters" and, in the process of exploring the truth, find a way of artistic presentation, and complete the interpretation with their own understanding and interpretation.

The so-called biography, to some extent, is also the "truth" in the eyes of the director, screenwriter, and actors. What they see, what they express, and what they interpret is just one side of this real person, or one side of their own understanding and imagination, not the ideal state of 100% truth.

After all, film is also a kind of artistic processing and creation, and there is an essential difference between it and documentaries and truth.

In most biographical films, whether it is the director or the actors, they often only stay on the superficial level of imitation and presentation, and dare not capture or do not know how to capture the vitality under the truth. This is the culprit that leads to the dryness and boredom of biographical films.

Was Reese also like this?

At least at the beginning, it was like this.

In the first verse of the song, Reese was slightly restrained and nervous, with a wandering exploration in her eyes, always worried about missing the rhythm or running out of tune.

Although she perfectly copied and pasted June Carter's personal characteristics, she failed to give the song a soul.

Then, Reese saw the encouragement in Anson's eyes, gradually found her groove, and her courage began to grow. When she entered the second verse, her skirt gradually fluttered up.