From Flower Vase to Film Emperor in Hollywood

In 2019, Martin Scorsese directed "The Irishman," a nostalgic look back, considered a reflection on his classic gangster film "Goodfellas" from four decades prior. Scorsese invited a group of old colleagues to star:

Robert De Niro, Al Pacino, Joe Pesci, and so on.

These old-timers were frequent collaborators with Martin; he knew their abilities and how to showcase them. Moreover, they were all Academy Award winners, undeniably seasoned actors whose skills had earned countless accolades in the film industry.

The biggest news during the film's production was Martin's plan to use the latest and most cutting-edge visual effects technology of 2018 and 2019—the same technology that resurrected the late Paul Walker in "Furious 7"—to de-age the lead actors, allowing them to personally portray their younger selves. This became a hot topic of discussion.

Upon its release, the film received widespread acclaim, but also faced criticism:

The film was good, everything was excellent, but the biggest complaint was that Robert, Al, and Joe were already in their seventies. Although their acting was flawless and the CGI convincingly made them look forty, their body language betrayed them.

A forty-year-old is agile and robust. While lacking the lightness and agility of an eighteen-year-old, they are still healthy and in their prime.

However, the movements of these veteran actors couldn't escape the ravages of time. Their gestures revealed the slowness and frailty of seventy-year-olds. A forty-year-old's face paired with a seventy-year-old's movements created a jarring effect, imbuing the entire film with a sense of impending demise.

Regrettably, this affected the viewing experience, preventing audiences from empathizing with the characters and disrupting the emotional immersion.

Consequently, a question arose:

Although everyone loves these three old guys, was it really necessary to use CGI for such a project? Would the final result have been better if younger actors had portrayed their younger selves?

Of course, this is just a side note and has nothing to do with the actors' fundamental skills. It's simply the result of humanity's temporary inability to defy the laws of nature. Nevertheless, Ansen was reminded of this incident.

So, this is body language.

Every character has their own body language. Like costumes and styling, posture and stance reveal information before a single word is spoken, including age, personality, and style. Moreover, it continuously releases information throughout the performance, enriching the character.

While audiences often emphasize eyes, expressions, and dialogue, is it possible that the overlooked body language plays an even more critical role?

Actually, Ansen wasn't completely ignorant of this.

He looked up at Julie, humbly seeking guidance, "It's like when I'm playing Michael. I usually lower my head and hunch my shoulders to hide my eyes and thoughts, maintaining a restrained and low-key demeanor. But when I sit behind the keyboard, I lift my head and chest, and confidence unconsciously flows out."

Although unpolished, actors have a basic understanding of body language; the difference lies in the depth of understanding and the ability to express it.

Perhaps Michael is just a tool, but Ansen still uses his own methods to gradually inject life into Michael, and these body language details are one aspect of it.

Julie saw Ansen's quick response, a hint of admiration flashing in her eyes, "Correct, and incorrect. It's a detail, a detail displayed for a specific personality, but it's only one facet of the character."

Julie turned to look at Annie.

"It's like the scene we're shooting now, where the Queen is transforming Mia, not just in appearance, but also in etiquette and demeanor."

"How to sit, how to stand, how to walk, how to eat, how to speak—these are all body language. Can you say it's part of the performance?"

"Of course."

"This is also why the Queen is transforming Mia. Nobles have their own etiquette; although it's tedious and troublesome, it's the rules they need to follow."

"So, when the Queen is grooming a successor, she naturally can't ignore physical deportment."

"But we need to pay attention to a key point: this action itself is part of the performance, originating from the plot design. We use body language to perform the transformation process, so it's okay if Annie's performance is exaggerated or comedic. That's the effect the director wants to see."

"The real foundation of body language lies in the invisible details."

While speaking, Julie turned to look at Annie—

Ansen's question was timely. Julie believed that Annie really needed to start with these details.

When Julie saw Annie's focused and engaged expression, a hint of satisfaction appeared in her eyes.

"What you should be thinking about is, what kind of character is this, what situation are they in, and what kind of body language should they present? More importantly, you should learn to observe, placing the scenes from the script into real life, observing the body language of others and yourself."

"If the director and the audience are unaware of your body language but unconsciously feel your seamless integration into the entire scene and situation, then you have an understanding of the fundamentals of body language."

Ding!

Instantly, Ansen understood, "It's just like you."

Admirable.

Ansen chose the future tense, "I'm preparing to work hard."

Julie immediately grasped the complex meaning of Ansen's words, half admiration and half teasing. Her brows and eyes completely relaxed, and a soft laugh welled up in her throat, "Then I'll wait and see."

Julie's understanding of Ansen was limited—

Because they didn't have any scenes together, there were no direct overlaps in their work. But she always saw him on set, observing, asking questions, and learning, piecing together Ansen's image bit by bit.

Until now, that incomplete image had become complete and vivid.

Julie couldn't help but take another look at Ansen, and then turned to look at Annie, "He's the young man who plays the dance partner at the ball, right?"

Sharp eyes.

Annie was also immersed in her own thoughts, and suddenly looked up because of Julie's words, not hiding her surprise, "How did you know?"

Julie laughed heartily twice, "After acting for so many years, I still have some discernment. Fortunately, the casting director's work hasn't gone off track."

"Hey, you two youngsters, are you planning to chat all through lunch?" Gary's voice came over, "You young people aren't in a hurry to replenish your energy, but Julie can't do that. Lunch is already ready."

Gary didn't care what Ansen was doing. Filming was over, and now was Julie's break time. He proactively came to help Julie "out of trouble."

Ansen could sense Gary's accusing gaze. He spread his hands with an innocent expression.

Fifth update.