From Flower Vase to Film Emperor in Hollywood

Scarlett's question, at first glance, seemed almost identical to Chris Evans's, after all, both of them were facing the same director in the same crew; but upon closer examination, Anson believed that Scarlett's and Chris's problems were different.

It could be said that the problem Chris encountered was still on a superficial level, his problem lay in communication with the director; while Scarlett's understanding and exploration of acting had already entered the next stage, focusing more on the communication between herself and the character.

But thinking about it carefully, it's not surprising, Scarlett would usher in a major breakthrough next year, with "Lost in Translation" and "Girl with a Pearl Earring" making people realize the talent of this genius girl, she is now exploring acting and her own path as an actress.

"Ha." This time, it was Anson's turn to laugh, but how should he guide Scarlett?

Anson himself is still in the exploratory stage, far from being able to teach others, he doesn't think he can give the right answer.

But thinking about it from another angle, he doesn't need to guide Scarlett, but to have discussions and research with Scarlett around acting, which is a rare opportunity for him—

Compared to closing the door and building a car, the saying 'In a group of three, there must be one who can be my teacher' is obviously the right choice, communication between actors can often bring new insights.

So, how does Anson shape his characters?

This is a good question.

Raising his head, Anson looked at the street, just in time to see two women across the street, meeting face to face, it was obvious that they knew each other, they not only stopped to say hello, but also greeted each other with smiles.

Thus.

Anson slightly raised his chin as a signal, "What do you think of that woman?"

Scarlett looked over, puzzled, "Are you planning to go up and flirt and then invite me to be your wingman?"

Anson didn't mind, with a face full of composure, "I don't think you being a wingman would increase the success rate." Would other women feel threatened when they see Scarlett?

Scarlett noticed Anson's gaze, her cheeks slightly flushed, she originally wanted to tease Anson, but didn't expect to be turned around on him, Scarlett glanced at Anson in a hurry, before she could see clearly, she felt Anson's meaningful gaze, she quickly withdrew her gaze and continued to look forward, quickly changing the subject.

"Which woman?"

Anson didn't press on, "Anyone. Pick a character at random, and look at the story behind her, her profession, her age, anything."

The biggest difference between shaping a character and reciting lines is that lines have no life, but characters do.

The lines themselves are just statements, with at most a state added, the emotions and power they carry all come from the character and the plot.

Characters are completely different, their flesh and blood and soul completely depend on the actor, if the actor thinks the character is just a passerby tool person, even if he stands under the spotlight, what is presented is still a cardboard cutout; if the actor believes that the character has a story, a life, and a context, even if he stands in a corner and passes by in a hurry, he can become a living person.

In "King of Comedy", the extra actor played by Stephen Chow is the simplest and most intuitive example.

Similarly, director Alfred Hitchcock hated method acting for the same reason, in his films, he doesn't need actors to dig into the character's story and soul, he only needs actors to present an emotion or a state, he needs actors to be like puppets to construct his shots.

It is precisely because of this that Alfred Hitchcock's favorite actors are all types with their own charm, the appearance and appearance are the most important.

Therefore, the key to shaping a character is to give the character precise, vivid, realistic and persuasive details.

The costume styling of "Friends", the book accessories of "The Princess Diaries", the camera and bookshelf of "Spider-Man", all of these are the same, and this is also the acting path that Anson is currently exploring—

Infuse life into the character with details.

The same is true at the moment.

The two people standing across the street are just two passersby to Anson and Scarlett, if they don't pay more attention, they are just cardboard cutouts passing by in a hurry and then disappearing in the long river of their lives; but now, Anson is trying to inject flesh and blood into the cardboard cutouts with their imagination.

Although Scarlett didn't know what Anson was up to, she remained focused, following Anson's words, her thoughts unfolding bit by bit.

As actors, they all have basic observation skills, these basics are not difficult.

After a slight thought, Scarlett spoke.

"The woman on the right, she looks... she should be in her early thirties, but she doesn't have any obvious characteristics, she doesn't look like a person who has experienced a story."

Anson shrugged slightly, "Even a person without a story has his own story in his own life, those ordinary stories. You don't need to care too much, just follow your own observations and imagination."

Scarlett nodded lightly, her eyes always staying on the woman, and continued to observe, "She is wearing a professional suit but not carrying a bag, only a wallet, she is likely to work nearby and came out to buy afternoon tea."

"Her hair ends are a little dry, she doesn't have full makeup, she is wearing flat shoes, she doesn't seem to be the type who likes to dress up, and she is in a hurry, a little busy, her mind may be elsewhere, she is likely to be a mother."

Slowly and unhurriedly, Scarlett slowly outlined the image of the woman in her mind, the originally thin image of a passerby quietly became full.

But Anson noticed that Scarlett's observation was still mainly based on appearance, especially makeup and styling, which are details that women would notice, but men often overlook.

However, the focus is not here, but on the flesh and blood that the actor gives to the character, it should not only be the styling, but also the story and roots behind the styling, only in this way can the character be brought to life.

Of course, Anson himself is also in the process of learning and growing step by step, compared with Scarlett, there is no big difference.

Scarlett turned to look at Anson, she didn't show off triumphantly, but with a little doubt and unease, as if waiting for Anson's response, and also curious about her performance, waiting patiently.

Anson didn't say good or bad, to be precise, he didn't intend to comment on Scarlett—

This is discussion and exchange, not guidance.

Anson looked across the street, his eyes fell on the woman on the left, without rushing to speak or judge, but observing carefully.

It is precisely because of this that Anson realized his progress and growth until now, the woman in his vision actually presented a completely different look in his mind.

Anson himself became interested, this thing seems quite interesting.