Superstar

Hugo looked at Leonardo in front of him, he was not sure whether his little butterfly had begun to influence Leonardo invisibly, because Leonardo’s comment about Rimbaud was so accurate. It was so profound again, as if... as if talking about Leonardo himself.

"He doesn't even know what poetry means to him. This is just one of his means of becoming famous. However, when he truly realizes the greatness and glory of poetry, his talents have been squandered."

In fact, this is the trajectory of Leonardo's acting career. Before the "Titanic", Leonardo relied on his amazing talent to become the leader of acting in the generations. During this time, Leonardo also wanted to If you want to pursue acting, he has a strong interest in acting, but Leonardo relies too much on his talent, unwilling to try or break through. Most of the roles he played in his peak period have similar characteristics: uninhibited , Casual, crazy, fragile, miscellaneous, dark, to some extent this has made Leonardo, but it also limited Leonardo.

Therefore, when Leonardo was stunned by the popularity explosion ushered in by the "Titanic", he was lost in confusion. When Leonardo really realized his talent and talent, he had already entered middle age, so he walked into another labyrinth. Almost all the characters are middle-aged men with deep hatred-widowed spouse. It also occupies most of it.

Leonardo and Rimbaud are so similar that Hugo can’t tell whether Leonardo shaped Rimbaud based on historical facts or whether Rimbaud shaped what all the audience thinks through Leonardo’s performances. Image.

This shocked Hugo, not only because of Leonardo's words that seemed to predict his own future, but also because of the high overlap between Leonardo and Rimbaud.

As Hugo said, there are too many differences between Leonardo and Rimbaud. Perhaps Leonardo can’t even understand the deep meaning of Rimbaud’s poems, nor can he understand the literary history of Rimbaud’s poems. However, Leonardo perfectly showed Rimbaud’s shining points and convinced Hugo: he is Rimbaud, and Rimbaud is him.

In fact, Hugo’s method and process of conceiving the character is not much different from Leonardo. It was because of Hugo’s influence that Leonardo gradually began to construct the character in different ways. Both of them were searching for themselves and The similarities between the characters arouse inner resonance, and then shape the characters with their own understanding.

"So, what you and Rimbaud have in common is..." Hugo's brain was slightly confused, and countless information was messed up, so he chose to communicate further.

Leonardo enjoys such moments very much. He likes to discuss performances with Hugo. It is not necessarily an academic approach, but more about each other's understanding and doubts in the process of exploring roles, but he can always let himself have a lot of reward. "Enjoy youth and be self-centered."

Leonardo's two simple sentences made Hugo stunned. After thinking about it, he found that the words were so correct. Rimbaud and Leonardo are both like this. They are young and famous, youthful and talented. Such young people can easily have the illusion that the world is revolving around themselves. This makes them self-centered, even arrogant and self-willed. Spending time wantonly, even ignoring the efforts and talents of others, and despising the whole world.

Not only Rimbaud and Leonardo, but also many young celebrities who have become famous. Macaulay Culkin, Drew Barrymore, Edward Fullong (edward.), etc., the hot spotlight makes They lost their way. In the end, his talents were squandered.

However, Leonardo kept a relatively clear head, found his way in the colorful Vanity Fair, and persevered. So, when Leonardo tried to understand Rimbaud, he grasped this sensitively. Perhaps this is not the whole of Rimbaud's personality, nor is it the deepest mark left by Rimbaud as a poet in history, but it allows Leonardo to portray the entire image of Rimbaud vividly and vividly.

Objectively speaking, Leonardo’s understanding of Rimbaud is simpler. He did not analyze Rimbaud’s growth history, nor did he analyze the reasons for the formation of Rimbaud’s personality, but his understanding was deep enough to capture an important flash. After clicking, it burst out with amazing energy.

Relatively speaking, Hugo’s perspective is more on the psychological level. Hugo hopes to construct the character’s psychology and experience, so as to present the small links such as eyes, expressions, and movements in a way of shaping details, and the whole character image is calm. It's alive in between.

But this method is more complicated and more difficult. The result is that Hugo must spend more effort to shape all aspects of the character-even many things are not needed at all in the shooting process. Take the "Seven Deadly Sins" as an example. In fact, Wuming has limited playing time, only appearing in the last half hour. Hugo's homework can not be fully presented.

But Hugo knows that his preparations are not useless. Many times, a difference in a movement, a look in an eye, and a posture will result in a difference in the role. Maybe the audience can't tell why it is, and maybe the college professionals can't give detailed instructions. Even the performer himself can't explain the source of this detail, but the rendering effect will be very different. This is the breakthrough and deepening of acting.

However, from Leonardo’s way of acting, Hugo has realized one thing. In fact, what he needs to find is not a balance, but a resonance between himself and the character. The part that belongs to him is more than the part that belongs to the character. A little bit more, it doesn't matter, the more important thing is the interaction between yourself and the character, and then the chemical reaction occurs.

Just like Leonardo, a connection point completely shaped Rimbaud. As for whether Rimbaud’s image has more real attributes or Leonardo’s attributes, this is not the point at all; Hugo should. What is looking for is the connection point between him and the character-not just one, but many. The more connection points, the more similarities and differences between him and the character will be made Hugo discover, and then use his understanding and Read to perfect the role.

Although Hugo came from a non-major class, he has never systematically studied acting, but in the constant exchanges with co-actors and the constant exploration of his own performance, Hugo has gradually become a representative figure of the method school. , But at the same time out of its own different characteristics.

The so-called method-based performance means that when interpreting the role, the actor must be good at observing the facts, figuring out the behavior in real life, and imagining the psychological magnificence of performing the role, so as to achieve accurate and credible performance. There is no trace of performance. The person can forget the performance of the actor and empathize with the role.

Methodists shine throughout the history of Hollywood, Marlon Brando, Paul Newman, Jack Nicholson, Meryl Streep, Daniel Day Lewis, Robert De Niro, Al- Pacino, Dustin Hoffman and others are all representatives of method acting.

Al of "Scent of a Woman", Jack of "Yihai Xiongfeng", Liam of "Schindler's List", and Samuel of "Pulp Fiction" are all representative figures of method acting. Under the influence of Hugo, Hugo gradually figured out his own way of acting.

The core idea of ​​method-based acting is actually to advocate experience, so that the actors and the characters are one. The actors should actively feel the emotions of the characters, and think exactly like the characters correctly, logically, orderly, and like a living person. Hope, pray and act. Simply put, it is to achieve subconscious creation through conscious psychological technology.

Therefore, Ma Long would live among dockers for several months in order to smoke "Dock Fengyun"; and Robert really drove a taxi on the streets of New York for two months in order to play a good role as a "taxi driver"; Dustin in order to play the role "Rain Man" stayed with autistic patients for nearly a month.

Hugo first imitated and performed purely, and then gradually learned to figure out the psychology of the role, allowing himself to stand in the position of the role to perform. In the "Schindler's List" Hugo found a breakthrough, Amon- Goss’ perfect upper body almost made Hugo unable to distinguish between the movie and reality; then, Hugo began to learn to interpret the role with himself as the leading role, trying to make the role more of his own style, relying on his own qualities to create a special Role.

But regardless of the stage of acting, Hugo attaches great importance to the experience, psychology, and experience of the character. He has been working hard to find the resonance between himself and the character, and then truly shows the character's reaction when facing the story. In fact, this is a kind of method school.

But now Hugo has encountered a bottleneck. He is trying to find a balance between himself and the character, presenting the most accurate emotions and actions at the exact time, so that each character is marked with his own distinctive brand. In fact, this involves Here comes the performance method of another faction: expressionism.

Different from the experience mode of the method school, the expression school is a traditional British performance method. The popular point is to use solid basic skills to perform the right performance at the right time. This is also the traditional concept of acting.

The performance of the two factions is meaningless. Although the method school occupies a major position in Hollywood ~www.wuxiaspot.com~, many directors require actors to use expressionist performances, and Alfred Hitchcock is a typical representative. .

The non-academic Hugo is trying to integrate the performance style of the expressionist on the basis of the method school, but the process is obviously not that simple. The conversation with Leonardo made Hugo realize that what he is looking for is not balance, but more resonance, more understanding, and use his own outlook on life and values ​​to understand the character’s outlook on life and values. Find the opportunity to perform.

"Which part should be gentler, which part should be cold-blooded; which part should be gentler, which part should be cruel; which part should be calmer, and which part should be violent", this is not decided by Hugo. Rather, the role is determined by the script. When you find the point of fit and correspondence between yourself and the role, the answers to these questions will naturally come to light.

But is it really that simple? How to not lose yourself in the role, and how to dig out the role in the self, is definitely not an easy task. At this moment, Hugo really felt that layer of acting barriers, which confused him, made him struggle and entangled him, but also made him excited, excited him, and made him look forward to the barriers.

"So, you have encountered difficulties in the process of studying the role?" Leonardo looked at the mixed look in Hugo's eyes and asked hesitantly.