Lanli is an actor, no matter how the outside world comments, this has never changed.

He has always been trying to explore acting skills in his own way, hoping to take a path of his own and climb to the higher peak of acting skills. He is not to surpass a certain master or create some record, but to constantly surpass himself and improve himself. In the field of art, he pursues a "perfect state" that will never reach or even not exist at all.

This is not an easy road, it may be a road where you can't see the end. However, Renli has no regrets.

Last year's "I'm Anti-Cancer" was the first time he had touched a breakthrough in his acting skills, which really broke the barriers to performance styles between the method and the expression style, and initially integrated the two performance styles, thus giving the characters a more realistic, more delicate, and more three-dimensional texture, integrating the performance and the characters.

After the subsequent "transcendence", he went further and found the common points between the method and the expressionists in the performance context, gave the characters more power with his own understanding, and integrated the core ideas of the script into the characters, truly treating the characters as a part of the movie, pursuing overall harmony and harmony.

Nowadays, he completely blurs the boundaries between the two performance methods, breaks away from the rules of performance methods, and looks at the role and performance from a higher perspective.

Every actor should know that the performance method is just a medium. In the final analysis, the actor's task is to give the character vitality. Whether it is the method or the performance subject, as long as this can be achieved, it is an excellent performance.

For many talented young actors, they don’t know what kind of performance they perform, just relying on their own/capable performances, and then give the characters unique spirituality and texture. This is how Jennifer Lawrence performs in “The Bones of Winter”, and so is Timothee-chalamet’s performance in “Call Me by Your Name”.

However, if you want to make further breakthroughs in performance, relying solely on talent, it will not work; methods and skills are indispensable, and spirituality and temperament will gradually become routines in day after day performance, and then lose their unique texture. You must use skills to take yourself to the next level. This is exactly one of the differences between Hollywood and Europe.

In Hollywood, there are endless talented actors like Macaulay Culkin, but they disappear too quickly, like meteors, falling rapidly. Hollywood can't wait for them to complete their transformation and evolution, and a group of fresh faces have replaced them. As a result, the performance skills are becoming simpler and more crude, and the accumulation of blood in the new generation is becoming more and more difficult.

In the European film industry, whether young actors or mainstays, they must go through such a process: simply relying on talent to perform; further study and study, perform through skills; finally complete transformation again, return to nature, integrate skills into their bodies, and perform every move, every frown and smile.

Expressed by the charm and mystery of Eastern culture, that is: seeing the mountains as mountains, water as water; seeing the mountains as not mountains, water as water as water; finally, seeing the mountains as mountains as mountains, water as water as water as water.

This time, inadvertently, Renly opened the door to the third stage. It is not only the three stages of Ryan Stone, but also the three stages of actors.

Although, in the second stage, Lanley has not yet fully matured, has not completely controlled, or even fully understood, it is too early to enter the third stage, but... the performing arts have never been a math problem, and it is impossible to follow the formula step by step. All development is natural, and inspiration is the only key to progress.

At the beginning, Lan Li was preparing to recreate her performance experience of "buried alive", using a method and experiential style to truly integrate into the role, into the environment, and feel the emotions and reality that she had never experienced before.

Gradually, those fictional facts, environments and emotions found a foothold and leverage point in Renli's self and self bit by bit, and then expanded step by step, and finally completely evolved into "reality".

Whether it is the method or the experience school, the performance itself gets rid of the framework structure, confuses the boundary between reality and illusion, truly empathizes with it, and re-examines the characters' stories, experiences and insights from their own perspective.

Such a statement seems too profound and academic, and can be briefly explained.

In "buried alive" and "detached", the characters' experiences and stories, Lanley, through the personal experience of the Methodist School, truly immersed in the scene, feeling the emotional ups and downs and psychological activities of Paul Conroy and Henry Bass, and even at some moments, confusing the differences between movies and reality.

But in the final analysis, Paul is still Paul, Henry is still Henry. Those feelings, experiences, and memories all belong to them, not Renly.

Now in "gravity", everything Ryan Stone experienced is completely integrated with the story of Renli Hall and Chu Jiashu, just like the three characters are different independent individuals, but they are all broken and recreated, and they are made into a brand new character, which is now Renli.

This is a step further than "I am fighting cancer", and I have explored a higher level of insight. It can be said that Ryan has experienced ten years of Chu Jiashu lying on the hospital bed, and it can be said that Lan Li was truly in space and fell into a desperate situation. All these stories have broken the barriers of time and space and completely turned into a whole.

People always say that art comes from life and is higher than life. In the works of every artist, one can see his own memories, stories, even thoughts, and even many artists' works are semi-autobiographical situations, or the evolution and derivation of autobiography. Painting, literature, music, performance, etc. are all like this.

During the performance, the actor's understanding of the characters' fear, happiness, fear, joy and other emotions all comes from his own experience and cannot be shaped out of thin air. This is also the source of the methodical acting skills. Robert De Niro has never been a taxi driver. So, in order to play the role of "taxi driver", he truly experienced the life of a taxi driver for two months, so inspiration appeared.

But what about the next step after this?

What if the actors can't experience the reality by means of a method? It's like Renly can't really be in space, become an astronaut, and be in a desperate situation. There are so many situations where the actors cannot experience it themselves.

So, does this mean that actors can find resonance with the characters and stories in themselves in a methodical way, and then integrate and extend, turn themselves into characters, and turn them into themselves, just like tearing their souls into countless fragments, one of which becomes a character with the actor's personal experience, personal characteristics, and personal understanding.

From the origin, the character is a part of himself, or a clone of the actor.

When the actor and the character are naturally integrated and integrated, the actor can reinterpret the story from his own perspective and understanding, reread the script, and reinterpret specific plots and emotions. In this performance, the performance-based acting is undoubtedly the core, because the actors need to show various emotions according to the director and follow the script, freely control them, and accurately control them.

Just like Renly now.

Through the experience of the method school, Ryan became Lanli, and Lanli became Ryan. Then, during the performance, Lanli accurately controlled every emotional node in the way of expressive school, truly transforming the performance into a free and freely showing the true feelings from the depths of the soul.

After leaving the stage of "seeing mountains as mountains", Lan Li has now left the stage of "seeing mountains as mountains as mountains" and has initially seen the state of "seeing mountains as mountains as mountains".

At this moment, Lan Li could truly feel Ryan's existence, but her mind was very clear. He knew that he was not Ryan Stone, nor Chu Jiashu, but Lan Li Hall; but if he had to start filming now, he also knew what situation Ryan was facing and how he needed to perform.

This feeling is very vague and ambiguous.

To describe it in words, after a long speech, he just becomes more and more raspy and makes himself dizzy; but the actors can vaguely feel the differences and implement them in the performance.

Although Lan Li was not sure whether she really realized it or whether her understanding was correct, everything could only be understood through the actual shooting, and could be practiced and truly integrated; but Lan Li began to see different levels and levels.

For example, Meryl Streep.

Everyone says that Meryl is one of the greatest actresses in American history, but in fact, after entering the middle of his career, Meryl plays more or less similar roles, powerful and independent, autonomous and firm, but has no shortage of fragile and soft women in his heart, following the usual style since "Sophie's Choice".

In this way, isn't Meryl just having to repeat herself?

But now, Lan Li knew that this was not the case.

Meryl's seemingly monotonous performance, and her own shadow can be seen in every character; in fact, each character is also different, with differences in details such as eyes, expressions, movements, and tone of speech, revealing the inner and souls of the inner and souls.

Such a performance texture gives every character the trait that belongs to Meryl but not to Meryl. This is the most special.

Similar situations can also be felt in veteran actors such as Daniel Day Lewis, Judy Denge, and Maggie Smith.

The same situation comes to Tom Hanks, and this texture is lacking. Although Hanks' characters seem to be different, their inner origins are similar, so that each character repeats itself. Since two years of "The Rest of the Desert Island", Hanks has never been nominated for an Oscar again, which is the reason.

The performance texture is a professional word that is magical. Now Lan Li has touched it without any effect, which makes him look forward to the next shooting.
Chapter completed!