The tone of the whole movie "Lobster" is very cold, revealing a mechanical coldness inside and outside, which is consistent with Ouges' usual film style. This also means that the actor's performance cannot have too many ups and downs, nor can it be too exposed, and must be consistent with the image style.

Then, the actors must dig more into the characters. Only when a chemical reaction occurs within can the most complete effect be presented in the simplest performance. Otherwise... the entire script may be a group of walking dead corpses strolling around. Thinking about it this way, it seems to be very in line with Ouges' needs.

This reminded Lan Li to the "Hanzhi Quejing" who won the Golden Lion Award not long ago. That movie had such an effect. Swedish director Roy Anderson's movies were all in this style; and Finnish director Aki Korismaki was the same. "The Man Without the Past" is the representative work.

If you have the opportunity to challenge such a performance method in the future, it will inevitably be very interesting. The actors restrain all their personalities and edges, presenting a Nordic cold style. The expressionless face means that there is no emotion in the true sense, and it will withdraw all emotions, even more cold and stiff than the "Walking Dead". The shooting atmosphere on the set is worth recording.

Just by thinking about it, Renli couldn't help but be happy.

Back to the "lobster", what kind of personality should David have?

The nerd otaku who "has remained innocent outside the mainstream society and believed in love and refused to accept arrangements or even was willing to do anything for love."

This setting should be very interesting. For example, his favorite movie is "Sixteen Candles"; for example, his favorite novel is "pride and prejudice"; for example, his favorite poem is Rimbaud... and so on, which completely presents the kind of romantic and naive silly, injecting an unrealistic idealism into the character, which is incompatible with Ouges's setting, but instead creates a contrast for the film and then completes the entire circle of ridiculing metaphor.

According to this setting, many small details can penetrate into the movie.

His handkerchief is pink. If this is too girly, you can change it to a pencil or business card. His favorite fruit is strawberry or cherry, and the dessert can be strawberry mousse. He has cleanliness and obsessive-compulsive disorder, and everything must be clean and neatly regulated. This can be used to learn from Matthew's living habits...

The more you think about it, the more you become, the more excited you become.

Lan Li even sat up, muttered to himself and started to "discuss" it, and finally stood up again, and began to wander around the study:

Not only thinking about the role of David, but more about "how to give the director the desired role weight within a limited space and space, and how to interpret the actor's own understanding of the role without risking stealing the show or even breaking the balance". This is an interesting topic.

Ougus is a director who is very prominent in style and relies heavily on actors. These are two contradictory and opposing sides, but they are combined because of Ougus.

How to understand?

In Ouges's lens images, he needs to maintain a calm and cold texture, composition, light, color and space, etc., without much extra effort to allow the actor to play freely, such as "transcending" the last fixed shot, and the opportunity for the "Drunk Village Folk" ultra-long shot dispatching does not exist at all. In other words, if the actor's desire for performance is too strong, it will steal the spotlight, even destroy the sense of the picture, and then destroy the overall presentation effect.

The actor is a symbol in Ouges's shot.

But at the same time, Ouges's story often has absurd effect. The three children imprisoned at home in "Dog Tooth", the boy who is almost evil in "Death of the Holy Deer", and the hotel manager who is cold and twisted in "Lobster". These characters themselves are part of the plot, and are as strange and cold as one piece of chess piece in the whole work. He needs the actors to present that absurd effect, and the importance of the performance texture is particularly prominent.

Actors are also part of Ouges' overall style.

It can be said that Ougus needs the actor to present the performance but also needs the actor to control the performance. Everything must be perfectly fit in the correct position so that the most perfect effect can be presented with a slight lack of sufficient effect, and it may be completely submerged in Ougus' entire work; if it is too exaggerated, Ougus may cut the camera directly and refuse to destroy the integrity of the work.

The most direct proof is Ouges's work:

All previous works include "Dog Tooth", "Alps", "Lobster", "Death of the Holy Deer", etc., and none of the performances won any awards, or even nominations; but "Dear" has become a culmination of the works, and there are many reasons:

Partly because of the absurd comedy effect of the entire work, Ouges allowed the actors to perform a clown-like banter not just nonsense but jokes, which gave the actors more space to perform; partly because the work is loved and the actors also received a series of accompanying votes; but the most important reason is that the four words are just right.

The three heroines, Olivia Coleman, Emma Stone and Rachel Weisz.

Emma held the show and restrained all her previous edge, revealing a hint of playfulness and cunning, which perfectly fits the overall style of the character and the work. In Lanli's view, this is Emma's best career, and even surpasses the "La La City" that won Emma's Oscar for the actress, and truly achieves natural success.

Rachel was under the role, completely in line with the style of Ouges's works, cold and strong, and the entire momentum burst out from the inside out. It seemed calm but was actually shocked. Her perfect state was comparable to her peak level when she won the Oscar for Best Supporting Actress with the "Immortal Gardener" in 2005, which was very pleasing.

Olivia's performance is played and her freely releasing performance will appear out of place in Ouges's usual works, but it has become the finishing touch in the overall absurd work of "Dears". From the character setting to the style of the work, Olivia's slightly released performance completely combines comic and ridicule, and eventually becomes the eye of the play.

Although the three "deared" heroines all won a series of nominations during the awards ceremony season, the reason is not that simple; but it is certain that the right performance does indeed fit perfectly with Ougus, which also proves that in Ougus' works, the actors do have room to play, but it is definitely not that easy for the actors to seize the opportunity.

Does this mean…a challenge?

Thinking of this, Lan Li couldn't help but feel excited and excited.

So far, the director has given him enough space for all the works that Lanli participated in. Even the "descendant" Tony Kaye has only put forward countless requests. In the process of discussing and running in with each other, Lanli gradually found a way to perform; and whether the director is willing to give him space is not yet sure whether Lanli will appear now, but even if Ouges is willing to give Lanli free space, Lanli cannot play freely as he pleases:

His performance style must be consistent with the director, and at the same time, he must find his own style and characteristics in a limited framework, and cannot break the balance of the overall performance.

This is very, very worth looking forward to.

In the past few works, Lanley's performance has received numerous praises, including the praise of "free and easy to control". Now is the time to really test whether this evaluation meets the standards. In the last life, Colin Farrell was unable to give David more impressive highlights to the role of David. There are many reasons, and it is not entirely Colin's performance issue. So, in this life, can Lanley complete this difficult task?

Just by thinking about it, Renli couldn't stop his steps.

In the study, Lan Li began to search for books related to psychology on the bookshelf. Although he had read some psychology books before, this time it was different.

Ouges has psychological hints about the story and the characters' metaphors. Going further, the actor's understanding of the characters must also be integrated into psychological understanding, especially the setting and conception of the character David. From the past to the present to the future, how the entire character's context is formed, for performance, for Ouges' script, and for the overall quality of the work, it can all help.

Although Lan Li's memory of the script and the characters is relatively vague, this does not prevent Lan Li from opening up her mind and conceiving the entire world based on her divergent thinking.

Then Renly began to get busy again.

...

On this side, Lanley was diving into the world of performance, and she couldn't help but start swimming even during the holidays; on that side, the discussion between Ouges and Andy was facing many problems.

As Lan Li thought, Ouges' ideal candidate is not Lan Li, although it is the hottest actor in the world, not every director can buy it. To be more precise, not every role is suitable. Compared to David, Lan Li is too young, too handsome and too... famous, which makes Ouges inevitably hesitate, worried that Lan Li is too big and he cannot control Lan Li on the crew.

The fact is that he really has no way to control Lanli; but Lanli is a dedicated actor, and Lanli also showed his dedication to Ouges.

Lanley met with Ouges in London and discussed the script and the characters, which made Lanley confirm that Ouges' story setting did have a deviation. He did not set the reason for David to remain single at all, which also led to the failure of the entire story to gain a foothold. After Lanley explained his understanding and inspiration to Ouges... things took a turn.
Chapter completed!