Felicity felt trapped.

At the beginning, I was just nervous and maybe a little anxious. For the first time, I took on the heavy responsibility in a big production. The subtle changes in my mentality created invisible pressure. The performance in front of Lan Li for a long time also made Lan Li play for herself. That subtle special feeling is really hard to describe in words.

Gradually, after failing to pass the three consecutive times, I began to try the arrangement and combination of different performance methods, but lacked a firm belief in the performance method I firmly believed in. I naturally began to doubt whether my understanding and understanding of the role was correct, and then began to explore different performance methods, so that the entire performance style would have uncertain and unstable floating.

The increase in variables means that the performance state is unstable.

Then, things seemed to be stiff in a stalemate. Failure leads to instability, instability leads to lack of confidence, forming a vicious cycle, and the core of the performance begins to be lost. I always feel that I am repeating myself constantly, but the situation is getting worse and worse. The confusion and confusion are making people breathless little by little, trying to struggle to resist, but I don’t know what happened at all, so I don’t know how to deal with it.

Slowly, slowly, the feeling of drowning and suffocation gradually surrounded me, and in the end it seemed as if my hands and feet were tightly bound and sank to the bottom of the lake. I watched myself being swallowed by the dark blue, but could not react, and I could not even call for help, so I could only get angry at myself.

"Card!"

When Garris finished filming again, Felicity could not tell what time it was. She didn't dare to look up at the director's expression at this time. She lowered her head in a mess, clenched her hands into fists, and tried her best to suppress the surging of her mood.

The trivial sounds were slightly ringing on the set, which made the shooting area appear quieter. The director did not speak, so others dared not speak.

It’s not that Garris doesn’t want to speak, nor does he dare, but he doesn’t know what to say: he also knows that the performance is incorrect, but he doesn’t know how to adjust it. In fact, to be precise, the general direction is correct, but in the picture conceived in Garris’ mind, he always feels that it is not in place. He can’t even say this subtle deviation, so how can he pass it on to the actor? Therefore, he can only choose the clumsy method, let the actor try it over and over again, find inspiration through the attempt, and look forward to finally finding the feeling in his ideal state.

At this moment, Garris is also savoring the performance just now. Some parts are right, but some parts are wrong. So how should we coordinate? Or, he can use the editing of the camera to cut the entire performance into pieces and finally present the finished product on the big screen.

Lan Li was also thinking because he was also part of the scene. Although he only had a few lines, Garris filmed it eight times and he performed it eight times. There was no way to save effort, which forced him to start thinking about the balance of the scene.

It is very interesting to look at group performances from a global perspective. "Explosive Drummer" served as a producer for the first time, and the subsequent "Jurassic World" and "Lobster" also allowed Lan Li to stand at a higher position as a producer to observe the art work of "movies". Although he rarely interfered in the director's work, he still gave him a new perspective and gained a more understanding of performance work.

Performance is not a matter of one person.

Lan Li knew this before, and the teacher repeatedly emphasized this since the college, but Lan Li's understanding was always relatively narrow: he just took it for granted that actors need to interact with their opponents, and only when sparks burst out between you and me can we find the balance point of the performance; now Lan Li has opened his horizons, and the performance should interact with the camera, light, sound, etc., just as a stage play must make full use of stage space and lights, and in movies, actors must also learn to use these weapons.

Therefore, people say that performance is never a matter of one person, even a one-man show, not. This is a unique feature of film art.

Now this scene is the best interpretation.

Garris is a director who is very good at using light changes to mobilize space.

We all know the simplest example. The larger the window on the sunrise side, the stronger the indoor space feel; on the contrary, the indoor space feel will become narrow and oppressive.

In the movie, this is called "lens language". From light to motion trajectory to picture composition, it also includes the use of color, position and background and other details. It allows the director to present changes in psychological suggestion through the picture. For example, "Desperate Driving" starring Ryan Gosling, director Nicholas Winding Revern created a vertical, tall, and alienated light similar to a Nordic city in Los Angeles, creating the loneliness and emptiness of the entire city. This is the lens language.

The same is true for Garys. "Godzilla" can feel his use of light and color, and he can also see the clues in the first scene today.

Garris turned off all the main lighting in the conference room, leaving only the light that comes from the computer or instrument; in addition, the blue-green neon fluorescence is set to ensure the firefly-like lighting effect; the most unique thing is undoubtedly to place an off-white energy-saving lamp in the center groove of the circular conference table, and cover it with a matte lampshade to reduce the light and achieve a blurry halo effect.

In this way, the main tone of the entire conference room is still dark, creating a mysterious and even depressing underground effect, implying the current situation of the rebels, and at the same time, it can also exert invisible pressure to lay the foundation for the solemn atmosphere of the movie and thus create the tragic tone of the whole movie.

So, what should the actors do when performing? You can't let the audience open their eyes and look for the actors' faces and expressions in a hazy halo, right?

At the position where each actor moves at a fixed point, the lighting engineer sets a separate light according to the angle, and gathers the glimmer in the side, so that the actor's expressions can be presented according to the effect expected by Garys, more often it may be partial expressions, but it is enough.

In other words, every actor is standing under the "spotlight", but overall, the light in the entire scene is dim.

In addition, compared to close-ups and close-ups, Garris hopes to capture the slightly tight atmosphere on the scene, and the mid-scene and panoramic scene undoubtedly occupy more space in the camera. Therefore, this creates a sense of contradiction: on the one hand, the light is focused on the actor's face, although it is a shimmer; on the other hand, the lens is capturing the mid-scene and panoramic scene, which is relatively far away.

The above is the premise.

Only by truly grasping the layout of the camera and the changes in the scene can one adjust his performance according to the actual situation, especially to communicate more with the director. For example, Lanli knew that Garys' overall conception, and he still hoped to present a grand and grand texture, because the story background of "Rogue One" is space; and because the whole story tells the struggle of a group of aspiring people for a common goal. Compared to focusing on a heroic individual, he still hopes to present the whole picture and show the heroic posture of the entire group.

What exactly does all of these mean?

Performances need to be concise and neat, and emotions should be as low as possible, but should be precisely located: panic, anger, nervousness, and so on. Of course, every emotion cannot be purely straightforward. For example, panic may often be filled with fear and tension. Those derived emotions are inevitable. This also means that the actor must clarify the core of his performance, and then present the characteristics of the entire emotion in a delicate and complex way.

Any unnecessary modification and extension, including exploration and depth, is a dragging expression. It may not only destroy the completeness of the picture, but also be lost in Garris's shots, the medium or long-range shots cannot capture these details at all. The actors on the picture will only look like fools.

If Renley's performance in "Explosive Drummer" or "gravity" is put into "Rogue One", it will be a complete disaster.

Now, the crew is facing such a difficult problem.

Garris couldn't know exactly what the problem was because he knew very little about performance; but even if he knew, he couldn't determine how to adjust, because this was a professional problem for the actors. Even the actors themselves often felt at a loss and experience became very precious at this moment. Actors like Max, Forest and Renly who had blockbuster performance experience would be much more comfortable, but they still needed time to adjust.

The problem does occur with Felicity, but it is not just Felicity's problem.

First of all, Felicity's performance was too delicate. She continued the performance style in independent films. Her emotional processing was very good, but she was "ignored" by the camera, which instead made her performance rhythm derail, and the entire shooting process seemed out of place, as if every tooth of the gear was not aligned.

Of course, it's not just Felicity's problem, but the performance rhythms of other actors are also incorrect.

In addition to Felicity, Renly, Angus Wright and May Bell have lines, and the four of them form the core of the theme of the scene.

But Angus' performance was too much a stage play, basically maintaining the demeanor and tone on the stage. It seems wrong just from the way of appearing with his head held high. It is another style of painting, and it is said that the "Star Wars Series" is known as a "space opera", but it is not a real opera.

May Bell's performance was too tense, and the most basic emotions could not be conveyed in place, which caused a significant imbalance in the entire picture.

There is no need to wait for Renly to appear, and the basic tone is already wrong.
Chapter completed!