Chapter 975： Delve into acting

\"&　　 From an objective point of view, the acting challenge of "" is not so arduous, at least not as difficult as "", but the role of Jesse is yet another attempt and insight of Hugo for acting.

Up to now, Hugo's actor career can be divided into two parts-although only six works in less than three years, "" the previous four works are one part, after "" is the second part.

Before "", Hugo was more involved in the role in the performance process. He was used to sketching the role in his mind, then letting himself into the role little by little, and finally interpreting the role from the inside to the outside. This kind of performance has reached a culmination in "Schindler's List" after the development and precipitation of three works, so Amon Goss's eyes seem to be looking up from the abyss of soul, reaching Hugo's acting career. The first small peak.

But in the subsequent "", Hugo made a brand new attempt.

Because Vincent is different from Goss, Vincent is like an ordinary person without any characteristics, which makes it difficult for Hugo to establish the character, and it is difficult to accurately grasp the characteristics of the character. After careful consideration, Hugo tried an opposite method of acting: he interprets the role on his own basis, and outlines the role based on himself, which means that the role will have characteristics that are clearly Hugo.

This is different from the previous performance.

To put it simply, "" used to be the characters in the play leading the performance, while "" started with Hugo leading the role performance. These are two different performance styles and two different performance angles.

Perhaps it is not accurate to separate the two expressions for discussion, because the performance itself is an actor and a presentation. Whether it is a role driving an actor or an actor driving a role, this is something that cannot be clearly distinguished. But from a technical point of view, different starting points will indeed lead to differences in performance methods.

Take the two roles of Goss and Vincent as examples. Goss has distinct characteristics, that kind of evil sex. The struggle between feelings, good and evil was brought to the fullest; but Vincent seemed very vague and couldn’t tell why. After watching the movie, many people were impressed by Jules, who had to read the Bible before killing. Can't remember the characteristics of Vincent, but Vincent's personality is real enough, as if he is the kind of character that may appear at any time in the streets and alleys of life.

In addition, the protagonist Sam, who also has not distinctive characteristics, can leave a clear impression of gentleness but humor after watching the movie, which is different from Vincent's mediocrity and simplicity.

Therefore, in the process of "" shooting, Hugo outlines Vincent based on his own personality and characteristics. The exquisiteness and truthfulness in small details are actually the best among all the characters in the same work. The performance is a difficult one, and Hugo accomplished the task brilliantly, so Hugo took the actor, instead of playing the more characteristic Jules Samuel Jackson.

This difference also allows Hugo to start a new exploration on the road of acting research. Before "", Hugo is always too deep into the play, unable to distinguish himself from the role, often there will be excessive force. Status; but after "", Hugo was able to integrate his own personality and characteristics into the role, turning the performance into a process of savoring and swaying freely. It can be said that this is Hugo's different discussion on acting.

Now, ""'s Jesse and Vincent are the same type of role, and Jesse is a further challenge, Jesse's performance is even more difficult than Vincent.

At least, Vincent still has some borrowing points in the "" story, such as the scene of dancing with Uma, such as the process of his dialogue with Jules, and more importantly, Vincent" There are still ways to shape the identity of the "underworld, killer".

But Jesse has nothing, no borrowing points, no special identity, and no conflicts in the story for the role to play. This is an ordinary ordinary person. The same goes for Selena, played by Charlize.

Such a role, to say that it is ugly, is a role that is unaware of being thrown into the crowd, so that the actor cannot find the entry point or the point of exertion, but such a role is the protagonist, so such a role is for the actor. Said to be a huge test. How to distinguish between life-style acting skills and true-color performances, how to sublimate true-color performances into roles in drama, and how to integrate self and roles while maintaining differences are all very difficult tasks.

In fact, in the field of professional performance, the characteristics of the characters can be called "crutches", and most of the characters also have crutches. The cold blood in "To", the cunning in "Training Day (.day, the innocence in "Forrest Gump"... These are all crutches, which are the breakthrough points for actors to perform their acting skills.

A role with breakthrough points is actually a test of acting skills, because these breakthrough points are often situations that actors cannot experience in their daily lives, such as the autism in "Rain Man". Although Dustin Hoffman It's an old drama, but he has studied autism seriously for a long time; another example is the world-weary "taxi driver", Robert De Niro personally drove a taxi in New York for several months to feel the character's mental journey .

Therefore, how to truly break this breakthrough point is a very arduous task for actors. Not all actors can do it. Even the outstanding actor may not have full confidence.

However, on the other hand, the breakthrough point also means that the actors have a direction to work hard. They clearly know the goal of their sprint, which also allows the actors to have a target. "Before, Hugo was in this situation. He could feel the power of the role, so he went all out to study each role, and then pushed himself to the extreme, and finally presented a wonderful performance.

However, in many scripts, the characters are without crutches. They may be an ordinary person, or a mediocre story, or a fragment of life. It is difficult to find a breakthrough in these characters. It is undoubtedly another test for actors: they cannot find the direction of their efforts, and must rely on their own judgment, the guidance of the director, and the structure of the script to think about the footing of the role.

At the same time, once many actors are used to borrowing crutches during performances, they may not be able to get rid of them for the rest of their lives. Daniel Day Lewis and Al Pacino are typical representatives.

Day-Lewis is one of the greatest actors in film history. There is no doubt about his strength. Almost every performance can be called a classic. In 2013, he became the first actor to win the three winners in history, which proves him. The absolute strength. However, Day-Lewis's acting route has been fixed within the framework of bitterness and hatred. Although the roles played by his three figurines are different, the overall style is dark and deep.

The same is true for Pacino, starting from his famous work "The Godfather", to his peak work "Scarface (, to the "Scent of a Woman" who realized the dream, and the later "Devil's Spokesperson" ( the.'s. and "heat", his roles are all explosive and powerful characters. The process from calm to sudden eruption without warning is Pacino's housekeeping skills.

Not only that, but Jack Nicholson, Robert De Niro, and Dustin Hoffman, who were as famous as Pacino in the 1980s, are also the case. Nicholson is restricted by his appearance and personality, and has always played an evil and rebellious role; De Niro is even more trapped in a gang role; Hoffman is good at shaping small characters, and his performance is as delicate and smooth as flowing water.

Of course, this is a bit biased and one-sided. The actors have made different breakthroughs in their careers, and the efforts they have put in to play these roles well are beyond the reach of many ordinary people. But overall, their crutches have become the most important part of their performance.

Among them, Hoffman is the most special. He has always played mediocre and small characters. The gentle and delicate way of performance often makes people unable to see the focus of his performance. These roles seem to have no "crutch", but in fact they are not. In fact The mediocrity of these characters is Hoffman's crutch.

Objectively speaking, it is not only very difficult to perform those roles without crutches, but also unpleasant. Because it is very likely to act as a truly mediocre person, without any characteristics or charm, such a person may be as ordinary as the neighbor next door to the audience, and naturally it is not attractive, and they will not feel the acting skills. the power of.

What the audience hoped to see was the sudden explosion of acting, intense conflicts, and the kind of situation where the actors smashed their acting skills.

But the problem is to learn how to act without crutches, but it is a compulsory homework for every actor in his life, and that kind of moisturizing and silent acting skills can help the actor to be better in performance. Floors.

Take the 2014 Oscars as an example. Among the twenty actors who have won nominations for performance awards, you can see many outstanding actors playing "Ordinary People", Bruce Dunn of "Nebraska" ( Dern) and June Squibb (june.), Sandra Bullock of "Gravity (, Judy Dench (.) of "Filo Mena (, "Blue Sally Hawkins (blue.) and so on.

The roles of these actors have no leverage. They relied on their own experience, their own precipitation, and their own insights to re-inject their souls into the roles, like the actors themselves, but not like the actors themselves, in the ordinary. The power that bursts out to touch people's hearts, this is the acting without any trace.

It is not a discussion of the level of these two roles to the test of acting skills, but the only way for every actor to study acting skills.

Hugo tried it once in "" before. He lost Amon Goss' crutch and gave a wonderful performance, so what about this time? .