Actors start from the college entrance examination

Chapter 355 Unemployed?

"Is the second master an apple?" Looking at the executive director Wang Yongquan who was fighting with Yang Zi not far away, everyone called him the second master.

The name is unknown, but if you look at the face, many viewers should feel familiar, such as Uncle An Liman in Ghost Blowing Lantern, Xia Jiang from Langya Bang, Old Hall Master Li from Changlin in the Wind, Qu Xiaoxiao's father...

It's not just him, the father-son soldier in the battle, his son is brother Dahong from the props group, the senior brother who has passed the pass, Li Gang from Langya Bang, and this time Xiangxiang Xiaoman's cousin.

"Brother, I don't understand this scene." Niu Junfeng came over, holding the script and asked, "What do these few words always feel like?"

Su Ze took over the script. This kid has good acting skills. Although he is not a major, he is very talented. He is obviously a new generation actor trained by Noon.

"This is over!" Kong Sheng looked at his watch. Today's time is about the same, and the progress is faster than originally expected. The last few scenes will be finished soon.

Just turning around, seeing Niu Junfeng and Su Ze not far away, he couldn't help laughing.Last time, the love between mountains and seas was not so obvious, because of the powerful Pai Zhatui, there are old dramas everywhere.

This time the feeling is obviously different, among other things, just helping to train Yang Zi, a little monkey, will save me from worrying!
Not only her, but Niu Junfeng and even Zuo Xiaoqing have received Su Ze's guidance, some of which are lines, some of them are emotions, and more are the details of the design.

It is no exaggeration to say that after the two cooperations, Su Ze's grasp of the details is perfect, like no other!

Talent!
I can't accept it!

Some people are born to eat this bowl of rice, God will show their face to find someone to reason with.

I have been around for so many years, and I have long liked to train actors and tell them how to act, but this time I am unemployed and laid off?

I really feel a little uncomfortable.

Su Ze didn't know Lao Kong's mixed tastes, so he helped Niu Junfeng analyze his lines carefully. This kind of thing has long been used to, let alone on the set, even WeChat often accepts jobs.

Peng Peng, Wu Lei, Qian Xi, Zhang Yixing, Zhao Yuanyuan...

Ning Li, Zu Feng, Liao Fan, Xiao Yang, Liu Lin, Tan Zhuo...

Busy at peak times!
Young people are all about analyzing the characters, and most of the old drama bones are design details, especially the iconic small movements to establish the character design. They like to discuss with themselves when they have nothing to do.

Su Ze never refuses to come to this kind of thing, but it is actually a process of improving in disguise. After all, there are limited roles in the script that he can come into contact with. Helping others think is also a kind of exercise, isn't it?
Gifts of roses, hand a fragrance.

I like to observe the director when I have nothing to do on the set. From time to time, I think about problems from his perspective. If it were me, how would I tell the actors about the play?
An experienced director will first fully understand his actors, and then formulate a shooting plan. He can even adjust the appropriate shooting techniques according to the status of different actors, so that the actors can complete the expression of the director's needs in the most relaxed environment and the most comfortable state. .

This is the legendary training actor.

A good director only needs to have two abilities: one is to tell a good story, and the other is to handle actors.

In Su Ze's view, there are only a handful of directors in China who are really good at it, and if strict requirements are imposed, there may not even be more than ten!
For example, Guan Hu, who is good at finding talented actors, looked at Huang Bo, who had never learned acting back then, and successfully completed classic film and television works such as "Get in the Car", "Black Hole", "Migrant Workers of Survival".

The first movie "Bullfighting" they cooperated with won the Best Actor Award at the Golden Horse Awards.

Apart from reading, Guan Hu is also good at speaking.A clear and accurate communication method allows actors to quickly understand what the director wants to express, which is the killer feature of top directors.

I heard that when filming "Old Paoer", Liu Hua asked the director what kind of person should Lamp Shaer be?

Guan Hu only used one word from the old BJ's words: 苶!

Very timid, spineless, and seemingly lacking energy.Although there is only one word, it is vivid and vivid enough. After listening to it, Liu Hua immediately understood what the role she wanted, and after finding the benchmark, it will be easy to act.

When filming "Eight Hundred", animals were used to describe the character of each soldier. For example, the old abacus played by Zhang Yi is a cat, who is slippery and can read his face.The Yangguai played by Wang Qianyuan is a wolf, cold and lonely.

Jiang Wuyan's old iron character is like a watchdog, usually barking, bullying, and hiding at home when things happen.The Dragon Boat Festival played by Ou Hao is a cow, gentle and honest, but kind, tough and persistent.

Xie Jinyuan, played by Du Chun, is an eagle with a lofty personality and aloof personality, with extremely accurate observation skills.The little Hubei played by Zhang Junyi is a horse, which symbolizes the galloping new life, full of curiosity and hope for the outside world...

Su Ze was very curious, if it was him?
What will it be?
So Guan Hu is one of the directors who look forward to cooperating in the future. Of course, he has cooperated with many excellent directors so far.Wubai, Xin Yukun, and even Kong Sheng.

There are also Zhang Yimou, Feng Xiaogang, Zheng Xiaolong...

Can I become a director for myself?
Su Ze is a little unconfident, success and failure are also details.

According to Kong Sheng's words, if you are a director, actors will work very hard!

To give the simplest example: a man and a woman are alone, and the woman bandages the man's wound.A simple scene, if the director is himself.

When she is bandaging you, you look at her for a second, then look away, count three seconds, then look up at her for three seconds, and then...

Micro expressions are important, eyebrows are the key, and lips, yes, the body should also be tense...

actor:"……"

Directors who control such details just don't respect the abilities of actors, and the performances must have no real emotions. The key actors don't even understand why the director asked them to do these actions.

Changed to Kong Sheng: A man and a woman are alone, and the woman bandages the man's wound.

Director: This is the first time you two have been in close contact, you can smell each other's breath, you can't help but look up at her...

Yes, what is the first thought in your heart now?
Do you like him?
How do you like it?
why do you like it?
Does it hurt to see him hurt?

This is called a play!
So Su Ze is going to be an actor with peace of mind, and then consider becoming a director after ten years or even more. If he still can't change his mind, then give up.

Who stipulates that an actor must be a director?
Brother's golden finger is an actor training system, not a director's cultivation!

This kind of director has a lot of thinking, such as quickly getting familiar with the actor's habits, such as the actor's passionate scenes are almost always the best in the first three, so try to protect his emotions as much as possible.

I tried my best to finish shooting all the shots in the first three scenes. After all, no one is a machine, and it is difficult to guarantee that the emotions will be the same every time the scene is changed.

Newcomer directors are most likely to ignore the position, and learn to let the actors walk on the scene, so that the actors and the machine can be integrated.Walking the show can detect problems in advance, which is the basis for actors and various departments to make various preparations in advance.

Don't impose the roles you understand on the actors, learn to communicate in advance, these should be discussed by both parties, not according to any one person's meaning.

In Su Ze's view, if a director wants to conquer actors, the most important thing is to clarify his own ideas.

The scariest thing for an actor is that the director himself doesn't know what he wants.

There is a huge distance between wanting to be a director and actually being a director. You write the script, you find the actors, and you must know how to shoot!
(End of this chapter)