"Is the second master an apple?" Looking at the executive director Wang Yongquan who was having fun 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 will think it looks familiar. Uncle An Liman in Ghost Blowing the Lantern, Xia Jiang from Langya List, Old Master Li from Fengqi Changlin, Qu Xiaoxiao's father...
Not only him, but also father and son soldiers, his own son is brother Dahong from the props team, a senior who has passed the test, Li Gang from Langya Bang, this time he is Xiangxiang Xiaoman's cousin.
"Brother, I don't understand this scene a bit." Niu Junfeng came over, took the script and asked: "What do you think about these lines?"
Su Ze took over the script. This kid has good acting skills. Although he is not a major, he has great talent. He is obviously a new generation actor trained by Zhongwu.
"This is a pass!" Kong Sheng looked at his watch. It was about the same time today, and the progress was faster than originally expected. The last few scenes would be completed and the filming would be completed.
Just when I turned around, I saw Niu Junfeng and Su Ze not far away, and I couldn't help but laugh. Last time, the love between mountains and seas was not so obvious, because Zha Tui, a powerful sect, was full of veteran actors.
It's obviously different this time. Apart from anything else, just helping to train this little monkey Yang Zi will save you the trouble!
Not only her, but Niu Junfeng and even Zuo Xiaoqing all received Su Ze's guidance overtly or covertly, some on lines, some on emotions, and more on detailed designs.
It is no exaggeration to say that after two cooperations, Su Ze's grasp of details is perfect, like no other!
What a talent!
Don’t accept it!
Some people are born to eat this kind of rice. Who can you ask to reason with God?
After being around for so many years, I have long liked to train actors and tell them how to act, but this time I was laid off?
I really feel a little uncomfortable in my heart.
Su Ze didn't know about Lao Kong's mixed feelings, so he carefully helped Niu Junfeng analyze his lines. He had long been used to this kind of thing, not to mention on the set, even on WeChat he often accepted work.
Ning Li, Zu Feng, Liao Fan, Xiao Yang, Liu Lin, Tan Zhuo...
Very busy during peak hours!
Young people analyze characters, while old drama characters mostly focus on design details, especially the little iconic moves that establish the characters. They like to discuss it with themselves no matter what.
Su Ze never refuses anyone who comes to this kind of thing. In fact, it is also a process of improvement in disguise. After all, the script characters that he can come into contact with are limited. Helping others think is also a kind of exercise, isn't it?
Gifts of roses, hand a fragrance.
When I have nothing to do on the set, I like to observe the director and consider issues from his perspective from time to time. If it were me, how would I explain the scene to the actors?
Experienced directors will first fully understand their actors before formulating a shooting plan. They can even adjust 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 most comfortable state.
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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 the actors.
In Su Ze's opinion, there are only a handful of directors in China who are really good at it, and if strict requirements are met, there won't even be more than ten!
For example, Guan Hu is good at discovering talented actors. Look at Huang Bo, who had never learned acting before, and successfully completed classic film and television works such as "Get in the Car and Let's Go", "Black Hole", "Survival of the Migrant Workers" and so on.
The first movie they collaborated on, "Bullfighting," won the Golden Horse Award for Best Actor.
In addition to being able to read, Guan Hu is also good at speaking. His clear and accurate communication method allows actors to quickly understand what the director wants to express, which is the trump card of top directors.
I heard that when filming "Old Paoer", Liu Hua asked the director what kind of person the lampshade should be?
Guan Hu only used one word from the old bj’s words: 苶!
She is very cowardly, spineless, and seems to have no energy. Although there is only one word, it is vivid and vivid enough. After listening to it, Liu Hua immediately understood what role he wanted. Once he found the benchmark, it was easy to perform.
When filming "The Eight Hundred", animals were used to describe the character of each soldier. For example, Lao Abacus, played by Zhang Yi, was a cat, slippery, and could read faces. Wang Qianyuan's Sheep Guai was a wolf, cold, and lonely.
The character played by Jiang Wu is like a watchdog. He barks constantly, bullies others, and hides at home when trouble occurs. The character Duanwu played by Ou Hao is a cow, gentle and honest, but kind, tough and long-lasting.
Xie Jinyuan, played by Du Chun, is an eagle, aloof and aloof, with extremely accurate observation skills. Little Hubei, played by Zhang Junyi, is a horse, symbolizing the endless leap of new life, full of curiosity and hope for the outside world...
Su Ze was very curious, what if it was him?
What will it be?
So Guan Hu is one of the directors I look forward to working with in the future. Of course, he has worked with many excellent directors so far. Wu Bai, Xin Yukun, and even Kong Sheng.
There are also Zhang Yimou, Feng Xiaogang, Zheng Xiaolong...
Do you think you can become a director?
Su Ze is a little unsure. Success depends on details, and failure depends on details.
According to Kong Sheng, if you become a director, it will be particularly hard for the actors!
Let’s take the simplest example: a man and a woman are alone, and the woman bandages the man’s wounds. It’s a simple scene, if the director is herself.
When she is bandaging you, look at her for one second, then look away, count for three seconds, then look up at her for three seconds, and then...
Micro-expression is very important, eyebrows are the key, and lips, yes, the body should also be tight...
actor:"……"
A director who pays attention to details like this just doesn't respect the actors' abilities. There must be no real emotions in the performance. The key actors don't even understand why the director asked them to do these actions.
Change to Kong Sheng: a man and a woman are alone, and the woman bandages the man's wounds.
Director: This is your first 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 right now?
Do you like him?
How much do you like it?
Why like?
Does it hurt to see him injured?
This is called drama!
So Su Ze is ready to be an actor with peace of mind, and then consider becoming a director ten years or more later. If he still can't change his mind, then give up.
Who says actors must be directors?
Brother’s golden finger is a training system for movie stars, not a director’s training!
There are many ways of thinking about directors, such as quickly becoming familiar with actors' habits. For example, 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 capture all the scenes in the first three shots. After all, no one is a machine, and it is difficult to guarantee that the mood will be the same every time the scene is changed.
New directors are most likely to neglect positioning. They must learn to let actors move on the spot so that actors and machines can become one. Movement can detect problems in advance and is the basis for actors and departments to make various preparations in advance.
Never impose your own understanding of the role on the actor, learn to communicate in advance, these should be discussed by both parties, rather than according to any one person's wishes.
In Su Ze's view, the most important thing for a director to conquer actors is to be clear about his own ideas.
The scariest thing for actors is actually that the director himself doesn’t know what he wants.
There is a huge gap between wanting to be a director and actually being a director. You write the script and find the actors. You must know how to shoot!