The tone of "The Lobster" is very cold throughout the film, revealing a mechanical coldness inside and out, which is consistent with Ogels's consistent film style, which also means that the actors' performances must not have too many ups and downs, nor can they be too exposed, and must be consistent with the image style.

Then, the actor must dig more into the role, and only when there is a chemical reaction within can he present the most complete effect with the most minimalist performance, otherwise...... The whole script may be a bunch of walking dead wandering around - and when you think about it, it seems to fit Auggs's needs very well.

This reminds Lan Li of the Golden Lion at the Venice Film Festival not long ago, which has such an effect, Swedish director Roy-Anderson's films are all in this style, and the same is true of Finnish director Aki-Kaurismaki, "A Man Without a Past" is a masterpiece -

In the future, if there is an opportunity to challenge such a way of acting, it will be very, very interesting, the actors will converge all their personalities and edges, showing a Nordic cold style, expressionless is the real sense of no emotion, all emotions are extracted, even more cold and stiff than "The Walking Dead", and the atmosphere of the set shooting is worth recording.

Just by making up for it, Lan Li couldn't help but be happy.

Returning to the "lobster", what kind of personality should David be?

"Outside the mainstream society, he still maintains a pure heart, so much so that he believes in love and refuses to accept the arrangement, and is even willing to do anything for love".

The premise should be very interesting, for example, his favorite movie is "Sixteen Candles", for example, his favorite is "Pride and Prejudice", and for example, his favorite poem is Rimbaud...... In this way, the incorrigible and even naïve silliness of the romance is fully presented, and the character is injected with an unrealistic idealism, which is precisely incompatible with Ugels's setting, but can create a contrast for the film, and thus complete the whole circle of mocking metaphors.

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

His handkerchief was pink—if that was too girly, he could replace it with something smaller like a pencil or a business card;his favorite fruit was strawberries—or cherries, and dessert could be strawberry mousse;he had a hygienic and obsessive-compulsive disorder—everything had to be neat and tidy—a reference to Matthew's habits......

The more I think about it, the more I diverge, and the more I think about it, the more excited I become.

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

is not only thinking about the role of David, but also thinking about "how to give the director the weight of the role he hopes for within the limited space and space, and how to interpret the actor's own understanding of the role, and there will be no danger of stealing the scene or even breaking the balance". This is an interesting topic.

Ogles is a director who is very stylized and relies heavily on actors, which are two contradictory opposites, but they are united by Ogels.

How to understand?

In Ogles's footage, he needs to maintain that calm to cold texture, composition, light, color and space, etc., there is not much room for the actors to play freely, such as "detachment" of the last fixed shot, "drunken folk ballad" ultra-long shot scheduling opportunities simply do not exist. In other words, if the actor's desire/desire to perform is too strong, it will steal the show, and even destroy the sense of the picture, and then destroy the overall presentation effect.

The actor is a symbol in Ogles's lens.

But at the same time, Ogels's stories often have absurd effects, the three children imprisoned at home in "Dog's Teeth", the indifferent and almost evil boy in "The Death of the Holy Deer", and the cold and distorted hotel manager in "The Lobster", these characters themselves are part of the plot, like a chess piece weirdly and coldly embedded in the whole work, he needs the actors to present that absurd effect, and the importance of performance texture is particularly prominent.

actors, and also an integral part of Ogles' overall style.

It can be said that Ogles needs the actor to present the performance but also needs the actor to control the performance, all of which must fit perfectly in the right place in order to present the most perfect effect - if it is slightly insufficient, then it may be completely drowned in the whole work of Augels, and if it is too exaggerated, then Ogles may simply cut out the shot, refusing to destroy the integrity of the work.

The most direct proof of this is the work of Auggels:

In all the previous works, including "Dog's Tooth", "Alps", "The Lobster", "Death of the Holy Deer", etc., none of the performances have won any awards, not even nominations, but "The Beloved" has become a masterpiece for many reasons:

Partly because of the absurdist comedic effect of the whole work, Oguels allowed the actors to perform a kind of clown banter - not nonsense but banter, which gave the actors more room to perform, partly because the work was so popular that the actors also received a series of side votes, but the most important reason is that the four words are just right.

Three heroines, Olivia Coleman, Emma Stone and Rachel Weisz.

Emma took the acting, reined in all the previous edges, faintly revealing a hint of playfulness and cunning, but it perfectly fits the role and the overall style of the work, in Lan Li's view, this is the best of Emma's career, and even surpasses the "La La Land" that won the Oscar for Emma, and truly achieves natural success.

Rachel pressed the acting, which completely fits the style of Ogels's works, cold and strong, the whole momentum bursts out from the inside out, seemingly undisturbed but secretly thundering, and the perfect state is comparable to her peak level when she won the Oscar for Best Supporting Actress with "The Immortal Gardener" in 2005, which is very pleasing.

Olivia's free-flowing performance would seem out of place in Ogles' usual works, but in the overall absurd work of "The Beloved", it has become the finishing touch, from the character setting to the style of the work, Olivia's slightly released performance completely combines comical and irony, and finally becomes a drama.

Although it is not so simple that the three heroines of "The Beloved" have won a series of nominations in the awards season, it is certain that the right performance does fit perfectly with Ogels, which also proves that in Ogels's works, actors do have room to play, but it is definitely not so easy for actors to seize the opportunity.

Does this mean...... Challenge?

Thinking of this, Lan Li couldn't hold back his excitement and excitement.

So far, all the works that Lan Li has participated in, the director has given him enough space, even the "detached" Tony Kaye has only put forward countless requirements, in the process of discussing and running in with each other, Lan Li gradually found a way to perform, and now whether the director is willing to give him space, it is not certain for the time being - it is not even certain whether Lan Li will act, but even if Ogles is willing to give Lan Li free space, Lan Li can't play as he wants:

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

That's very, very, very much to look forward to.

In the past few works, Lan Li's performance has received countless praises, including the praise of "free and easy", and now is the time to really test whether this evaluation is up to standard, in the last life, Colin Farrell was not able to give David the character more impressive highlights - there are many reasons, not entirely Colin's performance problem, so, in this life, can Lan Li complete this difficult task?

Just by making up for it, Lan Li's footsteps couldn't stop.

In the study, Lan Li began to rummage through the shelves for books related to psychology - although he had read some psychology books before, this time was different.

Furthermore, the actor's understanding of the role must also be integrated into the psychological understanding, especially the setting and conception of the role of David, from the past to the present and the future, how the whole character is formed, for the performance, for the script of Ogels, for the overall quality of the work, all can play a helpful role.

Although Lan Li's memory of the script and characters is relatively vague, this does not prevent Lan Li from opening his mind and imagining the whole world according to his divergent thinking.

Then, Lan Li started to get busy again.

……

At this time, Lan Li is diving headlong into the world of performance, and even during the holidays, he can't help but start to swim freely, but in that room, the discussion between Oguels and Andy is facing many problems.

As Lan Li thought, the ideal candidate for Oglets is not Lan Li - although he is the hottest actor in the world, not every director buys it, more precisely, not every role is suitable, compared to David, Lan Li is too young and too handsome and too ...... is famous, which makes Ogles inevitably hesitate, worried that Lan Li is too big, and he has no way to control Lan Li in the crew.

The truth is that he really can't control Lan Li, but Lan Li is a dedicated actor, and Lan Li has shown his dedication to Ogels.

Lan Li met with Ogles in London and discussed the script and characters, which also made Lan Li sure that Ogles's story setting was indeed wrong - he did not set the reason for David to remain single at all, which also led to the whole story being unable to stand firm, and Lan Li explained his understanding and inspiration to Ogels...... Things took a turn for the better.