As soon as they arrived at the crew, they didn't even have time to introduce themselves, Lan Li and Jessica had already started to discuss the role and performance, these two people really interpreted what it means to be a drama idiot, and from this point of view, those negative rumors against Lan Li are not all wrong.

Both Mackenzie and Timothy noticed this, although they are both underage and still belong to the category of children, but they have begun to breed their own thoughts and ideas about acting, like a sponge, as long as they are given the right guidance, their potential can be tapped more.

Once inside the cabin, Mackenzie snuck down on Jessica's side, like an innocuous baby, silently listening to her – and that's how often parents tend to ignore their children's presence when they talk or argue.

Timothy, on the other hand, was constantly swaying near the couch in the doorway, as if he were playing idlely, but his ears were always elongated, like a little mouse eavesdropping on the corner, and his constantly dodging eyes were completely covering his ears and stealing the bell—could he be invisible without eye contact?

Jessica's eyes noticed Timothy's melancholy and nervous expression, but she couldn't hold back after all, and chuckled, "Timothy, come and sit here." We're not talking about trade secrets, and if you wish, you can come over, like McKenzie. ”

McKenzie, who was sitting next to him, tried his best to hunch his back and stuff himself into the sponge on the back of the sofa chair to hide his existence, but suddenly realized that his whereabouts were no secret for a long time, and couldn't help but stick out his tongue and make a grimace, but he still quietly straightened his waist and began to "eavesdrop" in the open.

Timothy's footsteps were still a little hesitant, after being exposed to the trick, he scratched his head shyly and embarrassedly, his face was still filled with an incomparably bright smile to hide his jerkiness, his footsteps wandered near the gate, his eyes glanced at Lan Li secretly, and then he saw the smile on the corner of Lan Li's mouth, and after getting approval, he walked over quickly and sat down next to him.

In fact, Lan Li also noticed the movement of the two little guys, but he didn't take the initiative to bring it up, in this regard, the perspective and handling of women and men are still different after all.

Lan Li turned back and looked at Jessica again, "I'm thinking about cutting the branches of Cooper's character to make the performance more pure and focused. ”

Jessica looked curious, "Why? In 'Gravity', Alfonso's director is doing subtraction, and your performance is doing addition. Through the interweaving of performances and cameras, and then bursting out of the sublimation of the core theme, it seems to me that the intent of Chris and Alfonso is the same. ”

"What Chris and Alfonso have in common is that they both want to reflect a grand and vast motif through human emotions themselves. Lan Li nodded in agreement, and then went on to explain, "But the difference is that the final foothold of the two is completely different. ”

In "gravity", Alfonso uses space to survive to reflect the origin of life. According to the original script context, there is no problem with this, but in the actual interpretation, Lan Li excavated more content for the two characters, giving the film more philosophical thinking: Who am I, where do I come from, and where do I go?

This is undoubtedly a further elaboration of the origin of life, giving the film a deeper meaning.

In "Interstellar", Christopher uses the time folding of wormholes to reflect human emotions. The definition of emotion in the script is very intuitive and simple: will the affection between Cooper and a pair of children, especially the bond between Cooper and Murphy, become thin with the passage of time, or even dissipate?

In other words, the foothold of "gravity" is life, and the foothold of "Interstellar" is emotion. The former can give more philosophical interpretation, while the latter needs to be more simple and pure.

In fact, this is similar to the motif of "Inception".

"Inception" is about whether there are any bonds in reality that allow those dreamers to come back, while "Interstellar" is about whether there are still bonds on Earth that allow those interstellar travelers to break the shackles of time and return again.

In the Nolan brothers' script, the whole core idea revolves around the emotion between Cooper and Murphy, which doesn't need too much embellishment-

Why are Cooper and Murphy so close? What really happened between Cooper and his wife? How is the relationship between Cooper and Tom estranged? Why is Murphy willing to trust his father wholeheartedly? What is it that makes the bond between Cooper and Murphy unbreakable? Why does Cooper still choose to come back? Why does Murphy wait?

All of this is a burden.

Affection.

That's just one answer. It's not that it's unwilling to explore and expand in depth, but because the script hopes to explore the most primitive emotional bonds of human beings, in contrast to the most primitive world structures such as time and space, which can be understood as the collision and confrontation between reason and sensibility.

If things get complicated, for example, Murphy hates his mother and becomes attached to his father, or Cooper finds a projection of his wife in Murphy after losing his wife, or Cooper and Murphy share a love for science, so that they can spend more time together...... When such reasons come out, things lose their original pure texture.

The purpose of cutting down the branches is to further highlight the conflict between emotion and time, and it is only fair to put two of the most essential and pure things in comparison.

In addition to this, the director's style is also a very important reference factor.

Although Alfonso is not a director who is good at manipulating actors, he always has a keen sense of the emotions of the characters and the story in his shots.

Whether it is "Children of Men" or "Harry Potter and the Prisoner of Azkaban", or even Alfonso's early films, he is always able to present the flow of emotions through the temperament and characteristics of the image, loneliness, sadness, despair, pain, etc., and the construction of light and lens can leave more blanks and afterglow for the audience to fill in.

Of course, the performance of the actor is even more important.

Christopher, on the other hand, is a different kind of director who excels at bringing out the diversity of stories through shot scheduling, pacing, and editing and stitching.

In Christopher's films, emotions and characters are relatively weak parts, and what he presents is often a single emotion, the loneliness of "Inception", the struggle of "The Dark Knight", the sacrifice of "deadly magic", the loneliness of "following", and so on, but after the emotions begin to become complicated, he is often easy to lose control.

Therefore, Christopher had to direct the script he wrote, because the characters, emotions, and story could all be controlled, and the overall quality of "chasing the murderer in the white night" from the adapted script was obviously weak. Overall, Christopher is a director who is good at storytelling, but not a director who is good at talking about emotions.

Therefore, the actors need to cooperate with Christopher's scheduling and integrate with the story as much as possible. If the actor plays too much on his own, it is easy to break the structure of the whole work, on the contrary, if the actor pushes the emotion further on top of Christopher's setting, then he will win a wide range of room to play - the Joker of "The Dark Knight" takes his madness of both good and evil to the extreme, without superfluous emotions, but into the woods.

Without any demeaning malice, but an objective statement: starring in a work directed by Christopher, the work of the actors is relatively simple, they just need to follow the framework of the characters in the script, and that is enough. Actually, this is similar to Alfred Hitchcock -

This master of horror movies is interested in expressive acting, fear is fear, panic is panic, he hopes that the actor will not have his own superfluous ideas, according to his own settings, like chess pieces, appear in the right place at the right time, then his film can achieve the desired effect. Therefore, Alfred has always scoffed at method acting.

In "Gravity", the Blue Rite needs to be added, while in "Interstellar", the Blue Rite needs to be subtracted.

What is subtraction called?

"It's okay to focus on family affection. There was a bond of faith between Cooper and Murphy, and he tried to go home, and he wanted to go home, and that was the only thought. There is no need for a reason, and there is no need for a story. Cooper loves Murphy because Murphy is his daughter, and Murphy trusts Cooper because Cooper is her father. It's that simple. ”

Lan Li expounded his views and opinions.

Starring in "Interstellar" will be a new challenge, and Lan Li will be the first to put into the performance with expressive acting skills, cutting down the branches of methodist acting as much as possible, showing emotional delicacy, emotion and profundity, which is enough.

In the previous life, Matthew McConaughey's performance failed to do this, he tried to add more details to the character, but these details were all drowned in Christopher's lens, and in the end it was reduced to useless work, which instead made Matthew's Cooper wander out of the story, affecting the connection between the audience and the film.

It's not that Matthew isn't good enough, it's just that the method isn't quite suitable. Christopher's lack of acting skills can also be glimpsed here: he simply didn't realize that Matthew's approach wasn't suitable for the film.

Of course, this is just Lan Li's personal thoughts.

Lan Li's explanation came to an end for the time being, and Jessica fell into her own thoughts, savoring the words just now, "You mean, we just need to show that emotion, and then deepen it step by step in this emotion, and continue to amplify the belief in longing and love, right?"