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In the corner of the crew.

Liu Qingyun sat on a chair, holding the script in his hand, and studied it word by word.

His talent may not be as good as Liang Jiahui and Wu Zhenyu.

But he was lucky, because the character of Huang Agou was clearly talking about himself. The same depressed, the same want to get ahead.

When an actor performs in his true colors, he often brings his own personality to the role when creating the character. It's easy to get into the play. Or it can't be called entering the play, it can be called playing yourself.

Don't think it's easy to play yourself. You are a playboy in real life, allowing you to show the charm of a playboy in the camera. You don't necessarily play it well.

Otherwise, how can all those stars who play stars in movies play special dramas? There is a big difference between being in front of the camera and real life. Even acting in a TV series is very different from acting in a movie.

Liu Qingyun worked very hard, in order to play Huang Agou well, he not only memorized his own lines, but also asked for the lines of several other characters from Wu Xiaozu. Study each character's attitudes and reactions when they speak.

There is also one of this kind of hard-working and desperate actors in the mainland, called "actor Zhang Yi", which is mixed with Zhihu!

Wu Xiaozu likes this kind of actor very much, or rather, normal directors with artistic pursuits like this kind of actor, although they are often ugly.

Well, in fact, Wu Xiaozu just thinks that this kind of actor is more worry-free.

Wilted and inconspicuous, but it is like the crew's military coat, which can be used when put on, can be used for machine warmth, can be used for actor warmth, and can be used as a mat under the buttocks.

Therefore, although Liu Qingyun walked very casually, the rhythm was also very casual. But there is the feeling that Wu Xiaozu wants.

I am depressed, but I don't really have talents. It is the life desire of an ordinary Hong Kong person.

……

A dimly lit space with flickering lights.

A camera expands a large panorama on the crane arm, and Huang Yuetai holds the camera with a happy face.

From the position set by Wu Xiaozu for the actors, he saw a wonderful sense of space.

This sense of space he had not seen in the films of Hong Kong Island filmmakers.

Spatial is a wonderful word. But in many attraction movies, the sense of space must be an essential element. Especially in group scenes, the most important thing to show is the director's control of the entire picture space.

Huang Yuetai has a feeling that this drama is different from any previous drama.

If Wu Xiaozu hears his heart, he will praise him for having a vision.

From Akira Kurosawa's films to Du Laopao's films, they create a subtle atmosphere of spatial imagery that is intoxicating.

In the footage.

Liu Qingyun sat in the leftmost corner, facing the camera sideways, and buried himself in eating.

Fat into a big belly sat in the middle, in the 45° card seat of his right hand, Li Zhaoji and Gu Tianle one crossed his legs, the other held a mirror, and sat looking at each other.

The camera panned slightly, and Luo Dong sat on the table with a cigarette in his mouth. He leaned back, and Su Liyao sat there with a newspaper.

The camera turned 180° to the door, and Wu Zhenyu stood at the door with a red travel bag.

Seven people are sitting or standing, and they cleverly pull out a spatial picture of "confrontation".

It looks like an irregular prismatic composition, but the sharp corners are facing others.

This picture particularly has a bit of a copycat feeling of the vague confrontation in Akira Kurosawa's "Seven Samurai". In fact, in the movies of Galaxy Images, there is more or less the shadow of Akira Kurosawa.

Just like Wu Yusen's film is a modern version of director Zhang Qu.

Seven people represent seven emotions.

Joy, anger, sorrow, thought, sadness, fear, and shock.

At the same time, these seven emotions also run through the whole story vein. From the very beginning of the seven people to the end of their appearance.

Standing outside the camera, Wu Xiaozu stared at Liu Qingyun.

Liu Qingyun sat there, immersed in eating. Silent, body still, face still. When observing people, they just turn their eyes and wander among them. This small detail vividly interprets a kind of distrust.

Wu Zhenyu, who was standing at the door, was just the opposite, he stood in front of the door, his eyes scanning everyone from left to right. The eyes do not blink, and they all rely on the neck to move.

Different from the flat performance of the other five people, the performance of the two is very three-dimensional and plump.

Use two different ways to deduce the emotions that each needs to show.

One is introverted, the other is outgoing. One is very subtle, the other is tense.

From the perspective of Wu Xiaozu, the director. The performance of the two at this time has far surpassed that of most actors. Not to mention the fresh meat of those stars in later generations.

Li Xiaofeng and Liao Yingdi acted in "Psychological Crime", the acting skills were simply spicy, directly covering the light of Liao Yingdi, from the line skills to the characters' expressions, it was simply a capital "rotten".

And this word is so fresh and refined.

Liu Dehua's early plays were also bad. But at least you let him play cool and handsome, and play a gangster in "Heavenly Love", which can really move people. The latter will only stare at him.

Liu Qingyun and Wu Zhenyu are different from Liang Jiahui's acting skills from the inside out.

In contrast, the two of them are still limited to the roles they are good at, and they do not have a good understanding. Liu Qingyun in "Can't Forget" and "Dumb Birthday" is such a situation. There are acting skills, but they are also very limited. It wasn't until I came across the Milky Way image that it bloomed with another brilliance.

Restrained acting skills are comparatively difficult to give the audience a stunning effect. But when the audience watches the play, they will be convinced that he plays this role, and there is not much sense of play.

Wu Zhenyu is different. He acts externally, with a very European and American style, and is particularly easy to impress.

So the original "Crazy Boy", "Mong Kok Fit Man", "Violent Criminal Police" and so on are really amazing.

The neurotic interpretation can be described as vivid and impressive. But it also limited his acting path, and it wasn't until Jotun in "Juliet and Liang Shanbo" and Ni Yongxiao in "Infernal Affairs" that people saw another side of him besides neuroticism.

Liu Qingyun and Wu Zhenyu are both good actors, both talented and willing to work hard.

Even if it's ugly, Wu Xiaozu is willing to use actors like them.

This scene is very simple, it is about seven unreliable people forming a gang and smuggling Pingzhi to Zhanjiang. Everyone talks about it, and then in the end, no one pays for it. In the end, he had no choice but to pay for Huang Agou played by Liu Qingyun.

……

Seven emotions. Liu Qingyun came with a 'worry' at the beginning.

What about the other six?

Fei Cheng seems to be happy, but in fact, Wu Xiaozu posted 'fear' to the character of "Da Fei". He himself deceived a few brothers, but in fact he did not do business at all, smuggling Wutai Pingzhi, and only to go to the gang to ransom his wife! Therefore, his 'fear' of exaggeration is reasonable. Because he is a kind of "fear" that he tries to cover up.

Wu Zhenyu's "A Cat" represents 'Xi', an absurd 'Xi', because it is ridiculous, so it is black. His optimistic character setting will be vividly shown in the film, especially when it comes to the second option.

The rest of us have their own settings, and each of them is inevitably related.

In this way, the audience can not only have an impression when they come up, but also facilitate integration into the play and beyond, and the most important thing is to balance the acting skills of several people.

The entire crew, Liu Qingyun and Wu Zhenyu's performances do not need to be mentioned, which is quite in line with the setting of the play, and it is easy to interpret.

However, the performances of others are uneven.

Among them, Gu Tianle, who is a newcomer, is the worst.

Staring at the camera.

I forgot the words while acting.

The range of shots of the show.

The expression is not in place.

In short, he has all the mistakes that newcomers should make, and he has the same mistakes that newcomers should not make.

In this regard, Wu Xiaozu can only slowly figure it out. You can't let Louis Koo become Liang Chaowei all of a sudden, right? This is too difficult for Hong Kong Island's bad female version of Xiao Lizi.

In a sense, an actor bears a strong resemblance to an artist who engages in various other forms of artistic creation.

Anyone can become an actor. But if you want to become a real actor, you need strong professional qualities.

It can be said that it is impossible for a person who does not possess the creative qualities that an actor should have to engage in the creation of performing arts.

The first important thing for a true actor is naturally innate talent. I can't envy this point.

The second is the ability to learn.

The first point is that Gu Tianle is very good. At least in terms of image, it is far more than a large number of people. But the second point, maybe it is because of his age, he did not show superior talent.

But fortunately, he is beautiful enough! Don't think that a small cost doesn't mean good looks. Often the small cost pays more attention to the appearance.