Hugo looked at Leonardo in front of him. He was not sure whether his little butterfly began to influence Leonardo invisibly, because Leonardo's evaluation of Rimbaud was so accurate and so profound, just like... it was like talking about Leonardo himself.

"He didn't know the meaning of poetry to himself at all. It was just one of his means of becoming famous. However, by the time he truly realized the greatness and glory of poetry, his talents had been squandered."

In fact, this is Leonardo's acting career trajectory. Before "Titanic", Leonardo relied on his amazing talent to become the best in the generation of acting. During this period, Leonardo also wanted to pursue acting. He had a strong interest in acting, but Leonardo relied too much on his talent and was unwilling to try or break through. Most of the roles he played at his peak had similar traits: unruly, casual, crazy, fragile, complicated, and dark. To a certain extent, this made Leonardo, but it also limited Leonardo.

Therefore, when Leonardo was knocked out by the popularity explosion ushered in the "Titanic" and fell into confusion. When Leonardo truly realized his talent and talent, he had already entered middle-aged life, so he entered another maze. Almost all the middle-aged men with deep hatred were widowed and occupied the majority.

Leonardo and Rimbaud are so similar that Hugo can't tell whether it was Leonardo who shaped Rimbaud based on historical facts or whether Rimbaud created the image in the minds of all the audience through Leonardo's performance.

This shocked Hugo, not only because of Leonardo's words that seemed to predict his future, but also because of the high overlap between Leonardo and Rimbaud.

As Hugo said, there are too many differences between Leonardo and Rimbaud. Perhaps, Leonardo cannot even understand the deep meaning of Rimbaud's poetry, nor can he understand the status of Rimbaud's poetry in literary history, but Leonardo perfectly presents Rimbaud's bright spots and convinces Hugo: he is Rimbaud, and Rimbaud is him.

In fact, the method and process of Hugo's conception of a character is not much different from that of Leonardo. Leonardo was influenced by Hugo and gradually began to build a character in different ways. Both of them found the commonalities between themselves and the character, aroused inner resonance, and then created the character based on their own understanding.

"So, what you and Rambo have in common is..." Hugo's brain was a little confused, and countless information was messed up, so he chose to communicate further.

Leonardo enjoys such moments. He likes to discuss performances with Hugo. It is not necessarily an academic exploration of the method, but more about each other's understanding and doubts in the process of exploring the role, but he can always give himself a lot of gains. "Enjoy youth and be self-centered."

Leonardo's simple words stunned Hugo. When he thought about it carefully, he found that this statement was so correct. Both Rimbaud and Leonardo were like this. They became famous at a young age, were young and talented. Such young people easily had the illusion that the world revolved around themselves, which made them self-centered, even arrogantly, squander time, and even ignored the efforts and talents of others, and despise the whole world.

Not only Rimbaud and Leonardo, but also many child stars who became famous at a young age, including Macaulay Culkin, Drew Barrymore, Edward Furlong, etc. The hot spotlight made them lose their direction. In the end, their talents were squandered.

However, Leonardo kept his relatively clear mind, found his own path in the colorful Vanity Fair, and persevered. Therefore, when Leonardo tried to understand Rimbaud, he sensitively grasped this point. Perhaps this was not the whole of Rimbaud's personality, nor was it the deepest mark that Rimbaud left in history as a poet, but this allowed Leonardo to shape the entire image of Rimbaud vividly.

Objectively speaking, Leonardo's understanding of Rambo is simpler. He did not analyze Rambo's growth history, nor did he analyze the reasons for the formation of Rambo's personality, but his understanding is deep enough. After grasping an important shining point, he burst out with amazing energy.

Relatively speaking, Hugo's understanding angle is more about the psychological level. Hugo hopes to construct the character's psychology and experience, so as to present tiny links such as eyes, expressions, and actions in the way of shaping details, so that the entire character's image will become vivid and vivid.

But this method is more complex and difficult, and the result is that Hugo must spend more effort to shape all aspects of the character and even many things that are not needed during the shooting process. Taking the "Seven Deadly Sins" as an example, the Anonymous' appearance time is very limited, and he only appears in the last half hour. All the homework Hugo did cannot be presented.

But Hugo knew that his preparation was not useless. Many times, a difference in action, a look, or a posture would lead to a difference in roles. Perhaps the audience could not explain the reason, perhaps the professionals in the academy could not give a detailed guidance, and even the performers themselves could not explain the source of this detail, but the presentation effect would be very different. This is the breakthrough and in-depth study of acting skills.

However, from Leonardo's performance, Hugo realized something that in fact, what he needed to find was not a balance point, but a resonance between himself and the character. More parts belonging to him or more parts belonging to the character. It doesn't matter. It's important to be the echo between himself and the character and then a chemical reaction.

Just like Leonardo, a connection point completely shapes Rampo. As for whether there are more real attributes or more Leonardo attributes in the image of Rampo, this is not the point at all. What Hugo should be looking for is that the connection point between him and the character is not just one, but multiple. The more connection points, Hugo will discover more similarities and differences between him and the character, and then use his understanding to perfect the character.

Although Hugo is a non-professional student, he has never systematically studied acting skills, but in the continuous communication with co-stars and the continuous exploration of his own performance process, Hugo has gradually become a representative figure of the methodology school, but at the same time he has developed his own different characteristics.

The so-called method-based performance means that when an actor interprets a role, he must be proficient in observing facts, guessing the behavior in real life, and imagining the psychological spectacle of the role, so as to achieve accurate and credible performance effects without any traces of performance, allowing the audience to forget the actor's performance and empathize with the role.

The Methodist shines throughout Hollywood history. Malone Brando, Paul Newman, Jack Nicholson, Meryl Streep, Daniel Day Lewis, Robert De Niro, Al Pacino, Dustin Hoffman and others are all representative figures of the Methodist acting skills.

Al, who "smells in fragrance and recognizes women", Jack, who "Yihai Heroes", Liam, who "Schindler's List", and Samuel, who "Pulp Novels", are all representatives of method-subtitled acting. Under these powerful influences, Hugo has gradually explored his own method-subtitled acting path.

The core idea of ​​method-based acting is actually to advocate experience and to unite the actor and the character. The actor should actively feel the emotions of the character, and think, hope, pray and act like the character exactly as the character, logically, and in sequence, like the living person. Simply put, it is to achieve subconscious creation through conscious psychological techniques.

Therefore, Malone lived among dock workers for several months in order to smoke; Robert actually drove a taxi on the streets of New York for two months in order to play the role of "taxi driver"; Dustin stayed for nearly a month in order to play the role of "Rain Man" and autistic patients.

Hugo initially simply imitated and performed simply, and then gradually learned to figure out the role psychology and let himself stand in the role position to perform. Hugo found a breakthrough point in the "Schindler's list". Amon Goss' perfect upper body almost made Hugo unable to distinguish between movies and reality; then, Hugo began to learn to interpret the role with himself as the leader, trying to make the role have more of his own style and rely on his own nature to create a special role.

But no matter at any stage of acting, Hugo attaches great importance to the role's experience, psychology, and experience. He has been trying hard to find the resonance between himself and the character, and then truly presents the character's reaction when facing the story. In fact, this is a kind of method.

But now Hugo has encountered a bottleneck. He tried to find a balance between himself and the character, presenting the most accurate emotions and actions at the exact time point, and putting each character with his own distinct imprint. In fact, this involves another sect's performance method: the performance school.

Unlike the experience mode of the method school, the expression school is a traditional British performance method. To put it simply, it is to use solid basic skills to perform correctly at the right time. This is also a traditional concept of acting skills.

The performances of the two factions are meaningless. Although the methodology occupies a major position in Hollywood, many directors require actors to use performance genres, among which Alfred Hitchcock is a typical representative.

Hugo, who is not from the academy, is trying to integrate the performance style of the performance school based on the method school, but the process is obviously not that simple. The conversation with Leonardo made Hugo realize that what he is looking for is not balance, but more resonance, more understanding, and use his outlook on life and values ​​to understand the character's outlook on life and values, and find the opportunity to perform here.

"Which part should be gentler, which part should be cold-blooded; which part should be gentler, which part should be cruel; which part should be calmer, which part should be violent" is not determined by Hugo, but by the character's script. When you find the point of fit and echo between yourself and the character, the answers to these questions will naturally come to light.

But is it really that simple? How to not lose yourself in the role and how to discover the role in the self is definitely not an easy task. At this moment, Hugo truly felt the barrier of acting, which made him confused, struggled and entangled, but also made him excited and excited and expected.

"So, did you encounter difficulties in the process of studying the role?" Leonardo looked at the mixed look in Hugo's eyes and asked hesitantly.
Chapter completed!