Hugo's performance was over, and he had already gotten into his car. The scene had just been filmed, but the scene was still silent. Since the gunshot, the scene was a bit terrible. As a last resort, the supporting role who played the driver had to drive the car out. After shaking for five yards, he heard Steven's voice coming from behind, "Card!"

This voice quickly broke the tension at the scene. Hugo had just stood up from the seat of the car when he saw four or five people suddenly running out of the staff area. The one in front was the irritable Ben Kingsley, "You dog. Mom. I'm raising it! I won't chop you today, I'm a dog!"

Hugo was naturally inexplicably surprised when he saw this scene. He didn't understand what was going on, but he just stood in the car and threw a puzzled look in the direction of Steven. Then he saw these people running towards him in a swarm. This shocked Hugo, "Did he do something wrong?"

Fortunately, before these people arrived at Hugo's car, they were stopped by a group of staff who were swarming up, and then someone heard someone say, "That's Hugo, that's Hugo Lancaster!" This voice persuaded several impulsive people to stop.

Ben Kingsley sorted out his slightly messy hair, then looked up at Hugo standing in the car, and after a while, he said angrily, "You acted so annoyingly just now! I wish I could kill you directly!"

Hugo was pointed at the nose and scolded by others, but he always felt that the taste of the words didn't seem to be right. Hugo frowned and looked at Ben, asking in confusion, "Uh... should I take this sentence as praise?"

Ben seemed a little embarrassed because of his impulse, and pulled his flattened jacket again, "If you want..." and then turned around and walked back.

Hugo got out of the car and followed everyone in the direction of Steven, then raised his inner question, "Steven, was my performance good or bad?"

"I really want to applaud you, but I don't want to applaud you, so... stick to your performance style, I think you are on the right path." Steven hesitated for a moment, said with thought, and then took the script and walked to the other side, preparing to arrange the next scene.

Hugo finally felt relieved at this time, and his performance just now achieved an absolute success!

In Hugo's opinion, he wanted to use Amon's cold and heart-wrenching peace to stimulate people's inner fear. Killing is nothing to Amon. These Jews are moving targets in Amon's eyes, without any mercy. But on the other hand, Amon hopes to disguise himself with qualities such as politeness, wisdom, gentlemanship, and gentleness. He hopes to rely on these qualities to occupy a place in the so-called upper class society, and not to make himself look like a grassroots from the countryside. At the same time, he also uses arrogance to conceal his inferiority deep in his heart. This is also an important reason why Amon is willing to give Schindler trust. Even Schindler was able to persuade Amon repeatedly later, which also had psychological factors in this regard.

So Hugo's performance when Amon first appeared, with elegant smoking, gentleman's handkerchief, gentle eyes, and decent language. All of this seemed so perfect. But when someone tried to challenge his authority, especially when this person was still a Jew, the coldness in Amon's bones appeared.

These mixed emotions are the result of Hugo's long-term research. He carefully studied this personality, combined with his encounters with people with similar personalities in his past life, and then organized a set of behaviors, which penetrated into his behavior bit by bit in life, making it a habit and a personality.

It can be seen from Hugo's performance that there was actually no special explosive point in the acting scene just now, but Hugo's performance shocked everyone present, and even stimulated Ben and others' nerves that became sensitive because of the previous anti-Semitists. They completely exploded, and then they lost their minds and rushed up.

It can be said that there is no doubt that Hugo grasped the essence of the character Amon!

More importantly, through the brewing and performance of the role of Amon, Hugo seemed to have further improved his understanding of performance. When Hugo was "Sleeping in the Night in Seattle", he vaguely felt the influence of his own emotions on the role's interpretation. Then when he communicated with Catherine Hepburn, she put forward a new point of view. It is impossible to achieve 100% of the overlap between personal experience and character experience. So what about Amon's role this time?

Hugo used huge information obtained from all aspects to virtually construct the role of Amon himself, and then supplemented Amon's role based on the oral statements of all insiders, and finally formed a complete role. In fact, in this process, Hugo used all his understanding of acting skills in the past, studying the role itself, substituting his own understanding but not limiting himself to his own understanding. Simply put, it is to build the role completely from his perspective.

But why did Catherine say that the overlap between personal and character experiences is unnecessary in a sense?

Hugo just felt that she had taken a step further in the exploration of acting skills, and then realized that in fact, it was still the tip of the iceberg. But it must be admitted that this process is really exciting, recreating a real or virtual character image and then allowing the audience to empathize with it. This feeling is really great!

But compared to the happiness brought by acting, staying on the crew of "Schindler's List" is a huge torment for Hugo!

As Hugo got into the state at the first time, the filming of the entire crew became smoother, but as the plot progressed, Steven's situation became worse and worse. The fourteen hours of shooting every day made everyone in the crew tense up. In order to reproduce the real scenes of the Nazi persecuting Jews back then, the entire crew was even more shrouded in a terrible mood of pessimism and anger.

While filming a scene in the afternoon, Steven suddenly slapped the table and turned away. Whether it was the assistant director or the drama, including Steven's wife Kate Capshaw to persuade him, it had no effect. In the end, the scene was completed under the supervision of the assistant director.

In fact, it's not just Steven. Many extras in this scene are on the verge of collapse. This scene tells the story of Amon receiving an order after entering the Prasov concentration camp, requiring another "destroy" of a group of Jews, so Amon decided to conduct a simple physical examination of the Jews in the concentration camp, staying with those who are healthy and able to continue working, while others will be driven to the gas chamber, lock them up in the name of bathing, and then all of them will be executed.

During the filming of this scene, most people had to take off their clothes and undergo examinations, and then the Nazi doctors would determine whether the visitor should continue to stay. When seeing some elderly people, the doctors would even ask the elderly to run away to determine whether the elderly are healthy.

When Steven saw the old man played by Regina being asked to flee, he finally couldn't help but leave the set directly, and his emotions were never calmed down.

For Steven, he was "lucky" because he could leave the set and calm his emotions; but for the rain came, it was a torture. He was the supervisor of this health check. He even walked into the playground to judge the group of unplugged Jews: who is healthy and who is sick, this behavior that easily determines other people's lives is so simple and neat in Amon's actions. But Hugo, he is not Amon! Even if he plays like he is re-entered, he is not Amon after all.

When he saw Regina being forced to run, Hugo also had the impulse to turn around and run away. He looked at the kind old man who usually laughed and laughed with him, but now he was called out like a beast. His dignity was worthless in the face of the threat of life. This made Hugo feel that his heart was suffering a stinging pain. He was out of the show in an instant, and he immediately switched back from Amon's state to Hugo's state.

But Hugo couldn't escape because he had to stay and "direct the scene".

After the filming of Steven's departure, the scene was interrupted three times because Hugo had never been able to enter the state. Before that, entering the Amon state was like a casual move for Hugo, as easy as walking in the garden. In fact, except for the "Smelling the Scent of the Scent", he never got into the state well in the early stages of filming, Hugo's concentration in the play has never been problematic, but today, Hugo has never been able to do it.

This made Hugo very frustrated. His heart was like tormenting in a oil pan, constantly hurting in the spear and shield, and was devastated. But this was his job, and he had to persevere, "I, I can't..." This was the first time Hugo had the idea of ​​giving up, unprecedented, "Do I have to be here in this scene? Can't I replace it with other shots?" Hugo looked helplessly at the left-behind assistant director.

The crew's deputy director is not a professional at all, but a survivor of Auschwitz concentration camp. He was quite unbearable to see Hugo's pain at this time. It is hard to imagine that Hugo, who is kind and gentle in real life, will play the most terrifying demon in the movie. This torment is not inferior to Steven's decision to make a cruel decision to restore these terrible scenes. But he had no way to make a decision at this time, because Steven still did not appear, and his understanding of the movie was really limited, so he could not respond to Hugo's request.

"Hugo, hurry up, you asked me to drag my body to run a few more laps in this weather? Please, you are not a child who doesn't know how to take care of the elderly, aren't you?" At this moment, Regina's voice attracted Hugo's attention.

Although Regina's thin body was wrapped in a coat, she was still trembling in the cold wind. In fact, shooting a tormenting scene similar to slapping the face, the most dedicated performance is to be in one step, eliminating the politeness, struggle, and entanglement. She simply and neatly finished the entire scene and minimize the damage. This is the wisest and most professional approach.

Hugo looked at Regina in front of him, and realized that his pity, sympathy and torture were actually not important at this moment, because Regina, who had experienced all this personally, suffered a thousand times more than him. He had no right to escape.
Chapter completed!