Hugo looked at Leonardo in front of him, he wasn't sure if his little butterfly had invisibly begun to affect Leonardo, because Leonardo's evaluation of Rimbaud just now was so accurate and profound, as if it was ...... It's as if talking about Leonardo himself.

"He didn't know what poetry meant to him, it was just one of the means by which he became famous. However, by the time he realized the greatness and splendor of poetry, his talent had already been squandered. ”

In fact, this is the trajectory of Leonardo's acting career, before the "Titanic", Leonardo relied on his amazing talent to become the best acting actor in the generation, during this time, Leonardo also wanted to pursue acting, he has a strong interest in acting, but Leonardo relies too much on his own talent, unwilling to try or break through, most of the roles he played in his peak have similar qualities: uninhibited, casual, crazy, fragile, intricate, dark, In a way, this made Leonardo what it was, but it also limited Leonardo.

Therefore, when Leonardo was stunned by the popularity explosion ushered in by the "Titanic", he fell into confusion. By the time Leonardo realized his talent and talent, he was already middle-aged, and he was in another labyrinth, almost all of the characters were bitter middle-aged men - widows still accounted for the majority.

Leonardo and Rimbaud are so similar that Hugo is a little unsure whether Leonardo created Rimbaud based on historical facts, or whether Leonardo's performance in Lampo Guò shaped the image in the minds of all audiences.

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 can't even understand the deep meaning of Rimbaud's poetry, nor can he understand the place of Rimbaud's poetry in literary history, but Leonardo perfectly presents Rimbaud's brilliance and convinces Hugo: he is Rimbaud, Rimbaud is him.

In fact, Hugo's method and process of conceiving the character are not much different from Leonardo's, Leonardo was influenced by Hugo and gradually began to use different ways to build the character, both of them are looking for the commonalities between themselves and the character, arousing inner resonance, and then shaping the character with their own understanding.

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

Leonardo enjoyed the moment, he liked to discuss acting with Hugo, not necessarily academic method inquiry, but more of each other's understanding and doubts in the process of exploring the role, but he could always give himself a lot to gain. "Enjoy youth and be self-centered."

Leonardo's simple two words made Hugo stunned, and when he thought about it, he found that these words were so correct. Rimbaud and Leonardo are like this, they become famous at a young age, they are young and talented, and such young people can easily have the illusion that the world revolves around them, which makes them self-centered, even empty-eyed, willful and unbridled squandering of time, even ignoring the efforts and talents of others, and despising the whole world.

Not only Rimbaud and Leonardo, but also many child stars who rose to fame at a young age, such as Macaulay Culkin, Drew Barrymore, Edward Furlong. furlong) and so on, the scorching heat of the magnesium lamp disoriented them. In the end, the talent was squandered.

However, Leonardo kept a relatively clear head, found his way in the colorful Vanity Fair, and persevered. So, when Leonardo tried to understand Rimbaud, he sensitively grasped it. Perhaps, this is not the whole of Rimbaud's personality, nor is it the most profound mark Rimbaud left in history as a poet, but it allows Leonardo to shape Rimbaud's entire image vividly and vividly.

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

Relatively speaking, Hugo's understanding angle is more psychological, Hugo hopes to construct the psychology and experience of the character, so as to present the eyes, expressions, movements and other small links in the way of shaping details, and the whole character image is alive and quiet.

But this method is more complex and difficult, and the result is that Hugo has to put more effort into shaping every aspect of the character - even many things that are not needed during the filming process. In the case of "Seven Deadly Sins", Anonymous actually has very limited playing time, only appearing in the last half hour. Hugo's homework simply can't be fully presented.

But Hugo knows that his preparation is not useless, many times the difference in a movement, a look, and a posture will lead to the difference in the characters, maybe the audience can't say why, maybe the academy professionals can't give detailed instructions, and even the performers themselves can't explain the origin of this detail, but the presentation effect will be very different. This is the breakthrough and depth of acting.

It's just that from Leonardo's performance, Hugo has learned a point, in fact, what he needs to look for is not a balance point, but the resonance between himself and the character, a little more of his own part, or a little more of the part that belongs to the role, it doesn't matter, the important thing is the echo between himself and the character, and then there is a chemical reaction.

It's like Leonardo, a connection point completely shapes Rimbaud, as for whether Rimbaud has more real attributes or Leonardo's attributes in his image, this is not the point at all; What Hugo should be looking for is the connection point between him and the character - not just one, but many, and the more connection points, the more similarities and differences between Hugo and the character, and then use his understanding and reading to perfect the character.

Although Hugo is not from a professional class, and he has never systematically studied acting, but in the continuous communication with his co-actors and the continuous exploration of his own performance process, Hugo has gradually become a representative of the methodological school, but at the same time, he has stepped out of his own different characteristics.

The so-called methodological performance means that when the actor interprets the role, he must be good at observing the facts, figuring out the behavior in real life, and imagining the psychological grandeur of the role, so as to achieve an accurate and credible performance effect, without any traces of performance, so that the audience can forget the actor's performance and empathize with the role.

Methodism has shone throughout Hollywood history, with Marlon Brando, Paul Newman, Jack Nicholson, Meryl Streep, Daniel Day-Lewis, Robert De Niro, Al Pacino, Dustin Hoffman, and others all representing Methodist acting.

Al of "Smell of Women and Know Women", Jack of "Yihai Heroes", Liam of "Schindler's List", and Samuel of "Pulp Fiction" are all representatives of methodist acting, and under these powerful influences, Hugo has gradually explored his own methodological acting path.

The core idea of methodological acting is actually to advocate experience, so that the actor and the character are one, and the actor should take the initiative to feel the emotions of the character, and think, hope, pray and act exactly as correctly, logically, and in an orderly manner as the character is like a living person. To put it simply, it is to achieve subconscious creation through conscious psychological techniques.

Therefore, Malone would live among the dock workers for months in order to smoke "dock storm"; And Robert, in order to play a good "taxi driver", really drove a taxi on the streets of New York for two months; Dustin spent nearly a month playing "Rain Man" and autistic people.

Hugo began to simply imitate and act, and then gradually learned to figure out the psychology of the role, allowing himself to stand in the position of the character to perform, in "Schindler's List" Hugo found a breakthrough point, Amon Goss's perfect upper body almost made Hugo unable to distinguish between film and reality; Subsequently, Hugo began to learn to interpret the role with his own leadership, trying to make the character have more of his own style, relying on his own nature to create a special character.

But no matter what stage of acting, Hugo attaches great importance to the experience, psychology and experience of the character, and he has always tried to find the resonance between himself and the character, and then truly present the character's reaction to the story. In fact, this is a type of methodology.

However, now Hugo has encountered a bottleneck, he is trying to find a balance between himself and the character, presenting the most accurate plot and action at the right time, so that each character can be marked with his own distinct brand, in fact, this involves another faction's performance method: the table xiàn faction.

Different from the experience mode of the method school, the Xiàn school is a traditional British performance method, which is generally said to use solid basic skills to perform the right performance at the right time, which is also the concept of acting in the traditional sense.

Although the method school occupies a major position in Hollywood, there are many directors who require actors to use the performance of the xiàn school, among which Alfred Hitchcock is a typical representative.

Hugo, who came from a non-academic school, is trying to integrate the performance style of the Xiàn school on the basis of the methodological school, but the process is obviously not so simple. The conversation with Leonardo made Hugo realize that what he was looking for was not balance, but more resonance, more understanding, using his own outlook on life and values to understand the character's outlook on life and values, and finding the opportunity to perform in it.

"Which part should be gentle, and which part should be cold-blooded; which part should be a little gentleman, and which part should be a little cruel; Which part should be calmer and which part should be a little more violent", this is not decided by Hugo, but by the character by the script, when you find the point of convergence and echo between yourself and the character, the answers to these questions will naturally come out.

But is it really that simple? How not to lose oneself in the role, and how to dig out the character in the self, is definitely not an easy task. At this moment, Hugo really felt the barrier of acting, which made him confused, made him struggle, and made him entangled, but it also made him excited, excited and made him look forward to it.

"So, you're having trouble researching the characters?" Leonardo looked at the mixed look in Hugo's eyes and asked hesitantly.