From an objective point of view, the acting challenge of "" is not so difficult, at least not as difficult as "", but the role of Jesse is another attempt and another understanding of Hugo's acting.

So far, Hugo's career as an actor can be divided into two parts - although it is only six works in less than three years, "the first four works are one part", and "after the second part".

Before "", Hugo was more involved in the role in the acting process, he was used to sketching the character in his mind, and then let himself enter the role little by little, and finally interpret the role from the inside out. After the gestation and precipitation of three works, this performance method reached a peak in "Schindler's List", so Amon Goss's eyes seemed to look up from the abyss of the soul, reaching the first small peak of Hugo's acting career.

But in the subsequent "", Hugo made a new attempt.

Because Vincent is different from Goss, Vincent is like an ordinary person without any characteristics, which makes it difficult for Hugo to build up the character, and it is difficult to accurately grasp the characteristics of the character, after careful consideration, Hugo tried the opposite method of acting: he is acting on his own basis, using himself as a model to outline the character, that is to say, the character will have characteristics that obviously belong to Hugo.

It's a different way of acting.

To put it simply, "" before the characters in the play drove the performance, and "" at the beginning it was Hugo who drove the character performance, which are two different performance styles and two different performance angles.

Perhaps it is not accurate to separate the two representations and discuss them, because the performance itself is the actor and the presentation, whether the role drives the actor, or the actor drives the role, this is something that cannot be clearly distinguished. But from a technical point of view, different starting points do drive differences in the way of performance.

In the case of the two characters Goss and Vincent, Goss is characterized by a distinctive, that kind of evil sex. The struggle between sense, good and evil is brought into full play; But Vincent seems to be very vague, can't say why, many people after watching the movie are impressed by Jules, who has to read the Bible before killing, but can't remember Vincent's characteristics, but Vincent's personality is real enough, as if he is the kind of character that may appear in the streets and alleys of life at any time.

In addition, Sam, the "" male protagonist who is also not distinctive, can leave a clear impression of gentleness but humor after watching the movie, which is different from Vincent's mediocrity and simplicity.

Therefore, in the process of filming, Hugo is based on his own personality and characteristics, sketching and depicting Vincent, the delicate and real details in the small details, among all the roles in the same work, is actually the most difficult to perform, and Hugo completed the task brilliantly, so Hugo won the actor on it, instead of Samuel L. Jackson who played the more characteristic Jules.

This difference also allowed Hugo to start a new exploration on the road of acting research, before "", Hugo was always easy to get too deep into the play, unable to distinguish himself from the character, and often appeared in a state of excessive force; But after "", Hugo was able to integrate his own personality and traits into the character, turning the performance into a process of savoring and swaying freely. It can be said that this is a different discussion of Hugo's acting skills.

Now, Jesse and Vincent are the same type of characters, and Jesse is a further challenge, and Jesse's performance is even more difficult than Vincent's.

At least, Vincent still has some points of borrowing in the "" story, such as the scene where he dances with Uma, such as the process of his dialogue with Jules, and more importantly, Vincent's identity as a "underworld and killer", which still has a way to shape.

But Jesse has nothing, no borrowing points, no special identity, and there are no conflicts and contradictions in the story for the characters to play, this is an ordinary ordinary person. Similarly, the same is true for Selena, played by Charlize.

Such a role, to put it mildly, is a character that is thrown into the sea of people and cannot be detected at all, so that the actor cannot find the entry point or the power point, but such a role is the protagonist, so such a role is a huge test for the actor. How to distinguish life-like acting skills from true character performance, how to sublimate true character performance into character creation in drama, and how to integrate self and character while maintaining differences, this is a very difficult task.

In fact, in the field of professional acting, the characteristics of the characters can be called "crutches", and most of the characters also have crutches, such as the stuttering in "The King's Speech", the despair in "The Dallas Sellers Club", the cold-bloodedness in "The Blood is Coming", and the "Training Day." day)" and innocence in Forrest Gump...... These are crutches, that is, the breakthrough points for actors to show their acting skills.

Roles with breakthrough points are actually very challenging for acting skills, because these breakthrough points are often situations that actors can't experience in their usual lives, such as autism in "Rain Man", although Dustin Hoffman is an old actor, he still seriously studied autism for a long time; Another example is the misanthropy in "Taxi Driver", Robert De Niro himself drove a taxi in New York for a few months to feel the character's mental journey.

Therefore, how to truly break this breakthrough point is a very difficult task for actors, not all actors can do it, even if it is an outstanding actor, it may not be completely certain.

But, on the other hand, the breakthrough point also means that the actors have a direction to work towards, and they clearly know the goal of their sprint, which also enables the actors to have a purpose. "Before, Hugo was like this, he could feel the power of the character, so he went all out to study each role, and then pushed himself to the extreme, and finally presented a wonderful performance.

However, in many scripts, the characters have no crutches, maybe they are just an ordinary ordinary person, maybe they are a mediocre story, or maybe they are a fragment of life, it is difficult to find a breakthrough in these characters, which is undoubtedly another test for actors: they can't find the direction of their efforts, and they must rely on their own judgment, the director's guidance, and the structure of the script to think about the character's foothold.

At the same time, many actors may not be able to get rid of it for the rest of their lives once they get used to borrowing crutches during their performances. Daniel Day Lewis and Al Pacino are prime examples.

Day Lewis is one of the greatest actors in film history, his strength is undoubted, almost every performance is a classic, and in 2013 he became the first actor in history to win the best actor three times, which proved his absolute strength. However, Day-Lewis's acting line is fixed in the framework of bitterness and hatred, and although the roles played by his three little golden figures are different, the overall style is dark and deep.

The same is true of Pacino, starting with his famous work "The Godfather", to the pinnacle of "Scarface", to the dream of "Smelling a Woman", and the later "The Devil's Advocate". devil’s。 Advocate)" and "Heat", he plays the role of an explosive and powerful character, and the process from calm to sudden explosion without warning is Pacino's housekeeping skill.

Not only that, but Jack Nicholson, Robert De Niro, and Dustin Hoffman in the eighties were all on par with Pacino. Nicholson, on the other hand, is constrained by his appearance and is too individual, and has always played the role of evil and rebellious; De Niro is even more trapped in the gangster role; Hoffman is known for portraying small people, and his performance is as delicate and smooth as flowing water.

Of course, this is a bit biased and one-sided, the actors have made different breakthroughs in their careers, and the efforts they have put in to play these roles well are also beyond the reach of many ordinary people. But on the whole, their crutches have become the most important part of their performances.

Among them, Hoffman is the most special, he has always played mediocre little people, that kind of gentle and delicate performance often makes people unable to see the focus of his performance, these roles do not seem to have "crutches", but in fact, the mediocrity of these characters is Hoffman's crutches.

Objectively speaking, those characters who do not have crutches are not only very difficult to play, but also unflattering. Because it is very likely that he will be a real mediocre person, without any characteristics or charm, such a person may be as ordinary as the next-door neighbor to the audience, and naturally it will not be attractive, and they will not feel the power of acting.

What the audience wants to see is a situation where acting skills suddenly explode, conflicts are intense, and actors compete with each other.

But the problem is that learning how to act without crutches is a lifelong lesson for every actor, and that kind of moisturizing and silent acting skills can help actors go to the next level in acting.

In the case of the 2014 Oscars, for example, among the 20 actors nominated for acting awards, there are many outstanding actors who play "ordinary people", such as Bruce Dern of "Nebraska." DERN) and June-Squib (June). Squibb), Sandra Bullock of "Gravity", Judi Dench of "Philomena". dench), "blue jasmine (blue. Jasmine)" of Sally Hawkins. hawkins) and so on.

The roles of these actors have no point of strength, they rely on their own experience, their own precipitation, and their own understanding to re-inject the soul into the role, like the actor himself, but not like the actor himself, the kind of touching power that bursts out of the ordinary, this is the acting skills that have no trace at all.

is not to discuss the level of the test of acting skills for these two roles, but the only way for every actor to study acting skills.

Hugo had tried it once before in "", he threw away Amon Goss's crutches and put on a great show, so what about this time?.