Disaster Artist

So, how should we add details to commercial films, add edges and corners to the characters, and at the same time interact with the film itself?

In fact, it is not difficult to simply add details. It is enough to conceive an action, an expression or even a sentence for the character.

But can these details add charm to the characters? Or to increase the connection between the characters and the plot? Even hinting at the choices and judgments of the characters and making the characters and the plot full?

This is a science.

A simple example can be used, and things will become clear at a glance:

In Lu Qian's time and space, Agatha-Christie's works are undoubtedly the most popular adaptations of movies. They have been adapted into three different versions in different eras. The same story is in Appreciation of different eras is also timeless.

Among them, "Tragic Eucalyptus on the Nile", comparing the 1978 version and the 2022 version, can intuitively see the rank of the characters.

The same story, the same characters, the same plot, or even the same novel, but the effects presented by different directors and different actors are worlds apart.

In the 1978 edition, there was such a dialogue, "You stinky French villain", "Belgian villain, ma'am".

The latter is the line from the actor Poirot.

This line appeared twice before and after, and it just flashed by in the movie, but for the role of Poirot, it played a polishing role.

First, stubborn, he is willing to repeat the same thing over and over again.

Second, pride, Belgium and France are two different things, this is his insistence.

Third, humorous, even in response to the other party's swearing, he remained polite, and the honorary title of "Mrs." has never been lost.

Light and witty, it allows the audience to have a better understanding of Poirot, even after the movie is over, they will remember such details.

Moreover, these details not only enrich the characters, but also complement Poirot's delicate observation and behavior in detecting cases.

In the 2022 edition, there is such a detail. The waiter brought desserts to Poirot. There were seven in total. Poirot thought it was a singular number, which did not meet his requirements for an even number. Luo was unwilling, and finally he chose to eat one, so he made up an even number.

Such details show two characteristics of Poirot.

First, obsessive-compulsive disorder; second, love of sweets.

and then?

No then.

Not to mention whether such details are helpful for the detection of eucalyptus cases, more importantly, such details are basically equivalent to waste clips, because after this, Poirot's persistence and stubbornness to double numbers was never shown, nor was it shown. The influence of sweets on Poirot—

If you deliberately emphasize the role of sweets in the scene, Poirot can be seen stealing sweets every time the camera passes by, that is an interesting detail, even if it cannot play a role in detecting the case, it can make the character become cute.

However, no. Nothing at all.

That is to say, this is when the script was created, they didn't know what to create, so they just stuffed a detail on the character; after using it once, it was completely forgotten, because adding or subtracting one of such details would There is no effect -

In other words, this is the director or actor's own play, but it does not help the story or characters.

A comparison, stand out.

It is also the details that enrich the color of the characters, but not every detail is effective.

In the 2022 version, such scraps are everywhere, so that the whole script seems bloated and boring, and the final effect is even worse.

Further confirmation in every way is that Keh-Branagh's lack of aura as a director was a disaster.

So, when directors, screenwriters, actors, when they add some vivid details and rich characters to the characters, it is obviously not easy.

Especially in commercial films.

If it is an art film, the director can have enough time and space to give the character an opportunity to extend and expand, including lines, performances, and shots. It can be helpful. In fact, it is relatively simple. It only needs the main creative team to keep a clear head.

But commercial movies are not good. In order to avoid disrupting the rhythm and distracting guests, the space for the characters to show their own edges and corners is very limited, but they cannot completely let the characters lose their colors and become tools. This also presents a severe test.

Because of this, don't think that making a commercial film is mindless, easy, and simple. The difficulty of making an excellent commercial film is definitely not lower than that of an art film. This is why Lu Qian always refuses to make a commercial film. An important reason to draw the line between art cinema and art cinema.

Eyes, back to the front.

Wei Dongmang just gave a very good example.

Although he conceived the whole background for the character of Aja, there was no room in the movie for the character to "act", so Wei Dongmang chose this opportunity -

When a character faces a "shock", his reaction is a direct reflection of the character's edges and corners.

What is a shock?

Difficulties, turning points, accidents, events, etc., etc., commercial films need to be promoted through such "shocks", and the choice of characters will show their characters.

Wei Dongmang chose when he was "beaten"~www.readwn.com~ and captured the gaps in the martial arts design that Lu Qian was building, giving the characters vitality.

At the same time, such details are effective and efficient, because they can be directly reflected in the follow-up fight scenes. The reaction to Aja and the follow-up actions of Aja are both supplements, and the continuity between the characters and the plot is immediately close. Get up, and inadvertently complete the promotion of the plot.

This is the correct way to open character details.

Maybe Wei Dongmang didn't realize what he was doing at all, and how good it was, but subconscious inspiration is also a form of talent.

Once again, Lu Qian's expectations for Wei Dongmang were correct.

Wei Dongmang didn't get a response for a long time, swallowed a mouthful of saliva, and blinked his eyes, "Director?"

The smile at the corner of Lu Qian's mouth rose, "Very good, very good, this is what I have been waiting for."

Wei Dongmang: ...

His mood was soaring, just a little bit, just a little bit, Wei Dongmang was about to scream, but he still couldn't control it, he clenched his fists heavily, and then his smile rose without reservation.

It's like a child who got a little red flower.

So that Renault, who was standing next to him, couldn't help but look at Wei Dongmang more, what was the matter with a little jealousy all of a sudden?

Lu Qian retracted his gaze and did not stop at the actor's work, because this is a huge project, and they still need to discuss it slowly.

The current time should belong to the martial arts design, and they must maintain their concentration.

Lu Qian turned his head and quickly returned to work, "This is the understanding from the actor's point of view. What I just said was the understanding from the director's point of view, and the specific presentation is the understanding of the martial arts guidance point of view."

"The First Minister of Ming Dynasty"

"Master Hong, what do you think?"