The Best Actor in the Vase of Meiyu

Chapter 2060 Image Projection
A joyful atmosphere filled the air.

Martin finally regained his composure and realized that he had overreacted. He should have known from the time at Forest Films that Anson was an actor who was willing to engage in dialogue and explore in depth. Now that they were truly entering a professional discussion, he should have listened attentively.

call.

Martin let out a soft breath. Although he couldn't bring himself to apologize and was still a little embarrassed, he took the initiative to steer the conversation back on track and make amends.

"What exactly did you mean by what you just said?"

Anson noticed Martin's tone, stopped joking, and got back to the main topic.

"Director, I don't want to interfere with your work, God, I know nothing about directing; but from our conversation just now, I feel that you don't fully realize the difference between theater and film. I think our work has its own limitations, and we should make up for those shortcomings through communication."

"From theater to film, it's not as simple as adding scenes or moving out of the room, nor is it simply a matter of showing the audience different scenes and city streets to take a work out of the theater stage and transform it into a film."

"If you can't realize this from the essence, the films you make will just be dramas with different scenes, without any originality."

"The key difference between theater and film lies not in the script, but in the editing."

Later, more and more classic plays were adapted into films, but most directors did not realize this difference and simply brought the plays to the big screen.

The 2016 film "Fences" is a prime example of a negative case. Denzel Washington is an excellent actor, but he is a terrible director.

Martin was puzzled. "Of course I know editing. How could I not know editing? You mean montage?"

Anson shook his head. "It's not just montage."

"Editing is a kind of magic, and also a technique of expression."

"Imagine if Ray's heart is now a wasteland. On the stage, the audience sees the actor's face and the sadness and despair presented in his performance. The problem is that performance is a concept. Different audiences feel different emotions, and it is not necessarily a wasteland."

"However, on the movie screen, Ray sits quietly on a bench, his eyes filled with confusion and bewilderment. Then the camera shows a desolate grassland, barren and shrouded in thick fog. This kind of imagery is the strength of film, accurately conveying the director's intentions."

Martin paused, "But we're not making impressionist films."

Anson: "Yes, we are not."

"This is just one example. Editing goes far beyond that."

"Imagine on a theatrical stage, if an actor wants to attract the audience's attention, he has to speak, he has to use lines to engage the audience."

"But it's not like that in the movie. Suppose Ray and Ken are talking at this moment. If Ken is speaking, the audience's attention will naturally be on Ken. But what if the movie wants to show Ray's psychological state? Then, the camera can be focused on Ray. Ken's words become narration, and the responsibility of bringing impact to the audience falls on Ray."

"That's the charm of editing, and also the charm of film. It can bring different impacts through shots and editing. The audiovisual effects are far more than just the picture."

Martin didn't speak, but fell into deep thought.

Not to mention Martin, even Brendan glanced at Anson twice—

Although they are all actors, not every actor has their own understanding of the camera and editing. However, there is no doubt that if an actor can understand the language of the camera, it will play a crucial role in the rhythm of the performance.

"Now, let's bring our attention back."

"Yes, I know your creative intention: a dark comedy, slightly melancholic, even heavy, with a somber and profound overall tone, just like the weather in Bruges." "But it's still a comedy, right?"

In fact, this isn't just a recurring theme in "No Holiday for Hitmen"; Martin Scorsese's later works consistently demonstrate this approach.

On one hand, there is sorrow; the sadness and bitterness that permeate the work are always lingering. On the other hand, there is the script; its essence is still drama, and compared to cinematic language, it relies more on its control over the text.

Of course, that's not all. Martin is also learning the language of photography, using the camera to express emotions that words cannot convey.

"In Bruges" was Martin Scorsese's first time directing, and even his first time in the film industry. He couldn't shake off the habits and perspectives he had from the theater world.

Therefore, in Anson's view, Colin Farrell bears some responsibility for the film's failure to become a classic, but the greater responsibility lies with Martin Scorsese.

Look at Guy Ritchie, the director who broke through the ranks around the turn of the millennium. He actually only has three tricks up his sleeve: relying on dazzling and smooth editing to create visual pleasure. But "Lock, Stock and Two Smoking Barrels" and "Snatch" have indeed won the hearts of countless movie fans and are also a way of opening up British comedy.

Anson doesn't want Martin to become Guy Ritchie—"In Bruges" can't become "Lock, Stock and Two Smoking Barrels," and the wisdom and humor Martin infuses into the script's language will be lost; but there's no doubt that Anson wants Martin to skillfully use cinematic language to inject vitality into the film.

Comedy doesn't mean it can't be depressing; at the same time, depressing comedy doesn't mean it can't be energetic.

“We need to show the gloom and sorrow of Bruges, but at the same time we also need to show the humor of comedy.”

Finally, the door in Martin's mind opened, and he looked up at Anson. "For example?"

Anson pursed his lips. "To be honest, I really know nothing about directing. All my theories are just theory, nothing more than empty talk."

"but……"

It's not modesty, but a fact: Anson does have limited understanding of directing; he learns about his work primarily through the director's lens.

"For example, when you're trying to capture the atmosphere of Bruges, consider the characters' place within the city. A panoramic view shows the grandeur of the city's streets and churches, and the characters are only the size of a palm, seemingly swallowed up by this solemn expanse."

"For example, the contrast between panoramic city views and close-up shots of characters' states can make the audience feel what you are trying to express even before the lines are spoken."

"For example, close-up shots are inserted into the gaps in the editing to disrupt the narrative rhythm, and different shots are spliced ​​together to create humor and satire of reversals."

Film editing is definitely more than just montage.

"This is something that Mr. Gleason and I have been discussing."

Martin paused, glanced at Brendan, and asked, "Mr. Gleason?"

Anson's voice came from the side, "So you don't need to worry, we're not friends, just business partners."

Brendan, who had remained silent until now, looked at Martin and quietly spoke, "A partner who stands on the same side."

Anson's smile widened, and he brought the topic back to the present, saying, "There is another difference between drama and film. The details of the performance are clearly displayed on the big screen, which is a completely different challenge for the actors."

“Mr. Gleeson and I hope to show the differences between the characters through details and create a comedic effect with a mix of seriousness and humor.”

(End of this chapter)