Chapter 383

Zhu Yilong, playing the nephew, opened the refrigerator door... nothing happened.

"Cut!"

Cao Yang shouted and looked at assistant director Li Mingyi.

According to the plot, the nephew opens the refrigerator, and the frozen chicken legs inside should fall out; however, they didn't fall out now.

Li Mingyi hurriedly ran out and first said to Cao Yang: "Sorry, Cao Dao."

Then he roared: "Props, props, what's going on?"

Among the staff on the sidelines, not only the prop master came out, but even the art director came out.

The art director is the boss of the art group, and he is also the person responsible for set design in the movie, and he also has to coordinate the work of lighting, photography, special effects, costumes, props, and editing groups to design the overall visual style.

So when there was a problem with the props, he definitely had to stand out.

Cao Yang didn't say anything; it's fine to let the assistant director handle such things.

Some people might think that as long as a staff member makes a mistake in the crew, the director might roar or scold people; actually, it's not like that.

In most cases, if crew staff make a mistake, the director won't get angry at ordinary staff, because it's not worth it and not necessary.

Just like in a company, if an ordinary employee makes a mistake, the boss definitely won't trouble this employee, and won't even trouble the employee's boss; he will only go to the department head or the vice president in charge of this department.

So many times, the employees below will feel that the boss is a good person and basically won't get angry at employees, while middle management like department managers are all idiots!

If a company boss gets angry directly at ordinary employees, well, basically such a company can't grow big.

The boss just needs to manage the management personnel well, and let these people come forward for other messy things that squeeze employees and offend people.

If things get out of hand, at worst, fire the management personnel and let them take the blame; the boss can advance or retreat, and there is a lot of room for maneuver in the middle.

And because of this, in the impression of many cattle and horses, there is no good thing in the middle and high levels of the company; the boss is clearly okay, it's just these things messing around in the middle...

A crew is actually similar to a company.

If staff make a mistake, the director will only scold the heads of each department in most cases, and will not specifically target ordinary staff.

After a delay, filming restarted.

Zhu Yilong opened the refrigerator, and with a "clatter," some frozen chicken legs and frozen meat fell from the refrigerator to the ground.

When he bent down to clean up, there was clearly a "pause" action, and then he "threw" these things into the refrigerator in a flurry, as if he didn't want to see them.

He hurriedly went to close the refrigerator door, but a box of frozen meat happened to be stuck there, and the refrigerator door couldn't be closed at this time.

For a normal person, they would definitely just move the stuck frozen meat.

However, according to the plot, one is that these frozen meats make the "nephew" touch the scene and think of his father who is still lying in the morgue "frozen," and the second is that the pretense of relaxation for many days finally couldn't be held up.

A person's collapse often happens in an instant.

Although Zhu Yilong is a supporting role in this movie, he has many scenes, and Cao Yang used three immersion experiences to add to him, and additionally added one more immersion experience, using a total of four on him.

So Zhu Yilong's performance is definitely worthy of the four immersion experiences.

Zhu Yilong didn't close the refrigerator the first time; he was stunned for a moment, and then the expression on his face began to lose control and distort, but he didn't shout—when a person is truly sad and collapsed, sometimes they can't cry out.

I saw Zhu Yilong grab the refrigerator door, pull hard, and smash hard, as if he just wanted to close the refrigerator door quickly, causing the whole refrigerator to move backward continuously in the "bang, bang" sound until it was against the wall.

At this time, the refrigerator door still wasn't closed.

Zhu Yilong gave up.

He opened his mouth wide, like a fish after landing, his whole face twisted, his shoulders twitching, but no sound came out.

No one felt that Zhu Yilong's acting was bad because he didn't cry out; sad emotions are contagious, and his situation is clearly a performance after extreme sadness and collapse.

"Cut!"

"Very good."

Cao Yang said.

The camera stopped, the boom and microphone for live recording were collected, and the lighting group started to collect the reflectors...

However, Zhu Yilong didn't stop; he was still twitching his shoulders there, mouth open, in an out-of-control sad collapse with a ferocious expression.

Anyone who has seen his acting in this movie on the scene would say that Cao Dao has coached another future Best Actor with great potential and tension.

Beijing Film Academy has produced another top acting student.

However, Zhu Yilong is a student after all, and his actual acting skills are just average, belonging to those who are "helped to grow by pulling" by the immersion experience.

What's more, he added an extra immersion experience.

This led to his acting being really good when filming, but in this scene of emotional loss and sad collapse, he really lost control.

That is to say, he is now in a state of being able to release but not retract.

On this point, Zhu Yilong indeed needs to be polished again; in a broad sense, being able to release and retract freely is one of the essential skills of a top good actor.

Of course, there are many actors who can release but not retract.

Actors with good acting skills, such as Xun Ge'er, after "releasing," many times as a female lead, they cannot retract, and can only continue to fall in love outside the play, until they find that the other party is not the male lead they imagined, so they break up...

Acting skills are not good... hmm, those with average acting skills, such as Xia Jie, are also typical of "releasing" and not being able to retract, not only falling in love with her male lead, but also getting married.

This is actually all so-called falling in love because of the play.

Those who can release and retract, because of emotional investment when filming, may become legendary crew couples, but after filming, they can "retract," and everyone will break up.

Teacher Qin Peiling, who specializes in researching emotional guidance after immersion in a role at the Beijing Film Academy, is with the crew. Seeing Zhu Yilong like this, she hurriedly went over and started to guide Zhu Yilong with words.

The general meaning is to let him cry out.

As long as he cries out and vents this "energy" suppressed in his heart, it will not cause too much impact and harm.

Teacher Qin is professional after all; not long after, she heard Zhu Yilong cry softly first, and slowly, the sound gradually became louder, crying for nearly ten minutes.

Cao Yang sighed, sure enough, letting Teacher Qin follow the crew was the right choice.

Teacher Qin sighed, sure enough, following Cao Dao's crew was the right choice; research objects and papers, aren't they here?

In the morning, filming this "outbreak" of Zhu Yilong was considered very smooth.

In the afternoon, they filmed the plot of the male lead meeting his ex-wife at the street corner.

This plot, it can be said without exaggeration, is the most important segment of the whole play, none of them, it is the finishing touch of this movie.

The filming of this plot not only has the emotional outbreak of the two, but also uses a lot of lens language.

For example, when the two are talking, there is a wall behind the ex-wife, and there is a vast "world" behind the male lead; the composition here is very interesting, and the corner line of that wall divides the two.

After the two finished talking, the ex-wife walked forward, walked from the wall behind her into the vast "world" on the male lead's side, indicating that she walked out.

The male lead also walked forward, walked into the wall "inside" on the ex-wife's side, indicating that he himself was unwilling to walk out, and he himself had been trapping himself "inside," never able to walk out.

In addition, switching lenses, the ex-wife faces the sun, and the male lead faces away from the sun, all using lens language to explain that the ex-wife walked out, while the male lead never walked out.

Using such lens language also tells the audience that as long as the male lead wants to, he can walk out, but he is just unwilling.