[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"origin-the-academic-director-reborn-in-the-film-industr":3,"chapter-the-academic-director-reborn-in-the-film-industr-the-academic-director-reborn-in-the-film-industr-chapter-383":6},{"origin":4,"title":5},"chinese","The Academic Director: Reborn in the Film Industry",{"chapter":7,"nextChapterSlug":19,"prevChapterSlug":20,"totalChapters":21,"novelImage":22},{"id":8,"novel_id":9,"title":10,"slug":11,"index":12,"content":13,"wordcount":14,"created_at":15,"updated_at":15,"volume":16,"translator":17,"content_hash":18},2297383,4493,"Chapter 383: True-to-Life Performance","the-academic-director-reborn-in-the-film-industr-chapter-383",383,"\u003Cp>The nephew played by Zhu Yilong pulled open the refrigerator door... nothing happened.\u003C\u002Fp>\n\u003Cp>\"Cut!\"\u003C\u002Fp>\n\u003Cp>Cao Yang called out, then looked toward the assistant director, Li Mingyi.\u003C\u002Fp>\n\u003Cp>According to the script, the nephew was supposed to pull open the fridge, and the frozen chicken legs inside should have fallen out; however, they didn't fall out now.\u003C\u002Fp>\n\u003Cp>Li Mingyi hurried over, first saying to Cao Yang, \"I'm sorry, Director Cao.\"\u003C\u002Fp>\n\u003Cp>Then he roared, \"Props, props, what's going on?\"\u003C\u002Fp>\n\u003Cp>Among the crew members on the sidelines, not only the prop master came out, but the art director did as well.\u003C\u002Fp>\n\u003Cp>The art director is the head of the art department; he is the person responsible for set design in the film, and he also has to coordinate the work of the lighting, cinematography, special effects, wardrobe, props, and editing teams to design the overall visual style.\u003C\u002Fp>\n\u003Cp>So when a problem arose with the props, he certainly had to step forward.\u003C\u002Fp>\n\u003Cp>Cao Yang didn't say anything; it was fine to let the assistant director handle such matters.\u003C\u002Fp>\n\u003Cp>Some might think that as long as a crew member makes a mistake, the director will shout or scold people, but that is actually not the case.\u003C\u002Fp>\n\u003Cp>In most situations, if crew members make a mistake, the director will not get angry at ordinary staff, because it is not worth it and unnecessary.\u003C\u002Fp>\n\u003Cp>Just like in a company, if an ordinary employee makes a mistake, the boss certainly won't give that employee trouble, and won't even give the employee's supervisor trouble; they will only give the department head or the vice president in charge of that department trouble.\u003C\u002Fp>\n\u003Cp>Therefore, many times, the employees below will feel that the boss is a very good person and basically won't get angry at the staff, while the middle management, like department managers, are all idiots!\u003C\u002Fp>\n\u003Cp>When a company boss gets angry directly at ordinary employees, well, basically such a company cannot grow big.\u003C\u002Fp>\n\u003Cp>The boss only needs to manage the management personnel well; as for other messy things like squeezing employees and offending people, just let these people take the lead.\u003C\u002Fp>\n\u003Cp>If things get out of hand, at worst, just 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.\u003C\u002Fp>\n\u003Cp>It is precisely because of this that in the impression of many \"oxen and horses,\" none of the company's middle and upper management are good, and the boss is clearly a decent person, it's just these things in the middle messing around...\u003C\u002Fp>\n\u003Cp>A film crew is actually similar to a company.\u003C\u002Fp>\n\u003Cp>When staff members make mistakes, in most cases, the director will only scold the heads of the various departments and will not specifically target ordinary staff.\u003C\u002Fp>\n\u003Cp>After a short delay, filming resumed.\u003C\u002Fp>\n\u003Cp>Zhu Yilong pulled open the refrigerator, and with a \"clatter,\" some frozen chicken legs and frozen meat fell from the fridge onto the floor.\u003C\u002Fp>\n\u003Cp>When he bent down to clean them up, there was a clear \"pause\" in his movement, and then he began to \"toss\" these things back into the fridge in a flustered manner, as if he didn't want to see them.\u003C\u002Fp>\n\u003Cp>He then hurried to close the fridge door, but a box of frozen meat happened to be stuck there, and the fridge door could not be closed at that moment.\u003C\u002Fp>\n\u003Cp>For a normal person, they would definitely just move the stuck frozen meat.\u003C\u002Fp>\n\u003Cp>However, according to the plot, first, this frozen meat made the \"nephew\" touch the scene and recall his father who was still \"frozen\" in the morgue; second, he could no longer keep up the pretense of being relaxed after so many days.\u003C\u002Fp>\n\u003Cp>A person's collapse often happens in just a single moment.\u003C\u002Fp>\n\u003Cp>Although Zhu Yilong is a supporting character in this film, his screen time is significant; Cao Yang used three \"Entry into Character\" experiences to add to him, and even gave him an extra one, using a total of four on him.\u003C\u002Fp>\n\u003Cp>Therefore, Zhu Yilong's performance was certainly worthy of four \"Entry into Character\" experiences.\u003C\u002Fp>\n\u003Cp>When Zhu Yilong failed to close the fridge the first time, he froze for a moment, and then the expression on his face began to spiral out of control, yet he didn't scream or shout—when a person is truly heartbroken and collapsing, sometimes they cannot cry out.\u003C\u002Fp>\n\u003Cp>One could see Zhu Yilong grabbing the fridge door, pulling hard, slamming it with force, as if he only wanted to close the fridge door quickly, causing the entire fridge to shift backward with every \"bang, bang\" sound until it was pressed against the wall.\u003C\u002Fp>\n\u003Cp>At this moment, the fridge door was still not closed.\u003C\u002Fp>\n\u003Cp>Zhu Yilong gave up.\u003C\u002Fp>\n\u003Cp>He opened his mouth wide, like a fish that had just been pulled onto land; his entire face was twisted, his shoulders heaving, but no sound came out.\u003C\u002Fp>\n\u003Cp>No one felt that Zhu Yilong's lack of audible crying was a sign of poor acting; sad emotions are contagious, and his situation was clearly the manifestation of extreme grief and collapse.\u003C\u002Fp>\n\u003Cp>\"Cut!\"\u003C\u002Fp>\n\u003Cp>\"Very good.\"\u003C\u002Fp>\n\u003Cp>Cao Yang said.\u003C\u002Fp>\n\u003Cp>The camera stopped, the boom mic and microphone for on-site recording were retracted, and the lighting crew began to pack up the reflectors...\u003C\u002Fp>\n\u003Cp>However, Zhu Yilong did not stop; he was still there with his shoulders heaving, mouth agape, in a state of grim, uncontrolled grief.\u003C\u002Fp>\n\u003Cp>Everyone who had seen his acting in this film on set expressed that Director Cao had once again trained a future Best Actor with immense potential and tension.\u003C\u002Fp>\n\u003Cp>The Beijing Film Academy had produced another top-tier acting talent.\u003C\u002Fp>\n\u003Cp>However, Zhu Yilong was still a student after all, and his actual acting skills were just average; he belonged to those who were \"helped to grow by pulling\" via the \"Entry into Character\" experience.\u003C\u002Fp>\n\u003Cp>Not to mention that he had been given an extra \"Entry into Character\" experience.\u003C\u002Fp>\n\u003Cp>This resulted in his acting being truly excellent during filming, but in this scene of emotional collapse and grief, he had truly lost control.\u003C\u002Fp>\n\u003Cp>In other words, he was currently in a state where he could let it out but couldn't pull it back in.\u003C\u002Fp>\n\u003Cp>On this point, Zhu Yilong indeed still needed more tempering; in a broad sense, being able to freely release and retract is one of the essential skills of a top-tier actor.\u003C\u002Fp>\n\u003Cp>Of course, there are many actors who can release but cannot retract.\u003C\u002Fp>\n\u003Cp>Actors with good skills, like Xun Ge'er, after \"releasing\" it, often couldn't retract it as the female lead, and could only continue to date in real life, until she discovered the other person was not the male lead she had imagined, and thus broke up...\u003C\u002Fp>\n\u003Cp>Those with poor acting skills... well, those with average skills, like Xia Jie, were also typical of those who \"released\" and couldn't retract, not only dating her male lead but even marrying him.\u003C\u002Fp>\n\u003Cp>This is actually what is called \"falling in love due to the play.\"\u003C\u002Fp>\n\u003Cp>Those who can release and retract might become the legendary \"crew couples\" due to emotional investment while filming, but after filming ends, they can \"retract,\" and everyone just goes their separate ways.\u003C\u002Fp>\n\u003Cp>Qin Peiling, the teacher at the Beijing Film Academy who specializes in emotional guidance after entering a character, was with the crew; seeing Zhu Yilong like this, she hurried over and began to guide him with words.\u003C\u002Fp>\n\u003Cp>The general idea was to let him cry it out.\u003C\u002Fp>\n\u003Cp>As long as he cried it out and vented this \"energy\" suppressed in his heart, it wouldn't cause too much impact or harm.\u003C\u002Fp>\n\u003Cp>Teacher Qin was professional after all; before long, one could hear Zhu Yilong first sobbing quietly, and slowly, the sound gradually grew louder, and he cried for nearly ten minutes.\u003C\u002Fp>\n\u003Cp>Cao Yang sighed with emotion; indeed, having Teacher Qin with the crew was the right choice.\u003C\u002Fp>\n\u003Cp>Teacher Qin sighed with emotion; indeed, joining Director Cao's crew was the right choice—the research subject and the thesis, aren't they right here?\u003C\u002Fp>\n\u003Cp>In the morning, filming Zhu Yilong's \"outburst\" went quite smoothly.\u003C\u002Fp>\n\u003Cp>In the afternoon, they filmed the plot where the male lead encounters his ex-wife at a street corner.\u003C\u002Fp>\n\u003Cp>It is no exaggeration to say that this scene is the most important segment of the entire film, without exception; it is the finishing touch of this movie.\u003C\u002Fp>\n\u003Cp>The filming of this scene not only involved a major emotional outburst from both, but also utilized a large amount of cinematic language.\u003C\u002Fp>\n\u003Cp>For example, when the two were talking, there was a wall behind the ex-wife, and behind the male lead was the vast \"world\"; the composition here was very interesting, as the corner line of that wall separated the two.\u003C\u002Fp>\n\u003Cp>After the two finished talking, the ex-wife walked forward, moving from the wall behind her into the vast \"world\" on the male lead's side, indicating that she had walked out.\u003C\u002Fp>\n\u003Cp>The male lead also walked forward, walking \"into\" the wall on the ex-wife's side, indicating that it was he himself who was unwilling to walk out, that he had kept himself trapped \"inside\" and could never walk out.\u003C\u002Fp>\n\u003Cp>Additionally, switching shots, the ex-wife faced the sun while the male lead had his back to the sun, also using cinematic language to explain that the ex-wife had walked out, while the male lead had never walked out.\u003C\u002Fp>\n\u003Cp>Using such cinematic language also told the audience that the male lead could walk out if he wanted to, but he simply didn't want to.\u003C\u002Fp>",1587,"2026-06-20T05:36:33.260Z",1,"Gemini 3.1 Flash Lite","a0c151e7369e22fa942b9595a264b74f7496449c0a2f7908f177e187912d29c4","the-academic-director-reborn-in-the-film-industr-chapter-384","the-academic-director-reborn-in-the-film-industr-chapter-382",411,"https:\u002F\u002Fnovelzhen.com\u002Fimages\u002Fcovers\u002Fthe-academic-director-reborn-in-the-film-industr-cover.jpg"]