Chapter 131: On Acting Skills

Not planning to dodge this question, Henry said seriously, "First, let Mr. know: before becoming the boss's assistant, I worked as an actor in Hollywood for several months.

"The kind who served as background in films, just walking around, with no lines and no camera focus. But that didn't stop me from observing those famous actors and pondering the so-called 'acting skills.'

"Some are the so-called Method actors, others are the Experience school. Still others bring up the Expression school, but in fact, the practices of that school are the director's responsibility and have little to do with the actors.

"Regardless of what method an actor uses to ponder acting skills; some succeed, some fail, and some are criticized for acting like themselves no matter what role they play.

"In fact, all acting techniques emphasize one thing: to make the actor merge into the character, become him, not merely pretend to be him.

"But why can some succeed while others cannot? I think those who succeed do so because their personalities already contain the parts the character needs, which the director then refines.

"And because the entire atmosphere of the scene serves this character, the two combine to enhance each other. This is actually the ideal presentation of the Expression school.

"If the director's skill is not good enough, it easily reduces the actor to being criticized for performing himself. In fact, in my view, everyone is performing themselves.

"It is just a part of themselves, not their whole self. The reason is, of course, that this film, this scene, this shot requires such a self, and not other parts.

"Of course, I am not saying that those successful actors who play killers, play criminals, and perform so vividly are themselves killers or criminals. Rather, they amplify a part of their own personality, cooperate with the director, and create the character in the audience's eyes.

"It is undeniable that these people must possess such brutality in their personalities to be able to perform so on the big screen. But as Freud emphasized, humans possess multiplicity, not singularity.

"Furthermore, the legal and moral frameworks of modern society restrict people's behavior. Just as we all know, randomly beating someone up entails legal liability and compensation.

"But films do not need to worry about these; it is a fictional world that seeks conflict. Conflict of human nature, conflict of fists; even in those seemingly plain films, there is no lack of ideological conflict.

"So even if these actors may have some bad parts in their personalities, it does not mean their behavior must be so. Everyone hides violence in their hearts, but is not the purpose of learning to be human to ensure these hidden things never appear?

"In short, what I believe now is that an actor's performance in a film is actually revealing a part of themselves. Then, with the help of the director and others, relying on the plot, set design, and interactions with other characters, they disguise this self as another person.

"So, turning back, would I feel disappointed because I fell in love with Princess Anna, Sister Luke, Holly Golightly, and Eliza Doolittle in the films, and then feel that Lady He Ben does not fully resemble these characters?

"Of course not. Because in my eyes, Audrey He Ben is the Princess who shook hands with everyone just to properly say goodbye when holding a reporter's hand.

"She is also Natasha Rostova, who remained innocent even in war and grew because of the war. She is also Susy Hendrix, who outwitted and fought bravely against criminals with ill intentions.

"He is one person, and also everyone. I can even know more of Audrey He Ben because I saw him up close. As a film fan, is there anything more fortunate than this? Disappointment does not exist."

Actually, while Henry was delivering his long speech, the restaurant had already started serving dishes. But both listeners were too busy being shocked to eat.

Audrey He Ben, who had once been an actor, naturally felt the deepest impact regarding the parts of Henry's words about acting skills.

Nor could she deny that even if her own personality lacked certain negative expressions, for the sake of performance, she herself had to try to understand them and then act them out.

In this way, even if these things were not originally in her personality, they would become present. Otherwise, there would not be the saying that some people get too immersed in a role and cannot come out.

And although Givenchy was not an actor, as another admirer of Audrey He Ben, he felt Henry's words were absolutely correct.

The Audrey He Ben in films was not his whole self; that was merely the appearance shown to serve the film roles, just a part of him.

The Audrey in reality was richer, always allowing one to glimpse that beauty which intoxicated him in every frown and smile.

Givenchy could not help but sigh, "Audrey, I finally understand why you told me this child is interesting and worth knowing. Henry, right? Kid, I like you too. You could say you expressed exactly what I wanted to say, in the most complete language."

"Thank you for your approval, Mr." Henry replied with neither humility nor arrogance.

But the two noticed that Lady He Ben was fanning her own flushed face while also drinking the water and wine on the table in one go, which made them find it amusing.

Givenchy signaled the waiter to come and fill the lady's water glass. At the same time, he teased, "Isn't it autumn now? Is it really this hot? Or did the restaurant turn on the heating?"

After drinking another glass of water, Audrey He Ben finally calmed down slightly. He shot a glare at his close friend of several decades and said, "You should know that in the past, I only read critics' reviews in the newspapers.

"Fortunately, I saw them in the newspapers; otherwise, I would have been so angry I wanted to punch someone, or so shy I couldn't speak. Today, I couldn't escape it and heard these things face-to-face. You two should also consider me, the person involved. Damn it."

"Hahaha." Givenchy, satisfied, lightly nudged Henry with his elbow and pretended to speak in a low voice, "This side of the big star is something ordinary film fans never see. Generally, I don't tell others; having such a friend has its benefits."

Suddenly, Givenchy stood up, raised his glass, and said, "To the beauty of our Golden Age, a cultural treasure, the eternal movie star in films, Lady He Ben."

In fact, as soon as Lady He Ben entered the restaurant, someone had recognized this big star. After all, those who could afford such a place were mostly old timers from that era.

While Henry was talking at length, he did not deliberately lower his voice, nor was he speaking to everyone like a lecturer. But the other customers in the restaurant mostly paid attention and listened.

When Givenchy raised his glass in a toast, everyone, suddenly playful, raised their glasses simultaneously with Henry and shouted, "To the eternal Audrey He Ben."

The flustered big star could only blush, stand up, and toast everyone in the restaurant. The dinner time passed in a cheerful mood.

(End of this chapter)