Chapter 71

Not intending to bluff his way through this question, Henry said earnestly, "First, let me tell you, sir, that before I became my boss's assistant, I worked as an actor in Hollywood for a few months."

"The kind who serves as background in movies—just walking around, with no lines and no camera time. However, this didn't stop me from observing those famous actors and pondering so-called 'acting'."

"Some people are so-called Method actors, some are experiential actors. Others talk about the Representational school, but in fact, the approach of this school is the director's responsibility and doesn't have much to do with the actor."

"No matter what method an actor uses to hone their acting; some succeed, some fail, and others are criticized for acting like themselves no matter what role they play."

"In fact, all acting techniques emphasize one thing: letting the actor merge into the character, becoming them, rather than just simply playing them."

"But why can some succeed while others can't? I think those who succeed do so because their personality already contains the parts the character needs, so it's extracted by the director."

"And because the atmosphere of the entire scene serves this character, the two complement each other. This is actually the ideal presentation of the Representational school."

"If the director's skill isn't good enough, it's easy for the actor to be criticized for just performing themselves. In fact, in my view, everyone is performing themselves."

"It's just a certain part of themselves, not the whole. The reason, of course, is that this movie, this scene, and this shot need this version of themselves, and not the other parts."

"Of course, I'm not saying that successful actors who play murderers or criminals so vividly are themselves murderers or criminals. It's that they amplify a part of their own personality, cooperating with the director to create the character in the eyes of the audience."

"Undeniably, these people must have these violent tendencies in their personality to be able to perform like that on the big screen. But as Freud emphasized, people are multi-faceted, not singular."

"Furthermore, the legal and moral frameworks of modern society limit people's behavior. Just as we all know that beating someone up casually will result in legal responsibility and compensation."

"But movies don't need to worry about these things; that's a fictional world, and what it needs is conflict. Conflict of human nature, conflict of fists—even in those seemingly plain movies, there is no lack of conflict of ideas."

"So even if these actors might have some bad parts in their personality, it doesn't mean their behavior is necessarily like that. Everyone hides violence in their hearts, but isn't the purpose of learning to be a person to ensure these hidden things never appear?"

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

"So, looking back, would I feel disappointed because I fell in love with Princess Ann, Sister Luke, Holly Golightly, or Eliza Doolittle in the movies, and then felt that Ms. Hepburn wasn't exactly like these characters?"

"Of course not. Because in my eyes, Audrey Hepburn is both the princess who shakes hands with everyone just to hold a reporter's hand and say a proper goodbye."

"She is also Natasha Rostova, who kept her innocence even during the war and grew because of it. She is even more so the Susy Hendrix who outwitted the sinister criminal."

"She is one person, and she is everyone. I can even get to know more of Audrey Hepburn because I see her up close. As a fan, is there anything luckier than this? Disappointment? That doesn't exist."

Actually, while Henry was giving his long speech, the restaurant had already started serving dishes. It was just that the two listeners were too busy being surprised to eat.

Audrey Hepburn, who had been an actor, was of course most deeply touched by the part of Henry's words about acting.

She also couldn't deny that even if she didn't have certain negative expressions in her own personality, for the sake of performance, she had to try to understand and then act them out.

In this way, even if they weren't originally in her personality, they would become so. Otherwise, there wouldn't be the saying that some people get too deep into a role and can't get out.

And although Givenchy wasn't an actor, as a member of those who admired Audrey Hepburn, he felt that what Henry said couldn't be more correct.

The Audrey Hepburn in the movies wasn't her entirety; that was just the appearance presented to serve the movie character, just a part of her.

The Audrey in reality was even richer, and one could always glimpse that beauty that intoxicated him in every smile and frown.

Givenchy couldn't help but sigh, "Audrey, I finally know why you told me this child is interesting and worth knowing. Henry, right? Kid, I like you too. You could say you've used the most complete language to describe what I wanted to say."

"Thank you for your recognition, sir," Henry responded neither humbly nor arrogantly.

It was just that the two noticed Ms. Hepburn was fanning her blushing face and drinking all the water and table wine in one go, and couldn't help but find it amusing.

Givenchy reached out and summoned the waiter, asking them to refill the lady's water glass. At the same time, he teased, "Isn't it autumn now? Is it really that hot? Or is the restaurant's heating on?"

Audrey Hepburn, who had drunk another glass of water, finally calmed down a little. She rolled her eyes at her best friend of decades and said, "You should know, I used to look at critics' reviews in the newspapers."

"And it's fortunate I saw them in the newspapers; otherwise, I would either be so angry I'd want to punch someone, or so shy I wouldn't be able to speak. Today, there was no escaping it, so I heard these things in person. You two should think about me, the person involved. You terrible guys."

"Hahaha." Givenchy satisfiedly nudged Henry with his elbow, pretending to whisper, "This side of the big star is something ordinary fans can't see. Usually, I don't tell others, but being their friend has such benefits."

Suddenly, Givenchy stood up, raised his glass, and said, "A toast, to the beauty of our Golden Age, the cultural treasure, the eternal big star in movies, Ms. Audrey Hepburn."

In fact, as soon as Ms. Hepburn entered the restaurant, someone had recognized the big star. After all, most of the people who could afford such a place were old folks who had walked through that era.

When Henry was holding forth, he didn't deliberately lower his volume, nor was he speaking to everyone like a lecture. But the other customers in the restaurant were mostly distracted and listening.

When Givenchy raised his glass for a toast, everyone, feeling playful, actually followed Henry and raised their glasses, shouting in unison, "To the eternal Audrey Hepburn."

Embarrassed, the big star could only stand up with a blushing face and toast everyone in the restaurant. The dinner time was spent in a happy mood.