"No, what do you want to fool me again?" After a moment of silence, Jennifer suddenly screamed, and then looked at Sean with a vigilant and suspicious look.

"Hmm?" Sean was puzzled, "Why did I fool you? In your eyes, am I just that kind of person?"

"Of course!" Jennifer answered firmly without any hesitation, as if he thought so from the bottom of his heart.

Sean was stunned for a long time, then he looked like he was hit hard, and then Jennifer reacted.

"No, I mean... I mean..." She stammered and wanted to explain, but she couldn't say a complete sentence for a long time, and it seemed that she was so anxious that she was almost jumping.

Fortunately, there was nothing wrong with the crew at this time, allowing her to adjust her emotions.

"Damn it, why are you always like this...especially you guy..." Jennifer complained repeatedly, and after taking a few deep breaths, he finally calmed himself a little.

"Although this is strange, what I want to say is..." She looked at him, seemingly embarrassed, and at the same time a little curious, "You can always let women take precautions in front of you, Sean."

Sean, who was a little confused, was unexpectedly silent after hearing this.

"I don't know how to describe it, but after contacting you a few times, it becomes very relaxed without realizing it, just like... it's like..." Jennifer tried hard to find this word in his mind

, “Reliable, fun, safe and…and…”

"Healthless." Sean suddenly continued.

"Yes, that's right, that's it." Jennifer clapped his face.

"Okay, at least not basically harmless (see the galaxy's guide)." Sean smiled self-deprecatingly. More than once, women have said this to him. The most recent time was Jodana, and the earliest...

"Anyway, it's because of this..." Jennifer looked at him, smiled bitterly, making meaningless gestures, not knowing how to continue.

"So," after a silence, Sean finally spoke again, and was cautious, "Now... are you... okay?"

"Coco and I are fine, after all, we are both..." Jennifer sighed, and then glared at him again, "Lisa has been very cold and has only recently started talking to us. You'd better not go in, otherwise

If she sees you, she might lose her temper on the spot.”

Speaking of this, she suddenly showed a vigilant look: "How did you come to the set? You are no longer an actor in the crew, and you have not received permission, how could you come here?"

"A friend brought me in," Shaun spread his hands, "I told him that I made you angry before and was very uneasy. He wanted to come in and apologize to you in person, so he brought me in."

"That lighting guy?" Jennifer thought of the guy who handed her notes, but unfortunately Sean didn't answer.

"Anyway, Jane, that was an accident, a serious accident. I'm sorry, I apologize to you, Koko and Lisa very sincerely. I hope you don't hate me for this." He clasped his hands very much

Said sincerely.

"What makes you think, I will forgive you." Jennifer seemed a little angry.

"If you're really angry, you won't come out." Sean replied calmly, and Jennifer became more and more upset: "Is that?"

"Well, if you really don't want to forgive me, then I can't do anything, but at least I've expressed my apology." Sean sighed.

Seeing him like this, Jennifer suddenly felt embarrassed, hesitated, and finally sighed: "Okay, I can forgive you, Sean, but don't think I will treat you like I used to. And, don't use it in the future

Your eyes discharged me, and I don't guarantee that Koko and Lisa would forgive you."

"It's okay, it's enough to have this sentence," Sean breathed a long sigh and smiled inside, "at least you won't have to hide from you anywhere else in the future."

Jennifer's expression changed slightly, then he hummed softly, walked to the studio without saying anything, but after two or three steps, he turned around and looked at him a few more times before continuing.

Seeing Jennifer enter the studio, Sean immediately breathed a sigh of relief, and he understood this matter for the time being. Then, he suddenly slapped his thighs in annoyance and forgot to ask Garen for autograph.

Well, it doesn't matter. Let him ask Jennifer to ask him for autographs at the party in the future. I don't know if he still has such interest at that time.

-----

Although this is Sean's private life during this period, if you think it's all, you're very wrong. After finalizing the 300,000 yuan salary and Frederick won two-thirds of the advance payment for him

Federico Chicareli has no small moves for the time being, and William Hoberg seems to have no idea about this and has been busy with the final preparations. Unfortunately, Frederick has found out in a roundabout way and talked about the pay that day

At that time, Hoberg and Chicareli had indeed met.

So, now it's just the calm before the storm, but it just so happens that Sean needs time to digest the script. So he asks for opinions and opinions everywhere and listens to their evaluation and understanding of the characters, just like at Naomi's house that day

In that case, Frederick and Garen were not spared either. If Pock and Lucy were not familiar with human words, he would never mind consulting them.

In addition, there are also some people with weight in the scope of consultation, such as Roy Walker, who serves as the artistic director of "The Genius Ripley".

"Under normal circumstances, I don't have time to communicate with the actors, but since Anthony thinks he can take time to give you a brief introduction, then come on." In Walker's studio, the first sentence of this middle-aged man who is nearly 50 years old is in his studio.

Said so.

"Thank you, Mr. Walker." Sean looked humble.

During this period, the only time he asked director Mingla was to get permission to communicate with the heads of various departments. As he and Naomi said, his only advantage now is his acting skills. Why did Mingla insist on enabling himself?

It is nothing more than recognizing your acting skills. If you don’t work hard to enrich yourself, master the role, and maintain this advantage, you will give the enemy who is eyeing you a chance to attack.

"Art director is a comprehensive job. We need to coordinate the lighting, sound, photography and other aspects with the entire story, so that they can serve the director, and at the same time clearly convey the director's intentions to various departments." Walker said.

As he said that, he handed seven or eight single paintings to Sean.

These are black and white paintings. Sean, who has read the original novel and script countless times, recognizes what scenes it is at a glance. There is Ripley's departure from New York, Ripley's Italian villa in Dick and him

As for his girlfriend Maggie, there is a picture he is most familiar with. He is painting the situation where Freddy comes to find Ripley who is pretending to be Dick's life. The sarcastic smile on the corner of Freddy's mouth is vivid.

"Is it right to show the angle of the lens and light through such paintings, as well as the emotions of the characters?" Sean asked.

"That's not the main function of these paintings. These paintings are the turning points of the story and are used to spread the story. Generally, I will use this to explain to other departments the beginning, development, climax and end of the whole story.

." Walker said as he brought the other two documents over, "If you want to communicate in detail with the lighting engineer, prop artist, photographer and others, you have to use this."

Two folders, one is very thick and the other is very thin. After flipping through it, Sean understood that the thick one is a storyboard script, which specifies the angle, operation and the effect to be achieved through tables.

The thin one is a large stack of storyboard shots. Although it is very sloppy, many times the characters are in several shapes of different sizes. At most, they are shadowed to express the three-dimensionality, but it is easy to use them to match the storyboard script.

I can see what I want to talk about and how to shoot.

"So, the work of art directing is very important, which directly affects whether the crew department can fully express the director's intentions. There was a boy who once claimed that drawing storytelling is useless and will only limit the director's imagination. This is what I listened to

The stupidest words ever. The director's main responsibility is communication, which is to let the actors understand what he is thinking and what he wants. The pictures are relatively clearer than words. Giving up drawings and storytelling is equivalent to

Giving up efficiency is a suicide for filmmaking. And if a few storyboards limit the director's imagination, then the director can only be said to be incompetent." Walker rattled.

Then, after a pause, he suddenly asked, "What do you think?"

Sean, who looked through the storyboard script and composition, looked up and said, "I have heard a saying, Mr. Walker, no matter how good the memory is, it is not as good as a pencil that is about to be used. Many novel authors carry small notebooks with them.

Once you have inspiration, remember it quickly. Maybe it may never be used, and it may become the best paragraph. I think the same is true for the composition of the storyboard. It can not only effectively let each department understand what the director wants, but also in some kind of

To a degree, inspires the director.”

"Like you?" Walker pointed to the one he put in his shirt pocket, revealing a piece of small notebook, smiling, as if satisfied with his answer.

"That's right," Sean smiled, "As long as it can help me understand the emotional role of the character, I won't mind trying. The director trusts me, and I must be worthy of this trust. Of course, these collected

All of them can only be used as reference. Whatever depends on the director’s meaning.”

"You're very good, Sean." Walker looked at him for a while, touched his chin and said.

"Thank you, Mr. Walker," Sean maintained his politeness, "So, can you please explain to me in detail the entire story, and the situations in which each character is in it."
Chapter completed!