Xu Rong patted her shoulder, went upstairs, and tomorrow morning, he would also rush to the plane home.

Since 2004, this year is a relatively late year to go back. It ’s 29 years at home. Fortunately, when Xiao Zhang had passed before, he had rode a three -wheeled motorcycle that he had borrowed and took his grandfather two times.

City, the annual goods that are set up are complete.

Xiao Zhang will also ride a motorcycle, which is what he didn't expect.

But before going back, Xu Rong had to finish one important thing.

He went upstairs, walked into the study, and pulled out a half of the old black notebook on the bookshelf. After opening, I thought about it for a long time before I mentioned it and wrote it slowly:

Summary of "Snow Leopard" creation.

1. To solve the contradictions within the crew group, it is more important than acting.

The contradictions inside the filming group will inevitably evolve into the flaws of the drama, because the end of the play is created by the entire film crew, not a specific person to determine.

The success of "Huru", to a certain extent, must not be attributed to the poverty of the crew. Because of the poor, the conditions in all aspects are poor, so everyone feels more about shooting this good script.

Second, the importance of life.

A actor, when shaping a character, should let the character "live" and do what he wants to do, not to do it, instead of managing it according to the script.

For example, after Xiao Ya committed suicide, Fang Shengli sacrificed in order to cover my injuries. After that, in the process of Xu Hu's back to my back, I said to let him throw away what I escaped alone.

When I talked, I closed my eyes.

At that moment, I didn't want him to leave me. I was particularly afraid that I died silently, because I hadn't revenge for Xiao Ya. My hatred for the Japanese never had a deep moment.

The process of creation is a very interesting process. When it is difficult, it is like encountering a ghost to hit the wall. When it goes well, it is like a group of a group in the brain.

The moment I closed my eyes, I reminded me of an interesting scene that I got forward for a few months.

The awards ceremony of the Flying Award.

At that time, I knew it was impossible to win, so I was quite relaxed at that time, but Zhang Guoli sitting next to me was laughing, Lin Yongjian, Duan Yihong, Cheng Yu and Cheng Yu also laughed.

But in fact, among all candidates, I am the first to go out, so I am not in the ranks of "trial", but I have not forcibly squeezed a smile, because I did not expect it, and I have started to start in myself.

Consider the play in your hand. In the next Feitian Award, there is no possibility of the prize.

If not, what kind of play should I get to get the trophy.

Therefore, under Xu Hu's "trial", after closing my eyes, I laughed again to cover up the tension in my heart.

This is very different from the pre -designing "sincerity", because at that moment, I was particularly unwilling.

This series of physical movements increase my belief in the role. In addition, I also sincerely feel that an actor must love life, care about life, and have the keenness of "splashing tears when you feel, hate the bird's shock".

It can even be utilitarian. I think the details of life can greatly help me let the character live.

Third, the implicitability of performance.

Control is the foundation of the performance, and the implicit is the inherent nature of the performance.

Performance, to stimulate the imagination of the audience and stimulate their imagination of life, because the play is short -lived, and a person's life may be expressed in only twenty episodes, so the performance itself must have a high degree of generalization, and it contains containing it, and it contains containing it, including it, and contains it.

The half -dew is the best way to cause the audience to imagine, just like in the "Daming Dynasty", the laughter before the death of Jiajing played by Chen Baoguo, no matter from the perspective of the emperor, his father, it left a huge imagination space for the audience

Then, then

Renyi has a very weird criterion for judging a good or bad standard. Now it seems that it is the criteria for judging the implicit standards and judging whether the audience can think of the real life of life. This standard is not the applause of the audience.
Chapter completed!