"Proof in words. - Tang Lei"
I remembered an interesting thing.
" Chills 2" was released last year. For some reason, I did not go to the theater to watch the movie. However, before seeing this movie, I received feedback that "Aaron Kwok is too 'facially paralyzed'."
was a little surprised at the time.
After watching the movie later, I realized that it was an "own goal".
Anyone who says this just doesn’t understand movies.
Facial paralysis is the beginning of the performance.
Some people may be surprised when they first see this sentence.
After all, many times, in terms of traditional understanding, many people will think that the richness and vividness of expressions are one of the yardsticks for measuring an actor's performance ability.
But "facial paralysis" has two sides.
Firstly, in the field of performance, the use of expressions is only related to the plot and characters, and cannot be "one size fits all". Secondly, even if it is really "facial paralysis", it is not without merit.
For example, let's take " Chill " as an example. The main characters in the two movies in this series have a typical characteristic - "facial paralysis", because the police force itself is relatively tense, especially those at the top, who face daily affairs. Not only are you busy, but you are often involved in major decisions. The missions and responsibilities you shoulder are not light. How can you dare to ignore them?
So whether it is Liu Jiehui, Li Wenbin, Kwong Zhili, Xu Yongjiliang and Liang Ziwei, they usually have serious faces.
's seriousness is indeed almost "facial paralysis".
Take the movie itself.
Whether it's Aaron Kwok's calmness or Tony Leung's majesty, they are one of the sources of the film's quality.
The so-called "facial paralysis" corresponds to the temperament and aura of the character itself. From the walking posture, stride length, head turn, gaze, to speech speed, micro-expressions and eyes, etc., the two
duo have all been pre-designed and precisely calculated, and then performed live to complete it in one go.
This kind of performance that has been thought and designed has a visual effect and a sense of oppression that is even more shocking than that of real people. This is the power of performance, and many people are used to seeing Hong Kong-style police and gangsters. The gags and facial expressions in the movie were described with the derogatory concept of "facial paralysis".
This is interesting.
They don't know that only a sufficient degree of "facial paralysis" can bring a sufficient "sensation of high quality".
Just imagine, if Liu Jiehui and Li Wenbin were in various scenes such as appearances, meetings, confrontations, and planning, they were always dancing, gesticulating, flirting, yelling, and hysterical. What would the "Chill" series of movies be like, and would it not be the same again? Will there be current word-of-mouth status?
That must not be possible.
Surely all we need is "serious"? This understanding of
has fallen into another misunderstanding, so the answer is naturally no.
This involves the most important thing in performance, eyes.
Characters' joy and sorrow, strength and weakness, good and evil, numbness and sensitivity, aloofness or confusion, talent or ignorance, anything we can think of related to performance must be refracted and transmitted through the eyes.
So in terms of performance, the eye scene is the core of everything.
During his peak period, Tony Leung Chiu-wai conquered many places along the way and won awards. In addition to the three main reasons of the blessing of a great director, his personal talent and his superb acting skills, the power of his eyes played a huge role.
When analyzing his film career, I have said more than once that the 1994 film "Ashes of Time" was Tony Leung's "transformation into a dragon" work. Since then, he has not only had unparalleled success Confidence and eyes have also transformed into a deep, condensed and sharp state.
This movie is full of abuse of eyes and miraculous differences.
Therefore, although many people criticize his "facial paralysis", his reputation in the industry has not been damaged at all.
Do you have any feelings?
Let’s talk about it with Aaron Kwok.
In the 1990s when he first entered the film industry, Aaron Kwok's works were not numerous, but the works that can be singled out to discuss his performances should probably include " The Legend of the Condor Heroes ", "Barefoot Boy" and " Romance" "Storm ", " Anna Madeleine " and " Storm " are just some of them.
From a commercial perspective, these three movies, "The Legend of the Condor Heroes", "Romantic Storm" and "The Storm", are quite popular in the market.
So, what do the characters in the three movies have in common?
grim.
This is actually a type of "facial paralysis".
But at the same time, Aaron Kwok's eye expression is also quite exciting.
Especially in "Win the World", there is a scene in which Bu Jingyun says "cut the grass and root out the roots". Combined with the indifference and murderous intent in his eyes, the character's decisive killing and both good and evil are immediately apparent.
I personally think that Aaron Kwok at this stage has understood the true meaning of commercial movies.
has also reached the top idol status.
The following story is interesting.
Not long after, Aaron Kwok encountered "Waterloo" in his performance.
In 2000, he released three movies, namely "2000 AD", "Little Kiss" and "Thunder Men", and the following year came another " Romantic Sakura ". The
type roughly involves action, literature and art, and singing and dancing.
If we sum up the performance issues, it is roughly the expressions on the face, the brows are dancing, and the little expressions are dancing wildly. Even the eyes that had been fixed before began to become scattered and shallow.
Many people's bad impression of his acting skills comes from this.
Of course, just three years later, he got rid of that "at a loss" state and quickly reversed the situation and entered the upward direction with works such as "Judo Dragon and Tiger List", " Sanchakou " and " Father and Son " In just a few years, with the performance of "The Favorite", he entered the top acting camp.
At present, he has reached the state of "unrestrained performance and knowing where to go and retreat".
This sentence was said by the great director Zhuang Wenqiang.
Different actors have their own strengths.
Personally speaking, Tony Leung at his peak and Aaron Kwok, who has been on the rise, can be tied as the second most admired Chinese actors, especially the depth of their performances, which is almost unparalleled.
As for "facial paralysis", if there is no subtle interpretation and cooperation at many levels such as body language, eyes, micro-expressions, emotions and moods, the actor will only become a real "facial paralysis" and lose his role. Examples of shaping ability are also common in the film industry, but they are omitted to avoid disputes among fans.
But "facial paralysis is the beginning of performance", which is actually a "good medicine" given to new actors.
The reason is simple.
It is easy for new actors to fall into the quagmire of "exerting too much force". It is more common for them to have emotions on their faces but not express their feelings with words.
This can actually include some veteran actors, because if there is a lack of explosive power and performance level and delicacy, it is easy to lose control when dealing with intense emotional interpretations and turn into a performance "disaster".
However, compared to overt emotions and expressions, quiet acting has always been more favored by the industry and movie fans, because it can not only bring some unpredictable mystery, but also hide clumsiness.
So with this one thing, new actors can "look like" masters, while old actors are unpredictable.
Therefore, it is strongly recommended for novices with "facial paralysis".
What to do then?
As mentioned above, in terms of performance, eyes are the eternal killer.
has such a simple rule, no matter what emotion you understand in the plot, as long as you follow this direction and give your eyes a "power", you will be almost invincible.
Of course, the size of force is a profound subject.
If you don't have talent, if you don't work hard and practice, you can't break it.
Performance is a long road.
