youth gone.

Wilbert 2022-03-24 09:03:16

The plot is really simple. Two women in the room discussing women and movies, their lives and aspirations.

If the film is just two women sitting in a room talking, where did the $60 million for the film go?

This film not only touches, but touches, a huge industry country, but also how the actors act, and everything else.

We get to see the lives of real actors up close, in theaters where actors act according to scripts. In this movie, the script seems to be taken away. They want to play themselves and another person. They have nothing to do with each other, but they seem to have skin-to-skin relationship. What is difficult is how to get out of the performance that is too in-depth.

Perhaps in a movie, the purpose of an actor's performance is irrelevant, what matters is what the camera captures, what the director is looking for, and what to express. There are a lot of pictures of the cloud snake, in the documentaries in the film, but also in the occasional, in the search by all means.

The core of modern performance training is to give actors a sense of control, to convince them that what they used to maintain explosive performance in the past is not external, but internal. Therefore, the so-called acting school is to understand the thoughts and thoughts of the characters more deeply than ordinary people. The best performance is in peace, and the test of performance is whether it can convey emotion without doing anything.

For actors, acting is a high-risk, high-stress, anxiety-prone job. Actors even create new personalities in it, and even risk humiliation and ridicule. What's even more hilarious is that sometimes acting doesn't have much to do with box office.

The desire to play acting is natural and normal, but what is shown on the screen is not only the performance of the actors, but also the communication with the director and the angle of the camera. Actors' performances are largely derived from others.

Spotlights are the most nerve-wracking, filmmakers or PR people no longer tangle with reporters, and officials avoid newspaper pages. Social media has lifted stars high, and the Internet has become a permanent archive. But the most troublesome thing should be the camera, how to capture and retain love, instead of letting the picture be filled with endless emotions.

when i am no longer young and beautiful
will you still love me

When the star no longer has the spotlight, no longer young, do we still love?

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Extended Reading

Clouds of Sils Maria quotes

  • Maria Enders: Jo-Ann?

    Jo-Ann Ellis: What's up?

    Maria Enders: I wanted to ask you. You know the scene at the beginning of Act 3 when you tell me you want to leave and I get on my knees and I beg you to stay? You're on the phone ordering pepperoncini pizza for your coworkers in accounting. You leave without looking at me. As if I didn't exist. If you could pause for a second. Helena's distress would last longer when she's left alone in her office. Well, the way you're playing it, the audience follows you out but instantly forgets about her. So...

    Jo-Ann Ellis: So? So what?

    Maria Enders: When, when I played Sigrid I held it longer. I thought it was more powerful. Erotically. I mean, it really played well.

    Jo-Ann Ellis: No one gives a fuck about Helena at that point, do they? I'm sorry, it's pretty clear to me that this woman is all washed up. I mean, your character, Maria, not you. And when Sigrid leaves Helena's office, Helena's a wreck, and we get it. You know, it's time to move on. I think they want what comes next.

    Maria Enders: If you just held it a few seconds longer.

    Jo-Ann Ellis: It doesn't really feel right for me, Maria.

    Maria Enders: You're right. Yeah. I - I - I think I'm - I'm lost in my memories. You think you've forgotten your old habits, but their all - they all come back. Have to break them.

    Jo-Ann Ellis: I guess you do!

  • Piers Roaldson: [Piers proposes new movie mutant role for Maria] I'm trying to consider genetics from a more human point of view.

    Maria Enders: When I was reading it, I imagined someone much younger. Maybe me younger, actually, but you were seeing me in movies that were made years ago. I - I've changed.

    Piers Roaldson: She has no age. Or else, she's every age at once. Like all of us.

    Maria Enders: Can I be frank? Maybe it's because I'm working with her, but as I was reading it, I - I kept thinking about Jo-Ann.

    Piers Roaldson: Yeah, well personally, I never think about Jo-Ann Ellis.

    Maria Enders: You're wrong. She's smart. And talented. She's modern, just like your character.

    Piers Roaldson: My character isn't modern. Not in that way, anyway. She's, outside of time.

    Maria Enders: Outside of time. I don't understand. It's too abstract for me. It's all right.

    Piers Roaldson: I - I don't like this era.

    Maria Enders: You're wrong. It's yours!

    Piers Roaldson: Amen! I didn't choose it.

    Maria Enders: [laughs]

    Piers Roaldson: And if my era is Jo-Ann Ellis and viral Internet scandals I think I'm entitled to feel unrelated, aren't I. I mean, it's nothing against her, I guess I just assumed you'd understand.