The opening of S1 is actually not cold - the performance traces are too heavy, it deviates from life and is confined to the times, and it is rough. Unexpectedly, the screenwriter's skills gradually became clear in the next. The actor's acting skills have also been online, and the continuous high-profile performance has made people filming.
How did the screenwriter do it? There are not many cards in his hand! The only fixed roles are Bernard, Manny and Fran, and star casts are not common. This is a typical low hand, even a little pathetic.
The end result is enormous. Three or two people are often able to reach the crest of laughter in the blink of an eye, and reveal with meaning, what a wonderful example of art shining into reality!
I'm guessing a few reasons. The screenwriter understands the scene and the props inside it as the fourth actor, allowing richer and more complex interactions between the characters. Taking history and culture as the fifth actor, keeping close to the times and people's hearts.
Any layman's guess seems to be either a compliment or a slander. Without really entering the entertainment industry, I am afraid that many phenomena cannot be understood. There seems to be nothing I can do except sincerely appreciate it.
However, now the work is closer to the core of performing arts, and it is a little bit distant from the movement. In this circle, watching a movie is not just about the plot, characters, acting, ambition, noise, but also techniques such as lighting, color correction, editing and so on. My perspective is expanding, and I'm trying to express myself more and more appropriately - it's tiring and enjoyable to create. The creation itself is very cohesive, and when I appreciate the creation, the whole person is very relaxed.
For example, the few British dramas I have read bring a very good experience. This is very different from American TV dramas that promote sensory experience and thinking experience in a drug-like manner. The difference with Japanese TV dramas is much less. Compared with mainland TV dramas, the distance is instantly opened.
A few years before I came into contact with Blake's Bookstore, I read "History of the Middle Class", watched "Pirate Radio" and "Class and Culture", so I have a little understanding of British history.
British dramas can often do not forget the origin.
Its scripts and front-end performances revolve around its own culture and its own time position without complaint. In contrast, American dramas seem arrogant, Japanese dramas stick to warmth and daily life, and mainland dramas are divided sharply – while catering to a cohesive and purchasing young audience, they reiterate the values of the older generation.
British drama is not easy. In the decline of the United Kingdom that I seem to see, it can consistently develop its own drama culture, and it is not transferred by foreign things. For a culture similar to civilization like the United Kingdom, it has developed to one level after another, and finally faced the ceiling due to the most basic factor of space factor (land area). When a highly developed civilization is blocked, it will first seek space inward. Like my rabbit's 4 trillion in 2008, this is probably one of the reasons for the prosperity of British culture, especially the culture of film and television dramas.
When culture encounters the double attack of the economy and the times, how to find a way to survive seems to be more important than how to make a good film.
What the British chose, I also wanted to take a closer look. As for Rabbit's Peking Opera, without the participation of young people, whether it will stay in the "crown and pearl" position steadily, and whether it will fall miserably, these are all unresolved doubts.
The situation is far more complicated than imagined. Watching the show and seeing this, I also felt a little nervous.
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