Look at her, she often walks lightly, her skirt flutters, her limbs move slowly, her eyes are clear and there is nowhere to stay, and occasionally a few thoughts pass by. Basically, the face, especially the eyes, is used to explain the psychological process of the characters in the specific scene.
This kind of performance can be described as reaching the realm of transformation. Didn't the ancients say: "The sound of the sound and the sound of the elephant are invisible"? Performing performances must be expressed and performed. When you suppress the externalized movements and expressions to a very low point, this is the route of understanding the simple and returning to the basics. It is a bit like a shrimp painted by Qi Baishi. It draws a vivid shrimp with only a few strokes. With very few lines and very few presentations, it achieves a maximization and stimulates the viewer's imagination.
When watching this film, I seem to be able to feel Zhou Xun's complacence and joy when dealing with this character, that kind of skillful performance state. And her simplicity is not groundless, it is based on:
First, adapt to the style of the film. Painted Skin 2 is a magical epic. The director established a soothing, romantic and lyrical style, and Zhou Xun's simple, elegant, tactful and blurred performance undoubtedly fits this style well and participated in the creation of this style.
We know that film performance is a part of the whole film. This kind of behavior that penetrates the spiritual essence of the film and then applies it to his own creation shows that the actor views and designs his own performance from a considerable height, so as to make himself His performance is integrated into the film, sneaking into the night moisturizing things silently with the wind.
2. Consistent with the character image. Zhou Xun is here to pursue a seductive aura, but it is by no means a demon who acts arbitrarily and shows claws, but a quiet, lurking, waiting for an opportunity. Because although she is a charmer, she is also an observer and a beggar. She is observing the psychological changes of Princess Jing, observing the emotional interaction between the princess and Huo Xin, waiting for the opportunity to persuade the princess to give her heart voluntarily.
If we meet someone in our life with no expression or very few expressions, we will think that this person is elusive and inscrutable. What Zhou Xun wants is this sense of elusiveness. What he wants is not to easily reveal his emotions and tendencies, and to only do the right thing at the right time, so as to control the situation and use it for me.
In this way, it creates a blurred, dazed, and hazy feeling for the visual image of the characters, "like a faint singing on a high-rise building in the distance", which not only establishes the tone of the characters themselves, but also participates in the creation of the whole film. Poetic style.
The following three specific examples are used to illustrate the simple and ethereal way of expression of the actor, but it also achieves the role of delicately portraying the psychology and thus shaping the characters.
1. Almost expressionless. Princess and Xiaowei talk in front of the mirror: Men only care about women's skin. During the whole process, Zhou Xun's facial expression hardly changed. He just looked at the princess and the portrait in the mirror with flat, almost empty eyes, and used a low, soft tone to do the work of ideological justice for the princess (hehe).
The princess began to cry. But she slowly backed away like running water, without saying a word.
The princess asked: Are you a demon? Zhou Xun is still expressionless, but his face is slightly raised, his eyes are slanted, and his voice is cold: Yes. Then explaining that there is no way one can change one's appearance, a trace of sarcasm slid across his cheek; only a hint of eagerness as he said, "But I have a way."
She whispered in the princess's ear, telling her how and what, her voice could be intermittent, and it added a dreamy and blurred taste to the whole scene.
2. There are some ups and downs of expression. The paragraph on the eve of the princess preparing to go to the Heavenly Wolf Kingdom to get married.
When he said, "I can go to the Heavenly Wolf Country for you to get married", he looked into the distance, as if he was envisioning a better future. Then he stared at Princess Jing, as if to pierce the princess' heart, when he said, "But I have at least one chance to be a human being, and my eyes flashed a little firmness and a little joy. Princess Jing sighed: It turns out that we are all the same, stroking Xiaowei's cheek with his hand. Then the princess asked: What would happen to me without my heart?
Zhou Xun hesitated at first, then said: In order to keep this skin, you must devour people's hearts, and you must float around. At this moment, her head turned slightly to the side, her eyes seemed to be wandering in the air, a kind of fear was projected, as if recalling those bloody, terrifying but helpless moments, her head slowly returned, her eyes lowered, not Dare to face Princess Jing. After the princess made her statement, she looked directly at the princess with sharp eyes, and said all kinds of terrible endings of becoming a demon.
In these passages (similar passages are also the conversation between the princess and Huo Xin after the change of heart), it should be emphasized that in the opponent's play, the actor sometimes communicates with the opponent, and sometimes turns into an inner monologue. Alternate to each other into their own fun.
3. There is a large gap in the moment of the character's emotion. This is relatively rare in this film. For example, when Xiao Wei turned into a princess for the first time to test Huo Xin.
When she asked him: Does the general have someone else in his heart? He replied: You can have it if you say so. She lowered her eyes and murmured two words: Sure enough, her tone was sullen; she immediately lifted her chin, turned her face sideways, and her eyes were cold: Who is she? The self-esteem of the royal family bursts out, and at the same time, there seems to be a kind of challenge and disobedience: Is this person better than the princess I am?
In fact, it's okay to ask in a sad or even crying tone: Who is she? But Zhou Xun introduced an emotional reversal. Make this performance both reveal the relationship of the characters and bring some drama.
I found that the emotional direction of a good actor in a certain scene and a certain moment often gets rid of inertia, or swings a stroke, subtly reverses or deviates from a small angle, thus making his performance uncertain and ambiguous, which is intriguing. .
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