在《全世界准备》中,张若昀一个拨打110却被识破的反应给了导演甘剑宇惊喜,“我觉得那个是蛮有张力的一个镜头。”

In preparation for the world, mr. zhang's reaction to a call of 110 was a surprise to director gan jian-yu.\" I think that's a shot of tension.\"

  新浪娱乐讯张若昀首度加盟2019年新浪娱乐年终重磅项目“最美表演”,出演了两支风格迥异的短片,从放荡不羁又有些恐婚的中年男子到一个为了表演梦想不断前进的新人演员,角色转换之间,张若昀也找到了来自“表演”带给他的最初的感动。

For the first time, zhang rouyun joined sina entertainment's year-end blockbuster \"the most beautiful performance\" in 2019, appearing in two short films with very different styles, ranging from unruly and somewhat marriage-phobic middle-aged men to a new actor whose dreams are advancing.

  正在热播,范闲这个举手投足间都透露着幽默感的角色也圈粉无数,外表的风趣幽默和内心的寂寞孤独在这个人的身上形成了鲜明的对比,去诠释一个这样的角色,对于张若昀来说,也有了更大的发挥空间,“《庆余年》的范闲还可以有不同,剧本给他提供了很多条路,也给了我闯一闯的空间。”

Fan is on the air, the role of a sense of humor are revealed between the role is also numerous, the appearance of humor and the loneliness of the heart of the contrast in this person, to interpret a role like this, for Zhang Ruoyun, there is a greater room for play,\" Qing Yu-nian \"Fan Yi can also have a different, the script to provide him a lot of ways, but also to me to break into a space.

  而在《全世界准备》和《西瓜》两个短片中,张若昀也找到了角色超出剧本之外的更多线索和可能,在《全世界准备》中,张若昀一个拨打110却被识破的反应给了导演甘剑宇惊喜,“我觉得那个反应是在我在监视器前看,我觉得那个是蛮有张力的一个镜头。”

In two short films,\" world prep \"and\" watermelon \", mr. zhang also found more clues and possibilities beyond the script. In \"world prep \", mr. zhang surprised director gan jian-yu with a call of 110.\" I think that reaction was in front of my monitor. I think it was a shot of tension.\"

  《西瓜》更大的难度则在于让观众相信这个角色的思维逻辑,在摩托车和女朋友之间如何选择?如何承担选择的后果?选择之后,是否还有更多的可能?这些都是张若昀需要通过表演一一呈现的。

《 Watermelon makes it harder to convince viewers of the character's logic and how to choose between a motorcycle and a girlfriend? How to bear the consequences of choice? After the selection, are there more possibilities? These are all that Zhang Ruoyun needs to present one by performing.

  张若昀:就是一个很平凡的演员,在《全世界准备》里面,这个演员就代指任何一个演员,任何演员都有别人看不到的他背后用功的地方,这个剧本设置的反转基本就是这样的。

Zhang Ruoyun: is a very ordinary actor, in \"the world prepares \", this actor refers to any actor, any actor has the place behind him that no one else can see, the reverse of this script is basically like this.

  张若昀:不大好说,我是第一次演一个演员,觉得还挺有意思的,好处就在于班底、编剧、导演、整个剧组的工作人员,天天都面对着各种不同的演员,我们对于演员这个事情,片场的工作是什么,都是非常了解的,不像是如果涉及到别的职业,有时候还需要去调查很多东西。

Zhang Ruoyun: It's not very easy to say that I'm the first time to play an actor, which is quite interesting. The advantage is that the staff of the class, the screenwriter, the director and the whole crew are faced with a variety of actors every day.

  另外一方面,要完整的去阐述出一个演员的准备工作是什么,我倒认为挺难的,因为我自己也说不清楚,我们都做了些什么,如果这些能说得特别清楚的话,那就每个人都可以做,但事实上,表演它不是一个每个人都可以做的东西,就是有很多,不讲,讲出来总会变成虚的东西,之前不是有一句话是说表演是不能解释的嘛,就是没办法解释。

On the other hand, I think it's hard to explain the preparation of an actor completely, because I don't know what we have done. If these things can be very clear, then everyone can do it, but in fact, performing it's not a lot of things that everyone can do, or there are many things that don't say it will always become false. It's not a saying that the performance is not explained, or there is no way to explain it.

  张若昀:我觉得这种紧张感是能让我勾起很多回忆。因为我们拍了很多年的戏,已经是有一定经验的演员了,然后现在回忆起自己刚出道的时候,面对现场一无所措的样子,其实是挺难再回去了,因为很多东西已经成为本能嘛,但是你自己看的时候,你能看到时间形成的差距,我应该怎么去捕捉到那种最初的状态。

Zhang Ruoyun: I think this kind of tension can make me a lot of memories. Because we've been filming for years, we've been actors with a certain experience, and now it's hard to go back to the scene when I first got out, because a lot of things have become instinctive, but when you look at it yourself, you can see the gap between time and how I should capture that initial state.

  短片中的最后一场戏,是我们这次拍的第一个镜头,是我走进片场的那场戏,我们在监视器旁边看,我一下我转头我就问导演,我是不是走的太从容了,但是没办法,这是本能。后来我就改成了一个急步,慢慢的跑,跑进片场的这样一个状态。

The final scene in the short film, the first shot we made this time, was the one I walked into the set, and we were watching by the monitor, and I turned my head and I asked the director if I was going too easy, but there was no way, it was instinct. Later I changed to a quick step, running slowly, into the set of such a state.

  张若昀:所有的技巧都地进门一段时间之后,你才能感觉到更多的快乐,最开始的时候就是痛苦,表演也是一样,当一个人还没有能够开窍,在角色上面做处理的时候,他其实是很难感受到别人的快乐的,就是我们经常说这句话如果这么说就是这个意思,那么说就是那个意思,这种的就是趣味性,琢磨一个人的心理,或者哪句话是为了什么,潜台词是什么,但是我饰演的这个新人演员,更多的不是去感受快乐,认识保有对表演的热忱,这个热忱就是最后导演给了一个发出光芒的一个片场,那是内心的一种外化,就是他心中的现场,这个电影的拍摄是一个神圣的东西。

Zhang Ruoyun: after all the skills have come in the door for a while, you can feel more happiness, the beginning is pain, the performance is the same, when a person has not been able to understand, in the role of handling, he is really very difficult to feel other people's happiness, that is, we often say this is the meaning of this sentence, then that is the meaning of that, that is to say, to think about a person's mind, or what is the subtext, but I play this new actor, more is not to feel the joy, to keep the enthusiasm for the performance, the last is to give the director a light, that is an externalization of the heart, is a kind of the scene, he is a sacred film in the heart.

  张若昀:开机之前,和导演讨论过两次剧本,我觉得应该讲一个人物,然后演员把这个人物在1分钟或者多少体量内立住这个人物,这就叫表演。归根到底,我们还是塑造一场戏,就是说这个人物,他是一个小演员,他在默戏,他要到片场,他很紧张,就这么几个设定,我们没办法再试图通过这个故事讲出表演是什么。

Zhang Ruoyun: Before opening the movie, I discussed the script twice with the director, and I thought it was time to talk about a character, and then the actor put the character in a minute or so, which is called acting. In the end, we still make a play, that is to say, this character, he is a small actor, he is in silence, he is going to the set, he is very nervous, just a few settings, we can no longer try to tell through the story what the performance is.

  拍摄的时候是反着拍的嘛,过来之后先拍最后的部分,然后就是涉及到一个前面绑匪那场戏的时候会激烈到什么程度,我们大概就聊一些这种问题。

It's a reverse shot, and then the last part, and then what's the intensity of a previous kidnapper's scene, and we'll probably talk about it.

  张若昀:《西瓜》那个太有意思了,我第一遍看了,我也没看懂它在说什么,因为它这个其实是真人真事改编的,讲的是一个北京男孩,就是在结婚前,把他们家装修的钱全给拿去买了摩托车,然后他老婆就跟他分手了,后来复合了。它其实是一个特别北京的一种人物形象,这人可以为了他的理想不着四六,但其实所有的感情都是很真挚的。

Zhang Ruoyun:\" Watermelon \"that is too interesting, I looked at it for the first time, I didn't understand what it was saying, because it is actually a real-life adaptation, about a Beijing boy, that is, before getting married, their home decoration money to buy a motorcycle, and then his wife broke up with him, and then compound. It is actually a special Beijing figure, this person can be for his ideals, but in fact all the feelings are very sincere.

  《西瓜》其实表演难度非常大,因为这个人太飞了,就他说那些东西特别不可信,怎么把不可信的东西变成可信,这是表演上比较难的点。魏书钧导演也是北京人,他也很喜欢这个故事,我觉得这也是一个值得挑战的事情,因为是一镜到底的拍摄,我其实是不太确定我那条完成的怎么样,但今天其实冲了很多遍。就是在这里面只要有一瞬间能让观众觉得说这个人物是可爱、可亲的,我觉得就很棒了,因为那个人物太特别了。

《 Watermelon is actually very difficult to perform because the man is so flying that he says it's especially implausible how to turn something untrustworthy into something credible, which is the more difficult part of the performance. Director Wei Shujun is also from Beijing, he also likes the story very much, I think it is also a challenging thing, because it is a mirror to the end of the shooting, I am actually not sure how I finished that, but today actually rushed many times. It's in there that for a moment it makes the audience think that the character is cute and amiable, and I think it's great because the character is so special.

  《西瓜》里边这个人,他所有都是真的,他对摩托车的爱是真的,他对女朋友的爱也是真的,他就是一个大男孩,就是一个理想主义的大男孩,所以两遍加持,他能把自己弄到那么惨,其实就是因为他所有的感情都是真的。

The man in 《 watermelon, all of him is true, his love for the motorcycle is true, his love for his girlfriend is also true, he is a big boy, is an idealistic big boy, so twice blessed, he can make himself so miserable, in fact, because all of his feelings are true.

  张若昀:因为一开始大家聊的时候是飞着来的,有很多台词比如弗洛伊德曾经说过,两个轮子、四个轮子什么的,演员在碰的时候,每碰出来一个点的时候,大家都觉得当下这个是对的,但真正最后联系起来完整的时候,你就得开始舍得了,就因为导演要求的是一镜到底,所以它跟舞台艺术是一样的,就没有剪台词的空间,你就得开始把你刚才觉得有意思的,但是现在你觉得没有那么有意思的都得清剪掉,只保留最后的核心部分。

Zhang Ruoyun: Because at the beginning of the conversation people are flying, there are a lot of lines like Freud once said, two wheels, four wheels and so on, when the actors touch a point, everyone thinks that this is right, but when the real connection is complete, you have to start to be willing, just because the director is asking for a mirror to the end, so it is the same as the stage art, there is no space to cut the words, you have to start to cut off what you think is interesting, but now you don't think it is so interesting to cut off, only the core part of the last.

  张若昀:我觉得是一个普遍现象,以我的眼光看会觉得比较不成熟,但是我觉得不成熟也不是被责怪的一面,恐婚是一社会性现象,为什么恐婚会是一个话题呢?因为恐婚涉及到两个人,你恐,万一你的另外一半想结婚,那怎么办?

Zhang Ruoyun: I think it is a common phenomenon, in my view will feel more immature, but I think immature is not the side of being blamed, fear of marriage is a social phenomenon, why is fear of marriage a topic? Because the fear of marriage involves two people, you fear, in case your other half want to get married, then what to do?

  我觉得所有的事情,大家都是能面对的,你要恐婚,你就正视听这样种恐惧,别去掩盖,然后把那话说出来,大家都会相互包容,但是没办法,有人的地方,就一定有矛盾,爱情里更有矛盾。很多男人会隐藏自己的另一个理想,特别是你要说年轻人在二十七八的这样一个阶段的时候,他总还是觉得自己,还是留着一把火,想往另外一方面冲的,你说理想跟爱情,如果真的冲突了的话,你选什么,这对所有人都是很难的一个命题,

I think all things, everyone can face, you want to fear marriage, you face up to this fear, do not cover up, and then say that, everyone will be tolerant, but there is no way, someone's place, there must be contradictions, love is more contradictory. A lot of men will hide their other ideal, especially if you say that when a young man is at this stage of twenty-seven, he always feels that he is still, or keeps a fire, and wants to go on the other side, you say that ideal and love, if really conflict, what you choose, this is a very difficult proposition for everyone,

  张若昀:一开始想到这段的是时候,是我突发奇想,我自己也在前面铺垫了很多内容,用了很多话,垫到最后那几句状态的。我们反复溜了很多遍词,因为每一条对我的消耗太大了,就是每实拍一条,整个情绪的释放、收放等等,明明那个人离我的理解太远,我还要代入他的逻辑,我的思维逻辑跟他的思维逻辑相差太多,我必须得变成他,我用他的节奏去思考,节奏才对是吧。所以一直大家在溜词讨论定稿的时候哪样是最好的,但实际上就是一个添砖加瓦的过程,最终的那一段戏给对出来了。

Zhang Ruoyun: At first thought of this paragraph is the time, is my sudden wonder, I also in front of a lot of content, with a lot of words, pad to the last few words of the state. We repeated the words, because each one of my consumption is too much, that is, every real shot, the release of the whole emotion, and so on, obviously the person is too far from my understanding, I have to substitute his logic, my thinking logic and his thinking logic is too different, I have to become him, I use his rhythm to think, the rhythm is right. So we've been discussing what's best when it's finalized, but it's actually a brick-and-mortar process, and the final piece is right.

  张若昀:那一段戏,拍了3天,因为孙皓导演拍摄的非常细致,我们实际上拍的古诗词的量比最终呈现出来的还要大,因为那个场景就是说不希望漏下,那三天是第一天把所有的正戏拍完了,然后第二天,就是有跟其他演员的对手戏的和全景。就是跟长公主、二皇子这些局部的对手戏,第二天的后半程开始拍诗,第三天是整整的一天拍诗。我记得第一天好像就拍掉了300多个镜头,所以那几天下来,镜头量是巨大的,不想在那留遗憾嘛,那个景不好复原,中国的古诗词是非常瑰丽的文化宝库,在那里面总觉得有能用到故事里的,我们实际拍到的比戏里剪到的要多,戏里剪到的是因为后来觉得那几条的状态和范闲的心境印证的最好,所以选的是那几条,他其实是有一个在一个陌生世界的孤独感的。

Zhang Ruoyun: The play was filmed for three days, because Sun Hao's filming was very detailed, and we actually took a larger amount of ancient poetry than we eventually did, because the scene was that we didn't want to miss it. Is with the eldest princess, the second emperor these partial opposites, the second half of the day began to shoot poetry, the third day is a full day of poetry. I remember the first day as if more than 300 shots had been taken, so after a few days, the lens is huge, do not want to leave regret it, the scene is difficult to recover, Chinese ancient poetry is a very magnificent cultural treasure-house, in which always feel that can be used in the story, we actually shoot more than in the play cut, the play is because later feel that the state of several and Fan's state of mind to confirm the best, so the choice is the several, he is actually a strange feeling lonely in a world.

  醉酒吟诗的部分,我是醉了一天半,第二天是早上出工我过去,早上八点就开始喝,就是一天完全是在那种醉的状态里,因为不在那种状态下,你冲不上去,演戏你有两分醉你可以演五分醉,你有三分醉,你可以演八分醉,但是你要一滴不沾,你要就演醉就特别假,所以那个时候整个人都要留在醉的那状态里。

The part of the drunken poem, I was drunk for a day and a half, the next day I went out of work in the morning, began to drink at eight o'clock in the morning, that is, the day was completely in that state of intoxication, because not in that state, you can't rush up, acting you can be two minutes drunk, you can be three minutes drunk, you can be eight minutes drunk, but if you don't get a drop, you have to be drunk on a special holiday, so the whole person should stay in that state of drunkenness.

  张若昀:我觉得有很多不一样的理解,因为这片子里面有很多老前辈,包括导演也是非常懂戏,编剧也非常懂戏。他们之前跟我说的某个点会是非常关键的点,某个点,会是将来你的华彩。

Zhang Ruoyun: I think there are a lot of different understandings, because there are a lot of old predecessors in this film, including the director is also very good at the play, the screenwriter is also very good at the play. The point they told me before would be the key point, the point, the color of your future.

  其实我当时也有想过,因为我觉得背诗很精彩,情节很精彩,但真的有必要拍那么多吟诗吗?我当时是没有完全理解的,但是只是说我也愿意去背那些诗,然后去表现,但是出来结果,的确,观众看了,说这就是此刻的华彩。

In fact, I also thought at that time, because I think reciting poetry is wonderful, the plot is wonderful, but really need to shoot so many poems? I didn't quite understand it at the time, but just said that I would like to memorize the poems and then show them, but the result was, indeed, the audience looked at it and said that this was the color of the moment.

  我们演员也在总结经验教训,陈道明老师有时候跟我说,某句词你要好好琢磨,说这是你整场戏的戏眼。有可能我初次的时候,我觉得这节奏是这样分的,但是他突然点出来,你这是你这场戏的戏眼,我回去再重新琢磨。我把这句词当戏眼演之后,我发现确实不一样了,就是在这里面总结到的经验教训。

Our actors are also summing up the lessons, teacher chen daoming sometimes told me, you have to think about a word, said that this is your whole play. It's possible that when I first started, I thought the rhythm was that way, but he popped out, you're the eye of your play, and I'll go back and figure it out. When I put the word into action, I found that it was different, and that was what I learned.

  张若昀:对对,《庆余年》养成了所有人都特别有“心机”的剧组氛围,比如,夏天时候,人穿衣服,你看他没穿呢,我也没穿,你穿左袖,我穿右边,一人穿一半,绝对不比别人先穿好,然后一到中午饭完饭,一说我中暑了,那边谁谁谁老师也中暑了,但都是装的,“我中暑了,先拍那谁吧”,但也不是恶意,我这么说出来,大家可能觉得挺不对的,但是因为我们关系太好了,就是一个互损的状态。因为《庆余年》这个故事,里面每个角色都有毒,就没有特别假模假式的那种,每个人都是很反向写的,嘴上都是偷奸耍滑,但心中又有大义。

Zhang Ruoyun: yes,\" qing yu nian \"has formed a special\" mind \"atmosphere for everyone, for example, in summer, people wear clothes, you see he didn't wear it, I also didn't wear it, you wear left sleeve, I wear right, one wears half, definitely don't wear better than others first, then one to lunch, one said that I had a heatstroke, who also had a heatstroke, but it's all installed,\" I had a heatstroke, who took a picture first, but it's not so malicious, I said, I may not think it is quite right, but because we have a good relationship, it is a mutually damaging state. Because the story of \"qing yu nian \", each character is poisonous, there is no special false model of the kind, everyone is very reverse writing, the mouth is cheating, but the heart has great meaning.

  作为演员,角色确实会改变一段时期演员的状态,而演员会有意识的保留这种状态。我演范闲,我已经沾染上一部分范闲的性格了,那我不会在日常中去把它区分出去的,我宁愿它在我身上多停留点,我宁愿它在我身上扎根的更深点,起码在这部戏期间,我愿意范闲长在我身上,我愿意生活中也跟范闲一样,跟他们去说话,去交流,所以大家其实都带着角色在剧组里进行交流。

As an actor, the character does change the state of the actor for a period of time, and the actor will consciously retain that state. I'm playing Fan Yi, I've got a part of Fan Yi's character, then I'm not going to distinguish it in my day-to-day, I'd rather it stays on me a little more, I'd rather it took root in me a little bit more, at least during the play, I'd like Fan Yi to grow on me, and I'd like to live as Fan Yi, to talk to them, to communicate with them, so everyone actually takes the characters to communicate in the crew.

  张若昀:我范闲故事我还没拍完呢,而且我认为不可能有完全一样的,就是有的时候拿到类似的角色,我都会去想说这个剧本有没有提供给我空间,让我闯一闯,闯出不一样的角色来。其实好的剧本,是会给这样的空间的。

Zhang Ruoyun: I haven't finished filming my Fan Yi story, and I don't think there can be exactly the same, that is, sometimes get a similar role, I will think that the script has provided me with space, let me break into a different role. In fact, a good script would give such a space.

  其实《庆余年》范闲还是可以有不同的,剧本提供给了范闲很多条路,只是我选择了其中的一条路。剧本再如何严丝合缝,演员在里面还是有很多条路可以走的,但是反而剧本不好,才会把演员逼的只有一条路可走,因为没得可演。

In fact,\" qing yu nian \"fan yi can still have a different, the script provided to fan yi many ways, but I chose one of them. However tight the script is, the actors still have a lot of ways to go in it, but instead the script is not good, the actors will have only one way to go, because there is no way to play.

  张若昀:表演没有之最,它可以是美的,或者说它可以是动人的,表演就是一个人物关系跟人物性格的问题,就是两个最大的支柱,如果说一个虚幻的概念,那就是表演状态,那里面不需要有人物,不需要有人物关系,不需要有人物状态,如果一个人一旦在戏里面跟其他任何人产生交流的话,那其实就应该当做一个短小的故事去拍,去塑造某个人物为主,你一旦塑造这个人物成立了,那我心中这就是最美表演。

Zhang Ruoyun: performance is not the most, it can be beautiful, or it can be moving, performance is a character relationship with the character of the problem, is the two biggest pillars, if a false concept, it is the performance state, it does not need to have a character, there is no need to have a character relationship, no need to have a character state, if a person in the play to communicate with anyone else, it should be a short story to shoot, a character, the main character, once you have established the character, that this is the most beautiful performance in my mind.


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