At first glance, Scarlett's question seed similar to Chris Evans', as they both faced the sa director on the sa set. However, upon closer examination, Anson realized their questions were different.
Chris's issue was still superficial, mainly about communication with the director. Scarlett, on the other hand, had progressed further in her understanding and exploration of acting, focusing more on the connection between herself and the character.
This wasn't surprising, considering Scarlett was about to have a breakthrough the following year. "Lost in Translation" and "Girl with a Pearl Earring" would showcase her talent to the world, and she was already on the path of discovering her own acting style.
Anson spread his hands. "Scarlett, are you sure you're asking the right person?"
Asking a vase about acting?
Scarlett picked up on the self-deprecation in Anson's words and looked down at herself. "Why don't you take a look at ?"
"Vase vs. Vase," it didn't seem to make much difference.
"Ha." This ti, it was Anson's turn to laugh. But how should he guide Scarlett?
Anson himself was still exploring and far from being a teacher. He didn't believe he could provide the right answers.
But from another perspective, he didn't need to guide Scarlett. Instead, discussing and researching acting with her was a valuable opportunity for him.
Compared to working alone, learning from others was obviously the better choice. The exchange between actors often brought new insights.
So, how did Anson shape his characters?
This was a good question.
Looking up, Anson saw two won across the street, facing each other. They were obviously acquaintances, stopping to greet each other with smiles and warm hellos.
So...
Anson slightly raised his chin and gestured. "What do you think of that woman?"
Scarlett looked over, confused. "Are you about to hit on her and ask to be your wingman?"
Anson didn't mind and replied calmly, "I don't think you being my wingman would increase my chances of success." Would other won feel threatened by Scarlett?
Scarlett felt Anson's gaze and her cheeks flushed slightly. She had been teasing him, but he turned the tables on her. Scarlett quickly glanced at Anson but couldn't see his expression clearly before feeling his aningful gaze. She quickly looked away and continued forward, changing the subject.
"Which woman?"
Anson didn't press further. "Anyone. Just pick one and imagine her story, occupation, age, anything."
The biggest difference between shaping a character and morizing lines was that lines were lifeless, but characters were not.
Lines themselves were just statents, maybe with an added emotion. Their power ca entirely from the character and the plot.
Characters, on the other hand, were completely dependent on the actor. If the actor saw the character as a re extra, even under the spotlight, they would remain two-dinsional. But if the actor believed the character had a story, a life, a background, even a brief appearance in the corner could make them co alive.
In "King of Cody," Stephen Chow's portrayal of an extra was a simple and direct example.
Similarly, director Alfred Hitchcock hated thod acting for the sa reason. In his films, he didn't need actors to dig into the character's story and soul, just to portray a certain emotion or state. He needed actors to be like puppets in his scenes.
That's why Alfred Hitchcock favored actors with inherent charm; their appearance and looks were paramount.
Therefore, the key to shaping a character was to give them specific and vivid, real and convincing details.
The costus in "Friends," the books and accessories in "The Princess Diaries," the cara and bookshelf in "Spider-Man," and so on, were all examples. This was the acting path Anson was currently exploring himself -
Breathing life into characters through details.
The sa applied here.
The two people across the street were just passersby to Anson and Scarlett. Without paying more attention, they would be fleeting figures, disappearing into the river of their lives. But now, Anson was trying to use their imagination to give these figures flesh and blood.
Although Scarlett didn't know what Anson was up to, she stayed focused, following his words, her thoughts slowly unfolding.
As actors, they both had basic observation skills; these basics weren't difficult.
After a mont of thought, Scarlett spoke.
"The woman on the right... she looks... probably in her early thirties, but with no distinctive features. She doesn't seem like soone with a lot of stories."
Anson shrugged slightly. "Even soone without a remarkable story has their own story in their life, those ordinary stories. You don't have to worry too much, just follow your observations and imagination."
Scarlett nodded slightly, her gaze fixed on the woman, observing further. "She's wearing a business suit but doesn't have a bag, just a wallet. She probably works nearby and is out buying afternoon tea."
"Her hair ends are a bit dry, she's not wearing full makeup, and she's in flats. She doesn't seem like the type who likes to dress up. Plus, she's walking briskly, looking a bit busy, her mind probably elsewhere. She's likely a mother."
Slowly, Scarlett painted a picture of the woman in her mind. The once flat image of a passerby quietly beca richer.
But Anson noticed that Scarlett's observations were still mainly focused on appearance, especially makeup and style, details won tended to notice but n often overlooked.
However, the point wasn't just about the look but about the story and roots behind it, the flesh and blood the actor gave the character. Only then could the character truly co alive.
Of course, Anson himself was also in the process of learning and growing, not that different from Scarlett.
Scarlett turned to Anson, not smugly showing off but with a hint of doubt and unease. She seed to be waiting for Anson's response, curious about her own performance, patiently waiting.
Anson didn't say whether it was good or bad. To be precise, he wasn't planning to critique Scarlett -
This was a discussion and exchange, not instruction.
Anson looked across the street, his gaze falling on the woman on the left. He didn't rush to speak or judge but observed carefully.
It was only now that Anson realized his own progress and growth. The woman in his sight was taking on a completely different form in his mind.
Anson himself beca intrigued. This was quite interesting.
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