Every year, the Shanghai International Film Festival invites well-known film masters at home and abroad to be guests of the film academy, share their personal film concepts and creative experiences in the form of dialogues, and talk about the charm of light and shadow art. From the 20th Shanghai International Film Festival in 2017 to the 24th Shanghai International Film Festival in 2021, Chinese and foreign film masters such as Christian Monji, Brilant Mandoza, Nuri Bige Ceylon, Jia Zhangke, Kore-eda, Dennis Villeneuve, Andron Zidan have walked into the SIFF Film Academy and conducted 16 high-level lectures and dialogues.
"SIFF Film Academy Essence" takes you back to the dialogue reality of the Film Academy, perceives the individual experience and care of the times of the film masters, appreciates the unique charm of film art, and arrives at the broader world of light and shadow.
The following is the transcript of the 22nd Shanghai International Film Festival's Self and Mirror: Dialogue with the Best Actress in Cannes Berlin:
Self and Mirror: A Conversation with the Best Actress in Cannes Berlin
Moderator: Liang Zhi | Young actor, presenter
Panelists:
Wing Mei | Chinese actress, won the Best Actress Award at the 69th Berlin International Film Festival and the Best Actress Award at the 32nd Golden Rooster Awards of Chinese Film
Emily Beechham | British actress, winner of the Best Actress Award at the 72nd Cannes International Film Festival
compere:
Welcome all guests and all media friends to the last film school of this year's Shanghai International Film Festival. First of all, please have Emily Beaucham, who just won the Best Actress Award in Cannes for "Little Joe", and then invite everyone to the very familiar teacher Yong Mei, welcome both. People often say, do actors need to be born in a science class, do they need to major in college to be acting? So we want to start from this topic to understand, how did the two of you get on the road to acting?
Emily Beechham:
I attended a drama school in London, but at the time I mainly studied theatre performance. Until I graduated, I didn't really learn how to act in movies, so I learned it in actual shooting. I know a lot of great actors, none of whom come from a science class. For film acting, you don't have to be from a science class, and you can easily learn a lot of skills from acting directors without having to undergo formal training. And I think that life experience is a better teacher, as I grow up to know more about myself and understand human nature, I think the best way to learn to perform is to understand human nature and life itself.
Wing Mei:
I wasn't trained by the class, and I didn't have it at all. My first TV show was a heroine, and I didn't know anything when I was in that play, but maybe there was a basic quality, that is, I wasn't afraid of the stage, and then I was more relaxed. This factor may have been an important factor in enabling me to come down and into this industry. Training is of course important, but probably even less so, the experience and observation of life. That's basically how I got to where I am today. Of course, the whole process is actually trained in a practical environment, sometimes self-training, and every play is followed by the director and learned from other excellent actors.
How do the two of them look at the talent for acting? Do you think acting talent matters? How important is it?
I feel like as I've grown up, my performance has become easier, and as I said, I've learned more about myself and my life. I think a good actor needs empathy and understanding, which can help actors be genuinely interested in people, stories, and subtle relationships between people. Knowing this, you can easily read a script and then incorporate your understanding into the script and the characters so you can easily fit into any situation. Even if this character has a different life from you, you can also close the distance between you and the character and establish a connection with the character through research and by finding common ground. Some of the great actors I've worked with, and I respect them very much, and they're very kind, sharp, and insightful in their approach to people. They can spot each other's characteristics and are good at listening. Listening is very important, they can read your intentions from the words, or feel how you feel at the time, so life experience is very helpful for performance.
So Emily, do you think you have talent?
I think I grew up as an actor and I loved what I learned in drama school, but when I first started working in the industry, I found it to be a huge challenge. Because it's superficial and money-oriented, I was resistant to that when I was younger. Now I feel like you have to learn to grow in it, you have to break through these barriers and ignore these distractions, but at the same time you can't be too naïve. You have to understand that in this industry it's true that money is up to you, but you have to be honest with yourself and focus on your work, on the story and the characters themselves, because that's what really matters, it's about human nature. What you have to do is help people understand the person you play and empathize with your character.
Teacher Yongmei, you just mentioned that you are not afraid of the stage, in fact, you are very modest, because the relaxation in front of the camera should be part of the talent.
Yes, I think if you want to be a very good actor, one of the most important factors is the level of talent. Then there's also a type of actor that I think is like acting and then through their own relentless efforts. As Emily just said, it is very possible that she will continue to accumulate and be able to meet the conditions of being a good actor. But you can't simply be driven by money, driven by your desires, and blindly enter the industry. We have also seen a lot of people love to perform, like to perform, it does take a lot of time, but it is still very far away, then I think this aspect must have self-awareness, talent is very important.
But how can this self-knowledge be achieved? Especially for a young actor, how does he know if he can do this, is it very difficult?
I think this is a practical test. For example, an actor who wants to enter the industry must be screened. A certain play comes to him, he wants to audition or his image is good in all aspects. But he couldn't finish the role, he felt very difficult, and then he didn't know how to be better at being a character. In a situation like this, you should reflect on yourself more, be sober, and see if you are really suitable. Some people may naturally love this industry, there are many professional actors, actors trained in professional colleges, and finally did not become actors, they may change their careers to become producers, and other behind-the-scenes work related to this industry, but do very well. You love the acting industry, and if you feel that there is still a distance between how you do it, you can also choose to do other work that is related to performance and related to this industry.
Many times it is easy to put talent and experience together. A lot of talented actors, he may not think too much, but when he enters the scene shooting, he will have a lot of inspiration, he began to use the various scheduling of the scene, the use of props to achieve a lot of performances. Then we also know that some technicalists will do a lot of design, about this scene, about a lot of details. I would like to ask Emily to start with the color of her hair, in "Little Joe" you have red hair, is this the director's design, or did you design it yourself? When you prepare a character, such as "Little Joe", will you design a lot of content, or will you choose to go to the scene to experience and create more?
It depends on the situation, the requirements of each director are different, some directors have very strict requirements, and some are more relaxed. For example, director Jessica saw my hair color turn red in another movie and liked it very much. When I first met her, she asked me if I would like to cut my hair short and dye it red. I said no problem because I always wanted to cut my hair short. In my career and in the works I've been in, they've always molded me into a long-haired beauty with heavy makeup, so I was desperate to get rid of this overly sexy image. I wanted to change the look and feel of a different one, like a little more comedic instead of the set of long-haired beauties. So I said you can change whatever you want, I'd love to, I completely listen to your arrangement, I don't care what the image is, I like to try different dress styles, don't need to satisfy vanity.
Stills from Little Joe
Teacher YongMei, do you feel that there is a balance between this experience and method, how are you doing it? Which way of creating would you prefer?
I'm not from a science class, so I haven't learned how to get into a role. At the beginning, it was actually a more emotional kind of entry, but then you have some of your own understanding and accumulation of performance, and then slowly start to use the method. The so-called method is that you can interpret the character more rationally, which is one thing that I feel particularly lucky about. When you can understand the script, the story and the characters very well, and you can understand it more deeply and deeply, you will have a better performance. I'm actually less excited about my look now, I'd rather have a better, deeper, more expressive expression of human nature, and I'll use my own more understanding and rational communication, which is something I'm particularly interested in.
In the creation of the movie "Long Time", what experience and process of creation do you have about that character that you can share with you?
"The Long Day" was really a gift for me, from getting the script to the whole shooting process, to finally it got such a good result in Berlin, it was a gift because it suited me so well. The story of "Long Days on Earth" is actually about life, so what we fully express is life. From the perspective of my age, I have been able to master all aspects of my life experience, experience and so on. For this type of character, that story, that era, including the emotions of that person, I can empathize with it, so I think I am so lucky to meet this role, and I enjoy it quite well. Emily will understand, because when I was chatting with Emily two days ago, I was asking her how she felt about making Little Joe. She said that the director actually didn't give her much space, and asked her to complete it exactly according to the director's brain design, which I couldn't imagine for me. If I come across a director like this, how well can I do it. I am a person who is more afraid of being asked. So after talking to her, I watched Emily's Little Joe, and I thought, wow, it's really great. You have to give up all your thoughts about this character. Starting from the design of the script and the director, asking me to play the role, I have no way to understand this thing, it is very difficult for me, so I appreciate Emily's performance this time. If she hadn't told me this, I might have thought, "Oh, good actor," but that's how she did it, and I think it's very powerful.
Stills from "The Earth Is Long"
We meet very strong directors in our work, which really does not distinguish between directors with famous works or young directors, which is a different way of working, and everyone will have different ways of creating. Teacher YongMei also said that in "Little Joe", the director's requirements are very meticulous, and she has been fully prepared in terms of splitting. But you will have your own creations and ideas on the spot, how to balance it? Or is it complete acceptance of her content?
If you're lucky enough to meet some great directors, if you think their work is great, then you should trust them, even if they'll take you out of your comfort zone. But when performing, you will add some of your own style and judgment, because you are you, you are not a doll, you tend to substitute for your own way and experience. If the director's request is very challenging, I will remind myself with some small tricks. If I encounter obstacles and can't play this segment well, I will find a way to make myself as natural as possible. It is precisely because each director directs differently that I learned a lot in the process, every experience is completely new, and I will try to adapt to it. It's not easy to work with Jessica, she pays attention to timing, such as the timing of the camera entry and the timing of eye contact. Because I had to deal with too many details, I had to let go of my attachment to perfection, I had to accept all possible results, and it was good to act well, but there was no way to act it. In fact, this state of indifference is a good release for me. But I'm still going to try to do it the way I do, and help Jessica shoot the effect she wants. I enjoyed a lot of communication with the director before shooting, like all the information about the character, about the meaning of each scene, I needed to understand the motivation of the character, or her background and her specific feelings, or why she was treating her son like this, and so on, so that I would be more relaxed when I was officially performing. I've reached a consensus with the director as much as possible, and of course there will be problems, there will be differences of opinion, but for me it rarely happens. I've had disagreements with directors before, like their scripts or the level of directing isn't very high, which often happens early in my career. But the directors I work with now are all very respectful to me, and I really like their work, and I feel a lot easier and smoother working with them, and our taste is similar, which is also very helpful.
I especially agree to communicate before performing. But I've also made a lot of TV series, both good and bad. When making a good TV series, there are usually fewer script problems. When you have a lot of problems with the script of the TV series and are in a hurry to shoot a scene, you don't have so much time to tune every scene as you want. Sometimes you have to give up your own ideas, sometimes you have to seek perfection, and in some places, when there is no way to pass, you will also argue with the director. Although I didn't have many arguments with the director, in the early days, I had to follow my own, I was a little stronger, but this situation was not much. Later, I slowly learned, especially the director's work, at this time you must respect the director's meaning, and you must try to complete his intentions. Your own ideas are just auxiliaries that can make it better. If you can't add points, or if you can't get them through your own way, then you really have to listen to the director.
But I especially like that way, the movie will be read around, the TV series I haven't made in years, I don't know what the situation is now. In the past few years, there really wasn't a situation where everyone sat down and read the script, and I think it's a pity. The film is read around, and opinions will be exchanged before shooting, and everyone will talk about it.
When you have 5 ways of acting or 5 ways of expression, how do you communicate with the director?
Yes, it's not easy to hide your thoughts about acting. I've had situations like this, when the script or directing isn't very high, and they'll force "This is a happy play" or "This is a sad play." I think for good actors and directors, people's emotional expressions are sometimes very unexpected, and when they are happy, they don't necessarily have to make happy expressions. People's emotions are very subtle and very strange, and people will constantly contradict themselves. Such a complex person is interesting and real. People sometimes have mixed feelings, for example, when I was on the podium at the Cannes Film Festival, in addition to joy, I also had shock, confusion, fear and doubt, which was the feeling of all emotions mixed together. I think acting is the same, it's not step-by-step. I do find that as you get into higher-caliber films, if you're lucky enough to work with better filmmakers, your job will get more and more interesting. As an actor, your self-worth will also be more and more satisfied. When you're still on a very average variety show, you can only create a sexy or scary image, which is very limited. Of course, I don't want to criticize anything, but you know.
For example, when you're familiar with the script, when you read a scene, you may feel like I don't have to hug him or I don't have to cry.
Yes, because human emotions are much more complex.
Since this is an open choice, would you bring this up and communicate with the director? For example, do you think you will kiss each other lightly in this scene, but in the next scene you want to try not to kiss?
Every director is different, and Jessica sometimes has some specific ideas. She's very smart, very talented, a very interesting, very distinctive director, full of ideas, so the ideas she comes up with are often interesting and unexpected. But at other times, it depends on your interaction with the actor, and I think the process is also interesting. If the other person knows how to listen, if you have a good relationship and are a good fit, then you can discuss all the details according to your feelings. For example, how does the protagonist feel? Does she like to be touched? Does she like to touch people? Will she be more conservative? How does she behave in front of people? After discussing this in advance, you two can bring it up, and I don't think they're going to do that in this scene, or they're going to do it.
First of all, I don't have this ability, and I always felt that I couldn't give a second solution. But there are too many such actors in the industry, because they like acting too much, they are too lively, they are flexible, and then they like to perform, and actors are actually like this. Maybe director Kang Honglei doesn't like it, but I've met a director who likes to do this, is it that you can give me a few plans? We were shooting another actor at the same time, he can do it, I can't do it, I think the result I understand is this one result, I give you this one result. At that time, I was actually very envious, how could he have so many plans. "Can you give me a few more?" To me I am, we can try again, but I can't have another possibility, there is also that good, the second time is still very interesting, yes, depending on the director's requirements. If you're an actor who's particularly good at trying to explore, there may be surprises that are constantly being dug up, and it's very likely.
Both of them just talked about the revision of the script. Now, in the position of two, you should invite two people very early in the preparation of the film to hand over the script to your hands. What kind of homework would you usually do with the script at that time? Especially for the modified parts, what kind of preparation will be made? How do you communicate with the writers and directors? Would you propose changes to the script in the run-up to the film?
I think about it before I take the scene, and if I have a disagreement with a certain place I'll bring it up in advance, because some directors are non-negotiable, so you can think ahead about whether you can play the role. If you don't understand or disagree with a certain part of the script, you have to make a choice whether to take the play or not. For the last two films, I am very satisfied with the script, and I have not thought about changing anything. Before I took over a TV series, very entertaining kind, because they need to maintain ratings, so they made it more superficial, and there were many places in the script that I wanted to change. But I have no say at all, they won't listen to me, so this is another kind of work. You'll get all kinds of scenes, including very good independent films, and it's a blessing and an honor to be able to do that, because the scripts for independent films are usually very interesting and in-depth.
We asked Ms. YongMei to tell us about this part of the script, how did you communicate with the screenwriter and the director?
I'm usually like Emily. After getting the script, I first like it, and I think it's very good before I pick it up. Considering that it may involve you a lot of energy to communicate changes in the shooting, if you make some adjustments on the spur of the moment, sometimes it will not necessarily be a plus situation. If the script is very problematic, usually I don't take it very well. The scripts I received were basically all formed and might require minor changes. There are more such cases in TV dramas, and I basically did not encounter any film scripts that needed you to change. My film script does not have this problem, basically according to the director's intentions. We had a small problem when we were reading around, and after everyone communicated, we quickly took the director's opinion as the main direction of adjustment. Maybe you have some ideas that you can come up with, and the director thinks it's good, and he will use it if it's better than his idea. However, the situation of changing the script of a TV series is actually relatively common. I actually took over a script not long ago, and it wasn't fully finished at the time, so basically you have to spend half the time working on the script, which is a very troublesome thing. But at the same time, I feel that I can still do such a job, and I have stimulated and exercised some of your abilities. Maybe the national conditions are different, I think there may be a lot of changes in the script of some TV dramas in China at this stage. In fact, really good movie scripts don't have this problem.
Our topic today is about film, acting, and life, and there are many themes, such as the relationship between a character and your own life after creating a character. When preparing for shooting, especially after shooting, it is sometimes difficult to withdraw, sometimes immersed in the role for a long time, I don't know what kind of experience the two have in their own creations?
I've heard a lot of professional actors complain about this problem, sometimes they have to go home and take care of the kids, but they can't get out of the plot right away. It wasn't until I started making films that I really understood their situation. I will try to meditate as much as I can, I will practice often, just like muscles, and the mind also needs to be trained. Especially when you're shooting horror clips, your adrenaline rushes and it takes a long time to shoot. For example, when we shoot until seven or eight o'clock in the evening, or even one o'clock in the morning, our working hours are very unstable and often very late. You have to adjust immediately after the shoot, rest, and get up again at 5 a.m. It is also necessary to ensure adequate rest and concentration, which will bring a lot of pressure. Especially when you go to sleep and think back to the clip of the monster being chased by a monster or seeing a dead person, you will be very excited. This is of course something that requires long-term training to overcome, so take care of yourself and pay attention to your mental health.
Now the actors are paying more and more attention to this topic, which is very good. I think very few people have mentioned this before, and I pay attention to this aspect myself, because even some of the best actors I've worked with have been plagued by anxiety and emotion. This is also related to a person's sensitive personality, many good actors are very sensitive and vulnerable, and they are also susceptible to influence. It's a good thing that more and more people are now openly exploring this aspect. I have a friend who once played an anorexia patient for three years, and it had a big impact on her. She was only 20 years old at the time, and I've been helping her slowly get out and learn to take care of herself. Because of this, she could not shoot for a long time, she became a little pessimistic, and her career stagnated for a while, because she was too into the drama. I think you should also maintain some sense of humor, you have to understand that you are not a life-saving doctor, you are just an actor, you can't be too real. For the character you play, be sympathetic and caring, but jump out after the performance, look at the matter with humor, and be a happy person. Even if you are playing an unhappy person, you should also realize this, the human mind is very malleable, it is also very powerful, and you must learn to control it.
I especially want to thank Emily for sharing this time, when I communicated with many actors in China before, many actors did not have such a strong awareness of their mental state. When Emily and I were talking that day, I thought, wow, you have to share it with us, this is very good. You must face up to the impact that the character brings to you on a spiritual and psychological level. How do you get out of the confusion as early as possible, of course, it also needs a method. Because I haven't had that experience, I haven't acted in a thriller, you have to imagine a terrible scene for yourself, I didn't. But "Long Time", it is a very sad story, I was very, very sad when I read the script, very, very sad, I couldn't read the script several times. I thought, if I was on the scene, when I was performing this scene, I was crying a lot, then how could I play it well? So at that time, I deliberately made myself understand that you must jump out and act. When I read the script, I was completely immersed in it, and I was integrated with this character. During the shooting process, I deliberately wanted to keep a distance, my rationality was controlling my sensibility, and I felt that this time it was done quite well. By the time I finished shooting the last shot and finished, basically people were separated from the script, the characters, and me. So this time I tried, this time the method, let me more determined, rational to complete the role, I may choose more in the future. I fully believe that by playing characters and roles more rationally, you will come out faster. For Teacher Wang Jingchun, he said that he did not come out of the role for half a year, still stayed in that play, often touched the scene, eat dumplings, eat steamed buns or whatever, he will want to return to that scene, you can suggest that he listen to Emily's method, use her method.
There's a type of psychotherapy called cognitive behavioral therapy, which another actor taught me. You can write down your thoughts on paper and then change it, which is to cross out the negative thoughts and replace them with a more positive belief or emotion. This kind of cognitive behavioral therapy works very well, and it works by looking at the thoughts in your head and observing how those thoughts stimulate your body. I found that this therapy was also very helpful for acting, and I was able to gain insight into my own emotional world, which a lot of people can't do. There is nothing wrong with being emotional, the actor's behavior is originally driven by emotion, but at the same time you should understand your own emotions so that you can control it freely.
Thanks again to Emily for providing another approach, mental health is very important for an actor. Of course you have to let this consciousness go first, you have to face it first, this method can make you physically and mentally healthier, better to complete tasks and better life. Some of our actors may not be able to walk out of the story for three or four years, and the person who plays depression may eventually suffer from depression, so there is no awareness of this at that time. This method is still very useful for a particularly sensitive type of actor.
It's also helpful for lifestyle, an actor's lifestyle is often irregular, you need to audition all the time, and you're often rejected, which is tough. These therapies can keep you confident and relaxed, and if you can't relax, you can't act well, of course, you can act, but it will be very uncomfortable. If you have an irregular lifestyle, it will be difficult to even find a job, so you must be kind to yourself.
What is the life of the two non-working people like now? How do you capture the inspiration for your creations? Grabbing information about a character? How do you always maintain this state of attention and grabbing?
My lifestyle is fraught with uncertainty, and it has always been. This was especially true in my twenties, never knowing what would happen tomorrow, so having to accept this nomadic life, adapting to frequent trips and temporary changes, to accept it all. I just told my agent some time ago that I haven't read a novel in a long time, and I've been reading scripts. I don't want to stay at home and read the script anymore, I want to go out and have a break, do some sports, or look at cultural monuments, visit friends or whatever, I need to balance it out.
It is indeed not easy to do, a large number of scripts in the mind, always follow the creative process. Teacher Yongmei, what kind of state are you in?
After returning from Berlin, the pace of my life has been somewhat affected, but I will try to maintain my previous life. I'm not a person who can play many roles and master many types of roles, so I don't have such a strong desire to break through, if I can play a role, a type, I am very satisfied. I may be more deliberate in keeping my life under my control.
Teacher YongMei, you also said that it is really not easy to win such an award as the best actress in Berlin. The three major film festivals, the world's good movies, good filmmakers are there, in fact, it is not easy. I would like to ask you to tell us what kind of attitude you have toward awards, especially such awards, in the past. After the real award, what kind of changes will I have?
I always think that every movie is different, the point is that it is not suitable for you, good movies can make good actors, I have no intention of showing off. Everyone loves Jessica's films, and having the honor to star in her films is a great platform for me and an honor. One of the things I regret is that I was a bit naïve and didn't take the award ceremony too seriously. I thought it would be a distraction, and I was only interested in the movies and the actors' performances at the time, so I didn't focus too much on those star-studded moments at the awards ceremony. Because in fact, there is no so-called best actor, there are too many excellent actors. But I didn't react until afterwards, I didn't realize at the time how important it was to win an award at Cannes, and suddenly becoming the focus shocked me, I should have prepared a little more. I don't think you can be too influenced by these awards, I still do this type of film because I like its script, I like this movie, and the award is just the icing on the cake. However, I also hope that through this award, I can have more opportunities to work with excellent directors like Jessica.
I am similar to Emily, I just feel that I am very lucky to be able to win the award, but I do not want this award to affect my future film creation, or maintain a sober attitude. I used to be in the early days, after a TV series hit, there was some attention to come up, which brought me a lot of pressure. I can still think of the confusion, the confusion, and even a kind of fear at that time. I turned off my phone at that time, and the outside world has been cut off, and I can't stand that kind of desire thing at once, so that you feel so confused, and many things can't be seen clearly. Now that I'm actually at this age, I can handle a lot of things more easily, so I think this honor brings me too many benefits. After a lot of attention came, I didn't have as much pressure anymore, I could handle it well, and I had good control of my mindset. Maybe I am so lucky, that is, to have a little responsibility, a little influence, and even sometimes you can say that you have a little right to speak, then can you think that this is the sense of responsibility that God wants to give you, and sometimes I think so. I will do some good things, things that are helpful to others and more that affect others. It could be something that this award can bring to me, or something I can give to someone else.
Speaking of the future, please share the next work plan with you, because you will receive a lot of invitations to work, what direction will you work in the future? What kind of character do you want to portray again? Is it that the role that has won the award does not want to be played again?
I won't, as I just said, if I can play a role well and deeply rooted in people's hearts, I am very satisfied, and I think that stories and characters, the same type of story may still have a constant sense of being new, so I don't deliberately choose what to challenge. Yesterday I watched Emily's Little Joe, which is a suspenseful and thriller film, and after watching it, I had a small wish in my head that I could try this type of role.
Horror films like The Shining are also something to try, it's very artistic and very psychic, and I love movies like that. Being able to influence the audience's emotions through the means of the film and through the picture, including the performance, this is the best place for "The Shining". This movie almost takes you into a dream, and when you're watching this movie, it's like you're really going somewhere else, and I think it's a very beautiful art film, full of power. As long as it is a director I admire, a director I want to work with, I generally don't mind the specific role, I pay more attention to what kind of director to work with, because I think everyone's style is very different. When I make a movie, I feel that the personality of the director is very much reflected in the film, which is why the personalized film looks very special and very talented, because they can freely shoot whatever they want to make. I'm also waiting for the next suitable movie, and maybe for both of us, to make the right choice, to figure out if it's a movie that's right for me, and not for the one who comes.
When we were chatting that day, Emily said that she eventually wanted to be someone who could do independent films, do you want to be a director?
I've tried it, I've always wanted to make a short film, but it's hard to find the right short film writer, and good screenwriters are usually busy. Obviously it's hard, everyone sends the script to the studio, but the company may have to watch more than 3,000 scripts, so the quality of the script is very important. I might co-make a film with a director I like first, and I can learn a lot in the process. I also love photography because you can choose from what angle to shoot, so as to guide the audience and give them a kind of enjoyment.
I especially hope that Emily's ideas and wishes can be realized as soon as possible, don't think too much about the results, and do what you can. When I was younger, when I first entered the industry, I had a lot of creative ideas, and I always felt that there were many unsatisfactory places, so if I did it myself, you couldn't ask others to realize your own ideas. At that time, I was actually always thinking, I wanted to write things, I wanted to shoot things, and I had a lot of ideas. In the past few years, I suddenly felt that I had ideas, but I didn't have the strength. My physical and mental strength, physiologically, is a phase of decline. I find that my inner feelings and thoughts are becoming more and more mature, but I will be afraid of that workload because it is indeed a particularly hard job. The reason why I didn't do it at that time was because I took the results too seriously. I must do a good job, out must be a blockbuster, then it was this wish, I actually regret it now. So I wish I could see a film directed by Emily sooner and it will be a feast for me.
You're still young, maybe you might still be able to direct a movie, who knows?
I very much want to have a work of my own, and I especially want to be a director. But I'm also a particularly introspective person, and I find that my ability is actually not so good, and my physical strength is not so good. And then there's a thing I know in particular that I can't work with a lot of people at the same time. The director is a commander-in-chief, commanding thousands of troops, the hardest person, I think I can't do it. I might have finished a script myself.
I believe there will be an opportunity, we are very much looking forward to the works of the two, and the two should be different styles of directors. At the end of today, I also invited Emily and Yongmei teachers again to share a little advice on performance with us.
First of all you should enjoy it, you should love it, otherwise there is no need to enter the industry because the competition is really fierce. You should enjoy the performance itself and enjoy the process of shooting because you will be under a lot of pressure. Such a life is unnecessary for ordinary people, so I think you should enjoy it.
I especially agree with Emily that first you have to love, then you have to be patient. It may be difficult to perform at the beginning, and it is more difficult to improve. To give yourself patience, to give yourself time, you have to keep accumulating, constantly feeling. The easiest way is your life, you have to feel it seriously and realistically, and then life will feed a lot of nutrition in your performance.
Yes, I agree. When I was younger, I was also anxious because I didn't have a job. Many actors are like this, they will feel confused and anxious about the future because they have not received new plays. In retrospect, I actually wanted to make better use of that time, like studying, traveling, or reading more, and then developing skills and accumulating experience more. These are like your treasure chests, your life experiences. People live to experience more, more experience, you are playing yourself all the time, you should experience life, rather than worrying about your acting career all day, worrying about when you can receive the play, which will make you more and more boring.
Thank you, we once again gave the applause to the two teachers.