Aforementioned review: Adam Dreifer: It's not right to put it anywhere
In 2012, Adam Dreifer starred in Spielberg's [Lincoln], but he studied the Morse code for this purpose.
In 2016, for Martin Scorsese's [silence], Adam Dreifer took weight-loss pills and lost 30 pounds (about 13.61 kilograms), and because of those drugs, he couldn't sleep all night, tired like the tortured missionaries in the film. Even during filming, he lost another 20 pounds (about 9.07 kilograms).
This year, he starred in [Torture Report]. The film is based on real events, and after the 9/11 incident, the CIA tortured some of the interrogators to extract confessions, which the Senate Intelligence Committee investigated and released a 500-page report in 2016.
In order to star in the film, Dreifer was directed by Scott Lee. Z. Benns said, "devoured" the entire report. 500 pages. Don't think of this as another story of a desperate sanlang-style actor.
This is not an inspirational story of mastering a skill in a role, but a trembling person who is trying in vain to make up for his thin sense of security.
In a conversation between Baumbach and him, the former mentioned that during the filming of [Frances Ha], he came to the set one day from the rehearsal office of the stage play, depressed, and felt that he had not rehearsed well.
Dreifer half-jokingly said, "That's just a microcosm of my daily life." I was depressed every day. "Low for a performance that's not good enough.
It was also in this conversation that he "slipped his mouth."
He said that as he grew older, he grew tired, his anxiety and self-torture became less and less. But he used the word "torture", and he asked Baumbach, would he associate creation with "torture"?
Then he changed his mouth and said that the word "torture" was too heavy, or "pain". He seems to be bothering too, am I the only one who is so mediocre and self-disturbing?
Baumbach, on the other hand, is already the director who makes him most comfortable. They have collaborated four times so far in [Frances Ha], [When I Was Young], [The Story of Meyerowitz], and [The Story of Marriage].
Baumbach would shoot the same scene over and over again in different ways, exploring all possibilities, eliminating all interference terms, and choosing a relative optimal solution. This made Dreifer feel a little relieved to think a little less about "if I shoot like that..." in the coming months.
Dreifer has starred in four Baumbach films, and his girlfriend Greta Gerweger has not appeared in his films so many times (pictured [as a young man])
But can he really completely suppress his desire to remake every scene? Doubtful.
What really makes him relax a little may be the stage play.
In the field of stage drama, he does not have to watch his last performance, and it is always good to be able to add different things to the next performance, and to be a little farther away from the era of mechanical reproduction of works of art.
On stage, he no longer even fears the audience's reaction as he did during the premiere of Star Wars VII: The Force Awakens.
In the stage play Burn This, he treats the audience with a smile, even if they don't laugh where the creators expected.
"Sometimes people laugh when they don't know how to react. It was the part I enjoyed the most in the play. Some people read that meaning, some people read that. The audience themselves are at war with each other. ”
From another point of view, he went from being gazed at as an actor to a subject who stared at the audience's reaction. Should feel cramped and uneasy, somehow a good man, no longer him. It's your turn, and it's the audience's turn to lose their sense of security.
< h1 class="pgc-h-arrow-right" > character... That's right! </h1>
Maybe it's because it's not right to put it anywhere, Adam The Old Driver, who is right in his roles.
Some people ask, so many legendary directors have chosen you to star in their films, can't they eliminate a little bit of your self-doubt?
He replied that self-doubt was the nourishment on which he depended, and as for the experience of working with big directors, he boiled it down to "luck".
No one could save him from that self-loathing. Clint Eastwood can't, Spielberg can't, the Coen brothers can't, that's it. After all, in [Hoover], [Lincoln], [Drunken Folk], he doesn't have much of a scene.
But [Hungry Hearts] couldn't win the Volpi Cup for him at the Venice Film Festival, Noah Baumbach and Jarmusch couldn't work with him many times, Martin Scorsese couldn't, not even the dark side of the mighty Force that chose him. He was hopeless.
In [Black Gangster], Dreifer works with Spike Lee as a white police detective pretending to be a Ku Klux Klux Klan, and the famous director watches the game, and Dreifer goes to the next city (of course, Spike Lee can't...)
This bitter self-loathing, pulling at this big tall man with all his hands and feet, pulling out his fragmentation in [Star Wars], the embarrassment and embarrassment in Baumbach's films, and the eccentric rhythms in Jarmusch films.
His eyes and nose fight, personality and profession fight, self and self fight, what creates a sense of confusion without a branch.
It's not right to put him anywhere, the whole world, there is no corner, there is the same frequency as him, so it is only he, can give the character, give the movie, his unique alienation rhythm.
This year, he acted in four movies in one go, each one different, but all of them were the old driver's own quirky rhythms.
There is no one else to suit the strange cops in Zombies Not Dead.
Of course, in Jarmusch's films, every actor is very strange.
But this old geek gave the weirdest line to Dreifer's character: "The story must end tragically." This line that breaks the fourth wall can only make Dreifer, who is clearly in the movie, and suspended outside the movie, say it.
No one else played Kylo Ren.
All the actors in the [Star Wars] sequel trilogy are diligently recreating a [Star Wars] story, but Dreifer seems to be fighting alone, fully engaged in "[Kylo Ren Biography]", and even the freckles on his face are acting out of sadness. He's not acting in space operas, he's acting in personal epics.
He wasn't Darth Vader, not Voldemort, not Thanos. He was like a rebellious star of the second generation, no, the third generation of the star.
Everyone says that his rock star grandfather is an immortal legend of the times, and he can't match it with all his strength.
He also wanted Rock & Roll, but everyone thought he would only play guitar on stage. He clumsily followed the example of the Black Warrior Vader, issuing throat-lock warnings to others, but like a child who lost his temper.
He is the most emotional villain.
They tell him that the boys in the movie have to kill their fathers in order to grow into men. Is this true? The child had to tearfully kill his own father, like a Shakespearean tragedy.
Then he discovers that the movies are all deceitful, and he can only pinch the necks of his subordinates a few more times to masturbate.
So he decided not to be like his grandfather, he was himself, it didn't matter if he didn't grow up to be a man, he was the boy who made the whole world tremble.
So, knowing that the right decision was to bypass Luke Skywalker's procrastination and smash the yellow dragon, he willfully decided to have a good fight with Luke, and the interest came up, and he didn't care about the overall situation.
It is also such a boy, bluffing three movies, but when he senses that his mother has died, all the defenses collapse.
He loves [Star Wars], but the reason he eventually accepted the character of Kylo Ren was that he was able to shape a child with a broken heart.
He once said, "I'm skeptical of big productions. A lot of these films sacrifice their characters for the sake of the scenes. When they get poorly photographed, I get angry. You can clearly tell that such a movie was concocted by a bunch of executives who didn't know where to hide. ”
Kylo Ren is different. He was a young tyrant, a child who did not know what to do with his power. The other villains fight with the heroes, but what Kylo Ren does is fight with himself. Isn't that exactly what Dreifer does every day?
[Star Wars Episode IX: Rise of Skywalker], Kylo Ren's curtain call, although Disney may open a sequel, a prequel, but Dreifer has said that he will no longer play this role
No one else played the Senate investigator [in the torture report] who was a waste of sleep and time, Dan Jones. At the beginning of the film, Dan goes to the White House for a job, and he says that the day after he went to graduate school, 911 happened.
He immediately changed the direction of his life, replacing all his professional courses with national security-related courses.
After 9/11, Dreifer also immediately changed the direction of his life, and he went to join the army. "I just know that whoever comes to attack us, I want to knock them back." But he was discharged in an unexpected way.
One day, he and his comrades missed the morning exercise, and the captain asked them to make up for it themselves. Riding a mountain bike, Dreifer rushed out of the cliff, his sternum dislocated, and outside the battlefield, he lost his qualification to go to the battlefield. He had been grumpy and guilty about it.
Similar experiences make Dreifer's interpretation more able to penetrate the depths of the characters' hearts.
The colleague came to the workplace early in the morning, and as soon as he pushed open the door, Dan told him about his new findings in the investigation—it turned out that he had been here for several hours.
"Sleeping gets in the way of work." The more Dreifer restrains his emotions in his performance, the more daunting the madness of desperately seeking the truth becomes.
Dan has nothing left in his life but this survey, but "no one is expecting this report", and even whether this report will be made public is unknown.
Does this determination come purely from a sense of justice? Dreifer's rendition, more than that.
This determination is more like a mixture of a sense of justice and guilt. A pure sense of justice may not be enough to support a person who keeps himself in a basement for five years against the whole world.
But what if you add a little bit of Dreifer's self-loathing?
In 9/11, dan and Dreyver's sudden transformation carried a hint of a desire for revenge, although they did not know who to vent this revenge to.
They are so different from those who inflict torture, but the differences are only on the front lines.
The desire to eliminate that little bit of guilt in the heart may have a greater driving force.
Why, otherwise, did Dan, after five years in the basement for investigation, after issuing that report, expose how cruel people can be for the sake of national security?
When Dan loses control of his emotions and questions and questions why his boss is not more active in promoting the report to the public, Dreifer is clearly questioning the whole world, including himself, and the sense of justice and guilt fight each other, and Dreifer subtly integrates it into the performance.
Even if it is the [marriage story] that let him snatch the door out, only Dreifer can play it.
Whether you call this move to run away or whisk away. The performance that made him unable to face also made him a strong contender for this year's Oscar for Best Actor.
In fact, the best performance of the whole film may be Charlie's "Being Alive" singing.
Once again, Dreifer was "overprepared", reciting the lyrics backwards a few months before filming began, and judging from his move of not daring to look at it again, even this did not reassure him much.
But, it is enough for the audience, in this song, to see the whole marriage story, to see all the marriage stories.
From this moment on, he truly accepted that love was not gone, but transformed into something else. You can see that it is only through art that he can digest it all. ”
In a previous scene, Dreifer had viciously cursed his wife, played by Scarlett Johansson: "Every day I wake up, I want you to die!" How ugly he was in that scene of escaping himself and blaming others was, how distressing his sense of self-loathing was in this scene.
"Someone hugs you too tightly, someone hurts you too deeply, someone sits in your chair and disturbs your sleep; someone desperately needs you, someone knows you too well, someone makes you stop suddenly, making you miserable; someone wraps me in love, someone forces me to care, someone helps me get through..."
In this song, at first, Charlie deliberately makes a mistake, but slowly, he sings out of his heart, and the song is full of marriage, and he is also the drowning person among them.
The playful performance state becomes contemplation, Charlie and the people in the song become one, Dreifer and Charlie become one.
The mischievous look in his eyes at the beginning eventually became tearful, and Charlie held the microphone and let out a breath, trying to hide the fluctuations of emotions, but the trembling breath just leaked the chance.
What is leaked is the self-understanding that Charlie has difficulty reaching, and the self-loathing that Dreifer cannot abandon.
What you can see on this man's face is a constant inner tearing, forever out of place.
What is your favorite movie about "The Old Driver"?