#my boy is such a good actor!!!

[accio-victuuri]

excerpts from this article talking about yibo’s performance as li mo @ all tomorrow’s parties 🗒️

So the role of Li Mo , Wang Yibo's performance this time, is completely different in difficulty and significance. Although there is no "showing off" in its presentation, it has already shown Wang Yibo's maturity as an actor everywhere. He avoided the problems and pitfalls that can arise, understand the character thoroughly, bring the character alive and make us perceive everything about him with complete accuracy.

Wang Yibo's performance in the film, as a young actor, did bring some surprises. I think it is an "important homework" among all his works that I have seen so far. The film itself is life-like, not dramatic, and the actors' performances must follow the same logic, which is different from most of his previous works. Coupled with the fact that the length of the film is not long, and the style of the film and the character of the characters are constrained, the lines of the characters are even more limited. A lot of information depends entirely on the performance of the actors to explain, such as the aforementioned "whether the parents know that they have returned home", so the work Although short, it feels like a performance with a completely different meaning.

I like the character Li Mo very much. He looks reticent and introverted, with a kind of insensitivity, but his heart is delicate and romantic, very sensitive. This role is very layered. This level not only brings requirements to Wang Yibo's performance, but also is the final shaping of his delicate performance.

Let's talk about the first "requirement" first. Li Mo's role setting leads to a "contradictory" demand for the actor's performance logic in the same situation at the same time. He must not only fully express Li Mo's external insensitivity, but also accurately externalize Li Mo's internal thoughts. He must not only maximize the "clumsy" response of this character when facing the world, but also make us feel that his heart is always perceiving, flowing, and extremely "moving".

As the director said, if you don't play this role well, you will be stuck, because if you don't perform well, you will be easily swallowed up by the external "clumsy" appearance, which instead covers up the spring of the character's inner life. But on the other hand, if the strength of expressing sensitivity and tenderness in the heart is not deep enough, it may damage Li Mo's insensitivity on the outside, and turn into a kind of delicate melancholy or anxiety. How to reconcile the two contradictions and let it form A harmonious logic to "live" this role is very challenging for an actor, and if he misses it, it will be a thousand miles away, but Wang Yibo obviously grasped this kind of fire, and brought a stunning and delicate performance.

How did he grasp it? Wang Yibo cleverly used a "multi-frequency" but "degraded" expression. We can see that the character of Li Mo has a basic body movement logic. He has many small movements, but most of these movements are a kind of movement tendency, which will be completed but not completed, not implemented, and slightly obvious. Hesitantly slow. For example, he put down his backpack but didn't put it all down, but held it awkwardly a few centimeters off the ground. For example, he wanted to hold the edge of the hem of the clothes, but he just kept holding it and leaned on it. When he saw Zhang Chen, he yelled at the first time, and then walked over slowly with shyness in his pace. The most obvious one is the finger movements that express inner unease when sitting outside the conveyance room and waiting, and the speed is also relatively slow. Obviously, Wang Yibo designed and grasped this logic of action at all times. The speed at which this character responds to the outside world is actually frequent and continuous, but his actions are all slowed down and blunt. This is very subtle, and the character's ingenuity and clumsiness come out all at once.

I have to feel Wang Yibo's cleverness. I don't know how he grasped the processing logic of the characters, but this logic cleverly echoes the expression of a line by Li Mo. Which sentence? Xiao Zhou said, "Haven't you heard the closing song of the Asian Games?" Commonly speaking, the complete answer is "I was on the train last night, I didn't watch it", but Li Mo only said "I was on the train", This is very cute and vivid. A social fear, the words spoken are half-finished and incomplete, and half of them are stuck in the mind. Wang Yibo's action processing happens to fully fit this logic. Li Mo has very few lines, but he can read it to this level, which is really rare. I can appreciate how hard he pondered and digested this character, and how cleverly he found the same expression.

We often say that actors are also creators. Actors do not complete their shaping according to the script, but recreate characters, then discover them, and give them vitality. In this role, we can feel that Wang Yibo and the producer of the role of the writer of the lines have completed the subtle co-creation. This is a very wonderful thing. I believe that Wang Yibo has already experienced this beauty, and will also bring this beauty to us.

Now, let's talk about the second requirement. It is a requirement for the expression of information. This article is difficult to summarize first. What is information? To put it simply, it includes but is not limited to the character's personality, life experience, past experience, possible character relationship, current state and mood. about personality. Li Mo's appearance, the first action let us know that this person is a social terror. How did Wang Yibo explain this information to us? In addition to the shyness in the lines, what's more important is that he designed a very clever movement without any trace. When ordinary people ask Xiao Zhou, they can either stand at the bottom of the steps and ask questions, or they can walk up the steps and ask questions, which is simple, neat and smooth. But Li Moshe feared that he was shy and a little nervous, so we saw that Wang Yibo first stepped up the steps with one leg, and at the same time in the process of asking questions, he clumsily and laggingly completed the movement of the other leg, realizing a kind of "Smooth crutches" in words and deeds. When he appeared on the stage, he straightforwardly explained his nervousness at this time, and it also clearly let us know the character information of the character.

If you observe carefully, you will find that all of Li Mo's relatively large movements are made up of his inner determination first, and there is a process of "gathering courage". It was very deliberate, and Wang Yibo grasped it very well, very naturally, and his expression was very accurate. Including Li Mo's uneasy small movements all the time, he handles them more gently, so what we sympathize with is the slightly tight social fear, not the overly anxious anxiety or timid shrinking. The physical state of each other is completed in coordination. When walking with each other, the fists are bowed and adducted, but they are not dejected. What is completed is a descriptive atmosphere dictated by personality.

The second information that I am very concerned about and very happy about is Wang Yibo's possible explanation of the relationship between Li Mo and his parents. In the carport scene, Zhang Chen asked Li Mo if he had told his parents when he came back. Li Mo didn't answer, but his physical reaction clearly gave a negative answer. It is actually not difficult to make a negative confession with the body. It seems very simple to shake your head slightly, or bow your head in silence, but the negative given by Wang Yibo is layered and informative. What amount of information? One is the possible attitude of the parents towards Li Mo, and the possible parent-child status; the other is Li Mo's feelings about "not telling his parents about coming back"; the third is Li Mo's closeness and trust to Zhang Chen; the fourth is the reshaping of Li Mo's personality .

About the mood. If Wang Yibo gave a general negative movement, shaking his head, this is to cut off Zhang Chen's temporary emotional expression in front of him. He doesn't make a sound and doesn't look at you, and hides my face. I'm sorry. But this is actually a kind of cut off to the audience. The audience knows "Oh, it's a bit embarrassing to deny it", but the audience can't see his face anymore, and they don't know that he has more emotions, so the most exciting part comes. ! Wang Yibo used one leg with bent knees to express awkward movements, expressing Li Mo's heart very vividly. This is a child's embarrassment that we are more familiar with. In the embarrassment it expresses, there is often a kind of child's awkwardness and stubbornness, unwillingness to admit or not knowing how to admit it. With this action, although Li Mo didn't speak, what did we feel? "I didn't tell. I didn't tell. Is it because I am ignorant? I am embarrassed to answer you, but how can I tell my parents? I can't say that I escaped and came to you first." There is a lot of information behind this extra action, why didn't Li Mo tell his parents to come to Zhang Chen first? Because of possible conflicts and incomprehension in the parent-child relationship, he used a child's gesture to prove the parent-child relationship. At the same time, because Zhang Chen understood that he could relax him, he could also perform a child's gesture in front of this person. , and also very important, this action also shows Li Mo's inner innocence, which is very cute. His shyness is a kind of shyness of a child, with some uneasiness and tenderness.

As I said before, characters don’t know where they come from and where they are going, and they exist here, which is a characteristic of the New Wave, but as Li Mo’s character, we seem to be able to touch something, his possible family relationship status, what kind of pressure he has, How to make what choice, the script and props gave some cooperation, but what cannot be ignored is that Wang Yibo also gave a lot of details to explain in terms of performance, leaving a lot of heart-derived imprints on the characters about past possibilities , the pen is limited, I only gave these two examples, you can look for it again, and see how Wang Yibo broadens our imagination of this character through performances, which is extremely important for actors, it is It is also what I call a "re-creation" of an actor. To be able to do this is very remarkable for a young actor and can surprise people.

When I talk about the display of characters’ contradictory personalities, some people may say that Han Guangjun in " Chen Qing Ling " is cold on the outside and hot on the inside, Xie Meimei in " You Fei" is out of the deep, and "The Wind Rises from Luoyang" is small and dull. Isn’t this contradictory? Why is the meaning of this performance so different? Here we are going to talk about the difference between TV series and movies. The presentation of TV series actually brings a lot of assistance to the actors' performance. For example, for the above three characters, before they appear on the stage, someone will say what kind of person the second son of the Lan family is, what kind of person Baili Erlang is, or the off-screen publicity, the exposure of the biography, or the original IP spoiler , will give us a foreknowledge of the "role". But in movie performances, the actors can only rely on themselves in the situation.

What did Li Mo have when he appeared on the stage, and there was nothing. The mystery and confidentiality of the film outside the play, the rejection of spoilers, and the in-play will not use any means to assist in explaining before the play. Li Mo's character can only rely on Wang Yibo's lines There is no other way to express it with the body. Does the difficulty come up all of a sudden? Furthermore, TV dramas often have a lot of lines, shots, and plots to shape the characters. You have something to hide, okay, I will give you a second close-up of the second expression after you forced a smile, I especially let you go to the inner monologue Speaking to myself, I will add a status scene to you, and I will directly let you chat with others and explain in the lines, there are too many auxiliary methods. Let's look at life-oriented movies again.

The length of the movie is condensed, the camera is objective and straightforward, and the lines are worth ten sentences without any auxiliary background. The actors in a scene are basically the only information carriers, and the actors themselves must become a good readable book, so that the audience can understand and understand the ins and outs.

[autumn-may]

Mostly spoiler free summary of my viewing experience

[lesbianballofgender]

Happy 55th birthday to our feral, light and fluffy, serious actor and truly just the nicest person: Michael Sheen!!

[tampire]

"Give me Coffee or give me Death"

[farewellneverland2004]

Tell me the casting for DBD didn’t see this and IMMEDIATELY knew they had their gay ghost boy!!💖💖💖💖💖

[shinysobi]

"it was awkward to see colin flirt and behave like a rake" "he gave me the ick" yes ! that is the fucking point!! congratulations! you have the media literacy skills of a fucking monkey because my 4-year old niece could understand it better than you do.

we are supposed to find colin cringey and annoying and get the ick because that is not who he is. he is not anthony, or simon, or even benedict. colin (apart from gregory) is the sweetest of all bridgerton brothers (i'm going by book canon) and his most identifiable character trait is the fact that he values an emotional connection above everything. he runs away to the continent because he wants to feel that emotional connection. he has meaningless sex in brothels because that is the example he has seen growing up, that is the norm. he tries so hard to fit into the norm. he goes out drinking, adopts an entirely new personality, learns flirtations because that is how he thinks he will fit in. he's got armour on, as violet said. he puts everyone's needs above his own, he stops rambling on and boring his family with details of his trip because he knows no one cares. he doesn't talk to anthony or benedict about his heartaches because he knows they still, somewhere in their heart of hearts, view him as the annoying younger brother. he's so devastated by his closest friend not responding to him that he adopts a new personality in the hopes that it might mask the hurt better. he runs after penelope in episode one because he is so attuned to her emotions that he knows she's hurting, and tries to comfort her even when she's spiraling and lashes out. he must have been hurt by her words in the "good night mr bridgerton" scene but he puts it aside to genuinely apologise to her when literally no one else in that family would do that. colin, instead of brooding over his own feelings, goes and corners penelope in her family's garden and apologises to her, disregarding his own hurt at being cruelly dismissed by his close friend.

penelope asking colin to kiss her is not a mark of how "pathetic" she is. she has written and shamed herself in a manner that is almost entirely unsalvageable. she is at her lowest point, and then portia comes in and reminds her of how undesirable she is, and she sinks even lower. she asks colin to kiss her because she sees it as a final act, after which she can quietly wave goodbye to her dreams of ever getting married and leaving her mother's home. colin kisses her because he is also keenly aware of how she's feeling. he knows how hurt she is, he wants to do anything to alleviate that. be it cracking a joke, or kissing her. he is gentle, because he wants it to be something she can dream of when she's by herself. penelope, at this moment, has no hope for herself, and their kiss is an act of letting go for her. no, it's not a pity kiss, no he did not like her after her glow up, he has always loved her. him being struck dumb is a reaction to her physical transformation, nothing more. he does not flirt with her in that ballroom scene, he only approaches her when she's in distress. he's not flirting with her. i can assure you penelope could wear the frumpiest most neon yellow gown of all time and colin would still go "<333 my pen" for her.

colin jumps to catch the balloon's ropes because he sees that penelope is in danger, he does not give a shit about anyone else lmao. he feels temporary relief when he sees eloise run to safety, but the moment he sees penelope in immediate danger, he rushes to take action. afterwards, when he sees that she's being comforted by debling (all my homies hate debling, even if he is aro/ace coded i do NOT claim him) he does not approach her. it would be easy for him to do so, but he does not, because he respects her boundaries. colin bridgerton is the only man in the ton who respects women (the featherington sons-in-laws are too pretty to have a thought) he calls out fife and his friends for treating women like objects and calls them cavalier. the only way he would have been more explicit about his demisexuality was if he tap danced on the club table (entertaining thought, luke newton please)

colin also rapidly takes action, something which no one in the show has done so far. simon would have died instead of accepting his feelings for daphne, daphne would have been content with a loveless marriage forever instead of asking for help. kate would have pushed edwina down the aisle and gone off to india instead of confronting her own feelings, and anthony would have married edwina if she hadn't been brave enough for the three of them to run from the altar and ruin herself. penelope stood on the sidelines for years and loved him quietly because she had no hope of him loving her back. colin, the moment he is assured of his feelings, runs to penelope, almost kisses her in the middle of a ballroom. when he hears that debling is about to propose, he goes to the ball, just to dissuade penelope one more time. he cuts into their dance because he's desperate. when he runs after her carriage, he asks her if she has been proposed to, because he would not have touched her otherwise. he confesses his feelings to her only when he knows that she hasn't gotten engaged to debling, and when she says "but we are friends" he moves away. nothing more. he would have let her go, if she did not return his feelings.

idk whether i should be flattered or offended at people misunderstanding this season because on one hand it is offensive, but on the other hand, it means only smart people get polin. seriously. your minds have been rotted by insta-love and enemies to lovers that you can't even appreciate the innate beauty of friends to lovers. being friends with someone and then holding all those feelings for them. the trepidation of possible rejection. the fulfillment of being loved by the person who knows you the best of them all. the privilege of loving someone whose feelings you know better than your own. love is gentle and kind and yes it is a violent, uprooting force but above all, love does not hurt anyone. it does not hurt you. i could love someone quietly for years and it wouldn't bother me if their feelings were requited or not because my feelings are none of their business and i consider it a privilege to love and be loved by them, even if it is not in the way i would want it to be. polin are privileged in the highest sense. they know each other better than anyone else, they know how to love each other better than anyone else. to think they are rushed or they dont deserve each other is a disservice to both of them. they would be miserable with anyone else.

in other matters, if i see one more person talking smack about luke or nicola behind the safety of their screens i will personally get a bazooka.

[gunsatthaphan]

13/10/1998 - happy birthday to actor, legend, bestie, crush and personal heart killer khaotung thanawat 🫶🏻✨💓🫳🏻🐈🧎🏼‍♀️😌💝

[incorrecttowerofgodquotes]

Nie Huaisang during the final battle at Guanyin Temple:

[omgtheregoesthefuckidontgive]

Me when I overthink

My boy really connected A to X

[lutheban]

Hey remember right before the pandemic when a season of a show was about 15-20 episodes? Remember when having 8 episodes what called "a mini-series"? Remember when we could get a season a year and not wait 2 years to get a continuation of a story? remember when shows had time to grow and form an audience? remember that? yeah? cuz i do

[uniiiquehecrt]

Voice actors are NOT the same as actors.

It takes a specific kind of skill-set and training to be able to warp and meld the voice. It takes a certain kind of talent and dedication to hone that talent into the ability to meld the voice and invoke emotion with one's voice alone. Actors are used to using their voice secondarily to their body language and their facial expressions. It's all mirrored back on camera. They do have nuance. But it's a different kind of nuance and a different kind of training to produce that nuance.

Voice actors might get their likeness transposed on their character's design, and maybe their mannerisms might seep into the character's animation. But when it's all said and done: their presence is in their voice. They are bringing a character to life, showing that emotion in their voice, trying to keep a specific accent, drawl, pitch, tone in that voice and keep it consistent for their recording sessions.

The voice actor is like a classically trained musician who can play first chair in a competitive, world-renown orchestra. The actor (who fills the voice actor's role) is like a moot who played violin in beginner and intermediate high school orchestra and thinks they can get into Juilliard with that 2-4 years of experience.

This doesn't mean that the HS orchestra moot can't play. They can even be really good at it. Maybe they won competitions and sat first chair. But they are not in the same league as the person who's been training their whole lives and lives and breathes to hone their craft using the instrument and all of the training they've ever acquired to perfect it. They are not meant for the same roles. They are not in the same caliber. You do not hire the HS equivalent when you want to play complex music in a competitive orchestra.

Actors are not the same as voice actors.

And furthermore, actors - especially big name actors - taking the roles of animated characters for big budget films or TV pilots makes no sense anyways when - at least in the case of TV pilots - there's not a point to hiring a big budget actors anyways. That money could be used elsewhere (like paying your animators), and the talent that is brought onto the screen for X character could then be hired on to voice said character no recasting required.

I wouldn't say voice acting as a profession is in danger exactly, but it's certainly being disrespected and overlooked for celebrity clout, and this has ALWAYS been an issue. Shoot, even Robin Williams knew that much - which is why he tried so hard not to be used as a marketing chess piece for Aladdin and got royally pissed off when it happened anyways. People shouldn't go to any movie (but especially not animated films) because "oh famous actor is in it". People should go because it's a good movie and the voice acting is good.

People who honest to god think that voice actors are replaceable because "oh well anyone can voice act" or "I like xyz celebrity so naturally it'll be good" ... Honestly I just wish you'd reassess your priorities because you're missing the point and are part of the problem.

Voice Actors ≠ Actors.

[khaopybara]

@/dorn.slpnw: finally🥳

[atlasrainerot]

Power Rangers RPM fanart? In 2024? It's more likely than you think..

[thesweetnessofspring]

Me whenever Lionsgate reminds everyone that THG movies exist

[marchioness-of-the-flowers]

CELEBRIMBOR MY SON 😭😭 SOMEONE SAVE HIM

Annatar really pulled all the classic manipulation tactics on my boy. Isolating him, guilt-tripping him, gaslighting him, ect. It’s almost tough to watch.

(Just finished episode 6)

[jkpng]

happy pride month (25/30)