Chapter 48 Filming and Accidents

Although she is a little mentally retarded, after being interrupted by Tom, Su Yun actually regained some of her sense of superiority in intelligence.

Especially since she was also involved in the post-production of special effects - this was her stage, and even Kubrick had to learn from her due to the technological gap of the time.

So the big and the small were like two sponges, drawing from each other the source of knowledge they needed.

The more you learn, the more you realize how vast and profound the ocean of knowledge is.

Although there are various high-tech 3D projection tutorials in the system's small dark room, self-study behind closed doors is mechanical and is definitely not as good as the teaching by a living master around you.

In addition, her acting partners changed. Except for the occasional interactions with Tom, Su Yun was facing Jane Fonda, a talented actress with a family background. Unconsciously, even Su Yun herself began to feel the changes in her body and even her mind.

It was as if she suddenly had a flash of enlightenment: the scenes shot before were all about the little robot not yet fully activated by its adoptive mother, so the overall atmosphere was a bit weird, uncanny valley-like - so her performance at that time was too much like a "real person".

The little robot, whose emotional mode has not yet been fully activated, just subconsciously follows the program to follow its adoptive parents. It is just a machine that rigidly executes the program tasks. After the emotional mode is fully activated, the little robot recognizes that the adoptive mother it sees at first sight is its "mother", so it pours all the love a child can give to her.

At the same time, because of this love, negative emotions such as envy, jealousy and fear arise.

This is the emotion a normal child should have.

At this moment, Su Yun finally understood why Kubrick chose the part she shot when she was so tired that she repeated it mechanically after she had reshot it many times - she felt bad after shooting it and wanted to do it again, but it somehow passed...

I felt confused, yet relieved.

However, Su Yun has finally come up with a belated answer to this puzzle: No wonder Kubrick didn't explain the play to her like an ordinary director, because he had already seen that she had reached a bottleneck.

If someone suggests telling a story through a play, the doubts and confusions during the bottleneck period will naturally and easily be overcome, but the impression will definitely not be deep, and it will make the next bottleneck period even more difficult.

Only through the accumulation of thousands of experiences, through hard struggles and thinking during the bottleneck period, and perhaps with a few hints from discerning people, can we safely and securely cross the bottleneck period, lay a solid foundation, and settle for the next stage.

Su Yun's epiphany came at a clever time: today was the turning point in the plot where the foster mother officially and fully activated the little robot's emotional mode. Based on previous experience, all the staff present were mentally prepared for a protracted battle today and even in the next few days.

Unexpectedly, after Jane Fonda, who played the foster mother, read the activation trigger words one by one according to the instructions, Su Yunna's eyes, which had been slightly straight, slowly emerged with an indescribable brilliance accompanied by precisely calculated light and shadow.

"What are these words for, Mommy?" When the last name was called out, Monica, the foster mother who had always been called by the little robot by her name, began to well up with tears of loss and recovery in her eyes.

"Very good, keep it up, we still have a few more shots, so keep the state just now and prepare to do it again." Kubrick, who once again fired the photographer and did the photography himself, shouted to Su Yun with great satisfaction, and then waved to the assistant photographer who was in charge of the other two shots.

This kind of scene, which requires extremely high acting skills to express transformation through subtle changes in facial expressions, is not easy for the other staff members standing around to notice the cleverness of the scene, except for the photographer who is concentrating on photography and Kubrick who is both a photographer and director. The person in charge of photography has the help of the camera, and can clearly see the interpretation down to the level of pupils and skin through the art of light and shadow.

As for the reason why the other staff members around were able to feel and understand Su Yun's performance at once, it was because the plot and atmosphere between the two were so good.

The depth of parents' love for their children has been praised in various ways since ancient times.

They all knew that the plot was about the heroine Monica, who at that moment, regarded the little robot that finally called her mommy as her lost biological child. The love between mother and child that flows slowly but without words, even those who can't read, will be naturally moved by this innate love.

Especially Jane Fonda, the adult who temporarily replaced the position of "parent", took great care of Su Yun, the child who played the "child", during the acting and during the breaks, and everyone saw it.

That's why Su Yun made such rapid progress and started to really commit herself, right?

Compared with the subconscious interpretation of most ordinary people, Kubrick, who never follows the beaten path, just smiled very lightly: In fact, what he needs is not Su Yun's full commitment, but her perfect interpretation.

In fact, Su Yun took the wrong path from the very beginning.

After taking some time to study Su Yun's debut work "The Perfect Match", Kubrick immediately discovered the path that Su Yun should take.

From the beginning to the end, this child was an excellent candidate for the Expressionist school who was able to clearly maintain his "self". However, he took the wrong path and kept going down the crooked path of the experiential school and the method school.

Of course, there has never been any distinction between high and low, or between strong and absolute factions in performance.

However, Su Yun's approach of being able to jump out of this situation soberly is definitely more suitable for an expressionist school that focuses on imitation, and can absolutely realistically portray the role while always maintaining a calm self and not being led astray by the role; rather than an experientialist or methodist school that eliminates the gap between itself and the role and tries its best to completely transform itself into the role.

Fortunately, she is still young enough and will have enough time to make changes.

Maybe after her acting skills gradually reach the peak, she will begin to experience another form of performance that she had tried before but was not suitable for. But for now, he has already secretly pointed out the path that is most suitable for her to explore and climb, and she has also begun to understand it.

After filming this scene, Su Yun immediately went to thank Kubrick for his secret guidance.

Su Yun was filled with deep gratitude, but in return she received a look from Ku Shen that said "then you work hard", which almost made her faint on the spot.

It's not that sudden, but after finishing the game, I guess I'll feel a little "bald" - according to the scenes and storyboards that the two of them studied and discussed, they can't find the ideal dense forest in New Jersey...

However, given the advanced technology of the era in which Su Yun lived, the density of forest vegetation was not a problem at all, as long as one was willing to spend money or time to create it.

Looking back, when Su Yun first entered the industry, she took over the outsourcing of a small dating website that aimed to take down Century Jiayuan and Baihe.com. The biggest feature of this small dating website was that it was poor and stingy, and that even though it had bad luck, it always had worse peers to help it out...

There are many bigwigs in AiFaDian, and each of them is determined to fight to the death - initially they planned to make a 2.5D game, but halfway through, the entire team was poached until only a few people were left; but it was these few remaining heads, which could be counted on one hand, who dared to completely overturn the original 2.5D work that was almost done, and started to make 3D games instead, and successfully launched them.

The hardworking senior who Su Yun was helping out with at the time was well-known in the industry for his super hard work of "planting" plants one by one all over the map with just his own two hands...

Su Yun had the unforgettable experience of following her predecessors to "plant" the entire Baling rapeseed field with rapeseed flowers one by one by hand. She really misses and worries about this task of increasing the density of vegetation.

Therefore, Su Yun, who was working on the modeling of the teddy bear animation, said casually: "It's really hard to find, so forget it. At worst, I can just 'encrypt' it later!"

Then, she suddenly woke up and was met with the legendary "Kubrick Stare".

After being frightened, Su Yun, the poor child laborer who was already overloaded with work, had no choice but to take on another task of "encrypting" the forest footage.

After finally finishing another round of work, Su Yun took the opportunity of Kubrick leading the team to shoot Zhuang Long's personal scenes. Su Yun had a rare break and ran to Jane Fonda to express her sincere gratitude to her.

It was she who struggled and thought hard during the bottleneck period, and the discerning person who gave her some hints indirectly was Jane Fonda, who had many rivalries with her.

"Nothing. If it weren't for your strong recommendation, I wouldn't be able to come out and act again." Jane Fonda smiled gently. "Come to think of it, I should thank you, right, little Mary?"

"Well... I should thank 'Mary'." Su Yun nodded slowly, and then answered Jane Fonda's puzzled look, "I got to know you from watching your video tape at Tom's house. The person who learned aerobics from the video tape was also called Mary - but this 'Mary' is Tom's mother."

"So, in this case, I should thank myself?" Tom played Monica's biological son who was frozen due to illness in the movie, so Jane Fonda playfully made a reincarnation joke.

"That's fine, you're a good mother too." Su Yun replied with a blink of her eyes.

Unexpectedly, Jane Fonda looked regretful when she heard this: "I'm not a good mother."

Taking advantage of the rare free time now, Su Yun took the time to be Jane Fonda's emotional trash can and listened to her miserable marriage life.

"My ex-husband Roger was a playboy like my father, and I seemed to have repeated my mother's foolish idea of ​​hoping to keep a man with a child..." Considering Su Yun's age, Jane Fonda largely omitted her ex-husband's various cheating behaviors while brainwashing her to control her from being jealous and angry. She just said that the two broke up because of their incompatible personalities, "but after the divorce, my eldest daughter Vanessa was left with him..."

Jane Fonda looked a little dazed as she spoke of her longing for her eldest daughter: "When I left Vanessa, she was younger than you."

Su Yun nodded: No wonder Jane Fonda gave her some secret advice, it turned out to be her natural gentleness coupled with the effect of empathy.

"When I was most helpless, I met my current husband, who is really a great man." Although many people think that Hayden is overly idealistic and unrealistic, Jane Fonda is still full of love when she thinks of him, "However, because we were running around everywhere, Troy was not well taken care of since he was conceived, so he was always sick since he was born..."

"What's this?" Su Yun asked in confusion when she saw that in addition to the ID photo of Jane Fonda's eldest daughter who looked white and the baby photo of her youngest son, there was also a small photo of a little girl who was obviously African-American because of her dark skin.

"This is my adopted daughter, Lulu. We adopted her when we were organizing a summer camp," Jane Fonda explained.

After listening to the gossip, Su Yun asked Jane Fonda about some positioning techniques, then returned to the small dark room with satisfaction to continue working on the later stages.

The next day, there was another very important outdoor play.

Because the robot's mistake hurt their own son, Monica and her husband planned to send the robot back to the manufacturer.

However, when Monica learned that the little robot would be destroyed as a defective product if it was sent back to the factory, she couldn't bear it and got out of the car with the little robot halfway, intending to leave it in the forest.

Even though he knew that a robot that looked like a child would most likely not survive in the wild, the safety of his own son still prevailed.

"I have to go..." Faced with the little robot's desperate pleading, Monica finally struggled to take out a stack of money and stuffed it into her pocket, "Take this, don't let anyone see how much money you have..."

"Stay away from the robot slaughterhouse, stay away from crowded places, and only stay with your own kind. Do you understand?"

The entanglement of this scene ends with Monica pushing away the little robot that was holding her.

Su Yun had practiced her movements yesterday and had a background in martial arts, so she was able to perfectly complete the scene of being pushed to the ground without any NGs.

After reshooting some footage from other angles, the crew was able to finish work on time today.

But the joy of the successful shoot did not last overnight. Early the next morning, Kubrick was woken up by a phone call: "Go check today's news!"

Su Yun was woken up urgently and came to the living room. She soon saw the big headline in the newspaper that made her speechless:

"The most cold-blooded and shameless woman in history: Jane Fonda abandoned her adopted Asian daughter!"