All Tomorrow’s Parties: Within the finite, look for the infinite

All Tomorrow’s Parties

It was surprising to see this short film.

Although the runtime isn’t long, it is endlessly romantic. The characters are confined in a mediocre reality, but their eyes focuses on the infinite colors in the crevices of life. Within finite, it speaks about the infinite.

The slow long takes calmly and softly narrates without an obvious story frame. The characters are like the wind, just existing, without knowing where they came from or where they are going.

A very typical slice-of-life film, with a strong flavor of a fresh tide. Its narration is like the moment when leaves fell onto the calm lake surface; calm, meaningful, stirring ripples, but the infinite imagination left behind has gone beyond the film. The director is very cute. At the ending where the ripples stirs the imagination, he used the film ‘The 400 Blows’ that is being shown on the screen as a response, which is a classic long shot in the history of film, allowing the audience to follow the characters into the unknown. Just like us watching this story, we have no obvious hint whether Xiao Zhou and Li Mo will interweave in the future. This is why I like this short film a lot. It is without any ‘seasoning’, clean and exquisite, restrained and affectionate. It is the so-called “tranquil river”, which brings about infinite meaningful reverie without any deliberate guidance.

Moreover, its colour palette is very soft and comfortable, and its extended imagination is also warm and gentle, although it is mixed with the sad feeling that a poet has to return to this reality from afar, mixed with a kind of non-freedom that Xiao Zhou felt from being suppressed by the triviality of life. But the taste of life is still not necessarily heavy and depressed after all that, but filled with hope. Such a work that takes us to find the romantic meaning in our ordinary life is really nice.

In the film, there are several scenes that are very “cute”, especially when the scene is specially on the workers outside the window putting down ‘Pan Pan’ just as Xiao Zhou, starring Zhou Xun, sang to the part “goodbye my friend”. The arrangement and design are really ingenious! The director must be a very cute and gentle person. As written in the previous paragraph where he placed his bias in at the ending, it’s really cute.

The camera movement is also very comfortable, flexible and calm and yet full of emotion. Xiao Zhou came from finishing her family chores, soaking in her mundane work, missing the opening ceremony of the Asian Games and could only watch the end of the closing ceremony and was even interrupted by her mother’s repeated calls. The same is true for work, which is repetitive and boring, with her supervisor also calling and ordering ‘ticket control’. From it, she felt like a helpless ordinary person in an ordinary life, but her heart is filled with romanticism and the yearning for literature and art. The scene in the reception room was crafted so vividly, how she kept humming, endured the urge to buy jeans so she could donate for the Asian Games, counting the days of the Asian Games and saying goodbye to the Pan Pan figure. The love flowing from within in this mundane life is colourful and romantic, looking at the endless possibilities “outside of life” from within the limit possibilities of life.

Li Mo is the same kind of person. He looks quiet but his heart is a river overflowing with romanticism. A poet who ended his wandering, socially inept and shy, writes romantic poems, with the destination of his wandering be outside the free and vast Jiayuguan Pass. This is an inner cornerstone of this character, which is totally different from his appearance. He ended his journey, cut off his hair and had to give up on “poetry and the wandering”, bidding farewell to the ideal and returning to the plain life. The hidden line of *Hai Zi’s death subtly penetrates the story. The poet is dead and reality is silent, but the romance inside will not stop. Similar to Xiao Zhou who possess a colourful and vivid heart, they are the “ misfits” within the common people who resonate with the same frequency. The people “who possess a vivid heart” in reality. This may be the language of ‘All Tomorrow’s Parties’: Like-minded people. (*Go google Poet Hai Zi Death)

Some people may think that Li Mo’s line ” (She’s) My friend. ” at the end came abrupt since after all, they only talked once, without deeper understanding, but it is actually the most delicate and moving line. I guess Li Mo is lonely in that conservative and stereotyped era. He ended his journey, came to find his Chen Ge, shared his poems while other party asked if his parents knew he was coming back. He stayed silent, but the answer given by his body language was obvious. This here might be the answer to how his parents does not supported nor understand him. But he too need to be understood and need to share himself and those who he can share with is his friend. The simple conversation in the reception room allowed the delicate and sensitive Li Mo catch that Xiao Zhou is a “romantic” as he is, which he why he abruptly asked her if she has been to Jiayuguan. This is the introvert him extending a line, as well as a “preparatory action” to share. We would never talk about our ideals with people who can’t understand us. Li Mo chatting like this openly means that he accepted that she is “the same kind” as him and can be a friend whom he can share with. Our Li Mo is just such a delicate and sensitive person.

You have to read the details of the film, the details about Li Mo carefully. The film has given a lot of hints within the camera movements; the movie tickets are not allowed to be distributed outside. They are only for workers and family members. Li Mo entering the theatre in the end is actually against the rules. His admission was actually Xiao Zhou’s covering up for Li Mo whom she had met once. So after Xiao Zhou entered the theatre, Li Mo also anxiously and specially explained the source of the ticket to Xiao Zhou. Xiao Zhou very frankly accepted it. A meeting with kindness between strangers makes one a friend. So Li Mo’s last line ” (She’s) My friend. ” is an expression of his gratitude to Xiao Zhou, being as gentle and attentive as he is, as well as treasuring her romanticism and kindness.

Isn’t it a very intricate and moving story? It is as ordinary as water, yet clean and simple. It doesn’t give any ambiguous hints between two as it’s not about love, but a kind of accidental “I met someone like me”, a real friendship. I really like this kind of cleanness. The conversation between the two is very mundane, without crossing the boundary , not even till the stage of having a tacit understanding between them. It is in line with reality and not dramatised. But the imagination it gives is inevitable. It is not surprising whether two similar people will continue to meet in the future or even perhaps the encounter will end at this. After the leaves fell, it is up to everyone who watches the film to decide what kind of ripples and what kind of future they will have.

And, Wang Yibo’s performance in this film, as a young actor, did bring some surprises. I think it is an ‘important homework’ in all his works I have seen so far. The film itself is real life, not dramatised. And so, the actor’s performance should follow the same logic, which is different from most of his previous works. In addition, this film isn’t long, as well as the restriction of the film style and personality of the character, the character’s lines are limited even more and a lot of information depends entirely on the actor’s performance to convey. For example, the matter of ‘whether his parents knew about him returning’ mentioned above. So although the film is short, it feels like a completely different performance.

I like the character of Li Mo a lot. He appear quiet and introverted, possessing has a ‘clumsy’ kind of feeling but he is attentive and romantic and very sensitive on the inside. This role is very layered and this kind of layers brought requirements for Wang Yibo’s performance, but was also shaped and created by his performance at the same time.

Let’s start with the first “requirement”. Li Mo’s character setting leads to a “contradictory” demand for the actor performance at the same time and in the same situation. He need not only fully express Li Mo’s external ‘clumsiness ’ but also accurately externalize Li Mo’s internal sensitivity. He need to maximize the role’s full on “clumsy” response when he is facing the world, but also let us feel that his heart is always feeling, flowing and is extremely “active”. As the director said, if the role is not played well, he would look stupid/slow, because if it is not performed well, the external “clumsiness” could easily swallow everything up which will cover the main impact which is the inner emotions of this character. However, on the contrary, if the intensity of expressing sensitivity and tenderness inside is not hidden enough, it may damage Li Mo’s ‘clumsy’ feel and turn into one of delicate melancholy or anxiety. On how to balance the two contradictions and let them form a harmonious logic to bring the role alive is really a test for the actor. Just a millilitre difference and it’ll feel like a mile, but Wang Yibo obviously grasped this balance and brought about an amazing and delicate performance.

So how did he do it? Wang Yibo cleverly used a “high frequency” but “slowed down” way of performing. We can see that Li Mo has a basic set of logic as to how he moves. He has many small movements, but most of these movements have a rule to them, which is to be completed but not completed, not done fully and is slightly hesitant and slow. For example, he placed his backpack down but didn’t put it all the way down. Instead, he awkwardly held it a few centimeters from the ground in his hand.

For example, he wanted to grasp the edge of his clothes but till the end, he just kept the suspended position there.

At the first moment he saw Zhang Chen, he shouted first, before slowly walking towards him shyly.

The most obvious one is when he was sitting outside the reception room waiting. His restless finger movements that showed his unease, which the speed was rather slow too.

It is obvious that Wang Yibo has designed and grasped this logic of body language. The speed of his response to the outside world is actually frequent and continuous, but his body movement are all slowed down and clumsy. This is very ingenious. It showed at once the outer clumsiness and inner sensitivity.

I have to sigh at Wang Yibo’s brilliance. I don’t know how he grasped the handling of the logic of the character, but this logic cleverly echoes one of Li Mo’s line. Which line? Xiao Zhou said ” The Asian Game closing song. you haven’t heard of it? ” Generally speaking, the complete answer is ” I was on the train last night and didn’t catch it. ” But Li Mo only said ” I was on the train. ” which is very cute and brought about a sense of ‘life’. A social inept person might just speak an incomplete sentence and the other half of it is stuck in his mind. Wang Yibo’s body language performance just fits this line perfectly. Li Mo doesn’t have a lot of lines but it is really amazing that he can digest this character thoroughly to this level. I can feel how much heart he placed in understanding and digesting this character and how clever he is to find a similar way to convey.

We often say that actors are also creators. They do not create according to the script but re-create the characters. They re-discover characters and give them life. In this role, we can feel that Wang Yibo and the producer of the role and the writer have completed a delicate co-creation, which is a very wonderful thing. I believe that Wang Yibo has already experienced this beauty and has now brought it to us.

Now, let’s talk about the second requirement. It is the requirement of the conveying of information. This is not easy to generalise. What is information? In short, it includes but is not limited to the character’s personality, background, past experience, possible relationship between characters, current state and mood. About personality. Li Mo’s first action in his appearance allow us know that this person is socially awkward. How did Wang Yibo convey this information to us? Apart from the nervousness and shyness of his lines, what is more important is that he designed a very good body language that registered in our subconsciousness. Generally speaking, when people ask something from Xiao Zhou, they either stand below the steps and ask, or walk all the way up the steps and ask. However, Li Mo was socially awkward. He was shy and slightly nervous. So what we saw was that Wang Yibo first took one step up and while asking nervously, he then clumsily and slowly completed the stepping up of the other leg, realising a kind of ‘moving the same hand and feet’ in words and deeds. When he appear, he directly portray the nervousness and also clearly allow us know the personality of the character.

Carefully observing and you will find out that all of Li Mo bigger actions are all made only after he has made up his mind. There is a process of “summoning up courage” and if this process is not done well, it will either be ignored, or it will be done too deliberately. Wang Yibo has a good grasp of it, it is very natural, and the conveying is very accurate. Including how Li Mo is always showing little restless movements. And his handling of it is gentle, so what we can see that he is a socially awkward guy and not anxiety or cowardice. This is also accomplished through the cooperation of his large body movements. When he is walking, his fist is clenched, but his head is not bowed and depressed and what he created is the image of a character.

The second information conveyed that I care about and is very happy about is Wang Yibo’s possible explanation of the relationship between Li Mo and his parents. In the scene in the bike shed, Zhang Chen asked Li Mo if he had told his parents he came back. Li Mo didn’t answer, but his body language clearly gave a negative answer. It is actually not difficult to answer the negative with body language. Slightly shaking your head or bowing your head without saying anything seems simple but this negative given by Wang Yibo is layered and informative. What information is in it? One is the parents’ possible attitude towards Li Mo and their possible parent-child status; Second, Li Mo’s mood about “not telling his parents about coming back”; Third, Li Mo’s close trust in Zhang Chen; The fourth is the reshaping of Li Mo’s personality.

About emotions. If Wang Yibo gives a general negative action like shaking his head, it is temporary form of cutting off the flow of emotions towards Zhang Chen in front of him. Not saying a word or looking at you, hiding my face, at most it convey that I am a little embarrassed while saying negative. But this in fact, this is also a cut off for the audience. The audience would read ” Oh, it’s a no and he is a little embarrassed. ” but the audience won’t be able to see his face anymore so they don’t get to read more emotions from him. And so the most exciting part is coming! Wang Yibo used an action of a bent knee to express awkwardness and very expressively convey how Li Mo is currently feeling. This is how a child move when they’re awkward that we are familiar with. Its speaks of embarrassment and a childish sense of awkward stubbornness, at how he doesn’t want to admit it as well as not knowing how to admit it. With this action, even if Li Mo didn’t speak, what do we read from it? ” I didn’t tell them, was it insensible of me to not tell them? How could I answer you, this is embarrassing but how should I tell my parents? I can’t say that I escaped and came to look for you first “. There is a lot of information behind this action. Why didn’t Li Mo tell his parents but came to Zhang Chen first? Because of the possible conflict and not understanding in the parent-child relationship, so he used a childish action to solidify the parent-child relationship while at the same time, show that Zhang Chen understood him and he could relax around him, which is why he could also make such a childish action in front of him. What’s more importantly, this action also showed a kind of innocence in Li Mo’s heart. It is very cute. His shyness is a kind of childish shyness, with hints of nervousness and naiveness.

As I mentioned earlier, we don’t know where the characters came from or where they are going. This is the characteristic of the new wave/generation. But for this character Li Mo, we could seemingly still gleamed a bit about him. His possible family relationship status, what pressure he has, how he made his choice. The script and drama props gave a few hints but it can’t be ignored that Wang Yibo’s performance has also given a lot of details in explaining, leaving imprints on the character about the possibility of his past. Word limits, I only cite these two examples. Everyone can go look for more, to see how Wang Yibo broadens our imagination of the character through his performance. To an actor, this is extremely important. It is also what I call an actor’s “re-creation”. To be able to achieve this, for a young actor, is really amazing and can really surprise people.

After saying what information is conveyed and how it was expressed, let’s talk about the difficulty of conveying. As mentioned earlier, the film is grounded in reality instead of being dramatic, so it requires the actor’s expression to be smooth, natural, subtle, and consistent with reality and the style of the film. Wang Yibo has done a very good job in this regard. The movement designs, the control and balance, and the handling of the details are very good. What does dramatic means? In short, it allows you to exaggerate and express your emotions deliberately. As long as you speak louder, you will always be noticed. However, grounded style can’t be “loud”. It would be like ripples on a calm surface. You can take people out of immersion with just a hint of exaggeration. And if an actor is not attentive, they might not get the character. If actors doesn’t convey it well, the audience may not get the character. As said before it is as the director said, Li Mo will look “stupid” if he is not performed well. What is ‘stupid’? If he has no emotion or information transmission, doesn’t he look stupid then! Li Mo is not stupid because Wang Yibo has done a good job of “expressing”. An actor’s good performance is the audience’s window to the character’s heart.

Another difficulty of conveying need to continue on our previous topic. When I talk about the display of the character’s contradictory personality, some people may say: The aloofness appearance and inner passion of Han Guang Jun from ‘The Untamed’, the cheerfulness and the true depth of Xie Mei Mei in ‘The Legend of Fei’, the clumsy speech but very attentive mind of little Baili in ‘Wind Rises in Luoyang’, aren’t that all contradictory? Why is the meaning of this performance so especially different? Here we will talk about the difference between TV series and movies. The way a TV series is filmed actually gave of assistance to an actor’s performance. For example, for the three characters mentioned above, before they appear, someone will say what kind of person the second child of the Lan family is, or what kind of person Baili Erlang is, or publicity outside the drama, the exposure of profiles, and the spoilers from the original IP will give us a predictive understanding of the ‘characters’. But in a film performance, actors can only rely on themselves in this situation. What does Li Mo have when he comes on stage? Nothing. Outside of the film, the films is mysterious and secretive, without spoilers. Inside of the film, there won’t be any assistance in conveying information before the appearance of a character. Li Mo’s character can only be expressed by Wang Yibo through his lines and body language without relying on other stuff. Do you feel the difficulty suddenly rising? Moreover, TV dramas often have a lot of lines, scenes, and plots to shape characters. You have something you cannot say. Okay then, after you force a smile, I will give another close up of a different expression from you. I will let you talk to yourself in a special inner monologue. I will add an emotional scene for you. I will directly get you to talk to others with the explanation being in the lines. There are too many supportive means. Then look at a ‘slice of life’ movie is. The film is concise, the lens is objective and straightforward, one line will replace ten lines, without any supportive background. An actor in a scene is basically the only information carrier. The actor has to turn himself into a good readable book for the audience to understand the story.

So the difficulty and significance of the role of Li Mo on Wang Yibo’s performance this time round is completely different. Although there seems to be no “dazzling acting skills” in its portrayal, but Wang Yibo’s maturity as an actor has been shown thoroughly. He has avoided many possible problems and traps, thoroughly understood the role, completely made the character alive and allow us read everything about him. Be it is the style of the film or the genre, it is all a challenge and also an ideal answer sheet.

Finally, I would like to thank those who read till here and we are lucky to see such a good creation. The environment may be mundane, and the characters in the film is also like us, but let’s be like them and look for infinity within the finite.

《我的朋友》：在有限中，去寻找无限

Original 自棹 鉴片工场 2023-02-24 22:49 Posted on 北京

很惊喜看到这部短片。

篇幅虽短，浪漫无限。角色囿于平庸现实之中，却注视着生活夹缝中无限的色彩。以有限，说尽无限。

舒缓的长镜头平静而柔和地叙述，没有明显的故事框架，角色如风吹来，存在此间，不知何来也不知何去。

非常典型的生活流片子，带着浓厚的新浪潮气息。它的讲述，犹如落叶如常落到平湖上的一瞬，平静，隽永，涟漪无限，留下的无限想象却都已经去到了影片之外。导演非常可爱，在涟漪产生想象荡开的结尾处，用银幕上正在放映的四百击结尾做了呼应，这个影史上颇为经典的一个长镜头，让观众随人物奔向未知，如同看这个故事的我们，小周和李默未来会否交织，我们并没有得到明显的提示。这是我非常喜欢这个短片的地方，毫无调味，干净且细腻，克制又缱绻，正是“宁静河流”，没有任何刻意的引导，却带来无限隽永的遐想。而且它的“色调”非常柔和，舒服，它展开的遐想也是，是暖调、温柔的，纵然其中夹杂着诗人不得不确离远方回归此间人生的愁绪，夹杂着小周被生活琐碎掩抑的一种不得自由，但人生的况味仍然未必是品咂后沉重抑郁的，而是欣然有望。这种带我们平淡生活中找浪漫真意的作品，甚好。

片中，有几个镜头非常“可爱”，尤其镜头特意给到窗外工人们放倒“盼盼”的时候，周迅主演的小周刚好唱到“再见朋友”，安排设计实属巧妙！导演一定是位非常可爱温柔的人，和前面说的结尾合理夹带私货的做法一样，真是非常可爱。

运镜也非常舒适，灵动且平静，还充满情绪。小周从家庭琐事里走来，在平淡工作里存身，亚运会开幕式错过，闭幕也只得看一个结尾，还被母亲反复下令打断。工作也是，重复清闲又无聊，领导还要上线叮嘱“控票”。看上去，一个平凡生活里无奈的普通人，但内心却如此烂漫，向往着文艺。传达室那场戏，刻绘地如此鲜活，不断的哼唱，忍着不买牛仔裤为亚运会捐款，数算亚运会的天数，和雕塑盼盼道别。寡淡生活中内心涌动的爱，有色彩和浪漫，望向有限生活中无限的“生活之外”，着实难得。

李默也是一样的人。外表沉默，内心却流淌着浪漫的河流。结束了流浪的诗人，社恐羞涩，写浪漫的诗，旅行目的地在自由辽旷的嘉峪关外，这是角色的内心一角，和外表全然不同的一面。他结束旅途，剪去头发，不得不割舍“诗和远方”，告别理想之境，回归平淡生活中来。海子之死的隐线微妙地贯穿着，诗人死去，现实无声，但胸怀的浪漫是不会停止的，如同心有色彩的小周，他们就是普罗大众中同频共振的“另一类”，是生活中的“有心人”，这或许是《我的朋友》的一重语境，同道中人。

或许有人会觉得结尾李默那句“我的朋友”来的突兀，毕竟两人仅有一次交谈，还未及深入，但它其实是最为细腻动人的一笔。我猜想李默是孤独的，在那个保守刻板的年代。他结束旅途，来找他的晨哥，分享他的诗，对方问他父母知不知道他回来，他沉默，肢体动作给的答案也很明显，这或许是一个交代，他是不被父母支持理解的。但他又需要理解，需要分享，可以分享的人就是他的朋友。传达室前简单的交谈，让细腻敏感的李默捕捉到小周是和他一样“烂漫”的人，所以他会略显突兀地询问对方有没有去过嘉峪关，这既是内向的他伸出了触角，也是一种分享的“预备动作”，我们绝不会和不能理解我们的人谈理想，李默能如此展开交谈，就意味着他默认了对方是“同类”，并有可能做可以分享的朋友。我们的李默，是一个多么细腻敏感的人。

该片的细腻之处，李默的细腻之处，要仔细地看。片子给了很多次镜头提示，电影票是不允许外传的，只给工人和家属，李默最后入场去看，其实是不合规矩的。他能入场，其实是小周对一面之交的李默的包庇。所以小周入场后，李默也略带忐忑地特意向小周说明了票的来源，小周很爽朗包容。陌生人之间有了善意的交汇，就是朋友，李默最后那句“我的朋友”，是柔软细腻的他对小周的感激，也是对小周的烂漫和善意的珍惜。

是不是很细腻动人的一个故事！白水一般，干净单纯，没有给任何两人之间的暧昧提示，无关儿女情长，而是一种偶然发生的“俗世知己”，真正的朋友之谊。很喜欢这种干净，两人的交谈很平常平淡，没有一点超出萍水相逢的界限，连“心照不宣”的阶段都没有到达，它是符合生活化，而非戏剧化的。但它给的遐想又是必然的，两个相类似的人，未来是否还会有交汇的延续，或许就是到此为止的邂逅、也并不奇怪。叶落之后，到底泛起怎样的涟漪，展开怎样的想象，是观影的每一个人自己决定的。

再有，该片中王一博的表现，作为一个年轻演员，的确给人带来一些意外和惊喜。我觉得是目前看到的他所有作品中的“重要作业”。片子本身是生活化、而非戏剧化，演员的表演也要遵循同样的逻辑，这区别于他之前大部分作品。加上片子篇幅不长，以及片子风格与角色性格的制约，角色台词更为有限，很多信息完全要靠演员用表演去交代，比如前文提到的“父母是否得知归家”一事，所以作品虽短，感觉却是意义完全不同的一次表演。

我很喜欢李默这个角色，他外表寡言内向，有种钝感，内心却细腻浪漫，非常敏感。这个角色很有层次，这种层次，既给王一博的表演带来了要求，同时也是他细腻的表演最终塑造完成的。

我们，先说第一个“要求”。李默的角色设定，导致在同一时刻同一情境之中，对演员表演逻辑的需求是“矛盾”的，他既要充分表现李默外在的钝感，又要同时准确外化李默内在的敏感，他既要将这个角色面对世界时充分的“拙”的反应做到极致，又要时刻让我们感觉到，他的内心始终在感知，在流动，是极其“动”的。正如导演所言，这个角色演不好就呆了，因为演不好就容易被外在的“拙”形吞没，反而掩盖了这个角色内心活的泉眼。但反过来，如果表现敏感与心深处柔情的力度稍微不深，又可能会损伤李默外在包裹的钝感，变成一种纤弱的忧郁或者焦虑，如何调和两种矛盾，让其形成一种和谐的逻辑去“活”这个角色，是非常考验演员的，失之毫厘便差之千里，但王一博显然把握住了这种火候，带来了让人惊艳细腻的表现。

他是如何把握住的呢？王一博非常聪明的使用了一种“多频”但“降格”表达。我们可以看到李默这个角色有一个基本的肢体动作逻辑，他有许多细碎的小动作，但这些动作多数时候是一种动作倾向，是将完成而未完成的，不落实的，而且是稍显迟疑缓慢的。比如他放下背包又没全部放下，而是别扭地离地几厘米提在手里。比如他想握衣角边缘却始终只是保持握的姿势虚靠着。他见到张晨先是第一时间喊，然后才步速中透着腼腆慢慢走过去。最明显的，是坐在传达室外等待时，表现内心不安的手指动作，速度也是较缓的。很明显，王一博设计并时刻把握着这种行动逻辑，这个人物，他对外界做出反应的速度，其实是频繁的不断的，但他的动作表现全部是被减速的，是钝的。这就很微妙了，角色的内巧外拙一下子就出来了。

我不得不感慨王一博的聪明。我不知道他是如何把握到人物的这种处理逻辑的，但这种逻辑，巧妙的和李默一句台词的表达呼应了。哪一句呢？小周说“亚运会的闭幕歌，你没听过呀？”，常理来说，完整的回答是“昨晚我在火车上，没看”，但李默只说“我在火车上”，这就非常可爱非常生动了，一个社恐，说出来的话是半完成的、不完全的，一半都被卡在脑子里了，王一博的动作处理恰好也完全贴合着这种逻辑。李默台词寥寥，他却能读透到这个程度，实属难得，能体会到他多么用心琢磨消化了这个角色，并多么聪慧的找到了相同的表达。

我们常说演员也是创作者，演员并不是照本宣科完成塑造，而是再创造人物，再发掘角色，给予其活气。在这个角色身上，我们可以感受到，王一博和台词的写作者角色的生产者完成了那种微妙的共创，这是非常美妙的事，我相信现在的王一博已经体会到了这种美妙，也将这种美妙带给了我们。

现在，我们说第二个要求。它是信息表达的要求。这一条不好先行概括，何为信息呢，简单点说，它包含但不限于人物的个性、身世、过往的经历、可能的人物关系、当下的状态与心境。关于个性。李默的出场，第一个行动就让我们了解到这个人是个社恐。王一博怎么向我们交代这个信息的呢？除了台词上的忐忑腼腆，更重要的是他不着痕迹设计了一个很妙的动作。一般人问话小周的话，要么就站在台阶下发问，要么就完全走上台阶再发问就可以了，简单利落流畅。但李默社恐，他腼腆还带点紧张，所以我们看见，王一博先是一条腿迈上台阶，同时在忐忑发问的过程中，才笨拙滞后地完成了另条腿的动作，实现了一种言行上的“顺拐”。出场就直白地交代了他此时的紧张，也很明确让我们知道角色的性格信息了。

仔细观察就会发现，李默所有比较大的动作，感觉都是先内心下了决心才做出来的，有一个“鼓起勇气”的过程，这个过程做不好要么就被忽略了、要么就搞得很刻意，王一博把握地很好，非常自然，表达也很准确。包括李默时刻表现出不安的小动作，他处理都是较温吞的，所以我们共情到的是稍紧的社恐，而非过躁的焦虑，或是过怯的畏缩，这一点也是通过大的肢体状态配合完成的，彼此走路时拳前垂内收，但是又不是垂头丧气，完成的是一种性格使然的形貌氛围。

我非常在意也非常欣喜的第二个信息交代，是王一博对李默和父母关系的可能交代。车棚那场戏，张晨问李默回来有没有告诉父母，李默没回答，但他肢体的反应明显给出了否定回答。用肢体做到否定交代其实并不难，微微摇摇头、或低头不语，好像很简单，但王一博给的这个否定，是有层次带有信息量的。什么信息量呢？一是父母对李默可能的态度，可能的亲子状态；二是李默对“没告诉父母回来一事”的心情；三是李默对张晨的亲近信任程度；四是李默个性的再次塑造。

关于心情。如果王一博给的是一般否定动作，摇头，这是对他面前张晨的一种暂时的情感流露的切断，不出声也不看你、把我的脸藏起来，最多否定之上我还带点不好意思。但这样其实也是对观众的一种切断，观众知道“哦，否定了，有点不好意思”，但是观众也看不到他的脸了，不知道他更多情绪了，所以最精彩的地方来了！王一博用了一个腿部的，膝盖弯曲的，表达别扭的动作，非常传神地告知了李默此时的内心。这是一个我们比较熟悉的孩童难为情动作，它表达的难为情里，往往还带着一种孩子的别扭倔强不愿意承认不知道怎么承认。有了这个动作，李默虽然没说话，但我们嗅到什么了？“我没告诉，没告诉是不是怪不懂事，咋回答你呢我怪不好意思的，但是我怎么跟我父母说啊我也没办法说我逃避了先来找你了”。这一个多出来的动作，背后交代的信息很多了，李默为什么不告诉父母先来找张晨？因为亲子关系中可能的冲突与不理解，所以他用了一个孩童动作，去印证亲子关系，同时也因为张晨理解他能让他放松，他也能在这个人面前做出一种孩童的动作，另外也很重要的，这个动作，也表现了李默内心的一种天真，很可爱，他的腼腆是一种小孩子的腼腆，带着一些忐忑不安和涩嫩。

我前面说，角色不知何来不知何去，存在此间，这是新浪潮的特点，但是李默这个角色，我们仿佛还是可以摸到一点东西的，他可能的家庭关系状态，他有什么压力，怎样地做出了什么选择，剧本道具方面给了一些配合，但不可忽视的是王一博在表演方面也给出了很多细节去交代，在角色身上留下了很多关于过往可能性的心源性印迹，笔力有限，我只举了这两个例子，大家可以再去找找，看看王一博是如何通过表演去拓宽我们对这个角色的想象空间的，这一点对演员来说是极其重要的，它也是我说的一种演员的“再创作”，能做到这一点，对一个年轻的演员来说，非常了不起，能给人惊喜。

说完表达了什么信息如何表达的，我们来说一说表达的难度。前面说，这个片子是生活化的而非戏剧化的，所以它要求演员的表达流畅自然不着痕迹细腻符合生活逻辑并且贴合片子风格，王一博这一点做的非常棒，动作的设计、分寸的把握、细节的处理都很好。什么叫戏剧化的处理呢？简单说就是它允许你夸张地特意地表达情绪，表达，你只要“大声”些，总会被注意到的。但是生活化的东西往往是不能“大声”的，它在一个整体状态里面泛起涟漪，你稍微夸张就会让人出戏，而且演员你不细心你可能抓不到它，你表达的不好观众就可能抓不住它，就还是导演说的，李默演不好就“呆”了，什么人是呆的，没有情绪传递、没有信息传递的人就是呆的，没把波动表达出来，不就呆了吗！李默不呆，因为王一博把“表达”做好了。演员好的表演，就是观众通向角色内心的窗户。

表达的另一重难度，要延续我们上一个话题。我说到角色矛盾个性的展现，有的人可能会说，《陈情令》里含光君外冷内热，《有翡》里谢霉霉跳脱深沉，《风起洛阳》中小百里外讷内敏，这不都矛盾吗？怎么这次演，意义就特别不一样了呢？这里就要说到电视剧和电影的不同了，电视剧的呈现，其实是给演员的表演带来大量辅助的。比如上面这三个角色，他们出场前，就会有人说蓝家二公子是一个怎样的人，百里二郎又是什么样的人，又或者戏外宣传、小传的露出、原本IP的剧透，都会让我们对“角色”有一个预知的了解。但电影表演，演员在情境中能依靠的只有自己。李默出场时有什么呢，什么也没有，戏外电影的神秘感保密性，拒绝剧透，戏内也不会在出场前用任何方式辅助交代，李默的性格就只能靠王一博通过台词和肢体去表达，别无凭靠，难度是不是一下子上来了？再者，电视剧往往会有大量的台词、镜头、情节去塑造人物，你有难言之隐，好，我在你强颜欢笑之后再给你拉进补一个第二表情大特写，我特别内心独白让你去自言自语，我给你加状态戏，我直接让你和别人聊天台词里交代，太多辅助手段。再看生活化的电影有什么，电影篇幅精简，镜头客观直叙，台词一句顶十句，没有任何辅助打底。一场戏里演员基本就是唯一的信息载体，演员自己要变成一本可读的好书，让观众读懂且明白来龙去脉。

所以李默这个角色，王一博这次的表演，难度和意义是全然不同的，虽然它在呈现上没有“炫技”的地方，但是处处都已经初显王一博作为演员的成熟，他避开了很多可能会出现的问题和陷阱，吃透了这个角色，完全地准确地让这个角色活着并让我们感知到关于他的一切。无论是影片风格还是体裁的跨越，都是一次挑战，也是一份理想的答卷。

最后，感谢读到这里的人，也幸运看到这样好的创作。环境或许沉闷，电影也有如剧中人，但就让我们像他们一样，在有限中去寻找无限。

校对 | 张力卜转载请注明版权 | 鉴片工场我们只鉴赏有温度的电影

一部好电影，一定是刨去娱乐后，还能具备教育意义和社会责任。——@张力卜Seeing