The classroom fell into a profound silence.
Sami tightly covered her mouth, stole a glance at Betty, then raised her eyes, cautiously assessing Renly. To her surprise, Renly hadn't lifted his head at all, as if he were entirely oblivious to the sounds in the classroom. Even her presence seemed to be beyond his radar, as he remained engrossed in his reading.
This brought some relief to Sami, yet she also felt a hint of disappointment. She hadn't greeted Renly so far, and she wasn't entirely sure if it was appropriate to interrupt his work now. So, Sami turned her gaze towards Betty, silently seeking her assistance. Unfortunately, Betty kept her head down, her chin tucked tightly against her chest, her eyes wandering aimlessly, refusing to acknowledge Sami's plea.
Sami slumped her shoulders in frustration and hung her head heavily, resembling a marionette with severed strings. Her expressive body language clearly conveyed her current disappointment. Her resentful glances were cast upon Betty intermittently—pouting one moment, furrowing her brows the next, and sighing lightly. The variety of expressions painted an exquisite picture of her frustration.
"If you're bored, you can start reading the script," a continuous, barely audible rustling sound filled the classroom. It wasn't exactly noisy, but it was certainly more irritating than a din, disrupting even the rhythm of breathing.
Had they been entirely immersed in reading the script, Renly wouldn't have noticed. However, as the script reading reached a temporary lull, the restlessness and chaos in the room became increasingly pronounced. So, Renly simply lifted his head, looking at the two young girls before him and couldn't help but chuckle.
Sami exuded vitality from head to toe, a vivacity that seemed incongruent with the overall tone of the film. Paradoxically, this mischievous and carefree spirit was precisely Erica's most distinctive feature. She was a bit mischievous, a bit irreverent, and even a touch romantically naive. These qualities, typical of a fifteen-year-old girl, created a powerful contrast with the depravity of the brothel, leading to a compelling impact. She sought Henry's redemption while simultaneously saving him.
Betty, on the other hand, radiated a unique aura. Amid her timidity, there was a hint of curiosity, and amidst her sorrow, a spark of vitality. In this character, the film's evolving narrative was carried forward. She was a child who had grown up amidst squalor, nurturing a faint glimmer of hope and longing to escape the quagmire. She found that in Henry, but that glimmer of hope gradually, almost imperceptibly, faded away, leading to a final, resolute farewell.
The script of "Detachment" was a typical way of crafting stage dramas, rich in profound character relationships.
Sarah, also a teacher, was a diligent educator. She attempted to save these children but couldn't find a way. The heavy burden of responsibility was close to overwhelming her. More importantly, she too yearned for redemption, hoping to escape from this hellish place, and if possible, she would choose to leave far behind. She thought Henry might be the key.
Deep within Sarah's heart, however, the spark of hope had already extinguished. She had little hope for these children and was more focused on her own escape, a distant one. Fundamentally, she was shrouded in darkness, despair, and pain. So, when she saw Meredith embrace Henry, her first thought was negative. Perhaps from the very beginning, she never believed Henry could be the key.
Erica and Meredith, two teenagers, embodied contrasting journeys within themselves. Erica, ascending from the depths of darkness, was always searching for the exit bathed in light, moving forward with proactive determination. Meredith, on the other hand, plummeted from the abyss of despair, never truly believing in her own redemption. The sliver of hope she held in her hands was like fine sand, slowly slipping away. Both of them pinned their hopes on Henry, but they ended up with different outcomes.
Just from the selection of these three characters, it was evident that Tony had chosen method actors, hoping that their own qualities would bring out the essence of the characters rather than exerting strenuous effort in acting, leaving more room for the language of the camera.
However, the unexpected occurred with Renly. If following the trajectory of the previous version, Tony had selected Adrian Brody, who was unquestionably skilled in method acting. Such a choice was flawless. However, looking at the finished product, the entire work seemed to be immersed in a sorrowful and despairing mood, unable to progress further or enrich its depth, stagnating and limiting the film's potential for excellence.
A conventional performance, Renly was confident that he could meet Tony's standards and once again deliver an Adrian Brody-style performance. Yet, Renly was not content with just that. Renly's rendition of "Detachment", whether it could surpass the original, depended on his performance.
Renly had read the script countless times, but today's reading brought a fresh perspective. His mind began to conceive not just the character but also the performance itself. This represented the fundamental difference between the expressive and method schools of acting. Of course, it didn't mean that the expressive school neglected the character; the character remained the foundation of the performance. It was just that the deeper interpretation and analysis were entirely different.
Perhaps he should start practicing the script, not in isolation but involving others. So, he interrupted his reading, noticing the inconspicuous sounds around him and the two young girls.
"What?" Sami widened her eyes, seemingly not understanding Renly's words. Betty, sitting beside her, looked even more bewildered, her gaze darting nervously between Renly and Sami.
Renly remained silent but raised the script in his hand and gestured with it.
Sami leaned in closer to the desk, squinting her eyes as she carefully examined it. She suddenly realized it wasn't a book but a script, and her eyes lit up in comprehension. Without hesitation, she reached into her bag and pulled out her own script. Then, like a diligent student, she straightened her posture, widened her eyes, and wore a bright smile, eagerly awaiting Renly's guidance.
Betty's movements were slightly slower, but she soon retrieved her script as well. Her gaze betrayed her anxiety and confusion, as she had no idea what she should do.
Renly, however, was unfazed. He explained in a friendly tone, "Script practice. Open your script, choose your lines, engage in scenes with your scene partner, perform with full commitment, find the right rhythm and emotions, and also understand each other's acting styles. This allows us to speculate more accurately on the rhythm before the actual shoot."
Script practice was a very academic foundation training, crucial before stage performances. The main reason was that live stage performances left no room for error—practice, practice, and more practice were the only ways to refine one's acting.
However, in actual film production, not to mention Hollywood, even in Europe, script practice had become increasingly scarce. Most of the time, actors delved into their roles themselves and then completed their adjustments through formal rehearsals before shooting. However, for newcomers with no prior acting experience, script practice was the best way to find their performance rhythm.
Sami nodded in sudden realization, lowered her head to open the script, and earnestly searched for her lines. Her movements then came to a halt, and she looked back at Renly, asking, "Uh, do I just start reading my lines directly?"
Renly nodded, giving her an encouraging look. Sami began speaking without any hesitation or fear, her fresh and fearless attitude shining through.
"Why are you following me? Huh?" Sami's first line lacked fluctuations, not to mention acting; one could even hear the playfulness in her voice. Her tone slightly trembled, unable to conceal her excitement and nervousness. After finishing her lines, Sami lifted her head and looked at Renly with uncertainty in her eyes.
Surprisingly, Renly didn't critique her. Instead, he naturally continued, "I am not. It's late, you should be home." His calm voice carried a slight restraint, as if suppressing some emotions. A faint tremor leaked through his trailing words, hidden beneath his composed exterior.
Sami was momentarily taken aback, and the lines were abruptly cut off. She hadn't expected Renly to respond so smoothly, not even consulting the script, delivering the lines without hesitation. She also hadn't anticipated the uniqueness of Renly's performance. In comparison, her own emotions just moments ago felt misplaced. Clearly, they were operating on different levels, unable to engage in a conversation.
Vaguely, Sami began to grasp the significance of script practice. "Is there a trick to this?"
"Recite it aloud, loudly," Renly replied without reservation. "You need to know what you're saying. Dialogue carries meaning, even in casual greetings, within a movie script, that is. In a good script, there's always meaning hidden in the lines. Actors aren't parrots; these lines must come from the heart. So, you need to be clear about what you're saying, why you're saying it, and the context in which you're saying it."
Leaving aside everything else, mastering dialogue was a fundamental skill for an actor. Unfortunately, most Hollywood actors lacked this proficiency. Or perhaps, they disdained such skills, and the scripts didn't provide the necessary foundation.
Sami nodded thoughtfully, her uncertain expression not clearly indicating whether she understood or not. Then, one could hear Betty, sitting nearby, softly starting to recite her lines, though her voice was quite muffled, making it barely audible.
Renly spoke up, "If you intend to read your lines by yourself, then let your voice out and read them repeatedly. But if you plan to participate in the cooperation, I need to hear your lines." His casual tone carried a faint, gentle humor, causing Betty to chuckle involuntarily.