In the realm of the film crew for "Saw", if one were to ask James for his evaluation,
He was most satisfied with Hugo Weaving, followed by J.K. Simmons, and lastly, Jason Statham.
The criteria for evaluation were simple: acting ability and the seamless integration into their roles.
Without factoring in personal connections, the only aspect visible to an actor's performance was this direct one.
Who excelled and who faltered, it was clear at a glance.
Hugo was the one he held the most favorable impression of, possessing a good image, a slightly lean build, and an air of professionalism akin to a doctor's. Wherever he stood, he could convince people, earning an unequivocal thumbs-up from the depths of their hearts.
In the industry of acting, a certain vitality was essential. That inward-to-outward spirit closely intertwined with one's being.
As stories accumulated, insights deepened, and understanding expanded, that sensation naturally emanated. Like the fragrance of flowers, it was a delightful scent to be savored.
Undoubtedly, with nearly two decades of acting under his belt, Hugo was in the prime of his life in terms of both acting and personal maturity. Exceptionally transparent, he inadvertently captured the audience's gaze through his performances.
As for Jonathan, that was an issue stemming from the script itself. Playing a corpse, lying motionless there, hardly constituted an impressive display of acting skill.
Nonetheless, he was professional; if he needed to play a corpse, he played a corpse, often lying there for half an hour. No one could fault his performance.
As for Jason, well...
He had entered the field as a latecomer, lacking systematic training, which made his foundation rather shallow.
He didn't possess the innate acting talent of Heath Ledger or Nicolas Cage; people often referred to this sort as rainmaker or mendicant.
His approach to acting was built upon guesswork, effort, and tenacious perseverance.
If a scene didn't work, he'd do it again; if it still didn't work, he'd do it again... repeating the process continuously, using "repetition breeds skill" to compensate for the feeling and emotion required during performance.
Every evening, he invested a substantial amount of time pondering the scenes he needed to shoot the following day, contemplating how to approach them.
While this approach was sufficient for most roles and allowed him to get by, it was the reason why the initial filming gradually progressed smoothly.
However, when it came to particularly subtle or intense segments, his lack of versatility inevitably rendered his performance somewhat inadequate, lacking the required depth. This was fundamentally a matter of foundation.
...
"In this segment, you need to hold back your performance a bit. Look, Adam is a shifty character, inclined to peeping and rather self-centered. After being imprisoned and hearing that line on the tape—only one person can make it out—he's already developed murderous intentions. Unlike Lawrence, whose thinking is simpler, viewing it as the killer deliberately inciting, a spectacle to behold. Otherwise, they could have easily killed them while they were unconscious."
Within the actors' resting area on set, James was coaching Jason on his role. After the crew had completed their respective tasks, they were all taking their breaks. Some chatted, while others sat in quiet meditation, replenishing their energy. Everyone was waiting.
"But when he actually witnesses Lawrence amputating his own leg, he'll first be astonished, then internally agitated. He escaped, yet he didn't. Do you grasp that? As fellow captives, his partner's madness will undoubtedly influence him, so he'll toughen up too, just like that..."
James continued his gestures, conveying thoughts even he found somewhat unclear, "When you're performing, you should suppress your emotions slightly, but not too much. Because you lack Lawrence's resolute determination."
Jason listened silently, fidgeting with a mineral water bottle in his hand. Inner conflict churned within him.
He understood what the director was trying to convey, and he comprehended this scene well. He couldn't be overshadowed by Lawrence, otherwise, the antagonistic scenes between the two main characters would inevitably become a one-man show. How could that be allowed?
However, what he needed wasn't these musings; he longed for the director to tell him precisely how to execute it.
Yet, ironically, the profession that directors were least skilled in and least fond of was teaching acting.
They weren't acting teachers; could they analyze the subtle use of microexpressions or the language of gestures?
Come on, the fact that they knew the desired performance outcome was already quite impressive. To a significant extent, every performance should be an actor's spontaneous response, a sudden outpouring of emotion. When everything was meticulously designed and followed step by step, it wasn't acting; it was rehearsing.
Most of the time, acting instructors could only teach some muscle control techniques.
As for acting, it was a process of learning, accumulating, and gradually building upon it... Clearly, Jason hadn't reached that level.
So, even if he understood, he couldn't portray it.
Meanwhile, in another corner of the studio, during a break, Lyman was engaged in conversation with Eva.
Film delays weren't causing him the most headaches.
On the contrary, his mood was quite good at the moment.
He even wanted to witness James's coaching skills.
"How can I naturally act like Hugo?" he asked.
Eva had also read the script and realized that, just like Jason, she might struggle to evoke the sensations or emotions experienced when someone's leg was being sawed off. She couldn't convey that feeling to the audience, providing them with a genuinely immersive cinematic experience.
"With enough practice, you'll naturally learn. No need to worry," Lyman said nonchalantly, leaning back in his chair.
In his view, actors needed life experiences. Thinking too much, as young individuals like Eva did, wasn't very useful.
"But what if I can't do it?"
"There are many ways around that." Lyman continued, "Use a side angle shot, directing the audience's attention to the wound or the blood on the ground, avoid capturing a close-up of the character's face. That should work. However, in doing so, the climax won't be as satisfying. You see, watching someone suffer makes the audience feel more immersed and empathetic."
Eva nodded silently upon hearing this.
This method was one of the most common techniques of using visual metaphors in films. It was usually employed for those with poor acting skills or those struggling to achieve the desired effect. It was the best one could do to enhance the performance; who wouldn't want that?
However, every person had their limits. If things didn't work out, forcing it wouldn't yield good results. When watching some newcomers perform, you often came across such scenes or voiceovers, concealing their faces.
After resting for about half an hour, filming resumed.
But looking at Jason's still troubled expression, did it seem like it was working?
"Have you discussed the scene?"
"I have." James stood behind the monitor, somewhat helplessly spreading his hands and sighing, "But I'm not sure about the results. Let's give it a try."
"Camera's ready."
"Sound is ready."
"Alright, action."
The camera focused on Jason again.
This time, he remembered to hold back in his performance.
His eyebrows knitted together, seemingly enduring intense pain...
"Cut." Less than a minute into the official filming, James stopped the shooting.
"It's not working, it's too contrived."
He turned his head and looked at Lyman, who was standing aside watching the commotion?!