In 2019, Martin Scorsese directed "The Irishman," a film that looks back on his past, serving as a nod to his classic gangster movie from forty years ago, "Goodfellas." For this film, Martin invited a group of old friends to star:
Robert De Niro, Al Pacino, Joe Pesci, and others.
These guys are long-time collaborators with Martin; he knows their capabilities and how to showcase them. They are all Oscar winners and veteran actors whose acting skills have been widely recognized in the film industry.
The biggest news during the filming was that Martin planned to use the most cutting-edge and hottest visual effects technology of 2018 and 2019, the same technology used in the final scenes of "Fast & Furious 7" to bring the late Paul Walker back to the big screen. This technology would allow these veteran actors to rejuvenate and play their younger selves, becoming a major topic of discussion.
After the movie was released, it received widespread acclaim but also faced criticism—
The movie was great, everything was great, but the biggest criticism was that Robert, Al, and Joe were all over seventy years old. Although their acting was flawless and the computer effects made them look like they were forty, their body language didn't lie.
A forty-year-old man is still agile, strong in movement, and although not as spry as an eighteen-year-old, he is in the prime of life and in good health.
However, these veteran actors couldn't resist the ravages of time, and their movements still revealed the slowness and frailty of seventy-year-olds. The mismatch of forty-year-old faces with seventy-year-old movements felt very out of place, making the whole movie feel aged and tired.
Regrettably, this also affected the viewing experience, preventing the audience from empathizing with the characters and disrupting their immersion in the film.
Thus, people began to question:
Even though everyone loves these three veteran actors, was it really necessary to use computer effects for such a portrayal? Would the final product have been better if younger actors had played their younger selves?
Of course, this is just a side note and has nothing to do with the actors' basic skills. It's simply the result of human strength being unable to resist the laws of nature for the time being. But this issue came to Anson's mind—
So, this is what body language is all about.
Every character, every person, has their own body language, just like their clothing and appearance. Before speaking, their posture, such as how they sit or stand, already conveys information, including age, personality, and style. This body language continues to release information throughout the performance, refining the character.
When the audience often emphasizes eye contact, facial expressions, and lines, the overlooked body language actually plays a more crucial role. Is that how it is?
In fact, Anson isn't entirely clueless about this.
He looked up at Julie, humbly seeking guidance, "It's like when I play Michael, I usually lower my head and hunch my shoulders to hide my eyes and thoughts, maintaining a reserved and low-key posture. But when sitting behind the keyboard, I lift my head and straighten my back, and confidence unconsciously flows out."
Although not yet fully refined, actors have a basic understanding of body language; the difference lies in the depth of understanding and the ability to express it.
Maybe Michael is just a tool, but Anson still injects life into him bit by bit in his own way, and these details of body language are part of that.
Seeing Anson's quick response, Julie smiled with a touch of appreciation in her eyes, "Yes, but also no. It's a detail, a detail that reflects a specific personality trait, but it's just one aspect of the character."
Julie turned to look at Anne.
"It's like the scene we're shooting now, where the Queen is transforming Mia—not just her appearance, but also her manners and posture."
"How to sit, how to stand, how to walk, how to dine, how to speak—these are all body language. Can you say they are part of the performance?"
"Of course."
"This is also the reason the Queen is refining Mia. Nobility has its etiquette, and although it's cumbersome and tedious, these are the rules they must follow."
"So, when the Queen is grooming her successor, she naturally can't ignore bodily posture."
"But we need to note one key point: this action itself is part of the performance, derived from the storyline, and the transformation is shown through body language. Therefore, it's okay for Anne's performance to be a bit exaggerated and comedic—that's the effect the director wants."
"The real basic skills in body language, however, lie in the unseen details."
As she spoke, Julie turned to look at Anne—
Anson's question was timely, and Julie believed that Anne also needed to start focusing on these details.
---
When Julie saw Anne's focused and invested expression, a look of satisfaction flashed in her eyes.
"You should be thinking in your mind, 'What kind of character is this? What situation are they in? What body language should they be displaying?' More importantly, you should learn to observe. Take those scenes from the script and place them in real life—observe others and observe your own body language."
"If the director and audience don't consciously notice your body language but still feel that you blend seamlessly into the entire scene and context, that's when you truly understand the fundamentals of body language."
Ding!
Suddenly, Anson understood, "Just like you."
So, this was exactly the genuine feeling Anson had while watching Julie perform just moments ago.
Now I get it!
Julie gave a faint, humble smile but playfully winked at Anson, revealing a hint of mischief, "I'm always working on it."
Julie used the present continuous tense, emphasizing her ongoing effort.
Admirable.
Anson, on the other hand, chose the future tense, "I'm ready to work on it."
Julie immediately caught the half-admiring, half-teasing tone in Anson's words, and her face relaxed into a broad smile, a light laugh bubbling up from her throat, "Then I'll be watching."
Julie knew only a little about Anson—
Because they didn't have any scenes together, their work didn't directly intersect. But she often saw him on set, observing, asking questions, and learning, gradually piecing together a complete picture of him.
Until now, that incomplete image had become full and vivid.
Julie couldn't help but take another look at Anson, then turned to Anne, "He's the young man who plays your dance partner at the ball, isn't he?"
A keen eye.
Anne, lost in her own thoughts, suddenly looked up at Julie's words, her face full of unfiltered surprise, "How did you know?"
Julie laughed heartily, "After so many years of acting, I've developed a bit of an eye for these things. Fortunately, the casting director's work was on point."
"Hey, you two youngsters, are you planning to chat through lunch?" Gary's voice interrupted, "You may not need to worry about recharging your energy, but Julie does. Lunch is already ready."
Gary didn't care what Anson was doing. The filming was over, and now it was Julie's break time, so he took it upon himself to help Julie "escape."
Anson could sense Gary's reproachful glance and innocently spread his hands in response.