这个方法可以延续到我对指导演员演戏的原则:如果导演可以将不同的镜头或对白连接在一起,就不必要求演员在每个镜头的情感是延续的,推衍出来的说法即是:“演员对一个角色的投入或了解并不必要。” 演员只需将最单纯的肢体动作在某个空间内表演出来。他无须想要主控“电影的艺术”,如果他这样做,那就像在飞机上的旅客,从座位旁窗口 This method can be extended to the principle that I play the director: if the director can connect different shots or dialogues, there is no need to require that the performer’s emotions in each shot continue. The derivative argument is: It is not necessary to invest or understand a character. “Actors simply have to perform the purest body movements in a space. He does not have to want to dominate ”the art of cinema," and if he does it, it’s like the passenger on the plane, from the seat next to the window