Chapter 1881: Family (5)

But the action is not the point, the point is still the psychological pressure

shown by her words and deeds.

It is true that in filming such a scene, the pressure is not only the actor's

own acting skills and the oppression brought about by the claustrophobic and

dark environment, but also the photographer and the lighting master. But Xia

Siyu's acting skills really make people feel this kind of all-round control.

The murderer she played is different from the others. The crime has to be

beautifully arranged and has a sense of ritual. Even if she is chased by the

opponent, she will decorate the environment artistically.

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Even if you are ready to die, you will design it in advance. Not only will you

not make yourself look embarrassed, but you must also let the heroine and the

hero walk into the trap she designed, and you will have to drag two even if

you die. Moreover, as a high-IQ prisoner, she noticed the weakness of the male

and female character early on and used it. It seems that she has been exposed

here, and the hostess came to her door. Rather, she designed it so that the

prey can be trapped in a cage so as to catch it all in one go.

Extremely arrogant, but calm and crazy, in the words of the play, it is

"criminal aesthetics."

This powerful mental power was indeed passed on to Shang Feier. During the

filming process, Shang Feier started acting according to the script and the

position just discussed. But acting as if he has become the protagonist in

that play. The old building like a maze, the murderer who doesn't know where

will come out, and where the male lead is trapped, he wants to rescue him. Not

only is the environment depressing, but most importantly, the fear of the

unknown.

This kind of unknown came from a performance at the beginning, but as it was

performed, it seemed to have really entered the world of Xia Siyu's weaving.

That kind of mental control and oppression is more frightening than physical

or environmental oppression.

Not only Shang Feier, Bo Yan also felt it during the shooting.

He was stunned by Xia Siyu at the beginning of the play, and when he woke up,

he had been tied up, and he also guessed the identity of the prisoner. But

even so, it would be difficult for him to escape. When the hostess approached

them, he was also preparing to escape.

But the action is not the point, the point is still the psychological pressure

shown by her words and deeds.

It is true that in filming such a scene, the pressure is not only the actor's

own acting skills and the oppression brought about by the claustrophobic and

dark environment, but also the photographer and the lighting master. But Xia

Siyu's acting skills really make people feel this kind of all-round control.

The murderer she played is different from the others. The crime has to be

beautifully arranged and has a sense of ritual. Even if she is chased by the

opponent, she will decorate the environment artistically.

Even if you are ready to die, you will design it in advance. Not only will you

not make yourself look embarrassed, but you must also let the heroine and the

hero walk into the trap she designed, and you will have to drag two even if

you die. Moreover, as a high-IQ prisoner, she noticed the weakness of the male

and female character early on and used it. It seems that she has been exposed

here, and the hostess came to her door. Rather, she designed it so that the

prey can be trapped in a cage so as to catch it all in one go.

Extremely arrogant, but calm and crazy, in the words of the play, it is

"criminal aesthetics."

This powerful mental power was indeed passed on to Shang Feier. During the

filming process, Shang Feier started acting according to the script and the

position just discussed. But acting as if he has become the protagonist in

that play. The old building like a maze, the murderer who doesn't know where

will come out, and where the male lead is trapped, he wants to rescue him. Not

only is the environment depressing, but most importantly, the fear of the

unknown.

This kind of unknown came from a performance at the beginning, but as it was

performed, it seemed to have really entered the world of Xia Siyu's weaving.

That kind of mental control and oppression is more frightening than physical

or environmental oppression.

Not only Shang Feier, Bo Yan also felt it during the shooting.

He was stunned by Xia Siyu at the beginning of the play, and when he woke up,

he had been tied up, and he also guessed the identity of the prisoner. But

even so, it would be difficult for him to escape. When the hostess approached

them, he was also preparing to escape. But the action is not the point, the

point is still the psychological pressure shown by her words and deeds.

It is true that in filming such a scene, the pressure is not only the actor's

own acting skills and the oppression brought about by the claustrophobic and

dark environment, but also the photographer and the lighting master. But Xia

Siyu's acting skills really make people feel this kind of all-round control.

The murderer she played is different from the others. The crime has to be

beautifully arranged and has a sense of ritual. Even if she is chased by the

opponent, she will decorate the environment artistically.

Even if you are ready to die, you will design it in advance. Not only will you

not make yourself look embarrassed, but you must also let the heroine and the

hero walk into the trap she designed, and you will have to drag two even if

you die. Moreover, as a high-IQ prisoner, she noticed the weakness of the male

and female character early on and used it. It seems that she has been exposed

here, and the hostess came to her door. Rather, she designed it so that the

prey can be trapped in a cage so as to catch it all in one go.

Extremely arrogant, but calm and crazy, in the words of the play, it is

"criminal aesthetics."

This powerful mental power was indeed passed on to Shang Feier. During the

filming process, Shang Feier started acting according to the script and the

position just discussed. But acting as if he has become the protagonist in

that play. The old building like a maze, the murderer who doesn't know where

will come out, and where the male lead is trapped, he wants to rescue him. Not

only is the environment depressing, but most importantly, the fear of the

unknown.

This kind of unknown came from a performance at the beginning, but as it was

performed, it seemed to have really entered the world of Xia Siyu's weaving.

That kind of mental control and oppression is more frightening than physical

or environmental oppression.

Not only Shang Feier, Bo Yan also felt it during the shooting.

He was stunned by Xia Siyu at the beginning of the play, and when he woke up,

he had been tied up, and he also guessed the identity of the prisoner. But

even so, it would be difficult for him to escape. When the hostess approached

them, he was also preparing to escape. Not only Shang Feier, Bo Yan also felt

it during the shooting.

He was stunned by Xia Siyu at the beginning of the play, and when he woke up,

he had been tied up, and he also guessed the identity of the prisoner. But

even so, it would be difficult for him to escape. When the hostess approached

them, he was also preparing to escape.