Entertainment: Starting as a Succubus, Taking Hollywood by Storm

"Daniel, we'll be shooting the scene where you're tied to the chair next. You need to show confusion and fear. Try to get into the feeling first."

"Okay, Director."

Daniel Kaluuya took the script and went to a secluded corner to immerse himself.

Martin then called over Scarlett. "Scarlett, the emotions you need to express in a moment are also quite complex. You don't actually hate Daniel; he's the prey. But at the same time, you must reveal a bit of resistance. Any normal person forced to participate in such hunting activities for their family for a long time would develop some resistance in their heart."

"Understood."

Ten minutes later.

Martin: "Everyone, attention. Let's do a rehearsal. Pat, adjust the camera angle."

At Martin's command, everyone moved out of frame. Daniel Kaluuya, along with the actors playing the parents, Bradley Whitford and Catherine Keener, and the lead actress Scarlett, all indicated they were ready.

"Get Out, Chapter 12, Scene 22, ACTION."

Martin sat behind the monitor, his eyes fixed on the screen.

Daniel Kaluuya's years of experience playing supporting roles in various Meyers Pictures productions hadn't been wasted. His skills were well-honed, and this young black man had a natural talent for acting.

As the sound of a spoon clinking against a teacup rang out, a dazed expression appeared on Daniel Kaluuya's face.

The camera slowly zoomed in for a close-up on his eyes.

On the monitor, deep within Daniel Kaluuya's bewildered gaze, genuine fear began to surface.

This highly layered performance technique is called "gradual emotional escalation." The actor must control the intensity of emotional release to achieve this effect, which is extremely difficult.

But Daniel Kaluuya performed excellently.

"Cut!"

"Great performance! That's a wrap for this one."

Martin stood up from the director's chair and walked over to Scarlett. "Scarlett, when you enter the scene later, look at Daniel first, then at your 'parents.' Remember the emotion I need. You know it."

Then he said to the two white actors playing the parents: "You'll get a close-up later. I need you to convey that condescending arrogance. Catherine [playing the mother], your emotion needs to be even more intense. Imagine yourself as that bizarre psychiatrist. You look down on Daniel like a superior deity..."

Martin was always very detailed when explaining scenes. He needed the actors to accurately express what he wanted, so in his films, there wasn't much room for actors to improvise.

This approach might make those accidentally classic shots less likely to occur, but it also reduced unexpected problems and greatly increased the crew's filming efficiency.

In fact, directors like Martin were the favorites of major producers.

Directors like Christopher Guest who loved letting actors improvise were absolutely the nightmares of investors and producers!

"Drew, when will the deer prop arrive?"

"I've already called to hurry them up. It should be here in about fifteen minutes."

"OK. Daniel, Scarlett, we'll shoot the scene where you stab the deer in fifteen minutes. You can start getting into character now."

"Understood, Mr. Meyers."

"Got it, Honey."

Sofia quietly took notes on her laptop. This thick notebook was already more than half full, containing her insights during the filming process.

"The Deer: In the script, details related to the deer appear three times. The first time is when the girlfriend, Rose, hits a deer while driving Chris home. The second time is Rose's father, after hearing they killed a deer, meaningfully says, 'One deer dies, there are thousands more.' The third time is Chris using the antlers to kill Rose's father."

"Martin has the deer appear so many times in the film, clearly as a metaphor. In the mid-19th century, US plantation owners often used the term 'Black Buck' to describe black men who refused to submit to white people. So, in the play, the deer represents black people. Rose's father's words show his discrimination against black people; black people are no different from deer, if one dies, there are more. Finally, Chris killing Rose's father with the antlers represents the resistance of black people."

"Not only that, within the storyline of Rose and Chris killing the deer, there's another subplot. Martin said he would add a segment of Chris recalling the memory of his mother's fatal car accident in this part of the script. This way, the later plot point where Chris hits the black maid who tried to harm him but then saves her becomes more justified..."

"Every detail is meticulously placed," Sofia concluded.

Filming continued day by day.

The actors' form kept improving.

Soon, it was time to shoot Betty Gabriel's climactic performance scene.

"Betty, this scene is a bit challenging, but I believe it's nothing for you. Just deliver the same performance you gave during the audition. You know the kind of smile I want. You need to convey a sense of tragic laughter. If you can also manage to cry from only one eye like you did during the audition, that would be perfect."

"Director, I have no problem with that," Betty Gabriel said confidently.

Martin smiled and patted her shoulder. "Good, I believe you can do it."

As filming progressed, Martin grew fonder of this black actress.

Of course, not the "romantic" kind of fondness, but a director's fondness for discovering a talented actor.

Although young, Betty Gabriel's acting skills gave Martin a sense of natural, innate talent.

It's a pity her looks weren't outstanding; otherwise, she could potentially carry a film as the lead.

"Scene 96, Chapter 12, ACTION!"

Martin sat behind the monitor, legs crossed, chin resting on his hand, watching Betty Gabriel on screen intently.

She stood in front of the window looking outside, her gaze eerie. When she noticed the protagonist Chris looking at her, she revealed a hypocritical, fake smile.

A second later, a tear involuntarily streamed from her left eye.

The camera zoomed in.

A close-up on the eyes.

That intense conflicting emotion shone from Betty Gabriel's eyes, as if two souls were fighting within her body. Martin couldn't help but applaud in admiration.

"Cut!"

"Excellent! That's a wrap. Take a ten-minute break."

"Betty, how are you feeling? Do you need the on-set psychologist to help you adjust?"

"No need, I can handle it myself. Thank you, Mr. Meyers."

"Please, call me Martin."

Betty Gabriel's heart swelled with joy.