之前emily1973版友提到的Q&A 补充一些资料如下： 今年2月10日Backstage West在好莱坞举办Heath＆Michelle与现场观众的「断背山Q＆A」。 其中一位幸运的粉丝做了现场独家直击报导： 原文网址： http://0rz.net/3a13X 这里有图： http://0rz.net/e4142 以下仅节录两位演员谈到电影幕後相关花絮作翻译 （需要自备可鲁和墨镜的描述就不译了：p）： -- Heath talked about how Annie Proulx wrote such a beautiful story and they all really wanted to work to do it justice. Michelle agreed. They each read the short story after they had read the script. They also agreed that the work Larry McMurtry and Diana Ossana did with the script was just incredible. Heath谈到Annie Proulx 是如何写出如此美丽的故事，以及演员们都很希望能忠於原着。 Michelle也同意Heath说法。他们都在看完剧本後找原着来读。他们也同意Larry McMurtry 和Diana Ossana 剧本的处理实在太棒了。 -- Originally, Heath was asked to do the Jack Twist role. Upon reading the script, he felt Ennis픠pain more and felt that he could connect with the tragedy that was that character. Also, because of his own fears and anxieties and contrary inclinations, he felt he could give more to Ennis in his portrayal, that it was a gift he was able and keen to give in that performance. He could've played Jack, but he would've felt he was "playing the character only."팊With Ennis, he just intuitively sensed he could be him. He also talked about the aging in the film, and how he approached playing that. He said, "often there's not much difference between 19 and 40 in a man"팠so he worked on the physical aspects, by throwing in a slight bit of a more arthritic movement as he got older and also tonally, lowering his voice and getting more gruff as the years passed. 原本Heath被要求担任Jack Twist的角色。但是他读剧本时，觉得更能体会Ennis的痛苦， 而且可以感受到是这个角色造就了这场悲剧。而且他认为自己的恐惧、焦虑和矛盾心 态，反而让他能更能深入诠释Ennis的角色，这个优势让他能够而且渴望将这些心情融 入演出。Heath原本可以演Jack的角色，但是他认为到时他会有一种「只是在角色扮演」 的感觉。对於Ennis，他就是直觉地预感自己可以化身成Ennis。他也谈到电影里年纪渐 长的处理以及他是如何揣摩。他说「通常男性19岁时和40岁时相比不大有明显的 变化。」所以他着力在体态表现，当Ennis变老时，做出有点强调罹患关节炎的动作， 另外在声调上压低声音，而且随着岁月流逝更粗哑。 -- Michelle expanded upon her quote in NEWSWEEK about how she "wanted to be like water"팠when she approached playing Alma. She said she wanted the stillness and fluidity of water, the same element that yields and flows back from a wall also can carve a place for itself over time, like in the Grand Canyon. She saw Alma that way, starting from her gentle spirit at the beginning of her marriage toward a harder, creeping up strength of forceful feeling at the end. Michelle解释她在Newsweek文中谈到诠释Alma时为何「希望有如水般」。她说她想要 达到水的沈静性与流动性，水从井中涌出和回流是同样道理，水也能日积月累为自己 雕刻出一块地方，像大峡谷（Grand Canyon）即是如此。她以这样的观点看待Alma的 角色，从新婚时期的温顺性格到最後变成一种更强硬、逐渐涨大的强烈情绪。 -- What was it like to work with Ang Lee as a director?: 2 elements Heath touched upon, 1) during pre-production, Ang does his research and all the discussion of character and plot and film strategy. It is this phase that he "talks a lot." 2) during filming, he left the actors on their own and provided minimal direction, often leaving them "lonely" (as Michelle wryly stated and Heath laughed, agreeing). Heath speculated that this was probably a director manipulation that was effective, leaving the actors to their own devices, and in the absence of too much encouragement, forced them to push themselves even harder to perform better. 和李安导演合作的情况如何？Heath谈了两个要点：1. 在电影前制期，李安作了研究 以及角色、剧情与拍摄计画的所有讨论。这个阶段他「话很多」。2. 在拍摄期间， 他让演员独立发挥，给予极少的指导，常常让演员们处於「孤单」的状态（当Michelle 幽默地叙述时，Heath大笑表同意）Heath观察到这可能是导演的安排，很有效，引导 演员用自己的方法演出，在没有过多鼓励的情况下，强迫演员更加督促自己演得更好。 Heath had two great anecdotes. Heath说了两个大八卦。 1) Once, they were filming at 4am and it was the scene early on where he and Jake were talking about their lives by the bonfire and Ennis says something derogatory about the rodeo life and Jack gets up and starts whooping and hollering like a rodeo clown. Afterwards, Heath went to Ang, feeling insecure about his performance and needing validation, and asked him, "Did I do that okay? Was it enough? Did you get what you needed? Was it okay?"팠And Ang just smiled then looked all around and up at the sky and said, "Good light!" 1. 有一次他们在早上4点拍摄，场景是发生在电影前段，他和Jake在营火前谈论他们 的生活，然後Ennis说了些轻蔑牛仔竞技的话，然後Jack起身开始大喊大叫，活像牛仔 竞技里的小丑。拍完後，Heath跑去找李安，觉得对自己的表演没信心，需要导演认可， 於是问李安：「我这样做OK吗？够了吗？你有拍到你要的吗？这样OK吗？」李安只是 微笑，环顾四周然後抬头看天空说：「打光不错！」 2) During one scene, Jake wasn't available because he had to be elsewhere for a production meeting for an upcoming film (or it might have been a reshoot and Jake was already filming elsewhere), so Ang had to be a stand-in for Jake. It was a love scene in a truck and they put Ang in a padded shirt and kept his hat pulled over his eyes and "I don't think his feet even reached the pedals!" Heath laughingly said. When they asked how he could keep a straight face while filming that scene, Heath replied, "I couldn't! Which is why the scene didn't make the movie!팊 2. 有一幕Jake没办法到场，因为他得去参加另一部电影的制作会议（或是去重拍镜头）。 所以李安必须当Jake的替身。这是一场在卡车里的爱情戏，他们让李安穿上格子衫， 然後帽子整个盖住眼睛。「我不认为他的脚勾得到踏板！」Heath笑着说。当他们被问到 在拍那场戏时，Heath是怎麽保持正经的表情，希斯回答：「我做不到！这就是为什麽 那场戏没在电影里！」 -- The kitchen scene when Ennis and Alma face off was actually filmed out of sequence near the beginning of the shoot. Michelle was asked how she was able to keep the arc of her character growth in this movie when things were being shot out of sequence, because as a stage actress, character development is much more linear. Michelle said the greatest thing about the stage was that you're right there and the development of the character arc is something you follow the flow of, seamless, with the energy and exchange of a live audience. In a film, you have to keep that arc all in your head and pull the parts of it that are necessary for the sequence that demands it. It's a different medium altogether, but she enjoys the challenge of it. 厨房那场Ennis和Alma两人对峙的戏，其实在电影开拍初期就拍了，没有按照剧情顺序 拍摄。Michelle被问到像本片这样拍摄不按剧情顺序时，她如何持续强化她角色的张力， 因为舞台剧的演出（译注：Michelle之前参与过舞台剧），角色酝酿比较按顺序进行。 Michelle说舞台剧最棒的地方是你就站在舞台上，角色张力的酝酿有点像是随着现场 观众展现的能量与相互交流，无限扩展。电影的话，你必须将那种张力全部存放在 脑中，然後根据剧情需要释放出一点点。这两者是不同的媒介，但是她喜欢这种挑战。 Heath added to this by explaining a technical aspect of the kitchen scene. He said he was so impressed by what he called "an Ang technique"팊of filmmaking. During the scene in the kitchen, they are each standing still. But Ang used four cameras to film the reaction shot, shooting over both left and right shoulders, and then editing the scene together so when you get to that scene, even though the two actors are "static" you still get a sense of movement, almost of an excruciating 360-degree angling of emotion and reaction. It's very tight, very subtle, and Heath was in awe, saying he had never seen that done before. Usually those types of tight close-ups are done over two shoulders - the right or left of both actors to go back-and-forth. With the four angles, it was more a feeling of circling. Heath补充说明，解释厨房那场戏的技术层面。他说让他印象非常深刻的，是他所谓 『李安式技巧』。在厨房的那一幕，他们两人都是站着不动。但是李安动用了四台 摄影机拍摄脸部特写镜头，分别从两人的左肩和右肩拍摄，然後将场景剪辑成一段， 因此当你看到那场戏，即使两位演员是「静态的」，你仍然有动态的感觉，几乎是 极近360度角度的情感与特写移动。这是非常紧贴，非常精巧的，而且Heath敬畏地说， 他从来没见过这样的拍摄手法。通常紧贴的特写是从两个肩膀的角度拍摄而成--- 从两位演员的左肩或右肩来回取镜。李安用四种角度拍摄，造成近似旋转的感觉。 Heath was asked who did the reading for him on the other side of the telephone line during the phone booth scene near the end. He said he felt bad because when he did his scene, every time he picked up the phone, it was Anne Hathaway reading him the lines, from her apartment back in NYC. But when it came time to film her side, filming had wrapped and Heath was already in Venice filming CASANOVA and never received a call asking him to do that for Anne (he said he "totally would have!"). But he said when he saw the film, he realized she gave almost the exact kind of multi-layered, slightly suspicious reading and he was grateful for her generosity as a person and actress to have done that for him. He wished he could have done the same for her. Heath被问到在近结尾电话亭那一幕，是谁帮他在话筒另一端念台词。他说他当时 感觉很差，因为当他演这场戏时，每次接起电话，都是Anne Hathaway在纽约家中 为他念对白。等到要拍摄Anne的镜头时，Heath早就完成他的戏份，人已经在 威尼斯拍摄CASANOVA，也没接到电话问他要不要帮Anne念对白（他说「他绝对会念！」） 。但是他说当他看到电影时，才了解到Anne念台词时多层次，带点猜疑的演出 和剧中几乎一样。他很感激Anne本人和身为演员对他的慷慨付出。他希望他也能同样 回报她。 --- 若有误译处请指正~ --

※ 发信站: 批踢踢实业坊(ptt.cc) ◆ From: 218.161.17.92 ※ 编辑: sarada 来自: 218.161.17.92 (02/14 23:42)