Sundance ShortsLab 2012 Announcement – Japanese Subtitle

サンダンスが魅力的なショートフィルムのイベントを開催。
その告知です。

# Japanese English
1 ショートラボ ShortsLab
2 映像作家達が招かれて、サンダンスが丸一日かけて主催する
試写やディスカッション、講義に参加する
Filmmakers are invited to participate in a full day seminar of Sundance-organized screenings, panels, and discussions.
3 ショート(フィルム)は、楽なスタンスで
やりたいことを実験できる機会だ
in shorts, you are able to experiment and you can try things and it’s a loosen up
4 実験的な形式を試したりできて
天才が頭角をあらわす事もある
you know, form and I think part of that sometimes genius come out of those things
5 サンダンスの映像作家コミュニティに繋がって
学びたいはずだ
the community of filmmakers are out there in the world, you want to have connection with sundance, you wanna learn
6 フィルムメイキングや脚本についてね what they care about a film making or a writing and
7 誰でも登録して参加する事が出来るよ so what this does, by doing a short labs, it’s open for anyone who wants to sign up
8 腕を磨きたい人たちが関わるきっかけに
なってほしい
we can hopefully have, you know, deeper involved connection with those they develop their skills and
9 あとショートフェスティバルに
出品したい人もね
we look for the films for the short festival
10 僕は、地球がエイリアンに征服されて
人間の思考がショートになってほしいと思ってる
in the future I wanna aliens take over our planet and discover that our attention span has progressively got very short
11 するとたった3分で想像力をかき立てる
作品をたくさん楽しめる
and so this is a kind of a fruitful time for us to use our imagination and see what come up with in 3 minutes
12 ショートには映像制作の神髄を感じるわ I think short film is paramount to the film making process
13 賭け金も少ないし… it’s low stakes
14 you know it’s like
15 リスキーな事ができる上に
プレッシャーが少ないの
it’s a place where you can be risky and not feel like there is pressure to conform
16 こういうイベントはスゴくいいよ
みんなの創作意欲がかき立てられるさ
I think that events like this are helpful because I think it’s just it pushes people to keep making stuff and inspires them
17 自分がした失敗をたくさん見れて
良かったわ
I see all the mistakes now you know, that i make
18 it’s good to see it like
19 全部投げ捨てて he throw all of it
20 どういう人が出来る人かがわかるよ makes to feel like you know… all of somebody like that can do that
21 それさえ分かれば、こつこつ頑張る気になるしね and have a criteria maybe I want, that maybe I can keep plugging away and something will come of it
22 とにかく忍耐さ
クオリティを追求するのさ
you know it’s all about perseverance it’s continuing to make stuff enough severe and
23 そしてチャンスをくれる人を待つんだ waiting for you know someone to spoon feed you an opportunity
24 何かをやるのに
タイミングなんて関係ない
there’s never gonna be a right moment to do something
25 あらゆる苦労と闘って
作り続けるのさ
just keep making it and I know levels you gonna have to deal with you know opposition and
26 仲間と前進する情熱が問われるんだ it is where you passion is all about just to keep driving forward with them
27 ショートはみんなの創作の原点だし I think that shorts are often like that people’s first fore aim to making things and
28 サンダンスが発表の機会をくれてるんだ so usually you know when sundance gives you the opportunity to show something
29 同じような実績の人たちを
集めてね
you know and bring people together at all levels of their careers
30 これは重要なコミュニティだよ it’s a important part of the creative community
31 フィルムのコミュニティと繋がろう connect with your film community
32 ショートラボ ShortsLab
33 ショートラボ・ニューヨーク
6/16@BAM
ShortsLab NEW YORK SATURDAY, JUNE 16TH @ BAM
34 ショートラボ・シアトル
7/11@SIFF CINEMA
ShortsLab SEATTLE SUNDAY, LULY 15TH @ SIFF CINEMA
35 ショートラボ・ロサンジェルス
8月
ShortsLab LOS ANGELES AUGUST 2012
36 ショートフィルムの世界を直に感じてみよう Gain firsthand insight and access into the world of narrative short-form filmmaking.
37 登録、情報は
sundance.org/shortslab
FOR REGISTRATION AND MORE INFO: sundance.org/shortslab

Sundance Institute Directors Lab 7: The Script – Japanese Subtitle

サンダンス・ディレクターズ・ラボ第七回。
脚本について。

# Japanese English
1 HONDA The Power Of Dreams
2 presents Sundance Institute Directors Lab Series
3 Watch until August 31 in The Youtube Screening Room
4 youtube.com/screeningroom
5 <寝ているウィンクに子犬がすり寄る> Hushpuppy sneaks up to sleeping Wink holding the medicine jar under her arm and bottle Jameson in her hand
6 子犬「死にたいのか?別れるなんてイヤだよ!」 Hushpuppy you gonna be dead? What no. You’re gonna leave me alone, I ain’t gonna leave him nothing
7 <子犬はかんしゃくを起こして暴れた> Hushpuppy throws a tantrum she starts breaking everything she can get her hands on
8 <ウィンクも加わる>
「子犬!私たちは動物だ!」
Wink joins in: We animal’s hushpuppy! I’m an animal!
9 頑張らないと need some work
10 ディレクターズ・ラボ
第7話:脚本
DIRECTORS LAB SERIES
EPISODE 7: THE SCRIPT
11 どんな映画の製作でも、大変なのは
良い脚本に辿り着く事だ
really the hardest part about making an independent movie or any movie is having a good script
12 南ルイジアナの少女の父が「死」へ…
そして世界が「終わり」に向かう話よ
The story is a little girl in South Louisiana and her dad starts to die and the world starts to end
13 彼女は世界が終わる前に家族をつくらなくてはならない And she has to build a family before everything in her world starts to slip away
14 ただし幸せにならなくては行けないルールなの And they charge into it with great joy
15 そう! Yeah (laughter)
16 毎回、一つは突飛な脚本があるけど
この『Beasts of the Southern Wild』がそれだ
Theres always one script that is very daunting and Beasts of the Southern Wild, thats the one
17 世界観が想像力に富んでいて、鮮明だ
(クリストファー・マッカリー – アドバイザー)
The world that it is set in, its so imaginative and so vivid
18 僕は理論的に考えるタイプだから
彼らへの助言は僕にとっても挑戦で…
and I tend to be very logical and very linear so the challenge is to come into it provide any sort of help without saying
19 「意味がわかんないよ」なんて言っちゃダメだ
(脚本 – 『The Usual Suspects』 オスカー受賞)
None of this makes any sense and you have to fix all of that
20 結婚する方法がテーマで、それを神秘的かつ
現実もからめて表現したい
Im trying to find a way to marry, wanting to do these huge mythic stories with essentially with just real people in them
21 提案だけど、大惨事とかをいったん外した状態で
人物のストーリーだけ見てみよう
My suggestion will be to take all of the disaster and all of the catastrophe out of the script and look at the story of the people and
22 コネチカットで夏に起こった
日常的なストーリーとして想像しよう
imagine the story was happening in Connecticut in the middle of the summer
23 脇役ですら別の映画の主人公になれるほどの
キャラクターが必要で
Even minor characters have to be able to walk out of this movie and into their own movie
24 その映画の内容も見えてないと and I have to know what that movie is
25 あまり考えずに書いてしまう事がある Theres always those things that you cheated on and when an actor takes a look at it and they have to be this person
26 でも俳優はそれを見て役になる
27 行動を理解し、すべてを把握する they are gonna explain to themselves, everything that their character does
28 例えばエディーも全てを考えてた you know, Eddie had thought through every single thing that he does
29 僕が意図しなかったことすら理解している stuff that I hadn’t really thought about why the character did
30 キャラクターの行動に彼なりの考えが固まっていた he had thought about what he did it and it can’t just because I say so
31 全てのキャラクターはそれぞれの哲学を持ってるわ Each character has his or her own dynamic,
32 それがページに描かれてないと because for me if thats not on the page,
33 俳優はまず脚本を読むわ actors can come in and read whatever you’ve written
34 そこから分析を始める But for them, to have chops with that material
35 リズムや、話し方、原動力の持ち方
(脚本家『Nashville』『Acorn People』
ゴールデングローブ賞ノミネート)
that rhythm or that way of speaking or that engine thats running that character
36 脚本にそれが書かれてないと it needs to be on the page
37 良く自分の映画の最初の20ページくらいを書き換える
(ジョン・ゲイティンズ – アドバイザー)
I tend to overwrite descriptive passages in the beginning twenty pages of my movie maybe less
38 立ち戻る必要を感じるからだ because I always find it as like the *inquil that I go back to
39 だから主人公、キャラクター、ト書きを書くときには so when I’m describing my hero, character my lead, any of them
40 いつも見直して、リセットする I can always go back and re-read those couple of lines which kind of re-centers me and says
41 そして「それが彼だ!これがあるべき姿だ!」と Right, that who he is, thats who we are, thats where we are, this is where we’re going
42 子犬はおどけてて、子供っぽい hushpuppy’s character is so hight and so raw,
43 そして父親を救いたいという葛藤がある and has a great deal of complexity behind her wanting to save her father
44 それが子犬の原動力なら If thats what motivates hushpuppy,
45 父親との関係性は、最初からわかってる that would suddenly determine the nature of the relationship with the father in the beginning of the movie
46 最後に明らかにするものではない in order for that to resonate at the end
47 ストーリーやシーンには
「始まり」「途中」「終わり」がある
Every story has a beginning middle and an end
48 Every scene kind of has beginning middle and an end
49 たまにシーンの途中から見せられて
「始まり」を見られ無かったりする
and sometimes you don’t, we won’t see the begging and its like we come into a scene in the middle
50 僕は「終わり」を知らない、辿り着かない If I don’t know how it ends, I’ll never get there
51 よくモルター・マウズレーから引用する
(脚本家 『Lengeds of the Fall』)
I always quote Malter Mously who at one of these meetings said
52 「終わりが分からないなら、本書きの何が面白いんだ?」 “Well whats the fun of writing if you don’t know how its gonna end”
53 書き直しは好き、嫌いって言う人が理解できない I love re-writing, I can’t understand the people who complain about rewriting
54 何も無いところから書くより、全然簡単じゃない I mean rewriting is so much easier than writing for the first time!
55 最初に世界を創造するまでが一番大変だわ The work thats hard for me, the initial creation of the universe is done,
56 そこができれば、いくら書き換えようが
いつでも原点に戻れる
once you have that, no matter how much you change it no matter how much you go away from it you always have that to come back to
57 書きたくないものを書けとは絶対に言わないよ I would never tell you to write something you don’t wanna write
58 ただし、怖くて目を背けていたものを見てほしい I would urge you, to push to explore anything your afraid to explore
59 まずは書き直しに際して… So as far as the next stage of the rewrite
60 今回、キャラクターの関係性について学んだ事を生かしてみるわ its really working towards those, what we learned about the relationships I think is the biggest things
61 それが一番の発見だったわ or one of the biggest things thats gonna come away from this
62 この映画を好きになってもらいたい We want everybody to love this movie
63 私たちが好きだからよ
-そうだ
Because we do. Yeah because we do
64 後半を今日中にちょうだい? For today can I have the second half
65 ああ、前編を燃やすよ!
-最初に5ページはあなたのよ
Yeah I want the, I’ll burn the first
-the first five pages are yours
66 次は、家に帰ってプリプロダクションだ Next is to go home and to just jump into preproduction
67 一週間寝るよ a week sleeping
68 脚本に戻るよ its gonna be jumping back into writing

Sundance Institute Directors Lab 6: The Editing Room – Japanese Subtitle

サンダンス・ディレクターズ・ラボ第六回。
撮影したシーンの編集について。

# Japanese English
1 presents Sundance Institute Directors Lab Series
2 Watch until August 31 in The Youtube Screening Room
3 youtube.com/screeningroom
4 <スノーモービルを降り、アプナは鞄を持った> They dismount the snowmobile and Apuna grabs his book bag
5 ミク「ニュースよ」 Miqu says: I’ve got some news
6 「どうしたんだ?」 You okay?
7 「ベティよ」 It’s Betty
8 「赤ちゃんができたかも」 might be having a baby
9 「どうする?」 What are you gonna do?
10 「まずは住むところだ、大変になるぞ」 man we could get a place together think on how dope that would be
11 「オレとお前、ベティと息子でスタジオに入るのか」 You, me, Betty and my son put in a sound studio or something,
12 「神様、ちょっとは休ませてくれよ」 God gives me chills just thinking on it
13 サンダンス・ディレクターズ・ラボ
第6話:編集室
SUNDANCE
DIRECTORS LAB SERIES
EPISODE 6: THE EDITING ROOM
14 僕の映画は『オン・ジ・アイス』 My film is called “On the Ice”
15 殺人を犯して逃亡するアラスカの10代のイヌイットの話
(アンドリュー・マクレーン – 参加者)
and its a story of two Inuit teenagers in beryl Alaska who try to get away with murder (Andrew MacLean -Lab Fellow “On the Ice”)
16 「なにするんだ?」 What the hell are you doing?
17 「助けてもらいたい」 You gotta help me out
18 わたしにとって最高の監督は、編集室を把握している人
(スージー・エルミガー – アドバイザー)
For me, the best filmmakers are the ones who really understand what goes on in an editing room (Suzy Elmiger -Creative Advisor)
19 アルトマンもそうだった、アルトマンとの仕事は… and of course Altmen, if I started with Altmen I mean that was kind of like
20 「これも編集してくれ、後で見に来る」 he would say, Well put it together and I’ll come and see it
21 電話すると、彼が来て I’d call him, he’d come in and he’d say
22 「あーヒドい、この流れはバカバカしくて嫌いだ」 “Oh look at that line, thats a stupid line I don’t like that line”
23 「ここは良いけど、無くしていい」 But Albert its a good line. I don’t care get rid of it
24 柔軟さがあって、自分が撮ったシーンを
把握してて自由に使えるの
I mean there was this very very flexible fluid sense that what you had shot or what was on the page
25 神経質じゃない just didn’t matter any more
26 わかってない監督が多いけど、それも楽しいわ directors didn’t understand that and thats the most fun for me
27 良い映画にしてあげたくなるから and I feel like that gives you the best film!
28 ここで切ったらどう?意見を聞かせて tell me if you think really into cut it underneath though
29 「おれのせいじゃない!」 “It wasn’t my fault!”
30 「一体なにごとだ!?」 “What the hell happened!”
31 「殺そうとしてきた、見ただろ?」 “He was trying to kill me, you saw it”
32 「殴ってるところだけだ」 All I saw was him beating on you
33 「狂ってる…」
(ナット・サンダース – 編集)
Well he was crazy (Nat Sanders -Editor “On the Ice”)
34 「チクショウ、死んでるのか?」 Shit, are you sure he’s dead?
35 このシーンだね you have a scene.
36 ええ Yeah
37 大事な場面だ Its a pretty big one
38 頑張りどころで…もっとカットが必要です Its challenging. Its definitely gonna need more cut
39 多分、この映画で一番重要なシーンだと思う
当然、頑張らなくてはならない
this is probably the biggest scene of the movie. So of course its challenging, yeah
40 今のところはどうですか? What do you think of like the performances
41 説得力はあるけれど、もっと必要なのは… I think they are believable most of the time but we’ll see when you are trying to create those
42 その奥にある感情、事情、思惑とかだ underlying emotions, things, thoughts,
43 これが現実だったらもっと感じるはずだ If they are there because thats whats something for me
44 そこが課題なんです And may be thats what you are looking for
45 そうです、そこを求めているんです Yeah thats what we are looking for. Definitely.
46 編集で映像をいじるのは大仕事だ
(キース・ゴードン – アドバイザー)
maintaining for a shot is always challenging when you are editing (Keith Gordon -Creative Advisor)
47 世界にのめり込みつつ、新鮮な目で見る事も忘れてはならない and you have to really work at it and you try to walk in and look at this as if you’ ve never seen this before (Director “Waking the Dead” Independent Spirit Award nominee)
48 よく自分に言い聞かせることでもある
(監督作『Waking the Dead』
インディペンデントスピリット賞ノミネート)
I often will be literal minded and say that to myself
49 これは、やればやるほど良くなる作業なんだ I mean its something that I think you get better at as you do it more
50 このショットだけ見るとどうだ?
(編集2日目)
What happens if you go on a * shot (Editing Day2)
51 ケツに火がついてる状況だが crisis in the asshole
52 彼がしゃべり出したら
その背景を忘れて、今だけを見るんだ
you stay out for a while and see what happens in the scene
53 when he starts talking about this other shit
54 これは、撮ってきた映像のリアリティを集めて
あらゆる手段でつなげる作業だ
This is really about just trying to penetrate the reality of the material that they’ve written and try to help them in any way possible
55 できるだけまっすぐ、効果的に make it as honest and as effective as they can
56 これはスポーツのトレーニングみたいだ… its just like putting us in this sort of gymnastics that we have to jump into
57 ベストを尽くして撮ってきたカット達だ you get the best performance as you can out of what you work with when you shoot this
58 満足じゃないものもあるかもしれない its still gonna be cut and stuff its gonna be the same performances your not pleased with its still gonna be the same aspects of the film that is different from what you thought they were
59 でもそれは、自分の映画に求めてなかった別の一面なんだ
60 だから、ここで取捨選択をするのは良い事だ and so its a good experience to make those kind of decisions
61 そして、これは主人公の人生なのよ and also to remember its his story.
62 私の目標は、彼らに自分の声に注意深くなってもらうこと
(ジョアン・テウケスベリー – アドバイザー)
My goal for all of them is to help them really be secure about their own voice (Joan Tewkesbury -Creative Advisor)
63 ここでのアドバイスは良いけど、所詮私たちのアドバイスなの I mean what often happens up here is they get a great deal of really good advice but its our advice
64 だから常に「あなたの直感は?」と問いただすわ so what i keep trying to get them back to is What is your instinct?
65 「このストーリーをあなたの直感で説明して」
(脚本/監督『Thieves Like Us』
ゴールデングローブ賞ノミネート)
What is your first instinct about this particular story that your are telling today (Screenwriter/Director “Thieves Like Us” Golden Globe nominee)
66 昨日ラフを見せてアドバイザーに言われたのは… one of the main things that the advisors were pushing me to do after taking a rough cut at it yesterday
67 会話を減らせってこと was to really strip down dialogs
68 台詞じゃなくて、ト書きで説明した方が良いという結論になった ended up trying to communicate a lot more of what was happening in the scene through sub-texts rather than using the texts that was written
69 その方向でやったら、映画が生き生きとした and so once we shifted it to that direction, then it really came alive a lot more
70 ストーリーの原点や、真実は?って良く聞かれるの
(ベン・ツァイトリンとルーシー・アリバール – 参加者)
They always ask us what the genesis of what the story is and whats the truth of the story (Behn Zeitlin & Lucy Alibar -Lab Fellows “Beasts of the Southern Wild”)
71 その答えは変遷して小さく、シンプルになったわ and we find our answer keeps changing in ways getting smaller and smaller and more simpler
72 つづく To be continued …