サンダンスの映画教室、第三回。
「俳優との仕事」について。
| # | Japanese | English |
|---|---|---|
| 1 | <セバスチャンがゆっくり現れる> | Sebastian slowly emerges. |
| 2 | <美しい布をまとい、茶色のバスローブをはおり 頭にタオルを巻いている> |
He’s dressed in a fitted draped sheet and a brown bathrobe with a towel wrapped around his head. |
| 3 | <綿であつらえた白髪まじりのヒゲをたくわえている> | An elaborate mass of salt-and-pepper facial hair made from cottonballs hangs off his face. |
| 4 | <ダイアンは彼を見てショックを受ける> | Dian looks at him in utter shock. DIANE.. |
| 5 | 「どういうこと？」 セバスチャン「オサマ・ビン・ラディンだ」 |
What is this? Sebastian – Osama bin Ladin. |
| 6 | サンダンス・ディレクターズ・ラボ 第３話：俳優との仕事 |
SUNDANCE DIRECTORS LAB SERIES EPISODE 3 : WORKING WITH THE ACTOR |
| 7 | 僕の作品名は『オール・フォール・ダウン』 | The name of my project is “All Fall Down”, and it is set |
| 8 | 911直後のカリフォルニアの田舎町が舞台だ （ジョナサン・ワイソキ – 参加者） |
in a small southern californian suburban town right after the 911, october 2001 (Jonathan Wysocki -Lab Fellow “All Fall Down”) |
| 9 | 崩壊した家庭で、9歳の息子がハロウィーンで オサマ・ビン・ラディンになりたいという |
and its about a dysfunctional family whose nine year old son wants to be osama bin ladin for halloween. |
| 10 | ブラックコメディだ | Its a dark comedy |
| 11 | サンダンス・ラボは俳優が創設したから… （マイケル・レーマン） |
The sundance lab was created by an actor and so its always been fundamentally about (Michael Lehmann -Creative Advisor) |
| 12 | 監督と俳優との仕事には重点が置かれる （『レザボア・ドッグス』） |
working with actors for the directors its so important when you block a scene |
| 13 | 脚本に「机に座って」と書かれていたとする （『ヘザース』監督 インディペンデント・スピリット賞） |
I mean aside from the fact that the scene says they are sitting in the table, its like (Director “Heathers” Independent Spirit Award Winner) |
| 14 | それが俳優にとって理解できる行動として シーンを作る必要がある |
no, you know you block a scene, you have to block a scene in a way that makes sense for what the actors are doing. |
| 15 | 試写室=> リハーサル会場=> デリ=> |
SCREENING ROOM=> REHEARSAL HALL => DELI => <= TICKET OFFICE |
| 16 | 「顧客は君をサポートしてる」 「違う」 |
“I think those customers were trying to protect you” “no” |
| 17 | ||
| 18 | 「店ごとつぶして私を守るの？」 （リハーサル） |
“So they tried to save me by trashing the whole store” (Blocking Rehearsal with Connie Britton, James LeGros, Gattlin Griffith, et al) |
| 19 | 「すまない」 「何が？」 |
“I’m sorry” “what?” |
| 20 | 俳優との仕事は僕にとっての本番だ | This is what its all about for me is working with actors. |
| 21 | 監督をしながら、新しい手法を発見して行きたい | I basically want to make sure that I find a new pattern for myself when I’m directing |
| 22 | ママについたウソがどんどん大きくなってしまった事は？ | “Have you ever told a lie that just gets bigger and bigger and bigger? anything that you’ve said to your mom or..” |
| 23 | ある | “Yeah” |
| 24 | そうだね？ | “Yeah,” |
| 25 | ママにばれちゃったときに、ヤバいと思っただろ？ | “did it feel like it was gonna get pretty bad when she found out yeah?” |
| 26 | ここはそう言う感じだよ | “So thats kind of what this is” |
| 27 | いつも教えられてきたのは、個性を引き出すには… | I was always taught that this personalization stuff is supposed to be where you actually |
| 28 | 母親や身近な題材におきかえたりして説明する事だけど… | project that the person is your mother or something or however that is and its not that you see your mother |
| 29 | それは、俳優の中にある感情を 記憶の中から引き出すためなんだ |
its the act of trying to retrieve that memory that actually creates the emotion in the actor |
| 30 | オーディションの段階から俳優との仕事は始まってるわ | Even starting the audition process, I’m always working with the actor, (Catherine Hardwicke -Creative Advisor) |
| 31 | ロボットに読ませてるような静かなオーディションじゃないわ | usually I’m never doing those statistic auditions where you know a robot reads with you |
| 32 | そのシーンを本当に演じてもらって、監督して アドバイスしたりカメラも使ったり… |
I usually act out the scenes I get directions I try stuff and Im filming and getting in there advising with the cameras and stuff (Directo “Twilight”, “Thirteen”) |
| 33 | 関係をすでに構築して行くの | so that we’re already developing some kind of a relationship |
| 34 | （静かに！撮影中） アクション！ |
Quiet Please! Shooting in Progress Action! |
| 35 | 「セバスチャン、トイレで誰と会ったんだ？」 | “Sebastian.. who did you really see in the bathroom?” |
| 36 | このシーンで俳優はみんな、自分の立ち位置を 把握して良い演技をするために必要な質問をしていく |
Every single actor in this scene is going to ask certain questions and needs to know certain things in order to orient themselves and give a good performance |
| 37 | 僕は自分に問いかける、彼らの身になった時 どういう状況なのか |
and I ask myself, what are those things. let me understand that. let me put myself in their heads |
| 38 | 何よりも優先する | before I do anything else. |
| 39 | 「本当の事を言って！」 | “Come on, just tell the truth” |
| 40 | 「楽に考えていいんだ」 | “Its okay, just relax” |
| 41 | 監督に耳打ちされるのは素晴らしいことよ （アルフレ・ウッドワード） |
Its great when a director just comes and says something in your ear (Alfre Woodard -Creative Advisor) |
| 42 | 水中に突き落とされる感じよ | that completely shoves you off your board and into the water. |
| 43 | 悩まなくなるわ （俳優『Desperate Housewives』 ４度のエミー賞） |
that one thing that stops you thinking (Actor “Desperate Housewives” Four time Emmy Award winner) |
| 44 | シーンの構造や、流れとか… | about the structure of the scene, how its gonna go and the flow |
| 45 | まだ彼女を愛してる状態だから、より危機的になる | “Don’t forget that you still love her. Those things mean more in a crisis situation” |
| 46 | 重要なのは、監督自身が少しでも演じた経験があるかどうか （エド・ハリス） |
One of the other things that is very important is the directors who have acted and have had some kind of acting experience (Ed Harris -Creative Advisor) |
| 47 | １回の授業でもいい | whether its just a class or two |
| 48 | 演じる事の基本と、必要なものがわかる | they understand what it takes on a daily basis to play a character and whats called for |
| 49 | そして彼らに意志を伝える話し方ができるようになる （監督/俳優『Pollock』『Appaloosa』 ４回のオスカーノミネート） |
and able to talk with you in a way that you feel they understand your need (Actor/Director “Pollock”, “Appaloosa” Four time Oscar nominee) |
| 50 | 「女性は自由を謳歌できないのかしら」 | wonder women doesnt need a cape to fly |
| 51 | 「見えない飛行機を持ってる」 | she has an invisible plane |
| 52 | カット | Cut! |
| 53 | 素晴らしい！ | Great! |
| 54 | 「みんなにヒドい事言われる」 | “Everyone will be mad at me” |
| 55 | 「言われるのはお母さんなの！」 | “No they won’t! they’ll blame mom!” |
| 56 | 君は、さっきのシーンで６人の俳優と一緒にたくさんの瞬間を 慎重に作らなければならなかったけど |
The experience you’ve had in your previous scene and coming into this where you do have six actors and a lot of moments in the scene that you need to weigh in certain ways |
| 57 | すごく上手にやったと思う | I thought you handled it very very very well. |
| 58 | ありがとう | Thank you |
| 59 | 俳優との関係も素晴らしい 信頼されてたし、君との仕事が好きそうだ |
and you were very good with your actors the whole way. I mean they trusted you and they really liked working with you |
| 60 | そして彼らも良い仕事をした 映画製作の神髄の部分だよ |
and they would give a lot for you. which is fundamentally the essential part of making a movie |
| 61 | 最後の日には総括仕事をした | and I mean at the end of the day what I ended up doing was sort of mixing |
| 62 | 最初にジョアンとやったことを思い出したり | some of my old stuff with Joans stuff like it was kind of a combo (Meeting with Joan Darling) |
| 63 | 俳優に響いてもらうために、どういう手段が有効かを学ぶべきだ | I guess you have to learn what the actor actually responds to in a way to know which tools are gonna work best for them |
| 64 | 僕の脚本では飛行機のハイジャック犯が登場する （アレハンドロ・ランデス – 参加者） |
In my script theres a man who high jacks a plane. (Alejandro Landes -Lab Fellow “Porfirio”) |