Sundance Institute Directors Lab 3: Working with the Actor – Japanese Subtitle

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”)