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 …