サンダンス・ディレクターズ・ラボ第四回。
フレームに収めるべき映像について。
| # | Japanese | English |
|---|---|---|
| 1 | 29年間にわたって7月に… | Every June for 29 years |
| 2 | 映像作家が世界中から集まる | Fim makers from around the world gathered in one special place |
| 3 | 2009年は3000を超える脚本の応募から | Over 3,000 scripts were submitted in 2009 |
| 4 | 8人のフィルムメーカーが選ばれた | 8 filmmakers were chosen |
| 5 | 彼らは何を学ぶのか | Watch what they learned |
| 6 | <ポルフィリオは彼女の腿を掴むとスカートの中に手を伸ばした> | Porfitio grabs hold of her inner thigh and moves his hand up her skirt |
| 7 | 「ココじゃいや！」 | Stop it, not here |
| 8 | <ヴィッキーはヒールを投げつけると服を正した> | Vicky throws a heel at Porfirio as she straightens her clothes |
| 9 | <ポルフィリオは無反応だ> | Porfirio doesn’t respond. |
| 10 | サンダンス・ディレクターズ・ラボ 第４話：視覚 |
SUNDANCE DIRECTORS LAB SERIES EPISODE 4:VISUAL STYLE |
| 11 | ポルフィリオは車椅子に乗るコロンビア人の話だ | Porfirio is a story a Columbian story about a man in a wheel chair whose |
| 12 | 年金生活で、息子は都会へ出ていった | waiting for his pension and takes his son to the capital city |
| 13 | 年金生活に耐えられず、大統領に直談判する （アレハンドロ・ランデス – 参加者） |
after he is tired of waiting for his pension to speak to the president (Alejandro Landes -Lab Fellow “Porfirio”) |
| 14 | そして飛行機をハイジャックする | and he high-jacks a plane |
| 15 | 外から業界を見ると… | most of the people in the outside world think, |
| 16 | 監督と言えば、おじさん達を引き連れてくるイメージだ （カレブ・デシャネル） |
they think a director,somebody comes in and orders people around (Caleb Deschanel -Creative Advisor) |
| 17 | だが、僕が仕事をした偉大な監督達は 少し頼り無さげだ |
but most of the great directors I work with are people kind of a little bit wishy washy |
| 18 | そんなに自信が無くて、よく心変わりする | or not sure of themselves and changes their minds and all this |
| 19 | 素晴らしいのは、自分のアイディアを持った人が現れ | its great to see people come in with a real idea of how they are gonna make their movies |
| 20 | 心変わりをして行くのを見守ることだ （カメラマン『The Natural』 ５度のオスカーノミネート） |
and then its great to see them change their minds (Cinematographer “The Natural” Five-time Oscar Nominee) |
| 21 | 他のアイディアを手に入れて | and come up with other ideas |
| 22 | 自分の欲しいもののアイディアが明確にあるんだ | I think I have a very clear idea of what I want |
| 23 | 落ち入るのは、やっぱりこれじゃないみたいな感覚だ | and now the trick is trying not to be me or not to do what I want in the sense that |
| 24 | 僕は作業するために来た訳じゃない | I didn’t come here to just execute something I thought about before |
| 25 | もちろん、脚本も、絵コンテも持ってきたけど | I have colour pads, I have story boards I have all these things kind of written out but a |
| 26 | それらを忘れて何が起こるかを見てみたい | I hope to be able to leave that aside and see what happens. |
| 27 | 型決めのリハーサル | Blocking Rehearsal |
| 28 | 車椅子の人物のストーリーだ （アラン・ヤコブセン – カメラマン） |
He’s telling a story of his character who is in a wheel chair (Alan Jacobsen -Cinematographer “Porfirio”) |
| 29 | 僕たちには無い制限がある人だ | and this guy is bound in a way that a lot of us don’t ever experience |
| 30 | アレハンドロはその抑圧感を題材にしたいんじゃないかな | So I think Alejandro is interested in communicating the sense of containment |
| 31 | だから、見渡しが良くない低いアングルを一緒に考えた | So he was talking about using a wide low frame that didn’t always include every thing |
| 32 | これは大胆な挑戦だ | Its something that is very bold |
| 33 | これは主役を説明するだけのショットだ （アドバイザー、キース・ゴードンとのミーティング） |
Those are just the subjective shots that I had (Meeting with advisor, Keith Gordon) |
| 34 | この角にいてほしい -ああ |
so you could just hover in the corner -right. |
| 35 | そしてココに焦点をあてる | ** |
| 36 | そうしたら、写らずに済む -そうだね |
so we’ve never actually seen it -no, we don’t |
| 37 | 主役がわかりやすい撮り方が無いかな？ | is there a way to use these shots so that we understand that its subjective |
| 38 | 二つやり方があって… | you could do two versions and keep going even from here… |
| 39 | 視覚的に彼の目線からの世界を表現しようとつとめた | Im trying to create this world visually framing and setting up the shots exactly as he would see the world |
| 40 | アドバイザーにおかしいと言われる事もあった | and I know some of the advisors really thought that was crazy and I shouldn’t do that |
| 41 | たいていの監督は、尊敬する監督のアングルを求めてる （キース・ゴードン – アドバイザー） |
I think most of ***’s are visual styles are formed by film makers that we admire (Keith Gordon -Creative Advisor) |
| 42 | 感動した映像の影響を受けてる | so you’ve been influence by images that speak to you |
| 43 | 僕グリートの絵が大好きなんだ | You know, Renaimate Greet is my favourite painter (Director “The Singing Detective” Independent Spirit Award nominee) |
| 44 | だからそういった絵の構成に落ち入りがちだ （監督作『The Singing Detective』 インディペンデントスピリット賞ノミネート） |
and so I tend to be drawn to images that are often very sort of formalizing and that has something very off about them |
| 45 | だから、型にはまった事をやることで 自分の型にはまらないようにする |
But now sometimes I do things very conventional at times also intentionally is the way of off settings the things that are less conventional |
| 46 | アレハンドロもそこに気をつけるべきだ 全部が同じように風変わりじゃない方が良い |
I think thats one of the things that Alejandro needs to keep an eye on because I think if everything has the same oddness to it, |
| 47 | 風変わりに始まるが、くどくなる | it starts being odd, it starts just becoming repetitive |
| 48 | ラインを飛び越えて、二つのカメラで後ろから （マイケル・テイラー – 編集とのミーティング） |
and then we jump the line two shots in the back, (Meeting with Michael Taylor -Editor “Porfirio”) |
| 49 | あと… -照明 |
under these uh.. -these lights. |
| 50 | そう、照明だ、ここにある光で… | under these lights, yeah under those lights sources that we saw here |
| 51 | こんな感じ | something of this sort |
| 52 | 独自の視覚効果を狙いたいんだね | you seem to be defiding your own visual style |
| 53 | 視覚だけじゃなくて、アクションで見せても | its always not about the shots obviously, you’ve got these actors here |
| 54 | 俳優もいるんだし、いろんな手段で | you get to work with them, try different things out |
| 55 | いろんな手段でこのシーンは撮れると思う | you know you can try these scenes five or six different ways, |
| 56 | 環境はシーンごとに違うしね | in a way that you can’t always do on a movie set |
| 57 | テイク６、いい？ | Take 6. Ready? |
| 58 | カメラよし | camera is set |
| 59 | 挑戦するごとに成長する、「どうしたらいいんだ？」って時にね （ロジャー・ストファーズ – アドバイザー） |
I know that I thrive when I’m challenging, when I really think “how the hell am I gonna do this” (Rogier Stoffers -Creative Advisor) |
| 60 | 突然、扉が開いて、自由に発想し出すんだ （カメラマン『Quills』『Disturbia』） |
then suddenly I make the best work well if its, the canvas is open and I can do whatever I want (Cinematographer “Quills”, “Disturbia”) |
| 61 | ただし、難しすぎる事に挑戦しない方がいい | Some how its not as good as when I’m really challenging to do something thats really difficult |
| 62 | 死のバランスがわかる監督が最高だ | if you have dead* balance with the director that is great |
| 63 | 忠実な役者目線から抜け出して、発展させる事が出来はじめた | and we’ve since evolved past the point of being a literal POV, we are starting to understand that he can expand that and that can become more of a mind POV |
| 64 | 彼の世界は、彼の視界以外からも表現できると気付いた | I also realized that you wanna see his world and not necessarily see through his eyes |
| 65 | だから僕のショットはいくつか除外した | So some of the images that I shot could be for example could be a little alienating |
| 66 | ストーリーから気が逸れるからだ | because it could take you away from the story |
| 67 | 見てる人の気持ちや、視点を盛り込むと… | and I think that was something I got out of it and how sometimes your idea |
| 68 | ストーリーが伝わり出した | or what you set shots up can get in between the story |
| 69 | ずっと僕の頭の中にあった構想が、形になるのは最高の経験だ | I mean it was very very exciting to see the images that have been in my head for so long that I’ve been living with for the past years so |
| 70 | 強くお勧めするよ | I highly recommend this experience |
| 71 | 初めての脚本で、初めての監督なの （ザリー・エル・ホサイニ – 参加者） |
Its the first picture that I’ve written and the first picture that I’m directing (Zally El Hosaini -Lab Fellow “My Brother the Devil”) |
| 72 | つづく | To be continued … |