Sundance Institute Directors Lab 4: Visual Style – Japanese Subtitle

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 …