Heath和Michelle的斷背山Q&A - 李安

之前emily1973版友提到的Q&A 補充一些資料如下：

今年2月10日Backstage West在好萊塢舉辦Heath＆Michelle與現場觀眾的「斷背山Q＆A」。
其中一位幸運的粉絲做了現場獨家直擊報導：

原文網址：
http://0rz.net/3a13X

這裡有圖：
http://0rz.net/e4142

以下僅節錄兩位演員談到電影幕後相關花絮作翻譯
（需要自備可魯和墨鏡的描述就不譯了：p）：

-- Heath talked about how Annie Proulx wrote such a beautiful story and
they all really wanted to work to do it justice. Michelle agreed. They
each read the short story after they had read the script. They also agreed
that the work Larry McMurtry and Diana Ossana did with the script was just
incredible.

Heath談到Annie Proulx 是如何寫出如此美麗的故事，以及演員們都很希望能忠於原著。
Michelle也同意Heath說法。他們都在看完劇本後找原著來讀。他們也同意Larry McMurtry
和Diana Ossana 劇本的處理實在太棒了。

-- Originally, Heath was asked to do the Jack Twist role. Upon reading
the script, he felt Ennis픠pain more and felt that he could connect with the
tragedy that was that character. Also, because of his own fears and anxieties
and contrary inclinations, he felt he could give more to Ennis in his portrayal,
that it was a gift he was able and keen to give in that performance. He
could've played Jack, but he would've felt he was "playing the character only."팊With Ennis, he just intuitively sensed he could be him. He also talked about
the aging in the film, and how he approached playing that. He said, "often
there's not much difference between 19 and 40 in a man"팠so he worked on the
physical aspects, by throwing in a slight bit of a more arthritic movement as
he got older and also tonally, lowering his voice and getting more gruff as
the years passed.

原本Heath被要求擔任Jack Twist的角色。但是他讀劇本時，覺得更能體會Ennis的痛苦，
而且可以感受到是這個角色造就了這場悲劇。而且他認為自己的恐懼、焦慮和矛盾心
態，反而讓他能更能深入詮釋Ennis的角色，這個優勢讓他能夠而且渴望將這些心情融
入演出。Heath原本可以演Jack的角色，但是他認為到時他會有一種「只是在角色扮演」
的感覺。對於Ennis，他就是直覺地預感自己可以化身成Ennis。他也談到電影裡年紀漸
長的處理以及他是如何揣摩。他說「通常男性19歲時和40歲時相比不大有明顯的
變化。」所以他著力在體態表現，當Ennis變老時，做出有點強調罹患關節炎的動作，
另外在聲調上壓低聲音，而且隨著歲月流逝更粗啞。

-- Michelle expanded upon her quote in NEWSWEEK about how she
"wanted to be like water"팠when she approached playing Alma. She said
she wanted the stillness and fluidity of water, the same element that yields
and flows back from a wall also can carve a place for itself over time,
like in the Grand Canyon. She saw Alma that way, starting from her gentle
spirit at the beginning of her marriage toward a harder, creeping up strength
of forceful feeling at the end.

Michelle解釋她在Newsweek文中談到詮釋Alma時為何「希望有如水般」。她說她想要
達到水的沈靜性與流動性，水從井中湧出和回流是同樣道理，水也能日積月累為自己
雕刻出一塊地方，像大峽谷（Grand Canyon）即是如此。她以這樣的觀點看待Alma的
角色，從新婚時期的溫順性格到最後變成一種更強硬、逐漸漲大的強烈情緒。

-- What was it like to work with Ang Lee as a director?: 2 elements Heath
touched upon, 1) during pre-production, Ang does his research and all the
discussion of character and plot and film strategy. It is this phase that he
"talks a lot." 2) during filming, he left the actors on their own and provided
minimal direction, often leaving them "lonely" (as Michelle wryly stated and
Heath laughed, agreeing). Heath speculated that this was probably a director
manipulation that was effective, leaving the actors to their own devices, and
in the absence of too much encouragement, forced them to push themselves
even harder to perform better.

和李安導演合作的情況如何？Heath談了兩個要點：1. 在電影前製期，李安作了研究
以及角色、劇情與拍攝計畫的所有討論。這個階段他「話很多」。2. 在拍攝期間，
他讓演員獨立發揮，給予極少的指導，常常讓演員們處於「孤單」的狀態（當Michelle
幽默地敘述時，Heath大笑表同意）Heath觀察到這可能是導演的安排，很有效，引導
演員用自己的方法演出，在沒有過多鼓勵的情況下，強迫演員更加督促自己演得更好。

Heath had two great anecdotes.
Heath說了兩個大八卦。

1) Once, they were filming at 4am and it was the scene early on where he
and Jake were talking about their lives by the bonfire and Ennis says
something derogatory about the rodeo life and Jack gets up and starts
whooping and hollering like a rodeo clown. Afterwards, Heath went to
Ang, feeling insecure about his performance and needing validation,
and asked him, "Did I do that okay? Was it enough? Did you get what
you needed? Was it okay?"팠And Ang just smiled then looked all around
and up at the sky and said, "Good light!"

1. 有一次他們在早上4點拍攝，場景是發生在電影前段，他和Jake在營火前談論他們
的生活，然後Ennis說了些輕蔑牛仔競技的話，然後Jack起身開始大喊大叫，活像牛仔
競技裡的小丑。拍完後，Heath跑去找李安，覺得對自己的表演沒信心，需要導演認可，
於是問李安：「我這樣做OK嗎？夠了嗎？你有拍到你要的嗎？這樣OK嗎？」李安只是
微笑，環顧四周然後抬頭看天空說：「打光不錯！」

2) During one scene, Jake wasn't available because he had to be elsewhere
for a production meeting for an upcoming film (or it might have been a
reshoot and Jake was already filming elsewhere), so Ang had to be a stand-in
for Jake. It was a love scene in a truck and they put Ang in a padded shirt
and kept his hat pulled over his eyes and "I don't think his feet even reached the
pedals!" Heath laughingly said. When they asked how he could keep a straight
face while filming that scene, Heath replied, "I couldn't! Which is why the
scene didn't make the movie!팊
2. 有一幕Jake沒辦法到場，因為他得去參加另一部電影的製作會議（或是去重拍鏡頭）。
所以李安必須當Jake的替身。這是一場在卡車裡的愛情戲，他們讓李安穿上格子衫，
然後帽子整個蓋住眼睛。「我不認為他的腳勾得到踏板！」Heath笑著說。當他們被問到
在拍那場戲時，Heath是怎麼保持正經的表情，希斯回答：「我做不到！這就是為什麼
那場戲沒在電影裡！」

-- The kitchen scene when Ennis and Alma face off was actually filmed out of
sequence near the beginning of the shoot. Michelle was asked how she was
able to keep the arc of her character growth in this movie when things were
being shot out of sequence, because as a stage actress, character development
is much more linear. Michelle said the greatest thing about the stage was that
you're right there and the development of the character arc is something you
follow the flow of, seamless, with the energy and exchange of a live audience.
In a film, you have to keep that arc all in your head and pull the parts of it
that are necessary for the sequence that demands it. It's a different medium
altogether, but she enjoys the challenge of it.

廚房那場Ennis和Alma兩人對峙的戲，其實在電影開拍初期就拍了，沒有按照劇情順序
拍攝。Michelle被問到像本片這樣拍攝不按劇情順序時，她如何持續強化她角色的張力，
因為舞台劇的演出（譯註：Michelle之前參與過舞台劇），角色醞釀比較按順序進行。
Michelle說舞台劇最棒的地方是你就站在舞台上，角色張力的醞釀有點像是隨著現場
觀眾展現的能量與相互交流，無限擴展。電影的話，你必須將那種張力全部存放在
腦中，然後根據劇情需要釋放出一點點。這兩者是不同的媒介，但是她喜歡這種挑戰。

Heath added to this by explaining a technical aspect of the kitchen scene.
He said he was so impressed by what he called "an Ang technique"팊of filmmaking. During the scene in the kitchen, they are each standing still.
But Ang used four cameras to film the reaction shot, shooting over both
left and right shoulders, and then editing the scene together so when you
get to that scene, even though the two actors are "static" you still get a sense
of movement, almost of an excruciating 360-degree angling of emotion and
reaction. It's very tight, very subtle, and Heath was in awe, saying he had
never seen that done before. Usually those types of tight close-ups are done
over two shoulders - the right or left of both actors to go back-and-forth.
With the four angles, it was more a feeling of circling.

Heath補充說明，解釋廚房那場戲的技術層面。他說讓他印象非常深刻的，是他所謂
『李安式技巧』。在廚房的那一幕，他們兩人都是站著不動。但是李安動用了四台
攝影機拍攝臉部特寫鏡頭，分別從兩人的左肩和右肩拍攝，然後將場景剪輯成一段，
因此當你看到那場戲，即使兩位演員是「靜態的」，你仍然有動態的感覺，幾乎是
極近360度角度的情感與特寫移動。這是非常緊貼，非常精巧的，而且Heath敬畏地說，
他從來沒見過這樣的拍攝手法。通常緊貼的特寫是從兩個肩膀的角度拍攝而成---
從兩位演員的左肩或右肩來回取鏡。李安用四種角度拍攝，造成近似旋轉的感覺。

Heath was asked who did the reading for him on the other side of the
telephone line during the phone booth scene near the end. He said he
felt bad because when he did his scene, every time he picked up the phone,
it was Anne Hathaway reading him the lines, from her apartment back
in NYC. But when it came time to film her side, filming had wrapped and
Heath was already in Venice filming CASANOVA and never received a call
asking him to do that for Anne (he said he "totally would have!"). But he said
when he saw the film, he realized she gave almost the exact kind of
multi-layered, slightly suspicious reading and he was grateful for her
generosity as a person and actress to have done that for him. He wished
he could have done the same for her.

Heath被問到在近結尾電話亭那一幕，是誰幫他在話筒另一端唸台詞。他說他當時
感覺很差，因為當他演這場戲時，每次接起電話，都是Anne Hathaway在紐約家中
為他唸對白。等到要拍攝Anne的鏡頭時，Heath早就完成他的戲份，人已經在
威尼斯拍攝CASANOVA，也沒接到電話問他要不要幫Anne唸對白（他說「他絕對會唸！」）
。但是他說當他看到電影時，才了解到Anne唸台詞時多層次，帶點猜疑的演出
和劇中幾乎一樣。他很感激Anne本人和身為演員對他的慷慨付出。他希望他也能同樣
回報她。


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若有誤譯處請指正~

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