[出走地平線:一指向北]
Flattening The Curve : Thumbs North
電影籌備的一環是四出找外景,希望找到視覺澄明,同時合乎劇本描寫的事物的需要。
然而很多時我們早上找到的地方,卻是劇本註明黃昏時分的地點; 中午抵埗,要拍的卻是日出。
自然光會給這空間怎樣的框框,怎樣的外觀?陰影會落在哪裏?演員該往哪兒走、該坐哪裏受光,才合乎該場景的感覺?
因為太陽從東方升起,從西方落下,最簡單而基本的,就是不如索性坐南面北,作一些有所本的決定,然後拜託老天千萬別下雨了。
In preparation for a film, we scout locations to find spaces that are visually lucid, and still logistically appropriate to the events the script suggests.
But much of the time we might see a place in the morning that in the script is supposed to be shot at dusk. Or we might arrive at noon for a scene that should be lit by the rising sun.
How will the natural light frame the space and define its surfaces? Where will the shadows fall? Which direction should the actors be walking or where should they sit to catch the light we feel is right for this or that scene?
Since we believe the sun will rise in the East and set in the West, the easiest way to make some basic choices is to point North, make some informed decisions, and then hope it doesn’t rain!
攝於香港大澳,為《白色女孩》堪景(2016)
Photo was taken in location scouting trip in Tai O, Hong Kong for “White Girl ” (2016)
#白色女孩 #白海 #小田切讓 #攝影 #堪景
#TheWhiteGirl #JennySuen #JoeOdagiri #cinematography #locationscouting
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船家十市乘載村民出城,他一直無親無故,載人渡河成了他生命的依歸。但河流上游正興建一座橋,不久之後,沒有人再需要他和他的船。
電影基本上只有三位主要角色,和一個場景:靠在河邊的木屋。河流是十市的生命,它在夏季時的流水特別湍急,水從山上的溶雪而來,對我們拍攝增添危險和難度。然而變化是這部電影的主題,隨季節造成的河流和地貎變化,是整齣戲的核心和要帶出的感覺。
導演小田切讓一直叫我慢慢拍,讓影像說話,他不想拍得太「花巧」。他不停跟我說「拍得像傳統風景畫一樣便好」,不斷着我往後退,讓構圖盡可能地寬闊。我常跟他說笑「如果觀眾用手提電話看這齣戲,恐怕看不到主角,他們在畫面上太微小了。」
我們在夏天開拍。第一日,劇組便有三人因為在空曠而又接近40度高温下工作而中暑,但我們也持續拍了好幾星期。之後到一月,我們再回來拍攝,當時的温度已下降至零下20度,寒風刺骨,漫天飛雪。
所有藝術都是摯誠之作,它的展現應是不多不少,恰如其分。它是自然而然生成的結果。電影最終有這效果,完全因為河流的形態:當你尊重它、從它身上學習,天氣、山脈和變幻無常的天空自然交織成作品今天的模樣。你只要忍耐,退一步欣賞。大自然為我成就了這作品一大部分。
Boatman Toichi ferries passengers across the river that separates the villagers from the town. He lives alone and this is the only life he has known. But upstream a bridge is being built, so soon no one will need him or his boat anymore.
There are basically only three characters in the film. There is basically only one set:the boatman’s hut by the river. The river is Toichi’s life. The river runs very fast in summer, watered by the mountains melting snow. So it was very dangerous and difficult to film. Since change is the main theme showing the seasons and the river and landscape at different times of day was basic to our story and the feel of the film.
Director Joe Odagiri kept telling me to slow down. To let the image talk, he didn’t want any “film tricks”. “ Make it look like a traditional landscape scroll “ he kept saying. And he would always ask me to pull back, to make the frame as wide as possible. I often joked “ people watching this on their phone would even see the characters, they are so small on the screen “.
We start in Summer. First day three of my crew had heat stroke working in this vast open space under the 40-something degrees Celsius. We worked for a few weeks like this, then came back in January, for the minus 20 °C windy winter and the snow.
All art has to be true to itself. It has to be no more or less than what it is about. It has to be what it will be. This film is the way it is because the river is the way it is: you have to respect it and learn from it. And this film looks the way it does because of the climate, the mountains, the changing sky. You have to be patient, to step back to appreciate. In this film, nature did most of my work for me.
影片來源Video:《從不一漾》 “They Say Nothing Stays The Same”(2018)
購買影片請前往/Buy DVD at:
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#從不一漾 #小田切讓
#TheySayNothingStaysTheSame #JoeOdagiri
#ある船頭の話
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[出走地平線:年齡歧視]
Flattening the Curve: Ageism
很多時,我在片場是最年老的一個。
但在電影《從不一漾》中,柄本明(Akira Emoto)才是年紀最大,他比我還大三歲。
他在片中有一幕戲,要從水底拯救遇溺的年輕女演員。
我們在一個奧運會標準泳池內拍攝這場戲。時夕冬天,池水又沒有加熱,看上去像沒人在意這位演員的死活。
當然,現場有潛水員待命,也有救生圏備用。即使我三歲已懂游水,也不其然很緊張。
我完全感受到柄本明的焦慮,他的心情都寫在面上。
他要游到三米以下,在女孩身邊游一圏,再把她帶上水面。完成整個過程將會是創舉。
但柄本明是專業演員。我相信在他漫長的演藝生涯,面對無數挑戰,都會抱持相同的堅忍態度:他熟讀劇本,把自己融於故事當中,在答應參演角色的那一刻,便願意接受角色帶來的任何挑戰。
他躍進水裏,我們開機拍攝。他又再跳一次,在水底逗留更長的時間,我們不斷地捕捉這一幕。但我實在很擔心,不斷拍攝那麼多次,柄本明的體力能否真的支持得住。
慶幸六次左右,我們順利拍完這一幕。當柄本明離開泳池,他立時衝往浴室淋熱水。我大聲鼓掌,又向他大叫「ganbatte (加油)﹗」,此時我才發現,只有我在拍掌:全場都沒有人稱讚Akira的勇敢表現。想起來,我的反應實在太不像日本人。整支攝製隊已忙碌地設下一幕景。
演員之路,從來都是孤獨的道路。
Usually I am the oldest person on set.
In this film “They Say Nothing Stays The Same”, Akira Emoto is. He is three years older than me.
He has an extend underwater sequence where he saves the young leading actress from drowning.
We set up the scene in an Olympic swimming pool. It was winter and the pool wasn’t heated and it seemed no one had checked with the actor if he could actually survive or not.
Of course there were safety divers and life-rings and such. Even though I have been swimming since I was three, I was nervous.
I could totally feel his anxiety. You could read it on his face.
He had to go down three meters and swim around the girl and then bring her up to the surface. It was no mean feat.
But Akira-san is a professional. I am sure in his long career, he has faced similar challenges with the same stoic attitude: he had read the script and his was in the script, so by agreeing to the role, he had also agreed to meet this challenge.
He jumped. We shot. He jumped again. He stayed under longer this time. We were getting the scene. Though I was worried if we took too many takes he would be too exhausted to go on.
Luckily after six takes or so we were done. He got out of the water and rushed off to a hot bath. I clapped and shouted a “Ganbatte” but then I realized I was the only one clapping: no one else was celebrating Akira-san’s brave effort. Very un-Japanese, I thought. The crew were all too busy setting up the next scene.
An actor’s journey is such a lonely road.
攝於拍攝《從不一漾》(2018)
Photo was taken in shooting “They Say Nothing Stays The Same” (2018)
#柄本明 #從不一漾 #小田切讓
#AkiraEmoto #TheySayNothingStaysTheSame #JoeOdagiri
#ある船頭の話
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