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:
https://www.amazon.co.jp/dp/B0897KGDMW/ref=cm_sw_em_r_mt_dp_p7dCFb4B6Y78P
#從不一漾 #小田切讓
#TheySayNothingStaysTheSame #JoeOdagiri
#ある船頭の話
同時也有19部Youtube影片,追蹤數超過3,670的網紅J.T.至僖,也在其Youtube影片中提到,底妝永遠是我化妝的第一件事 也是化妝最重要的三件事之一 今天就要從頭跟大家分享底妝的所有觀念 然後教大家如何用最有效率的方式畫出 超細緻的偽素顏底妝~ 00:00 底妝到底有多種要 00:59 完整底妝七步驟 01:52 畫底妝真的只要兩個工具 03:25 妝前保濕這樣用 04:09 潤色、控油、...
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從不一漾 在 Christopher Doyle 杜可風 Facebook 的最佳貼文
[出走地平線:和田惠美]
Flattening The Curve: Emi Wada
服裝造型設計師和田惠美在我們合作《第一爐香》之前,已參與製作近三十部電影作品。
她因工作一絲不苟而聞名。
很多經過她設計的戲服,不論用名貴布匹、復古或漂染布來造,都能在螢幕上產生很大的共鳴。
《英雄》是我們第一部合作的作品,之後便是小田切讓的《從不一漾》。和田惠美雖已介八十三歲高齡,依然煙不離手,對自己的布料在我燈光之下產生的效果,非常小心翼翼。
但有一天,我們的工作有點停滯不前。
我們還需要很長時間才能完成這一幕戲。
現場下着大雨,不斷干擾着拍攝,令進度非常落後。
我有點不耐煩,甚至發了脾氣。
惠美遞給我一瓶啤酒,拍一拍我肩膊說:「放鬆點,Chris!」
「怎可以呢….還有那麼多未拍」我說。
「忍耐點,我們一定拍完這一幕,或許不是今天而已」她安慰着我。
「已經延誤了很多,肯定會超資,你不覺得困擾嗎?」我問。
「延誤了誰的時間?」她說「神明不會賣帳的…放鬆點,專注點就是了」她又吸一口煙。
「黑澤明教曉我忍耐,還記得合作的時候,曾經為等一個好天色而等上幾日,也試過…等足足一個月。現在等一兩句鐘,又算得上甚麼?」
Costume Designer Emi has made around 30 films by the time we worked on “Love After Love”.
She is famously meticulous.
Many of the costumes in her films she has formed from valuable and ancient cloth or dyed to colours that resonate on screen.
“Hero” was our first film together, followed by Joe Odagiri’s “They Say Nothing Stays the same” and now here she is at 83 years of age, chain smoking and attentive to every detail to how her fabrics respond to my light.
One day we are stuck.
We have a long scene to complete today.
The rain comes and goes disrupting our shoot. We are falling behind.
I am getting impatient. Angry even.
Emi brings me beer. She lays a hand on my shoulder “Relax, Chris!”
“How can I, we have so much to do” I respond.
“Be patient. We will get the scene. But maybe not today” she re-assures me.
“We are falling behind schedule. And over budget. Doesn’t that bother you?” I ask.
“Behind whose schedule?” she continues: “The Gods won’t sell out… relax and keep focused.” she takes a drag on her cigarette.
“Kurosawa taught me patience. We would wait days for the right sky. Once we...waited one whole month. What’s an hour or two on this film?”
#和田惠美 #黑澤明 #從不一漾 #小田切讓
#EmiWada #AkiraKurosawa #TheySayNothingStaysTheSame #JoeOdagri
#ある船頭の話
從不一漾 在 Christopher Doyle 杜可風 Facebook 的最佳貼文
[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
從不一漾 在 J.T.至僖 Youtube 的最讚貼文
底妝永遠是我化妝的第一件事
也是化妝最重要的三件事之一
今天就要從頭跟大家分享底妝的所有觀念
然後教大家如何用最有效率的方式畫出
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從不一漾 在 沛莉 Peri Story Youtube 的精選貼文
收到許多網友問上妝後要怎樣補防曬?脫妝浮粉該怎麼辦?今天分享我自己的多年化妝經驗,搭配愛用的產品~當然,好用的產品不少,大家可以先用手邊現有的試試唷!重點在方法,每個膚況不同,不一定要跟我用一樣的😊
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從不一漾 在 Kevin老師的時尚美妝頻道 Youtube 的精選貼文
#韓劇仿妝 #單眼皮必看
看我神還原 #梨泰院CLASS 女主角 #趙以瑞!
從造型到妝容,關鍵重點是這個👉4:20
下面留言想看哪部韓劇仿妝?
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