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楼主: wmx1

【资料】2006《我是生化人,没关系吧》(郑智薰/林秀晶)

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 楼主| 发表于 2006-4-20 11:00 | 显示全部楼层
最终兵器彼女这片偶买了好久了,听说是很感人的人和机器人之恋,我还一直没有看,现在可以拿出来看看了.

另外,wwrain亲提到的三个名字除了崔民植和李英爱,中间那个是宋康昊,他几乎在朴导的每部片子中都出现,据说朴导的下一部片<蝙蝠>也是要找宋康昊主演.

[ 本帖最后由 wmx1 于 2006-4-20 11:04 编辑 ]

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 楼主| 发表于 2006-4-20 19:10 | 显示全部楼层

                               
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Source:JYP(cfkro)
**轉貼自www.rainhk.com**

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发表于 2006-4-20 21:02 | 显示全部楼层
再翻译一小段,   想说孩子的故事
问:陷入超现实主义的故事,是不是因为想脱离一般的故事?
是的
问:以前所有的场面是导演的理由及论理的体现,这次虽然无视现实性,但也会体现导演脑海中的理由及论理,观众会不会看不懂?
不仅是我,演员也是通过行动,语言来体现论理。精神分裂的世界就是如此。思想上自己的行动都是有理由的,脑海里虽然有一个世界和体系,但它不是现实的基础,在一般人看来就是病态的。比如,有人认为自己是只老鼠,那么那个人的行动在他的世界里就是正确的。 一个道理,影片看起来很诡异,很过分,但在我们看来,我们这么做是有理由的。虽然我想脱离现实性,但自由奔放,自动技术性(자동기술적: 不知翻译的对不对)的手法和我是不相符的,我对此也没有兴趣。

待续


翻了半天, 有一些词已经把我自己都搞糊涂了, 亲们能看懂吗?

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 楼主| 发表于 2006-4-21 11:19 | 显示全部楼层
Rain在最近接受采访时對自己正在拍攝的《電子人也無所謂》(導演朴贊郁)表示了信心。他說﹕“我將展現出過去不曾表露過的新面貌。我在電視劇《這該死的愛》演的是沉重的角色﹐但這次不一樣。因為內容像童話﹐父母和孩子可以一起觀看影片。這將成為表達溫暖和希望的作品。”

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 楼主| 发表于 2006-4-22 15:46 | 显示全部楼层
转自百度rain吧

【韩云消息】一个RAIN消息  
刚刚看到在BENAMOO(韩国网站)的RAIN消息~
在20号,  
为了吃饭,他出现了在BUSAN一个猪肉汤餐厅..
&朴导演 & 林秀晶 & 另一个演员..^-^
也许..拍电影中来到了吃饭.

老板说...
他..个子很高, 还有非常非常善良, 很帅..^-^
而且...他留了签名在那个餐厅的壁...^-^

我也要去看那个签名....  

周末愉快!!  

PS : 你们可以看到我附加的照片吗?  
     是,,, RAIN吃过的那个菜~ 叫'돼지국밥猪肉汤' ^-^



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发表于 2006-4-22 18:24 | 显示全部楼层
스크린 첫도전 비, 바가지머리로 '촌티' 변신

새 영화 '사이보그지만 괜찮아'(제작 모호필름)에 임수정과 함께 주연으로 캐스팅돼 스크린 데뷔를 앞둔 비는 촬영을 위해 스타일리시한 패션을 과감히 포기했다.

정신병원을 배경으로 한 이번 작품에서 비는 자신의 존재가 사라질까 두려워하는 증세를 겪고있는 환자 일순 역을 맡았다. 배경과 캐릭터의 특성상 영화 속 비의 패션은 아무런 장식이 달리지 않는 하얀색 환자복.

특히 비는 가지런하게 자른 앞머리가 포인트가 된 새로운 머리스타일을 선보이며 완벽한 이미지 변신에 박차를 더하고 있다. 이마를 반쯤 덮을 정도로 동그랗게 자른 앞머리는 우스꽝스럽기도 하지만 뭔가 정상에서 어긋나 있는 일순의 캐릭터를 설명하기 위한 것이라는 후문이다.

가수로 활동할 때나 드라마 '이 죽일놈의 사랑' 등에서 연기를 펼칠 때는 물론 평소에도 과감하고 센스 있는 패션감각으로 화제를 모은 비이기에 이 같은 변신이 더욱 눈길을 모으고 있다.

题目: 银幕初挑战“雨” 瓢头土气变身
大概翻译一下:在朴赞郁导演的新片《赛恋》中和林秀晶出演主角的首次登上大银幕的雨为了角色的需要,果断地抛弃了以前的样子。
在以精神病院为背景的这次作品中,雨扮演一位有害怕自身消失的症状的患者一顺。因为是背景和个性都很独特的电影, 雨的服饰是不带任何装饰品的白色患者服。
特别是雨把前额的头发剪的很齐,这成了新发型的关键, 完成了完美的转型。把前额遮挡住一半,剪成圆形,看起来很滑稽,但也说明了不在正常状态的一顺的角色。

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 楼主| 发表于 2006-4-23 20:20 | 显示全部楼层
新一轮相似图图又来了

                               
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发表于 2006-4-27 21:13 | 显示全部楼层
2006.04.27韩云消息:RAIN参加赛博格之恋女作家婚礼


今天是“赛恋”作家结婚的日子。(女作家)
有韩云有幸参加了婚礼。在走廊的时候看见智薰走进来,边走边打电话,突然转弯走向卫生间,背影太棒了, 象韩云形容的:体格比以前更好了, 肩膀可不是开玩笑的,肩宽腰细,PP翘翘,曲线优美。 从卫生间出来,就去乘电梯, 戴着在KBS特辑里出现过的白帽子,墨镜。
进礼堂后,智薰先找到“赛恋”工作人员的桌子,吃了一些东西

到了唱歌的顺序,先是新郎方代表唱歌,唱完后,司仪开始介绍:“现在是新娘方的代表献歌,我介绍一下电影演员郑智薰, 啊, 歌手雨是不是更有名气一些?” 瞬间,礼堂里欢声一片,智薰走向新郎新娘。 韩云吓了一跳,因为这时大部分来宾中不管是小姐还是女士,都拿着相机跑到前面去了。。

在近处看智薰的感觉非常好,开唱前他笑眯眯的看着新娘,(杀人的微笑) 他在MR的伴奏下唱了I DO, 但在韩云看来, 错了好多歌词, 当然不是云的人有可能听不出来。 智薰边唱边对着新娘微笑。 唱歌的时候,司仪大声说: 大家请看一下新郎新娘, 不要再往那边(智薰那边)看, 全场大笑。。很多女士说:我们不看新郎新娘。。哈哈 。。智薰成了焦点,他的魅力太大了。。
唱完歌,智薰笑着说贺词,声音很甜美。。
祝完词,智薰就走出礼堂, 顿时秩序大乱,大部分女来宾都跟着跑了出去。
当时的情况太好笑了, 礼堂了笑声一片。 智薰有去吃了一些东西,后来朴导演来了,2个人交谈了一会儿,15分钟后就走了。。
有一位男来宾的话: “听到了吗? 你听到歌了吗? 现在雨就在我面前, 哇。。 他太帅了。。”
全篇结束。

翻译: wwrain
转自RAIN吧

[ 本帖最后由 eerr 于 2006-4-28 08:27 编辑 ]

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 楼主| 发表于 2006-5-3 17:09 | 显示全部楼层

                               
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from 'cine 21'
Source:FanRain

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 楼主| 发表于 2006-5-4 09:37 | 显示全部楼层
[3-May-06] 雨 “和朴贊郁導演的首部電影表示感謝”

被美國時事週刊雜誌”TIME” 選為”世界最有影響力的100人”的雨,提到自己的首部電影作品,不禁對執導該片的朴贊郁導演充滿了信賴和期待感。

現在在釜山忙於拍攝電影 “我是人工機械人沒關係吧?!”的雨,最近接受明星新聞的專訪時表示“首部電影作品就能演出朴贊郁導演的作品,覺得非常的感覺!”充分的顯示出對朴導演的期待感。

問到雨有關首次電影的敏感問題,雨表示“電影拍攝非常的有趣。看著在前線指揮的朴贊郁導演,感覺到是一部比任何電影都還要有趣的一部作品,第一次進軍大螢幕就能和朴贊郁導演合作,非常的感謝。”

雨2003年因演出電視劇“尚杜上學去”而開始成為表演者,直到去年演出了電視劇“這該死的愛”,這中間累積了許多的演技實力,在許多的電影邀約中,雨選擇了朴贊郁導演的作品作為自己的首部電影處女作。

另外,雨也對來到釜山攝影現場,給他支持力量的亞洲各國的中年女性歌迷們表示感謝之意。

在釜山攝影現場感受到媽媽們給予的力量,媽媽歌迷們(中年女性歌迷)買了很多的食物。一天是日本歌迷,一天是台灣歌迷,還有中國歌迷、香港歌迷們,準備了很多的食物,這樣下去好像會變胖,必須要做更多的運動!(笑)

“我是人工機械人沒關係吧?!”是一部描述Rain和相信自己是一位人工機械人的女生(林秀晶)在精神病院相遇了,並展開一段羅曼蒂克的愛情喜劇。在片中,RAIN所飾演的是一位認為可以偷取別人的特性,精神世界獨特的青年。

雨將在6月7日在日本發行第二張單曲“Free Way”,國內的第四張專輯則預計將在9月份左右發行,年底開始亞洲巡迴,並計劃明年下半年在美國發行音樂專輯。

韓元順(김원겸)記者 報導


韓翻中 by EunHye
Source:http://blog.daum.net/somi219

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发表于 2006-5-6 10:16 | 显示全部楼层
(2006.05.06/東方日報)

Rain 戀上再造人
06/05/2006


Rain 在 朴 贊 郁 執 導 的 愛 情 喜 劇 片 《 我 是 再 造 人 , 沒 關 係 吧 ! 》 中 , 跟 女 主 角 林 秀 晶 在 精 神 病 院 邂 逅 , 二 人 飾 演 的 精 神 病 患 者 造 型 終 於 首 度 曝 光 。

正 在 釜 山 拍 攝 電 影 《 我 是 再 造 人 , 沒 關 係 吧 ! 》 的 Rain , 在 片 中 飾 演 妄 想 自 己 可 以 盜 取 他 人 靈 魂 的 精 神 病 患 者 , 他 跟 一 直 妄 想 自 己 是 再 造 人 的 林 秀 晶 在 精 神 病 院 邂 逅 , 並 展 開 一 段 奇 趣 戀 情 。 兩 位 主 角 扮 演 的 精 神 病 人 造 型 終 於 曝 光 , 身 穿 白 袍 的 林 秀 晶 配 以 一 頭 蓬 鬆 短 髮 , 神 情 有 點 呆 滯 ; Rain 則 以 一 身 杏 色 工 人 服 打 扮 登 場 , 並 低  頭 與 其 他 裝 扮 怪 異 的 精 神 病 患 者 並 列 。 此 片 已 於 三 月 底 開 拍
, 暫 安 排 於 十 二 月 上 映 。


附  韓雲惡攪圖


                               
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[ 本帖最后由 eerr 于 2006-5-6 10:19 编辑 ]

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发表于 2006-5-6 14:22 | 显示全部楼层
from soompi

May 05, 2006 Cine21

[2006 K-FILM PREVIEWS] Park Chan-Wook's 사이보그지만 괜찮아 (I'm a Cyborg, But That's Ok)


                               
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1403, London. The year the Bethlem Royal Hospital started accepting what were called 'lunatics', becoming the first ever full-fledged mental institution. Better known as Bedlam, which has become synonymous with mental institutions, especially in negative terms, the insane treatment of people considered insane led to centuries of painful(ly slow) development, passing from the T-4 Euthanasia project of Nazi Germany to the Soviet Union's obliteration of dissidents through those virtual prisons called mental hospitals. The first mental institutions were like trashcans for society, removing all the 'bad apples' and letting them rot away, as if they were criminals, separating them from the rest. Although development has finally come, most civilized nations don't use those places for political reasons anymore, and centuries of research made them better places for their patients, there's still a stigma in Cinema about mental institutions, often treating them like prisons where not only the patients are lunatics, but sometimes even the people supposed to help them follow that path. But the real issue here is... what's mental illness and schizophrenia to begin with? Is it really something we can pinpoint with clarity? Films often show those conditions from the outside, but very few bring us inside the world created by those 'lunatics'. As David Rosehhan's 1972 work On Being Sane in Insane Places, or Shin Ha-Gyun's character in Jang Joon-Hwan's 지구를 지켜라! (Save The Green Planet) show, the concept of schizophrenia is often very unreliable, and most definitely subjective. What, for example, if someone thought they were.... a cyborg?

Cyborgs, half organic half mechanical creatures, a term born in the 60s thanks to Nathan S. Kline, but one of the staples of science-fiction ever since the early 20th century, with Jean De La Hire's L'Homme qui Peut Vivre dans L'Eau (The Man Who Could Live in Water) introducing the concept of cyborgs in literature. From Asimov's The Bicentennial Man to good ole guvna Ah-Nold and his Terminator escapades, from the cyberpunk masterpieces of Oshii Mamoru to the Borg in the Star Trek franchise. Film, TV, novels, manga, videogames, all media are catapulting us into the world of cyborgs, but Park Chan-Wook's new film 사이보그지만 괜찮아 (I'm a Cyborg, But That's OK) will be a little different, as always with Maestro Park. We're yes dealing with a young woman (Young-Goon, played by Im Soo-Jung) who believes she's a cyborg, but this is not science-fiction, it's merely a sort of gimmick to get to the point. That loving someone is about understanding their personality, entering what they call their own reality. Only difference is there's a touch of what people call schizophrenia itself, and Il-Soon (singer Rain) will have to put up with a woman who thinks she's a cyborg, not a fashion addict or a couch potato watching TV Dramas all day. It's the same thing, right? Give or take a few screws.

You could suspect Park would go in this direction after that disarmingly affecting finale in 친절한 금자씨 (Sympathy For Lady Vengeance). Back when I reviewed the film, I wrote it might have marked a turning point for Park's career, and at least at first sight this seems to be the beginning of that turning point: no more vengeance, he's now a happy man. He wants to make a film everyone can watch, children and adults alike. A film without murders, gore, sex, violence, a film about... love? But before images of matinee Disney Channel films come to mind, keep in mind this is Park Chan-Wook we're talking about. 3인조 (Trio) was 'just' a crazy road movie about an hypocritical conman, a third rate thug and a nun running away, 공동경비구역 JSA (Joint Security Area) was 'just' a drama about brothers divided by propaganda, and the trilogy of vengeance, especially in the mind of certain critics, was just an evolution of the fanboy's thirst for violence and gore, right? Yes, I'm a Cyborg is 'just' a romantic comedy, but it would be criminally dumb to think Park will just go all Kwak Jae-Yong on us. After Park's latest muse Kang Hye-Jung dropped out of the project, Park ended up picking the next best choice, Im Soo-Jung of 장화, 홍련 (A Tale of Two Sisters), who's improving at such a rapid pace it's quite intimidating. Yet, the key issue here is the casting of Pan-Asian (and now worldwide, according to Time Magazine and its latest Top 100 list) star Rain, who had acting experience on TV but never on film, although he was poised to debut in Yang Yoon-Ho's 바람의 파이터 (Fighter in the Wind), before he dropped out and passed the ball to Yang Dong-Geun.

Some people are worried this will be a star vehicle, something which will mean for Park what 외출 (April Snow) meant for Hur Jin-Ho, submitting to the image of its stars, unable to find its own identity. But then again people were criticizing his casting choices ever since Joint Security Area, when he picked 'untested' belle Lee Young-Ae and the eternal box office black list No. 1 Lee Byung-Heon for what looked to be a much too meaty thriller about the North/South divide. If I learned anything after watching a bit over a decade of Park's work is to trust him. Trust him that he'll make something meaningful out of this romcom with big stars. Because he earned it. Now in its 6th day of shooting (45 total), I'm a Cyborg, But That's OK is still far away from its December release, but Maestro Park took time to answer some of Cine21's pressing questions about his latest work. Here's some highlights:

So how did the concept of the film develop?
Park: I don't really read too many manga, but by chance two of the works I liked the most were 銃夢 (Battle Angel Alita) and 最終兵器彼女 (Saikano). What they have in common is telling the story of a cyborg girl, so I always wanted to try and make a film following that kind of concept. But because it's something that costs a lot and interests many people, there were people saying James Cameron was interested in doing something along the lines of Battle Angel Alita. So my film wouldn't have felt unique, it would have cost a lot, and because of the many action scenes could have been really uncomfortable to shoot, that's why I decided to focus on something else. But then something came to mind, the idea of focusing on a mental institution, and telling the story of people believing in being cyborgs, so we decided to go for this. I guess my films tend to strip themselves from reality more and more as the years pass, they carry a theater-like and surrealist image. So a film going inside the fantasy world of those patients, ignoring reality and focusing on the connection between their belief of being cyborgs vis-a-vis the mental institution setting, all that combined, became our major emphasis for this film. I also wanted to work with younger actors. I mean, I worked with people like Choi Min-Shik, Song Kang-Ho, Lee Young-Ae... it was about time I'd try something with 'kids', isn't it? If Lee Young-Ae reads this she might feel a little disappointed, though. But most importantly, I had the desire to make something on a smaller scale. You know, going digital, shooting in one location only, being frugal for once. You can shoot films that way too.

Every scene you shot in previous films had its own logic and reason to be there from the director's POV, even if it was stripped of realism, and this time it feels no different. But one thing, won't the viewers just see it as being too extravagant and laugh it off?
Park: Not just me, but both actions and words uttered by the actors carry their own logic and reason. It's just like being schizophrenic, after all, your actions have a certain logic, inside your world that is. Their mind focuses on a clear logic inside their own 'world', but since reality is not something you can establish a constituency for, to the eyes of 'normal' people their action become a pathological issue, something abnormal. So if a person think he's a rat, his actions match that line of thought. Yes, it might be extravagant and eccentric, but we know everything in the film happens for a reason. Now matter how much I try to distance myself from realism, I'm not really interested in doing things liberally, as they come to mind, and I don't think it even fits me.

You tend to continue focusing on films stripped from reality, as you say.
Park: 박쥐 (Evil Live) has a very strong fantasy element too, so it looks like this trend will continue. I keep losing interest in 'feasible' stories, but more than a sudden change it was a gradual one.

It feels like you're trying to put emphasis on the fact it's not a SF but a romantic comedy.
Park: It's a romantic comedy, sort of. From now my films will always follow that motto... sort of. You know, a 'sort of horror film', a 'sort of SF'... feels better talking about them that way.

Isn't this the first time you work within the romcom genre?
Park: That's right. I planned to give a very strong romantic personality to 박쥐 (Evil Live), but after shooting the Trilogy of Vengeance I just wanted to make something a little more comfortable, you know? Don't know about any other reason.

Is it a happy ending?
Park: Well... sort of? (laughs)

Be it the mental institution setting, or the fact it's a film about lunacy, the director's point of view comes across very strongly. Both the classic One Flew Over the Cuckoo’s Nest and K-Pax with Kevin Spacey show that.
Park: I haven't seen the latter, but I've heard it very realistically portrays the symptoms establishing between doctors and patients. When I decided the setting would be a mental institution, my first principle was trying not to depict the mental hospital as a depressing place. People working in those places don't act in an uncivilized manner, and are very devoted people, sacrificing themselves to help others. But films depict those places as prisons, and show they only deal with patients with electric shock therapies and other similar ways, which is clearly not the truth. More than trying to be realistic, they're making a sort of allegory. This film, on the contrary, doesn't make the mental institution a metaphor for society and its system, it just depicts the hospital as a cheerful, comfortable place showing consideration for its patients. It's just that since patients live in their own fantasy world that's difficult to comprehend for the paramedics helping them, they tend not to understand them and leave them in peace. But there's no such thing as harming them for that reason. Why is it a love story of some sorts, then? Because the two leads UNDERSTAND each other's world, and they believe in it. It's not through treatment that they come to acknowledge that world and make it their own, but it's because they love each other that they can do it. That's the power and the miracle something like love can do. It's a story about a mental institution yes, but it also becomes a story about showing consideration for others. And entering the other's 'world' is one of the ways you can show that love for them.

It feels like just the idea of working with young actors in a surrealist setting is what made working on this film fun for you in itself.
Park: Before this film I'd focus a lot of time and effort on making the best possible storyboards, and then just follow those. But this time there's no such thing. I started writing them on a piece of paper a few days ago, and some of them don't even have pictures, most of the time I end up fixing them on the spot. It's a little different from my idea of having fun, you know? In the past, since we had the storyboards, once the shooting started I wouldn't have much to do honestly. But this time I need to focus on the film all the time, so it's not really comfortable. We're shooting in a very open, natural way. Since I'm working with very young actors, it feels like I'm acting in accordance with their spirit.

Rain's management were the first to say they wanted to work with you.
Park: Before the script was completed, when I was considering the possibility to do a 'kids flick', I was in the middle of sound mixing for Lady Vengeance, around its press screening. I just thought... why not? I've always worked with well-trained (through theater, Dramas or other films) actors with an established career and a strong personality, so this time I wanted to try the opposite. Working with someone who was just starting with films, you know? Be it non-professional acting, that sense of lacking smoothness, I thought it was worth trying once.

When 친절한 금자씨 (Sympathy For Lady Vengeance) started shooting, you said the film would show a new, interesting side of Lee Young-Ae. And this one, for Rain?
Park: He won't look cool, which in a way is different from the impression he gives you through his persona. His clothes are spacious and he never strips. I know the female staff members were a little disappointed about that, but since he's a patient in the film, I can't really do much about that. Since it's a film for children, there are no sexually-related connotations in the film. Really, I worry they'll rate it 12 and Over.

How About Im Soo-Jung?
Park: She hasn't done many humorous roles in the past, she'd usually play gloomy characters with a lot of apprehension. So, personally, I had no interest in casting her because of the image she carried, that'd be no fun. The things she does in this film... let's call them cute. She's even very courageous, as she believes strongly in her purpose in life, I guess this will be a chance to show another side of Im Soo-Jung's personality.

So why does the woman think she's a cyborg, and why does the man fear extinction?
Park: There really isn't a scene or a line of dialogue giving you those answers, but since women often live purposeless lives, they tend to reflect about what's their role in society and feel sorry about their situation, asking themselves why they were born in the first place. So at the end of this period of reflection, when they finally find that purpose they were looking for, a sense of hope, a burning drive emerges inside them. Doesn't every machine have its application? That's the key, becoming useful. Compared to that, the men in the film seem to be there for no particular reason, you might just become interested in the reason why male patients end up like that, but when everything is revealed at the end you can't help but understand them. Traditionally there has always been a connection with their mothers, and their lack of loving care and attention which drove them away from home.

Looks like this will be your brightest film to date. If 친절한 금자씨 (Sympathy For Lady Vengeance) had a baroque-like atmosphere, how about this film?
Park: A fairy tale? Lady Vengeance might have had certain fairy tale-like elements, but they're even stronger here. Then again, there were many people who said they couldn't understand the film reading the script. Even the actors needed my explanation to sign the contract, but after hearing it they all liked the story. So since I started shooting with some worries in my mind, now that people say they understand, I guess that made it a little better.

What's the part of the film you needed to explain the most?
Park: The parts dealing with whether Young-Goon is a Cyborg or not. I mean, look at 지구를 지켜라! (Save The Green Planet), and whether Baek Yoon-Shik was a real alien or not. But more importantly there were people asking me why I was doing this kind of film, what kind of interest I could have in something like this.


                               
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[ 本帖最后由 jinlees 于 2006-5-6 14:25 编辑 ]

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发表于 2006-5-7 16:16 | 显示全部楼层
部份的英文翻譯內容,之前 wwrain親已翻譯ㄌ~
簡單說說沒翻譯到的部份~

朴導說以往在影史中的電影,精神病院往往被描繪成一個沮喪的地方,
在那裡的工作的人是未文明的舉止,精神病院形同監獄,而精神病院被暗喻著社會或制度。
但這部電影中的精神病院是被描繪成一個愉悅、舒適、對病人表現關懷的地方。
只不過因為病人是活在自己的幻想中,看護們很難去理解而去幫助他們,
所以傾向於不去理解他們,而留他們安詳地在自己的世界。


兩位男女主角的愛情,在於兩人能互相"了解"彼此的世界,而且他們相信彼此的世界。
這不是經由治療而去承認那樣的世界和自己製造那樣的世界,
而是因為他們愛著彼此,所以他們能做到,是因為"愛"的力量和奇蹟所以能達成。
這是一部關於精神病院的電影,但同時也是一個關於"對別人表示關懷"的故事。
進入"對方的世界",也是一種方法去表達對對方的愛。

[ 本帖最后由 layido 于 2006-5-9 19:45 编辑 ]

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发表于 2006-5-7 16:42 | 显示全部楼层
朴導說,
以往他拍攝的電影,因為先前他總是先想好最好和最可能性的分鏡表,
然後他只要跟著分鏡表作業即可,一旦電影開拍,老實說他沒什麼太多事要做。
但這部電影並不是這樣的,他幾天前開始寫,甚至有些沒有圖像,大部份他最後是當場修飾的。
這次電影他必需時時專注,那並不是一件非常舒適的事,也有點不同於他所認知的有趣。
這部電影拍攝是以一種開放與自然的方式,而又因為是跟年輕演員合作,
感覺上來說,他是依照他們的靈魂精神(或者說是與他們精神相合)。

朴導說秀晶過去多出演比較陰暗的角色,
就導演他個人而言,他沒有興趣採用秀晶出演,因為秀晶身上所帶的形象。
在這部電影中,秀晶的表現可以用"可愛"來形容。
導演說秀晶很有勇氣,他猜測這部電影會是一次機會去呈現秀晶人格中的另一面。

[ 本帖最后由 layido 于 2006-5-9 19:45 编辑 ]

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发表于 2006-5-9 18:54 | 显示全部楼层
【翻译】电影拍摄中的智薰  
有一个韩饭通过朋友(电影拍摄组的工作人员)的电话了解到片场的智薰,写了短文,翻译一下:
智薰不光是一个努力的人,他的魅力不是开玩笑的。那个工作人员以前见过某著名演员,为他的演技折服,这次在片场见到智薰,发现他对角色很投入,演技也一点都不逊色。他说,演技这种东西不是光靠后天的努力就能学来的,需要一定的天分。 智薰每次到片场,刚开始都有一些放不开,就象一个十几岁的少年。。  有一次在开拍前, 智薰蹲在那里自己听着什么东西,突然 传来很大的响声,这瞬间智薰抬头, 眼神完全是梦幻中的样子, 嘴角露出天真的微笑,就象是另外一个世界的人,其他站着的工作人员也都有头发竖起的感觉,这成了他们的谈资。。
工作人员们一直担心,因为智薰是人气歌手,还是亚洲之星,怕拍摄的时候场面混乱,但一切都是静悄悄的。 他们开玩笑时问智薰这是为什么? 智薰说:我拍电影,我的FANS可能比我还要紧张。(用一种老爷爷夸赞有才能的孙子的得意的表情)。 工作人员真心地感觉到了他对FANS的珍视和骄傲的心情。
秀晶在片场也愿意开玩笑,很可爱。 两个人都是很温暖的,有人情味的人。

FM:rain吧
翻译:yunrain
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