|
|
(转自韩朝风)
汉江里的那怪物是他的孩子 : 与怪物的创作人面对面
我们都有梦想，但是不是每个人都有机会去实现他们的梦想。
奉俊昊 (37岁) 是少数的幸运儿。他从高中开始从家里的窗口开出去，可以发誓他曾看到了一个怪物爬上了Jamsil 桥 ，那时候就一直等待着拍摄他最新的这部电影作品 怪物
或许是只不过因疲惫的头脑产生的短暂幻觉(他说那时候他正在为考试努力读书，这足够让任何青年造成很大的压力) ， 但是那天奉导演决定了会把这拍摄成一部电影
差不多二十年 与电影特效又发展神速之后，怪物已经预计在7月27日上映。这电影是一个科幻怪物片，韩国喜剧片与家庭亲情片的精彩组合。
Q 这制作是因何产生
A
在2000年，美国军队的一个非军事官员Albert L. Mcfarland,下了指示把470瓶甲醛(formaldehyde)丢入汉江。那就是开始。 很多怪物电影都有如何产生出怪物的剧情，而我就想这是个我可以利用来发展关于一个怪物如何从汉江出现的故事。 但是我要把主题设立在家庭上
Q 在怪物绑架了学生Hyeon-seo之后，那些对付它的都是普通人
A
对。与其他多数怪兽电影不同的，这里面的角色不是科学家与军人。他们都是普通的家庭成员，又或许是来自不是那样普通的家庭。 某种程度上，他们是可悲的。 很多电影里面，母亲都是非常有智慧而父亲都自信与充满勇气。 Hyeon-seo的父亲(宋康昊饰演)比其他父亲角色更加可悲(没有用)。但是。爷爷 (Byeon Hee-bong_)还是维护着儿子
而叔叔(朴海一饰演)是个没有工作的大学毕业生而老喜欢埋怨。而姑姑(裴斗娜饰演) 我以弓箭手为参考。就如弓箭手有能力完全把周围发生的事情隔离不受影响，姑姑也总是在做白日梦根本不注意周围的人在说什么。 我尝试要体现出 Hyeon-seo'的大胆，而Jo A-seong(饰演Hyeon-seo'的演员)在真实生活中，也是个很有胆量的人
Q 在电影里，以5 billion won ($5.2 million)制作出来的怪物，在江边很自然地跑而且可以作出非常出色的特技。如从江的一边跳到另一面。 但是它没有真实的个性。它甚至没有名字
A
我要观众完全把注意力放在那完全被孤立。没有外界协助但是在对付着怪物的那家庭的挣扎。 我曾经考虑过为它取个女性化的名字。就如为台风命名一样。可是我不想让这怪物因为它的名字而被定形
这电影有许多料想不到的幽默剧情，很多笑点都是从对白引发出来。其中一幕，爷爷问 你知道失去了孩子的父亲的感受吗。 这应该是个非常感动人的，但是那些孩子却都在打瞌睡。实在有趣
这些幽默的对白可以如此呈现是因为演员的精彩演绎。 我非常了解他们的习惯与举动，而我的确是以他们为蓝图写出剧本。我无法忍受一幕一幕都只是一些毫无表情的人物在一句一句念着对白
Q
在如此高科技的电影中，你把政府官员描写成了丑角，甚至是在混乱中会会收取贿赂的人
A
你在问我为何要在这样顶尖的的科幻电影中呈现如此卑鄙的现实。 或许这样的不协调是比较合我胃口 。 如果状况与人物不是我们在现实中会遇见的，那就是根本很无趣的事情
Q 在怪物中， 那怪物不只在电影开始的时候就出现，甚至是在大白天出现。
A
这是个怪兽电影，但是我想打破一些规定。 我实在会很讨厌如果需要半小时才只看到怪物的一个尾巴出现在黑暗的水道中。这怪物很早就现身，而最重要的是接下来发生的事情
A .虽然投入了巨大资金创作了怪物。但是它(体型)其实很小。
Jang Hee-cheol [设计怪物的负责] 说一定要是连宋都可以对付的怪物。怪物的体积会影响到整个电影的步调。它并不是个要摧毁Banpo桥或63大厦的怪物
Q 制作这怪物最困难的是什么
A
起初，我想把这任务交给纽西兰的Weta Digital。我们用了一年来讨论电脑特效但是最后他们的开价太高。幸好，我已经与美国的特技效果公司Orphanage 讨论过，就把计划交给他们 。他们也非常热情的投入在这计划中。 他们甚至每个星期设立了一个韩国日在工作室里喝烧酒
每一个拍摄怪物的画面需要30 million won 。 这代表着我在拍摄电影的时候必须考虑到把这每一幕的制作费。实在非常困难
Q 为何你不让怪物露出它的脸
A 绝对不会。怪物的剧照(可以见到脸的)永远都是最扫兴的。观众应该是看到有声音的移动画面。
Q 你会否在另一部电影中让怪物出现
A
我不会，但是我想其他年轻导演可以拍摄续集。还有非常多其他的电影我想拍摄。 但是好莱坞已经表示有意要重拍 The Host
by Yang Seung-cheol <jbiz91@joongang.co.kr>
===
翻译自英文原文
http://joongangdaily.joins.com/2 ... 39900091009101.html
That river creature is his baby: Meet the maker of ‘Host'
July 17, 2006 ㅡ We all have dreams, but not everyone has the chance to realize theirs. Bong Joon-ho, 37, is one of the lucky few: He's been waiting to make his latest film, "The Host," since he was a high school student who looked out his apartment window and swore he saw a monster climbing up Jamsil bridge.
It may have been no more than a momentary fantasy produced by an overworked mind (he says he had been studying for exams, enough to stress out any teenager), but Bong decided that day that he would make it into a movie.
Nearly 20 years and leaps in film special effects later, "The Host" is set to open July 27. The movie is a fascinating combination of a monster flick, Korean comedy and a family love story.
Q. How did the production come about?
A. In 2000, Albert L. Mcfarland, a civilian official with the U.S. Army, ordered the disposal of 470 bottles of formaldehyde in the Han River. That was the start. Most monster films have a setting for the creation of the monster, and I thought that this was an incident I could use to develop a story about a monster coming out of the Han River. However, I wanted the main theme to be centered on "family."
Q After the monster kidnaps the student character, Hyeon-seo, the people who have to deal with it are just normal people.
A.
Right. Unlike many other monster films, the characters aren't scientists and soldiers. They're ordinary family members, or perhaps a little less than ordinary families. In some ways, they are pathetic. In most movies, mothers are wise and fathers are vain and full of bravado. Hyeon-seo's father, played by Song Gang-ho, is even more pathetic than other father characters. Even still, the grandfather, played by Byeon Hee-bong, backs his son up. The uncle, played Park Hae-il, is a college graduate without a job and is always complaining. For the aunt, played by Bae Doo-na, I used archers as a reference point. Just as archers have the ability to tune out everything else going on around them, the aunt is always daydreaming and can't pay attention to what other people are saying. I tried to highlight Hyeon-seo's boldness, and Jo A-seong [who plays Hyeon-so] is quite gutsy in real life, too.
Q.
In the movie, the monster, which cost 5 billion won ($5.2 million) to create, runs along the riverside very naturally, and pulls off some great-looking stunts, like popping from one side of the river to the other. But it has no real character. It doesn't even have a name.
A. I wanted the audience to focus on the family, who in their struggle to fight the monster get no help from the world and are isolated. I did actually consider naming it for a while, maybe with a female name, like they do for typhoons. But I didn't want the monster to be defined by its name.
There are a lot of rather unexpectedly humorous scenes, with many of the laughs coming from the dialogue. In one scene, the grandfather asks, "Do you know how a father who lost his child feels?" It should be heartbreaking, but because the children are dozing off, it's funny.
The humorous dialogue was made possible by the actors' excellent performances. I was well aware of their habits and mannerisms, and I actually wrote the scenes with them in mind. I can't stand endless scenes in which stone-faced characters ramble on sententiously.
Q In a movie with such state-of-the-art technology, you depict government authorities as buffoons, who even try to take bribes amid the chaos.
A.
Are you asking why I added some sordid reality into a cutting-edge sci-fi film? Perhaps it's because that kind of discord fits my taste. If the situation and characters aren't something we could encounter in reality, it's just not interesting.
Q In "The Host," the monster not only appears as soon as the move begins, but in broad daylight, too.
A It is a monster movie, but I wanted break the rules. I would have hated it if it took half an hour just to see the monster's tail in dark sewage. The monster shows itself early on, and it's what happens next that is important.
Despite costing a lot of money to create, the monster is actually quite small.
Jang Hee-cheol [who designed the monster] said it had to be something even Song [Gang-ho] could fight. The size of the monster could change the tone of the whole film. It's not supposed to be able to destroy the Banpo bridge and the 63 Building.
Q What was the most difficult part of creating the monster?
A
Initially I wanted to commission the work to Weta Digital, in New Zealand. We discussed the computer graphics for almost a year, but in the end they asked for too much money. Fortunately, I had discussed the project with the Orphanage [a special effects company in the United States], and gave the work to them instead, and they did the job with great passion. They even organized a weekly "Korea Day" at their studio and drank soju. Each monster shot cost 30 million won, meaning I had to take the cost of each scene into account while preparing the filming. It was very difficult.
Q Why didn't you show the monster's face?
A
Never. Still shots of monsters [in which the face can be seen] are always a let-down. The audience should see a moving image with sound.
Q Are you going to show the monster in another movie?
A
I won't, but other young directors could make a sequel, I suppose. There are a lot of other films I want to make. But Hollywood has expressed interest in remaking "The Host."
by Yang Seung-cheol <jbiz91@joongang.co.kr> |
|
发表于 2006-6-6 22:01
