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【2010KBS】【成均馆绯闻】【朴有天 朴敏英 宋钟基 刘亚仁】恭喜大赏各有斩获!

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发表于 2010-11-8 09:12 | 显示全部楼层
原帖由 minifed 于 2010-11-8 08:28 发表
若真是要搞事,應該一開始就不讓有天接戲吧?若真的搞後面這些剪輯的真是小鼻子小眼睛。
再來我是感覺有天行程本來就很滿,檯面上的要來台灣開唱,父親生病,自己也生病。
這只是檯面上的,還有一些彩排練戲開會甚麼 ...

完全同意你的说法,就算KBS再有什么小动作,也是其他因素造成,对于删剪戏份之说,太严重了
CELCILA的话也只是属于自己猜测的个人意见
而编剧的访问,我本转贴在其他区里,但见有被提起,就也贴在这里,如你说的编剧原本就有着教育意义,
所以后面的戏是编剧的一个编写企图,没有办法,她是位史剧编剧,所以就是有这毛病,很多东西都想"说"  ,金滕之词的部分才是真正的被删除的东西~哈,如果篇幅允许 她可以给你写多一集的金藤之词

她是欣赏全部的演员们的。,每个人物,她都想尽力照顾到,每个演员都尽力去演绎,所以才现在的成均馆绯闻^^
这一切任何机构都无法夺走的,所以朴有天的努力是被肯定的,不然不会有那么多新闻当他是偶像演员的模范,他的辛苦与压力,只展现了他的成熟,能坚持到最后,做自己喜欢做的事,我看到的他是个很幸福的演员
能遇见李先俊,能与这批出色的演员们一起合作,这已经是最大的收获。我不觉得任何其他事情,可以诬蔑了他这份难得的快乐。

这一切的是非都是属于外来的因素,
我唯一不想是让这部剧的全体制作组与演员们所付出的被这一切忽视掉。他们是很努力与开心地拍摄这部剧。

这则留言,只想让大家理解编剧对这剧本的一些想法
如转贴有误,请删除,谢谢







转贴
韩朝风
翻译BY ST

[INTERVIEW] KBS drama “SungKyunKwan Scandal” writer Kim Tae-hee - Part 1
Senior Reporter : Kang Myoung-Seok
Reporter : Choi Ji-Eun
Photographer : Lee Jin-hyuk
Editor : Heidi Kim
Editor : Jang Kyung-Jin


韩文来源http://10.asiae.co.kr/Articles/n ... 2010110300034454182
英文来源http://10.asiae.co.kr/Articles/n ... 2010110419011910506


[访问] KBS" 成均館緋聞"编剧金泰熙 - PART1


2010.11.05


                               
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KBS 成均館緋聞在11月2日播出完结篇。 故事是发生在18世纪的朝鲜时代,一个名叫金允熙(朴敏英)的女孩乔装成男人进入了成均館,在那里她学会了学习之路指向人民并且人民为国之根基。正祖大王也告诉她  现在是轮到你来梦想朝鲜的新未来"
要描述年轻人的理想并不容易。踏错一步也许会变成空洞的标语或幼稚的热情。但是对"成均館緋聞"的编剧金泰熙而言并不是如此。她成功为已经充满魅力的小说"成均館儒生们的日子",加入了现代感与新鲜的新剧情。

在电视剧结束前几个小时,我们与她进行了访问。



问: 我们可以从很多角度来看"成均館緋聞"。有人说这部剧是新潮流的故事,有人说是历史政治剧,有人就简单形容为言情剧。您是如此制定故事的方向?

10: “SungkyunKwan Scandal” was seen in various lights. Some saw it as an up-and-coming story, some as a historical political drama and others simply as melodrama. How did you decide on the direction of the story?


金: 在进入写剧本之前,我很喜欢看SBS"灿烂的遗产"。那部电视剧包括了很多不同的剧种 : 家庭剧,悬疑剧,浪漫爱情喜剧与专业剧。 我相信将来必有一天,电视剧需要是多种类型才能继续发展。 有人也给我意见说现在关于少年爱情的剧本已经行不通。所以我是非常有野心地开始写剧本,但是写的时候才发觉实在是很辛苦。(笑) 要设定故事的方向与感觉实在是很困难,我也听说我们导演也为了这点,对于这部电视剧应该是属于那一种类型而思考了很多



Kim Tae-hee: Before getting into the synopsis I had a lot of fun watching the SBS drama “Brilliant Legacy.” The series contained a lot of genres; family drama, mystery, romantic comedy and professionals. I believe there will come a day when a drama must encompass more than one genre to keep it going. I was also advised that dramas on young romance will no longer work so I wrote the synopsis quite ambitiously but writing the actual script became much tougher to do than I thought. (laugh) It was difficult setting the tone in the story and I heard that our TV director also thought a lot about what the genre of this drama should be.




问 :在电视剧首播之前,大家都以为又是部浪漫爱情剧,但是只是把时代移到18世纪的朝鲜。 但是这部电视剧却深入了所谓政治的基本原则。您与尹编剧共同编写的"世宗大王"里,您也做了相同的东西。。那电视剧与其在说世宗大王的伟业,它更似政治剧。你对这方面很有兴趣吗?


10: Before the series premiered, everyone thought it would be another romance story only set back in 18th century SungKyunKwan. But what this drama did was delve deeply into the basic principles of politics. You did the same thing with your other history drama KBS “King Sejong (2008)” that you wrote jointly with another script writer Yoon Sun-joo. The drama was closer to a political drama than the epic of the great King Sejong. Are you interested more in such aspects?

金泰熙 : 坦白说,我对世宗大王里面的政治议题感觉到有点辛苦。大家都熟知韩字的创造故事,但是电视剧也探讨了当时复杂的课题如税务改革。
        当时,我觉得很辛苦,甚至想过以后绝对不可能再写这类把政治与历史结合的剧本。
        但是,当我被指派写这部电视剧时,我发觉成均館本身就是让儒生们学习政治的地方。我不可能让我的人物们每天只坐着并盲目地熟背着论语。我需要把成均館能表达的主题呈现出来。



Kim Tae-hee: To be honest I really had hard time following the story line that continued to deal with political agendas in "King Sejong." Everybody knows about the creation of Hangeul (Korean characters) but the drama even looked into complicated issues like tax reform at the time. It was so difficult that at the time I thought hell will freeze if I do another drama that combines history and politics. But when I was assigned with this drama I realized SungKyunKwan itself was a place where students learn about politics. I couldn’t just let my characters sit and memorize teachings of Confucius absentmindely all day. I had to bring out a theme based on what SungKyunKwan offered.


问:  你呈现当时18世纪学府的各类考试与学府活动的方式实在很有趣。 有什么原因吗?



10: It was quite interesting to see how you showed the various school functions and exams of 18th century academy in order. Was there a reason for that?



金: 当电视剧把一些发生在过去却鲜少为人所知的事务让大家了解时,我很喜欢那样的东西。因为这部电视剧以成均館为中心,我要好好把它展现给观众。
    在原著里,迎接新生的学府习俗也有很详细的描述,所以我想要尽力去把这点写呈现出来。 所以我也在剧集里加入了"大射日",金柑制,还有每周考等东西 。剧本也有包括了学府的祭奠与毕业典礼



Kim Tae-hee: I like it when a drama brings into light, things that were little known in the past. Because this drama centers on a space called SungKyunKwan, I wanted to show it to the audience properly. The original book also gives a detailed description of school customs for newcomers to SungKyunKwan so I wanted to do a good job of portraying that as well. That’s how I came to include things like the school's archery competition, golden tangerine exam and weekly test in the episodes. The original synopsis had also included the school's ancestral ritual and graduation ceremony,


问 " 在处理政治议题时,你的方式有点抽象。在触及这些政治议题时,你结合了鼓励思考如何进行逻辑思维与讨论,并且如果改进现有的制度或理念。让允熙改变文在新(刘亚仁饰演)与丁若廉 (安南尚饰演)的理念(观念) 肯定是个挑战。 为什么你要选择这么辛苦(困难)的处理方式?



10: In handling the matters of politics your approach was somewhat abstract, combining it with a learning process that encouraged thinking deeply about making a logical discussion and improving an existing system or ideology. The process of making Yoon-hee change the mindset of Geol-oh (Yu Ah-in) and Jeong Yak-yong (Ahn Nae-sang) must have been quite a challenge. Why did you choose to go the hard way?


金: 因为我不知道还有什么其他方式? (笑) 很久以前,我就花了很多时间来思考到底成均館儒生们是如何学习。 我想要呈现他们怎么进行学习,如在第一堂课里面他们谈论的东西,我想要至少一次,可以让观众看到成均館的教课是怎么进行。

至于允熙,我需要加强她留在成均館的动力,并且要引起她对为民之政的兴趣。 她对师兄在心与老师丁若廉说的话,也都是源自这些思考。我很好奇那些所谓的"两班"对一个来自贫困背景的人思想会有什么反应。而且对方还是个女人。




Kim Tae-hee: Maybe because I knew no other way to go about it. (laugh). I gave much thought to exactly how the students at SungKyunKwan learnt their ways long time ago. I wanted to show the process of things such as what they talked about in their first class to the viewers at least once, in accordance with SungKyunKwan's curriculum. In the case of Yoon-hee, I needed to strengthen her motivation to stick around SungKyunKwan and become interested in politics for people. What Yoon-hee said to her senior Geol-oh and her teacher Jeong Yak-yong stemmed from these thoughts as well. I was curious to how the so-called “elite” class will respond to the thoughts of someone from a poor, underprivileged background and a girl, nonetheless.




                               
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10: Most stories that have a girl disguised as boy accompany fantasy of her surrounded by cool guys and winning quite a few hearts. SungKyunKwan Scandal was interesting in sense that Yoon-hee viewed the world through her unique standpoint as a woman. Only Yoon-hee could give out such unique reaction in her first encounter with courtesan Cho-sun (Kim Min-seo) because she was a woman, too.

问: 在很多女扮男装的故事里,她都会被帅哥包围着并且虏获某些人的心 在成均館緋聞里,允熙是以自己独特的女子观点来看这世界,这是挺有意思的。唯有允熙才能在与貂蝉初次相遇时,做出那样的反应,因为她也是女人。


金: 其实我曾担心透过允熙展现出的女性主义会有点俗套。 我在1992进入大学,那时我对女性议题有很多想法,所以我担心我发表我的看法时会太迟了。
   如果早点写这剧本的话,大概2000年时,我想也许能更好地透过允熙表达我的看法。




Kim Tae-hee: I was actually worried that feminism told in the eyes of Yoon-hee might come off as being cliche. I went to college in 1992, when I had much thoughts on womens' issues, so I was worried I'd be voicing my opinions too late. I think I could have voiced myself better through Yoon-hee if this has been written much earlier, around the year 2000.


问: 在大学时,你的主修是什么?

10: What did you major in college?

金: 我是主修大众传播。我非常爱看电视剧,甚至还能记把30年前看过的剧情。但是我认为要写出好剧本应该在年长时才可能 如大约40岁,所以我就先在一家小传播公司上班。
    直到结婚后,我才决定投入编剧行列 。 我想这是我一直要做的东西,所以天不怕,地不惊的就决定要试试看!


Kim Tae-hee: I majored in media and mass communications. I loved TV dramas so much that I can still remember the details of the stories I watched 30 years ago. But I thought a good writing is possible only at a later age like forty so I took my time, working at a small broadcast in company. Only after getting married did I decide to indulge myself fully on script writing. I thought I should give it a shot come hell or high water because it’s something I have always wanted to do.



10: And what was your college life like?

问: 你的大学生涯是怎么样的?


金:  进入大学时是1992年,当时我是个很平凡的大学生,虽然跟现在的大学生比起来并不是那么平凡。 (笑) 但是我把政治融入故事里并不是我自己曾有经历,而是想要依照原著小说设定的架构,加入需要的剧情。 我不是所谓的386世代 (出身在60年代,毕业在80年代,并且多数归类与活跃政治运动中的一代 = ST: 这是个名词,有那么一代人是这样)

他们是我的学长。 当我写剧本时,我把正祖大王与丁若廉想象为386世代 而不是由允熙与她的三为朋友组成的垂涎四人帮。 (ST: 好有意思 哈哈 原来编剧把两位想成386世代)

我并不是特意要传达讯息告诉大家应该站起来(发表自己的想法) 。只是我听说为何这部电视剧吸引了在30岁至40岁的妇女们,是因为这部剧勾起了她们的怀旧情怀。

不论她们是否曾为学生抗议运动的活跃分子,她们都曾经经历过想要改变世界的年代



Kim Tae-hee: I was ordinary as an undergrad student who entered college in 1992 but maybe not so compared to college students these days (laugh). But the reason I incorporated politics into the story is not because I had any firsthand experience but in trying to fill in the story according to the setting in the original story. I’m not the so-called 386 generation (born in the 60s, undergrad in 80s and largely characterized as active in political movements). They were my seniors. While writing the script I thought of King Jeongjo and subject Jeong Yak-yong as being the 386 generation, not the “Jalgeum Foursome” composed of Yoon-hee and her three friends. I had no intention of sending out messages that we should stand up and rise. But I heard that part of the reason this drama attracted women in their 30s and 40s was because something in the drama triggered their nostalgia. Whether they were active members of students’ protests or not, they all went through the time when they wanted to change the world.







10: Then how did you view King Jeongjo who perceived “Jalgeum Foursome” as his political heirs?

问: 你是怎么看待把垂涎四人帮视为政治接班的正祖大王

金:   根据我收集的资料。正祖大王在现实生活中,是个很谨慎的人,懂得怎么化险为夷(或懂得怎么转劣势为优势?)。如我的剧本所写,他的确说过要开创荡平之年代。而且他真想要废除奴隶制度。

      当时的他有非常大胆的想法,而且很奇妙的,在他的儿子纯祖大王时代,奴隶制度被废除了。

      但是他的想法也规限在唯有身为王者的他,可以让这一切发生。

      我觉得这种双重标准也是现在的世代包括我自己所拥有的观念,这也让年轻的20世代感觉到烦躁。

      我认为那时的成均館儒生们也许有相同的感受,并且有很多话想对正祖大王与丁若廉老师说。在最后一集时,有让这想法展现出来,虽然是一点点。
      
      我还在想如果我再深入这个主题的话,这部电视剧会是怎么样?




(ST: 我不知道是否有好好表编剧的意思,她是说正祖虽然看起来很开明,只是还有着自己才能改变这一切的潜意识观念吧,然后就如我们这些人一样,对年轻的一代,总觉得我们懂得比他们多,所以。形成了那些年轻人的压力。。她通过垂涎四人帮抒发了那些感想,对老师,对正祖说自己的看法,也是最后一集里面呈现的。。)


Kim Tae-hee: From what I gather, King Jeongjo in real life seemed to be quite a prudent person who knew how to turn situations around. He did mention he will open an era of great reconciliation between parties as I quoted in the script and it is also true that he wanted to put an end to the slave system. He had many bold ideas in those days and amazingly, the public slave system did come to an end during the era of his son, King Soonjo. But he also had limitations to thinking as only he, as the king, could make things happen. I thought such double standards is what the existing generation, including me, have within, leaving our younger generation in their 20s quite frustrated. I thought that must be what the students at SungKyunKwan might feel and probably have lots to say to King Jeongjo and their teacher Jeong Yak-yong. That emerges a little in the final episode. I still wonder what the drama would have been like if I went deeper into that subject.




问: 在原著里,垂涎四人帮都各自有非常鲜明的个性。虽然做了一些性格上的改变,但是在电视剧里也是如此。你是怎么构思这些人物?

10: Jalgeum Foursome all had strong characters of their own in the original story. So did the drama even though there was a bit of change in the character. How did you draw up the character?



金: 最近,我很同情20世代。虽然我也经历困难时期,但是我觉得在这世纪的20世代比我还严重。

    我感觉很难过也许他们根本也不知道这点。

    所以我甚至让允熙有点绝望地说到说出了" 我觉得我活在的朝鲜并不是那么了不起" 让允熙在成均館重新获得希望, 我要20世代能与她取得共鸣。
    然后,我再加入了先俊,成为她的感情线。他是个坚信着一切都应该靠自己努力去改变,这与允熙观念对立,更好地体现她的改变。
    其实,在原著里面,我最喜欢的乔段是先俊因为貂蝉而吃醋 。 我觉得当这种如此注视礼教法则的人物恋上同性之爱时,冲突会更加明显。

    还有,书里面最有魅力的人物是桀騖但是我觉得自己不是写这类野兽男子的料。(笑)

     所以我写的桀騖会比较敏感,而且与其他角色比起来,他是属于沉默寡言。 再加上演员刘亚仁的演绎,他也是个很感性演员,电视剧里面的在心变得跟原著不同。

    为什么我让具龙何变成中人而不是两班,是因为我要让 成均館来自各阶级的人。


    垂涎四人帮也是如此形成 ": 当权的老论派之子,反对派少论之子,中人之子,还有一个女子



Kim Tae-hee: These days I feel sympathy toward the 20s. Although I had my share of rough times I believe the 20s in this era is going through worse. I felt sorry that they may not even know that. That is why I had Yoon-hee as hopeless to the point of blurting out “I don’t think the country I live in is that great,” in the first episode. By showing how Yoon-hee recovers her hope in a space called SungKyunKwan I wanted the twenties to identify with her feelings. Then I placed Sun-joon, Yoon-hee’s soon-to-be love interest and a guy who believes it all depends on individual effort, at the opposite standpoint of Yoon-hee to better portray her change of heart. Actually my favorite part in the original book was when Sun-joon got all jealous over Cho-sun. I thought the conflict will become most obvious when such character of propriety and order fall for homosexual love. By the way the most charming character in the book was Geol-oh but I don’t think I’m cut out exactly for portraying such raw and rough male character (laugh). That’s how my Geol-oh is more sensitive and less in words compared to other characters. This combined with additional interpretation of actor Yoo Ah-in who happens to be a very sentimental actor, the Geol-oh in the drama became someone completely different from the original story. The reason I made Gu Yong-ha (Song Joong-ki) as a middle class man instead of a noble is because I wanted to show how SungKyunKwan embraces people of all class. That’s who Jalgeum foursome came to be, by bringing together a son of the ruling party Noron, a son of the opposition party Soron and son of a middle class and a woman.

==


[INTERVIEW] KBS drama "SungKyunKwan Scandal" writer Kim Tae-hee - Part 2

http://10.asiae.co.kr/Articles/n ... 2010110422340983865

                               
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2010.11.05



问: 15集之后,你似乎因要加入多点剧情而影响了电视剧的流畅度。你最遗憾的是什么?


10: After episode 15, it seemed that you were trying to insert more stories into the drama and that caused some trouble to the flow of the drama. What do you regret the most?


金: 我还不知道是是否因为我加入了金滕之词,然后要急着要总结故事的后半部,或应该就好好处理(金滕之词) 并且延长故事 。 但是我担心收视率会下跌( 笑) 。 通常我的剧本都会比较长,所以被删剪的部分都是关于金藤之词的 。关于这点,不只现在会反省也会在将来的作品是记得。


Kim Tae-hee: I still don't know whether it was because I added “Geumdeungjisa” then rushed in having to wrap up the latter half of the story, or whether I should have just dealt with it probably and made the story longer. But I was worried that may lower the ratings for the show. (laugh). I tend to make my scripts long so most of the portions edited beforehand in the script was usually about Geumdeungjisa. It’s something I'll reflect upon now and in the future when I do the next project.


问: 但是,我觉得身为编剧,应该是有原因要加入金滕之词

10: But on the other hand, I believe there was a reason you included Geumdeungjisa episode in the drama, as a writer.

答: 女扮男装似乎没有足够的力度成为整个故事的中心。 我也担心在允熙的性别被揭发后,怎么维持故事的紧张度。 金滕之词是需要把原著变成戏剧的东西。比如,在书里面,红避书
  说了很多关于社会问题但是如果在电视剧里面也照样做的话,很容易被遗忘,所以我需要一个东西把四个人物都聚集一起。还有,让故事与正祖改革挂钩,也是想让故事更加丰富

Kim Tae-hee: A girl in disguise as a boy didn’t seem strong enough of an impact for the story. I was also worried with what else I should keep up the tension of the story after Yoo-hee's gender is revealed. And Geumdeungjisa was necessary in turning the original story into a drama. For example Hongbyeokseo (the red messenger) in the book tells a lot about problems in society but in doing the same thing in drama, it could be easily forgotten so I needed something to bring all the main characters together. Also, by linking it with King Jeongjo’s reform plan I thought I could make the story much richer.


问: 你的对白展现了那时代的优雅与尊严,也包括当时的哲学思想,让人留下印象。我觉得应该归功你之前写长篇史剧的经验


10: You made quite an impression with the dialogue that seem to exude class and dignity as well as the philosophy of those times. I think you can credit that to your past experience on working on long history dramas.

金: 我觉得被挑选为成均館緋聞的编剧的唯一原因因为我在史剧里呆太久了。 (笑)
     在担任KBS"不灭的李舜臣"的助理编剧时,我就差点已经不行了。 但是之后我跟着尹编剧的风格后。就变得习惯了。

     以前,我觉得 编写史剧就如在脚跟绑了沙包跑步。 但是那段时间给我很大帮助。终于。我明白了沉重的负担也能成为一双让我飞翔的翅膀

Kim Tae-hee: I think the only reason I was selected as a script writer for SungKyunKwan Scandal is because I had my nose stuck in history dramas for too long (laugh). I thought I’d never make it when I first took part in KBS drama “The Immortal Yi Sun-shin” as a supporting writer. But I think I got used to it after following the style of writer Yoon Sun-joo. Back then, I used to think that writing a history drama is like running with a sandbag tied to my ankles. But those times have helped me a lot. I’m finally understanding how the heavy burden can turn into a pair of wings to help me fly.


问:  在成均館緋聞里,不只是主要人物,全部出现过的人物,从左相到儒生金宇泰都有自己的逻辑思考,让他们也变得让人信服。你是如何创造人物"?


10: Not just the main characters but all the characters that appeared in SungKyunKwan, from the Parliament Minister Lee (Kim Gab-soo) to fellow student Kim Woo-tak (Jang Se-hyeon), had a logic of their own, making them more convincing. How do you create your characters?



金: 我会尝试去看到底那个人物的动力是什么> 然后对白就自然出现。 我的剧本里,每个人物都有对白。 在第15集里面,先俊对允熙说" 你是男人但是我却爱上你" 握会这么写是因为我觉得这是先俊会说的话。


Kim Tae-hee: I try to see what motivates the person and what comes to me naturally is their lines. In my synopsis, there was always a line added to each character. In episode 15, Sun-joon confesses to Yoon-hee “You’re a boy yet I’m in love with you.” I put it that way because I felt that’s how Sun-joon would have said.


问: 剧里,李先俊是改变最多的,似乎上了一堂人生之课。通过李先俊的性格,你想要展现什么?


10: Throughout the drama Lee Sun-joon changed the most, as if he was being given life lesson. What is it that you wanted to show through Lee’s trials?


答:  如永河对芙蓉花的劝告一样,你要接受世界不会绕着你转动,在任何状况下,人都必须学会接受事务。 我觉得这是对年轻人的一堂艰苦的人生课程。成熟就是学习并且接受那个道理,四位主要人物也是如是。 但是先俊的改变为何如此明显,是因为他对自己设下的人生观念曾是那么确定。


Kim Tae-hee: Just like Yong-ha’s advice to Booyeongha (Seo Hyo-rim) to accept that the world doesn’t always revolve around you, it is important for a person to accept things as it is regardless of the circumstances. I think that’s one of the hard lessons of life for young people. Maturity is a process of learning and accepting that fact and this applies to all four main characters. But how Sun-joon changes probably stood out more because he had been so sure of his view of the world he built for himself.

问: 女扮男装最重要的是怎么呈现并且让人信服,当两个以男子身份见面的人,会爱上彼此。在电视剧里,先俊与允熙在一起进入成均馆后,只有彼此依靠。 对他们而言,友情比爱情为先,与断背山里面的剧情发展比较相似而不是如其他韩剧如"咖啡王子一号店"


10: The key point to a girl-in-disguise-of-boy story is how convincingly you portray the process of how two people who first meet as two guys, fall in love with each other. In the drama, Sun-joon and Yoon-hee only had each other when they enter the royal academy together. For them, friendship came before love which seems closer in plotline to film "Brokeback Mountain" rather than other Korean drama of girl-in-disguise MBC's “The 1st Shop of Coffee Prince.”

金: 我的一位朋友曾问我是否把爱情都以同伴关系为基础,因为我曾经参与学生示威还有丢了石头。(笑) 其实我不是故意的,但是在先俊与允熙之间就是无法避免。有人曾告诉我言情剧就是要写出人怎么敞开心怀的过程。我喜欢这样的说法。。并且是我将要在下一个作品呈现的东西。


Kim Tae-hee: One of my friends asked if I view all romantic relations as based on comradeship just because I once took part in a student demonstration and throwed rocks. (laugh) I didn’t do it on purpose but but in Yoon-hee and Sun-joon’s case it couldn’t be helped. Someone told me melodrama is about showing the process of people opening hearts. I like the saying and this is exactly what I want to do in my next project.


问: 单是要研究历史资料就是个很可怕的工程。 我想通过其他的作品的经历,你对怎么收集这些知识已经熟能生巧。


10: The task of studying all the historical references alone seems like a daunting task. I’m sure you have built up know-how to build up the knowledge through your past projects.

金:  在"不灭的李舜臣"与:世宗大王"里,我只是帮助尹编辑。这是我第一次自己包办整个编剧工作,感觉实在是不同(笑)  但是你要我介绍怎么去读历史资料,我会推荐Park Si-baek’的朝鲜王朝纪事漫画版。那套书用非常简单,浅白易懂的文字让你很快就能理解。 高中历史课程的参考书,中学与高中的韩国历史入门书都相当有帮助。我读了很多关于正祖大王的书籍,还有关于成均馆的书籍,但是还是有些不完整的资料,这个我就无能为力,只能就那么接受。 最主要的是怎么在历史里找出与现在的共同点。

就如全编剧,推奴的编剧说过, 编写史剧最重要的不是写出历史里的某个年代,而是在什么年代写出什么样的历史。  我非常欣赏对他说的这些话,甚至在下面画线(笑)

(ST:我想成编剧的意思是以现代的感觉来写那段历史。才能找到共鸣。)



Kim Tae-hee: I was only helping out scriptwriter Yoon in both big dramas “The Immortal Yi Sun-shin” and “King Sejong.” This is my first time doing things all on my own and I felt a world of difference (laugh). But if you want some pointers for studying history I recommend Park Si-baek’s the Annals of the Joseon Dynasty drawn out in comic book style. It is organized in simple, easy words and can help you grasp things fast. Reference book for high school history text and introductory book on Korean history written for middle and high school students will also help a lot. I went through many books on King Jeongjo and also read theses related to SungKyungKwan and yet I would still come across missing links, the kind I couldn't do much about and just let them pass. The important thing is to find certain point in history that is common with the present. Just like Cheon Seong-il the writer of the KBS drama “Chuno (Slave hunter)” said “the important thing in writing a history drama is not writing about certain period in history but in what period you choose to write a certain history.” I was so impressed with his words that I drew a line underneath (smile).


10: Then what do you think SungKyunKwan Scandal has in common with the present times?

问: 那你觉得成均館緋聞与现代有什么共同点。

金: 告诉失去希望的人要有希望,似乎是不负责任的话语。 但是如果有你期望的社会(世界),你就应该首先要拥有那个希望。当我构想允熙的人物时,首先我会想象她是如何让自己拥有这么多知识? 我假设当她站在门外时,她的父亲偷偷地在教导她。 万一允熙觉得手太冰冷了,然后放弃聆听 / 我要传达的讯息就是那样。。



Kim Tae-hee: It may sound irresponsible to tell people devoid of hope to have hope. But if there's a society you hope for, then you should start by having hope first. So when I came up with Yoon-hee's character I first wondered how she was able to equip herself with so much knowledge. I presumed it was because her father secretly taught her as she stood outside the door. What if Yoon-hee thought her hands were freezing and just gave up listening? That’s the message I wanted to get across.


问: 但是,你也可以说正祖大王之后,朝鲜就没落了? 你相信历史一直会进步吗?


10: But you could say Joseon went downhill after King Jeongjo. Do you believe that history progresses?

金: 这不是个容易回答的问题(笑)  怎么说呢。。在大学时,当我修读社会学时,强烈反对学长说历史是前进的。 在我眼里,受薪族就如中世纪受奴役的人。我参与他们的示威是因为觉得我活在的现实社会糟蹋透了!! 但是,去年我读了一本名为" 木下昌藏对日皇丢炸弹‘ 木下昌藏是李奉昌的日本名字,他是在日据时期(1910-1945)韩国人认同的抗日分子。当他年轻时,李奉昌用了这个名字到日本讨生活。大事,真实身份被暴露后,惨遭日军折磨后,他去找了金九,当时大韓民國臨時政府的主席,对他透露要炸死日皇的计划。

面对身边人的反对与质疑,金九还是选择信任了李奉昌,并给了他三个炸弹。几个月之后,有另一个年轻人尹奉吉被李奉昌之举感动。也同样要求进行同样的刺死行动。这次,他成功了,在上海杀了很多日本的首领。这个故事让我想到底李奉昌留给我们什么?我们应该说他是个失败吗? 第一次让我思考历史是否是个经历了许多失败后才前进的东西。


(ST: 李先生的行动没有成功,被抓之后,被秘密处死了)


Kim Tae-hee: That’s not an easy question to answer (smile). Well, back in college when I was studying social science I was adamantly against my seniors who supported the idea that history moves forward. In my eyes, a salary man was no better than a serf in the Middle Age of the past and I was participating in their gathering simply because the reality I lived in sucked. But then last year I read a book called “Kinoshita Shojo throws Bomb at Japanese Emperor.” Kinoshita Shojo was the Japanese name of Lee Bong-chang whom Koreans now awknowledge as a patriot during the Japanese colonial era (1910-1945). When Lee was young he changed his name into Japanese and went to Japan to make a living. However when his true identity was exposed he was so abused by the Japanese that he went to Kim Gu the president of the provisional government in Korea based in Manchuria and revealed his intention to bomb the Japanese emperor.

Despite much doubts and opposition from his aides, Kim decided to place his faith on Lee and gave Lee three bombs. Kim didn’t allow Lee to test the bomb however which was an unfortunate decision because the bomb didn't work. Instead Lee got executed trying. But few months later, another young man named Yoon Bong-gil who was deeply moved by Lee came to Kim to volunteer for a similar task. This time he succeeds, killing many Japanese leaders in Shanghai. The story made me think about what Lee has left. Could we truly call him a failure? And for the first time I wondered if history is something that moves forward through many failures.

10: What era would you like to work on for your next project?


问: 你的下一部作品会在什么年代?


Kim Tae-hee: For now, I prefer the present (laugh). But someday I would like to write about the times of Japanese colonial era, about the people who didn’t lose hope and laughter despite the trying times.


金: 目前,我比较喜欢现代(笑) 。但是,有一天我会想写一个关于日据时期的故事,关于那些在那艰苦的年代里,没有失去希望与笑声的人的故

[ 本帖最后由 xing 于 2010-11-8 09:48 编辑 ]

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发表于 2010-11-8 09:33 | 显示全部楼层
原帖由 qizi86 于 2010-11-8 08:47 发表
回答你第一个问题
其实当时确定了有天为主演而这部剧还未播出之前,
日本海外版权已卖到44亿韩元,是今年kbs海外卖的最多一部剧(出过新闻了)


謝謝你的解答!^^ 不過如果不是sm搞事,kbs搞事有另外的"協定"也不無可能.
---------------------------------------------------------
以下是個人見解不針對特定親回答
但我不願意這樣推測的原因只僅因為這些演員都很努力.即使是經紀公司在背後搞暗盤,我也覺得無損這些演員的努力。
因為他們都是無愧於這部戲的表現。我不喜歡這些流言緋語的原因也是因為事情不會比你想像中單純但說不定也沒那麼複雜。
對於甚麼說法我都會留一塊位置去懷疑,而不全信。
搞自己的事情都這麼累了,我不想操心我管不到的事情?
要說這圈子也很可悲,人人皆為商品,除非自己跳出來掌棋,不然就是被人操控的命運..
阿就算自己掌棋最終還是要跟電視台這個大怪獸對決阿!!

最後要說的就是....4位都辛苦啦!好好休息迎接下一個挑戰阿!
然後因為中毒太深昨日去唱片行抱走jyj專輯+演唱會dvd啦...病得不輕囉~

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发表于 2010-11-8 09:46 | 显示全部楼层
原帖由 xing 于 2010-11-8 09:12 发表

完全同意你的说法,就算KBS再有什么小动作,也是其他因素造成,对于删剪戏份之说,太严重了
CELCILA的话也只是属于自己猜测的个人意见
而编剧的访问,我本转贴在其他区里,但见有被提起,就也贴在这里,如你说的 ...


感谢亲贴了编剧的采访,这是我目前看到最全的了。之前爬楼太慢老是会错过。

对于kbs的小家子气做法已经没什么可以去讨论的必要了。剧已经播出,人气已经证明了一切。除了有天能把佳郎演的这么好,现在还有哪个演员敢说一句,换我演能比现在更火?

在这之前从不知道有天,也不爱东方神起,所以我要很客观的说,有天之前有多红我不知道,我只知道这个塑造了佳郎的有天非常棒。

很多人说这部戏的时候喜欢说F4,现在我都怀疑这是不是kbs的又一次有预谋的倾向。这是爱情史剧,一开始就是以女扮男装作为切入点,加上诸如金藤之词的噱头在里面。说到底就是佳郎与大物的故事为主线。小说里除了男色事件中桀骜有稍微多一点的出场,其他基本打酱油。但是到了电视里面,这个人物突然就丰满起来了。一开始就把佳郎在小说里引起女主注意的出场动作给抢了。

我一开始以为是编剧的刻意,但是我现在严重怀疑是有人硬逼她这么改的。

我挺喜欢剧中亚仁演的桀骜的。但是我觉得真没有必要给他那么多粉红,这个人物到最后与允熙注定不可能有感情交集,这些粉红反而让这个人物更加悲催。显得编剧此地无银。

尽管有这么多的人为因素,尽管有这么多的阻力和障碍,但是还是掩不住有天的演技和本身散发的魅力。

还是那句话,成均馆说到底让我爱上了有天,并且,不客气的说,我只爱有天。没有有天的佳郎,成均馆我铁定不会追下去。

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发表于 2010-11-8 09:53 | 显示全部楼层
物桀的图P的不错,这份愿望是美好的,可P的人既然有这么好的技术就把大物桀骜的美图合成呗,干啥要P掉俺们佳郎的脸啊。。。看着怪让人不舒服的。。。。。

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发表于 2010-11-8 09:54 | 显示全部楼层
原帖由 holly_520 于 2010-11-8 09:46 发表


感谢亲贴了编剧的采访,这是我目前看到最全的了。之前爬楼太慢老是会错过。

对于kbs的小家子气做法已经没什么可以去讨论的必要了。剧已经播出,人气已经证明了一切。除了有天能把佳郎演的这么好,现在还有哪个 ...

不客气。只是所谓的阴谋论的种子看来已经被散布。我也觉得无力再说什么。。只为这剧惋惜,为何落到如此地步。是非多,就是麻烦。
我是个剧迷,简单地喜欢这部剧^^。各个角色我都喜欢,原著里面,其实女林的部分也很多,但是电视剧没有写出。至于在新,也许真得如编剧说的,她自然就把他写成那样
写剧,有时真得情难自控。其他什么想法。我并不是很想去猜测^^
但我不会否决你的想法。因为你有你自己的看法。我不能去控制。只能这么简单回复。。~
对我而言, 今年秋天,我遇见一个美好梦园 就在成均馆^ ,就是那么简单^^

不是想打扰各位,也无意冒犯任何人^!
我是说多,错多之人,还是少说为好^

[ 本帖最后由 xing 于 2010-11-8 10:00 编辑 ]

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发表于 2010-11-8 09:58 | 显示全部楼层
原帖由 holly_520 于 2010-11-8 09:46 发表


感谢亲贴了编剧的采访,这是我目前看到最全的了。之前爬楼太慢老是会错过。

对于kbs的小家子气做法已经没什么可以去讨论的必要了。剧已经播出,人气已经证明了一切。除了有天能把佳郎演的这么好,现在还有哪个 ...

是的,因为有天的佳郎让我这看韩剧都看到麻木的人又把他捡了起来,曾经一度我看泰剧看日剧,看又臭又长的台湾闽南语剧都不想看韩剧的说。。。。

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发表于 2010-11-8 10:01 | 显示全部楼层
不管kbs是不是不公,有天已经用努力证明了自己,其他的东西我们无力改变,埋怨也是徒劳。
反正经过这一轮我是更觉得有天是一个很坚韧的人,他会越来越好的。

东方神起吧看到一个昨天《找到了》的有天的自拍,
作者原话:“寻找到这首歌我故意只拍了朴有天,因为我想透过镜头看看他的微妙表情变化
因为这部电视剧对他来说意义重大,感想万千........”

也许有一些不开心不如意的地方,但是能看出来成均馆给有天带来的笑容一定大大多过不快,
尽管kbs有很多不厚道的地方,某种程度上我还是感谢他的,
我也不知道我想表达什么……反正我是只要有天开心就好了。

那个找到了的自拍链接,有兴趣的tx可以看一下
http://www.tudou.com/programs/view/pLCZH2Suyio/

原帖由 xing 于 2010-11-8 09:54 发表

不客气。只是所谓的阴谋论的种子看来已经被散布。我也觉得无力再说什么。。只为这剧惋惜,为何落到如此地步。是非多,就是麻烦。
我是个剧迷,简单地喜欢这部剧^^。各个角色我都喜欢,原著里面,其实女林的部分也 ...


我们作为有天的饭,关于他的总是想得比较多,只是心疼他而已,其实你的想法也很有道理的。
大家别再管kbs公不公,阴谋不阴谋了,好好hc吧,毕竟我们无力改变什么,就享受现在吧。

[ 本帖最后由 baima 于 2010-11-8 10:06 编辑 ]

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发表于 2010-11-8 10:11 | 显示全部楼层
原帖由 xing 于 2010-11-8 09:54 发表

不客气。只是所谓的阴谋论的种子看来已经被散布。我也觉得无力再说什么。。
我是个剧迷,简单地喜欢这部剧^^。各个角色我都喜欢,原著里面,其实女林的部分也很多,但是电视剧没有写出。至于在新,也许真得如编剧 ...



呵呵,xing亲比我理智多了,是纯粹滴剧迷哈。

我一开始也是剧迷,但是看着看着就被佳郎有天带着走了。我不怕承认HC哈,就像猪猪说的,迷有天不妨碍我本身清纯的立场哈。

说到这个编剧,我觉得她把自己定义为史剧编剧还不如说是一个汉语文学功底相对扎实的文学编辑。史剧部分不说也罢,说起来却是成均馆最弱的部分。因为首先这不是一部严格的史剧,所以历史部分是相对模糊的。倒是其中涉及国学、儒学的部分,这个编剧显示出了一定的功底。

我已经不再为结局的混乱和仓促而难受了。

即便是这么糟糕的一个收尾,却还是不能让我对有天扮演的佳郎之喜爱减少半分。可见有天的演出时成功的。

PS:另外,昨天的sc啊。感叹下。同意青豆的话,缺乏真实感啊。

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发表于 2010-11-8 10:21 | 显示全部楼层
这个新闻感觉好搞笑

성형외과 전문의가 꼽은 ‘시대별 꽃미남’
成形外科和专业的指定的“时代星 花美男”

                               
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2010년대: 애교살과 처진 눈매

아이돌 스타들이 무대에서 뛰쳐나와 브라운관을 장악했다. 드라마 '꽃보다 남자'의 김현중, '성균관 스캔들'의 박유천, 장근석, 송중기 등은 항상 누나편이 되어줄 것 같은 부드러운 이미지로 여심을 사로잡고 있다. 이들 합성 사진을 보면 갸름한 얼굴형에 뾰족한 앞턱이 도드라진다. 앞볼이 볼록 튀어나오고 눈밑 애교살이 두터워 실제 나이보다 어려 보이는 동안상이 특징. 코 라인과 눈썹 라인이 만나 세련돼 보인다.

2010的部分有提到有天、金贤重、宋钟基~还有不认识的名字= =

http://news.nate.com/view/20101108n02343


有天的另一个采访

[스타 인터뷰] 박유천 "좋은 친구 많은 선준이 부러워"

                               
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http://news.nate.com/view/20101108n02086

这张新闻图好想吐槽他的裤子啊

[ 本帖最后由 baima 于 2010-11-8 11:24 编辑 ]

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发表于 2010-11-8 10:55 | 显示全部楼层
原帖由 baima 于 2010-11-8 10:01 发表
不管kbs是不是不公,有天已经用努力证明了自己,其他的东西我们无力改变,埋怨也是徒劳。
反正经过这一轮我是更觉得有天是一个很坚韧的人,他会越来越好的。

东方神起吧看到一个昨天《找到了》的有天的自拍,
作 ...


看完视频,抱歉,我精分了!
我觉得大米唱《找到了》感觉是佳郎上身
整个稳重和眼神都是佳郎上身

感觉虽然没有明显不快
可是却远不如香港那场SC 唱《找到了》的时候开心了
那场我有看,虽然很累,状态也不好,可是眼神比现在开心有活力得多

我又开始纠结了
大米昨天的SC 怎么会露出如此令人心疼的眼神!
眼神看起来还是有些忧郁
我晚点去米仓,希望有所收获
Never frown, even when you are sad, because you never know who is falling in love with your smile~~~

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发表于 2010-11-8 11:02 | 显示全部楼层
Cecilia说的是事实上发生过的事
KBS确实是想要把最後6集加以“改编”成 在信和允熙的爱情故事
後來没达到目的是因为版权问题
还有 从头到尾 这是有天被打压的事
为什麽会又牵拖到别的演员
又不关他们的事
敏英 钟基 和 亚仁 都跟这件事没有半毛钱的关系
他们确实都是很努力很有潜力的演员
但是这些都跟KBS想篡改原成均馆剧情的事无关
为什麼又要把他们扯进來?
而且
最让人生气的事是KBS想篡改原剧的事
是对众多喜欢成剧的人的侮辱
其他的枝枝节节(演艺街中继避开有天或戏分)根本已经不是重点了

另外,再把他父亲生病,他也生病的事拿出來牵扯到他的戏分
这也太誇张太会牵拖了

[ 本帖最后由 laura1997 于 2010-11-8 11:09 编辑 ]

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发表于 2010-11-8 11:07 | 显示全部楼层
原帖由 icecreamtree 于 2010-11-8 09:53 发表
物桀的图P的不错,这份愿望是美好的,可P的人既然有这么好的技术就把大物桀骜的美图合成呗,干啥要P掉俺们佳郎的脸啊。。。看着怪让人不舒服的。。。。。

完全同意

很明显我支持原汁原味的说

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发表于 2010-11-8 11:09 | 显示全部楼层
原帖由 laura1997 于 2010-11-8 11:02 发表
Cecilia说的是事实上发生过的事
KBS确实是想要把最後6集加以“改编”成 在信和允熙的爱情故事
後來没达到目的是因为版权问题
还有 从头到尾 这是有天被打压的事
为什麽会又牵拖到别的演员
又不关他们的事
敏英 ...


KBS是泡菜国的国家台吗?为毛没有半点国家台的大气呢?

这种改编结局的做法,不是打压有天,倒像是要打自己的脸。

反正PC国演艺界BT滴事情不是一件两件了。也见怪不怪了。

哎,成均馆啊,这么多是是非非,真是够曲折的。

好在都过去了。有天好好将养身体,早日新剧见吧。

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发表于 2010-11-8 11:11 | 显示全部楼层
原帖由 mickyxiaowan 于 2010-11-8 11:07 发表

完全同意

很明显我支持原汁原味的说


呵呵,我也是这么想滴。

也许p成女林和桀骜更合适吧。桀骜和大物也是无缘无份那种。多情却被无情恼,说到底都是悲催啊。

[ 本帖最后由 holly_520 于 2010-11-8 11:14 编辑 ]

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发表于 2010-11-8 11:12 | 显示全部楼层
原帖由 baima 于 2010-11-8 10:21 发表
这个新闻感觉好搞笑

성형외과 전문의가 꼽은 ‘시대별 꽃미남’

                               
登录/注册后可看大图

google翻译出来大概的意思应该是不同年代整 ...

성형외과 전문의가 꼽은 ‘시대별 꽃미남’
成形外科和专业的指定的“时代星 花美男”

大家不要纠结了,反正事情都过去了
有天从一开始无存在感的毫无新闻,到后面他的睫毛等等都出新闻
就知道,民心是打压不住的
虽然他没有强硬的经纪公司给他捧,有的只是强硬的经纪公司给他踩
但是他有努力的去克服,通过自己的努力,把对他持有偏见的人都转为好感

从金甲殊大叔,一开始好几次在twitter上提到,大家要好好的爱有天,好好的支持他的剧的时候就知道
朴有天这一过程不会那么简单,金大叔的话明显有好多无奈
反正这件事情,不管大家如何说都好,肯定有强大的外力在阻碍着朴有天,或者说阻碍着KBS,
只是讨论来也没有意义了,都过去了,
而且我们也没办法,
不过这事情,确实跟其他演员毫无关系,看得出来有天和亜仁感情很好

就让这个剧给我们留下一个美好的回忆吧,不要再去纠结这些啦
luara摸摸,很明显你已经慢慢像我们米饭大队伍靠拢
青豆归来啦!!!!!!!!!!!!!
昨天朴有天貌似有点累累的样子也,不过青豆你在绿色在饭应援区哈哈哈
说有天很多时间都在放空呢
可能拍完戏一下子放松了,就太累了

[ 本帖最后由 mickyxiaowan 于 2010-11-8 11:24 编辑 ]
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