→ ppr: (╯‵□′)╯︵ ┴─┴ 去他的美國製片！ 09/01 01:29
[This is London]網站的記者破例受邀到拍片現場採訪，挖出了更多內幕～
well, 其實是因為伍迪爺爺向來都愛耍神秘,
這是他(有史以來?)第一次允許媒體到場採訪，但還是神秘兮兮
不過報導還是蠻有趣的
- 這部電影將會是較接近[Match Point]的戲劇路線
- 原來伍迪爺爺導戲的方法是走"自然"路線. 他不用小螢幕.
他從來不喊"Action"或"Cut". 只是輕聲問一句"Ok?", 然後緩慢走向演員
解釋接下來要拍的戲, 但給演員極大的自由, 讓他們自己走位, 自由發揮
- 伍迪爺爺只有看過G&D與Young Adam, 但對Colin Farrel更是完全不熟
- 伍迪爺爺現在之所以跑到歐洲去，是因為美國已經沒有人願意跟他合作....
因為他要求他們出錢就好，其他什麼都不能管，美國現在根本沒人肯這麼做
只好到自由的歐洲囉～
報導很長....可是也難節錄，我還是全部貼上來吧
http://tinyurl.com/q7zk4
Shooting Stars with Woody
By Mike Goodridge, Evening Standard
29.08.06
Woody Allen shoots are notoriously mysterious affairs. The director likes to
keep his films shrouded in secrecy until they are completed. Few of the crew
have actually read the entire script. And journalists are rarely, if ever,
allowed on set.
Yet here I am, in the sleepy town of Hoo, Kent, watching the man in action.
And he's not happy.
"It's too sunny," he frowns. He likes the flat light that we have over here.
"The weather's been very unpleasant this time."
Hollywood's finest have come to Hoo, on this wiltingly hot day, to shoot
scenes from Allen's 37th movie, as yet untitled. Ewan McGregor and Colin
Farrell are standing around chatting, impressively quiffed and smoking
heavily.
(看來煙真的比酒還要難戒很多....)
A few locals squint their eyes and wonder if the unassuming, casually-dressed
men standing on the marina really are the world-famous film stars they look
like. They look even more bemused as the quintessential New Yorker and
Oscarwinning comedy legend Allen walks past them with a pair of headphones
looking oversized around his slender neck.
When the first assistant director shouts that they are ready, Farrell spits
out his cigarette, loads up with two six-packs and a CD player, and follows
McGregor towards the camera. Allen stands quietly by. He doesn't use a
monitor, just watches as the two stars walk down the gangplank to the boat.
And he never says "Action". "I've never said Action in my life," he says
laughing.
Nor does he say "Cut". To end the take, he merely asks "OK?" softly and then
shuffles up to the two actors to give them more directions for another take.
It's a very calm and collected set, no hurly burly, no histrionics. Possibly
because Allen allows his actors a good deal of freedom.
"I almost never have to say anything [to McGregor and Farrell]," he says,
when I get a chance to chat to him in between takes. "I generally tell them
to go where they want, stand where they want, wear what they want, and they
do; and 98 per cent of the time what they do is correct."
Although I'm allowed to watch, there are heavy restrictions. I'm not allowed
to speak to either of the co-stars. And nobody's allowed to tell me about the
plot. This is quite possibly because they don't know themselves. All I know
is that the film revolves around two brothers who turn to crime and become
enemies. I also discover that it's a melodrama more in the style of Match
Point than the silly comedy mystery Scoop, which he shot last summer. Given
the panning Scoop received in America, this is probably a good thing.
The director has also found a new ingenue. Stand aside Scarlett Johannson,
meet Haley Atwell. She's English and, at 24, older than Scarlett, but she
still has the angular looks and sparkling charisma that appealed to Allen in
the young Johansson. She graduated from Guildhall School of Music and Drama a
year ago and has already made a name for herself here with a stint at the
RSC, a role in Prometheus Bound in the West End and a choice part in The Line
of Beauty on the BBC. Allen chose her from a tape he was given from a casting
director in London before the television series had aired, flew her to New
York, auditioned her and offered her the role on the spot.
The dark-haired beauty is still reeling from her good fortune, so much so
that she probably blurts out more of the plot than Allen would approve. "I
play Angela Stark," she says. "She's a very driven, ambitious girl who has a
working-class background but has come to London to make a name for herself.
She is seductive and incredibly confident. She knows the effect she is having
on Ian, Ewan's character."
Atwell, who will star alongside Billie Piper in ITV's Mansfield Park
adaptation next year, admits that they're all somewhat in awe of Allen. The
director, in turn, seems extremely respectful of his cast. "Ewan and Colin
are such perfect and exciting actors," says Allen, sitting on a bench in
between takes. "I didn't really know their work very well before. I had seen
Ewan in Guys and Dolls in the theatre here and in Young Adam but Colin I
didn't know at all. Colin came in and said hello and 20 seconds later, I knew
I had to have him in the film."
Allen first came to the UK two years ago to make Match Point. He had
exhausted traditional methods of finance in the US - or at least he was not
prepared to work with the Hollywood movie studios who insisted that they had
a say in how the films were cast and made. Allen demands that the company
invests in his vision with zero interference in the process.
"The companies willing to work with me in that way are European," he says
with a hint of resignation. "And I would rather make films abroad and be
completely free than have to go through the process that American film-makers
go through, where they have to be partners with the people who are putting
the money up." Allen's track record is good, but not impeccable. While for
many years, discerning film-lovers around the world longed for their annual
fix of his wellobserved musings on the meaning of love and life such as Annie
Hall, Manhattan, Hannah and Her Sisters and Crimes And Misdemeanors, the past
decade has seen a creative slump in his output. Films such Anything Else, The
Curse of the Jade Scorpion and Small Time Crooks garnered Allen some of the
worst reviews of his career.
With Match Point, however, he enjoyed a renaissance of sorts. The change of
scene in England evidently agreed with him and refreshed his creative juices.
His sister Letty Aronson, also his full-time producer, certainly believes
that her brother has become more sociable with his cast and crew since he
started making films in the UK.
"It's been a liberating experience working in England," she says. "Because
he's not in New York, he doesn't go home for lunch and hangs out with the
group more. We had Scarlett [Johansson] working with us on the first two
films and she was very outgoing and friendly. And he likes being in London.
He hires a house. His wife and kids are here and he likes the restaurants.
And the weather."
His newly laid-back attitude might explain the invitation to the set. It's
the most he's ever exposed himself to the media while a film is still
shooting. Really the only surprise is just how workmanlike the production is
compared to some larger affairs with all the hoop-la that big budgets and
primadonna directors entail.
As I watch Allen finishing up more takes with McGregor and Farrell, the plot
of the movie might still remain hazy, but the long-kept mystery of his
shooting style has been cleared up.
He doesn't shout or even raise his voice. He is professional and gentle,
maybe even a little shy. In the spirit of openness, I decide I might as well
try my luck and ask about his next film which will shoot in Barcelona, only
because a Spanish film company has offered to finance it.
But I don't get much out of him. He merely explains that he means to edit
this picture very quickly in two weeks. "And then I'll start to work on the
Barcelona film."
Allen takes off and I ask Aronson how he will cope with the summer heat and
bright light of Catalonia. "I know," she says. "It's going to be very sunny
and hot. He's going to have to write something that lends itself to that
climate. Or else set it all indoors."
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