→ jcyl:我補上了後半的文章 09/12 19:35
※ 編輯: jcyl 來自: 218.166.80.204 (09/12 19:42)
另一篇片場訪問，跟上一篇是同一天受邀去採訪的
所以內容大同小異，除了這篇有講到床戲.............(咳)
Woody Allen, a sandwich and a steamy sex scene posted on 08 Sep 2006 by
Georgina
By Ruben V. Nepales
Inquirer
Published on Page F5 of the September 8, 2006 issue of the Philippine Daily
Inquirer (菲律賓的報紙....?!)
LOS ANGELES
"You didn’t mind the bus trip?”
That was how Woody Allen greeted our press group when he recently allowed a
very rare media visit to his set. After our “Rome” set visit (which we
wrote about in our previous column), we flew to London to take up the master
filmmaker’s unprecedented invitation to talk to him on location.
After a pleasant one-hour bus ride through the countryside, we arrived in a
town interestingly named Hoo, where Woody was filming scenes for his untitled
movie now called the “Woody Allen Summer Project.” On this sunny day (The
New Yorker dislikes bright days; he’d rather see grey skies.), we were at
the Hoo Marina, a quiet harbor of boats and yachts where we observed him
directing his hot actors, Colin Farrell and Ewan McGregor.
By previous agreement, the two leads were not going to be interviewed on this
set since they wanted to concentrate on their scenes. But Colin walked to our
group to say ‘hello’ and ‘welcome.’
The details of this movie’s story are being kept top secret. We could only
confirm that Colin and Ewan play brothers; the latter’s character falls for
a girl played by a very lucky actress, Haley Atwell, who not only has Woody
Allen directing her first movie but gets to act opposite two of Hollywood’s
best actors; and Tom Wilkinson portrays the guys’ uncle.
We got to talk to Haley, 24, lovely with silver hoop earrings and a newcomer's
enthusiasm, who shared a few more details: “I play Ewan McGregor’s love
interest. I have a very little story with the brother (Colin’s character),
only via Ewan’s character. I think my relationship with Ewan is very much a
power game of knowing the effect that I’m having on him and kind of being a
catalyst for his moral decline.”
But we persisted and asked if her character does not get romantically
involved with Colin’s character as well. “You’ll have to see. Maybe,” she
answered us, affecting a mock coy stance but with a naughty twinkle in her
eyes.
Haley was more candid about her bed scene with Ewan, as directed by Woody. “
It was incredibly un-erotic because it was just me wearing a flesh colored
top and track suit bottoms underneath the sheet. And Ewan wore like three
pairs of pants. He was kind of going, ‘Get your elbow out of my face. And
you’re blocking my light; it’s all about you, isn’t it?’ And then me
looking at a corner of the room and seeing Woody, sitting in the corner
eating a tomato sandwich, not particularly interested in what was going on
at all. So I was thinking, here I am in a sex scene with Ewan McGregor, in
my first movie, and both men could not be more disinterested. But it was
lovely and very funny.”
Then it was time to walk back to the set. As we sat on the marina’s edge
thinking that the water below is probably even dirtier than the Pasig River’
s, we also discovered that Woody does not yell “Action!” or “Cut!”
Instead, a crew member screamed “Rolling!” and then the acclaimed director
merely said “Okay” to indicate a take’s end.
Colin and Ewan rehearsed the scene a few times before the cameras actually
rolled. Both men were casually dressed and had spiky hair but Colin’s looked
almost like a pompadour. Colin was in a T-shirt, loose cargo pants and
Converse shoes while Ewan wore athletic fit long-sleeved shirt, jeans and
sneakers. Incidentally, Letty confirmed that yes, Woody knows that Colin does
a good impersonation of him.
Before the takes, an assistant handed a beat-up bomber leather jacket for
Colin to wear. The actor was also given a six-pack Grolsch beer and a boom
box to carry as he and Ewan, a backpack slung on his shoulder and clutching a
jacket, walked from a gangplank to a boat. After two takes, Woody was
satisfied. It was a refreshing change of pace. The day before, we were on the
set of a huge, big-budget movie north of London where it took virtually a day
and over 50 takes to shoot a single scene (as a result, we memorized all the
lines and could mimic the cast, down to their different inflections).
During lulls, Colin and Ewan chatted amiably as the former smoked his usual
cigarettes. Sometimes they huddled with their director. In contrast, Woody
was rather formally dressed for this dockside setting: neatly pressed blue
shirt, chino pants and those well-worn shoes we’ve seen him wear at the “
Match Point” premiere party in LA and in New York press cons.
Woody talked to our group several times during the day, as the crew set up
for the next takes. We clustered around him as he sat on a picnic bench. He
was asked what he was discussing with Colin and Ewan when they were in a
huddle. “Oh, I was just reminding them where we were in the story so they
didn’t both get on the boat giggling or something,” he replied. “That
would have been inappropriate for where they were in the script. So they have
to look a little more agitated. This was a comparatively easy shot.”
Say ‘okay’
On not hollering the stock filming terms, the 70-year-old Oscar and Golden
Globe winner commented, “This is my 37th film or something. I’ve never said
action in my life. I just say ‘okay’ when the shot is over.”
When a reporter remarked on the director’s economy in takes, Woody
confirmed, “Yes, I’m on the short end. If I could get everything in two
takes, I never go on to a third. Usually when we go to a third take, it’s
either the cameraman says, ‘Can I have another one? I think I saw a
microphone in the background.’ Or he’ll say, ‘The sun flared.’ Or the
actor will say, ‘Can we do one more for me?’”
He added, “But for me, as soon as I get two takes that I like, I’m ready to
move on. You only need one that’s good for the picture. But if something
happens to the negative of the first take, which is very rare, you got to
have the second take. When I did ‘Sweet and Lowdown’ with Sean Penn, he did
a long scene with Samantha Morton where he was brilliant. I told Sean, ‘It’
s silly to do this again. You’re never going to do it as well.’ So I went
with that one take. Now if the negative of that take had been ruined in the
lab, I would have been in trouble.”
That he does not look at a monitor—a common practice among today’s
filmmakers—was also brought up. He explained, “I can see the actors doing
it live. I might stand behind the monitor if there was no way I could see the
actors live. I’m just used to working without it.”
Of this untitled movie’s story, he could only say, “I can’t tell you much
except that it’s a dramatic story more in the genre of ‘Match Point’.”
The genius who wrote, directed and acted in such memorable films as “Annie
Hall” and “Manhattan” told us in a previous press con that he always
writes something about a movie project on a strip of paper and files it in a
drawer. A writer inquired what is on the piece of paper for this film.
“The words were, ‘Don’t forget Uncle Howard,’” he said. “Uncle Howard
is a character played in this movie by Tom Wilkinson. I finally got a chance
to work with him. Both the boys are very much in love with their Uncle
Howard, a wonderful, generous man who tries his best to help them.”
What did he know about his Irish and Scottish actors before working with
them? “I didn’t even know much about them. I saw Ewan singing and dancing
in ‘Guys and Dolls’ in the theater. I also saw him in one movie but I don’
t remember much of it. I saw Colin in Terry Malick’s film but he had (long)
hair. He has a different look now.”
Leave him alone
Woody’s well-known obsession with keeping the script a secret (some actors
only get the pages with their lines) works well with his current financiers,
Europeans, who leave him alone. “I won’t let anybody read the script. I don
’t let anybody see the picture until it’s finished. I don’t let the film’
s investors have a say in the casting or anything. The companies willing to
work with me that way are European. They’re willing to say, ‘We’ll give
you the money. We won’t bother you.’”
He continued, “In the United States, they’ll give you the money but they
want to look at the script. They want to know who’s in it. They like to be
your partner in some way. I would rather make films abroad to be completely
free than to have to go through that process that American filmmakers go
through, where they have to be partners with the people that are putting up
the money.”
On his practice of never looping or dubbing and always using the dialogue
recorded during the actual takes, the comic genius stressed, “I never do any
looping. Never.”
Why? He explained, “When I first started I was so shocked when I did ‘Take
the Money and Run’ and they said to me, loop the scene because there was the
sound of an airplane going past or something. I looped the scene and it was
so dead and lifeless. Yet the other way (the original track) was so alive and
funny. Everyone needs everything to be so technically perfect. I think that’
s a mistake. I think that the vitality is much more (important).
“In the movie ‘Play It Again, Sam,’ producer Robert Evans looped a very
big scene with Tony Roberts, Diane Keaton and me, when we were in a car. He
called me up a week later and said, ‘I went back to the original, because it
’s so dead. The three of you never captured the excitement when you were
really in the cars racing along the highway.’”
So what is on the slip of paper for his next movie, to be filmed in
Barcelona? Woody smiled. He obviously relished giving us teasing bits of
information. After a perfectly timed pause, he replied, “Oh, the affair with
the woman’s friend.”
http://showbizandstyle.inq7.net/entertainment/entertainment/
view_article.php?article_id=19660
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※ 編輯: jcyl 來自: 218.166.80.204 (09/12 19:35)