Bong Joon-ho: Horror on the River Han
图文版请见 http://www.mtime.com/my/mnauce/blog/365031/
本人翻译,转载请注明.
Why did you want to make this film?
I didn't get this idea so much from the monster or the horror genre. It's more about the location, the Han River. I lived next to it from a young age. I would look over and wonder if there was a monster like the Scotland Lochness Monster in it. That's where I got the idea, and it stayed with me over the years, and I made it into a film. The concept of not having this monster come from a broken space station or some science fiction like that - I thought everyone in Seoul knows the Han River. It's very normal for them.
你怎么想到要拍这部电影的?
主要倒不是因为怪兽片或恐怖片想拍这片的。更重要的是汉江这个事件发生地。我打小就住在汉江边上,那时我会向江心望去,思量里面是不是会有尼斯湖水怪。这才是我的灵感源泉,它在我心中积存多年,终于被拍成电影了。这怪兽并非来自某个被毁的空间站或类似的科幻片场景,因为我觉得汉城人都熟悉汉江,这样的拍法对他们来说并不为过。
Which of the characters do you identify with the most?
The father because I am a father myself and I have a child. I might not be as stupid as Gang-du, but the passion and love for the child - I can definitely relate to that. The second son, Nam-il, who is always complaining and throws the Molotov cocktails, is actually based on a college friend of mine.
你最认同片中哪个人物?
那个父亲。因为,我自己现在就是个父亲,有了孩子。我可能不像Gang-du(很有趣,这个名字的上海话)那样蠢,但我对我孩子的爱是一样的。他的次子Nam-il, 动辄怨天怨地摔酒瓶子,是以我一个大学朋友为原型的。
Why do the characters in your films come from working classes?
In Memories of Murder, you have the talent-less, stupid detectives. In Barking Dogs Never Bite, you have the loser characters there. It's those characters I feel more drawn to. In this film, you have the same type of characters, and when they're faced with this incredible mission, you find they become more humane and make a more dramatic type of story. In monster movies, you usually have the scientist or some sort of specialist coming in, but here I wanted to break the convention with a normal, or even below normal, type of family.
为什么片中人物都出身下层?
Memories of Murder说的是无能而愚蠢的侦探;Barking Dogs Never Bite说的是loser式的人物。但正是这些人物吸引我。此片也是这类人物,当他们面临不可能的任务时你会发现他们变得更人性化,相应的,故事也更戏剧化。科幻片里一般都是科学家或者专家这类人物,我试图用普通甚至更下层的家庭,来打破这一常规。
If we were to look at films along national lines, I do not think you could find a national cinema with more intense and emotional characters as South Korea's cinema. Why are we seeing that, especially in recent films? It looked like you were hinting at that with Hyun-seo's funeral.
[Laughs]. First of all, for Western audiences, it might look exaggerated, but for Asian or Korean audiences it's actually very realistic. It's a huge funeral with many people. It's dealing with death. It's very sad. But if you look at everyone and what they are doing and saying, you could almost say it's kind of ridiculous. You have a security guard asking someone to move their car. Combined, this chaos is very, very real to Koreans
纵览各国电影,我不认为可以找到一个国家的电影有像韩国电影里这样感情强烈的人物。你的影片为什么是这样?特别是你最近的影片。似乎想用Hyun-seo的葬礼来暗示什么。
[笑]首先,对西方观众来说,这可能有点夸张。但对亚洲及韩国的观众来说却是十分真实的。它关乎死亡,势必悲伤。但你看看周围的人,他们作些什么说些什么,就会觉得简直荒谬了。保安让人把车开走(?)。这种种混乱对于韩国人来说十分真实。(我也不知道我在翻什么了。。。)
Well not just that scene, but Korean cinema in general. There's an intensity in the characters not consistently seen in any other national cinema.
[Bong in English] Because Korean people are very hot-blooded. [Laughs].
其实不止是这段戏,韩国电影总体上都是这样,人物有种不贯见于其他国家影片的强烈感情。
[奉用英语]那是因为韩国人都很热血。
[笑]
What are your political intentions behind the film?
In the film, there is commentary against America possibly. There's satire against the Korean society. Everything plays a role working against the family. It could be the system, Korean society, America and all these things. In essence, you could say I am making a political comment about it, but at the same time, I'm working into the horror and science fiction genres. The most important thing is that no one helps this family except for that homeless man at the end. They're this weak family up against this huge fight and they're all alone. That was more important.
影片背后有什么政治寓意吗?
这部影片有可能对美国不利的言论,也有对韩国社会的讽刺。一切都在与这个家庭作对。也许是体制,也许是韩国社会,也许是美国或所有这一切。确实,你可以说我在作政治评论,但同时,我也在拍一部恐怖-科幻的类型片。最重要的是,除了最后那个流浪汉,没人帮助这个家庭。这个弱小的家庭要单独面对强大的对手,这才是最重要的。
In another interview, you said the English translation of The Host had a double meaning. Was that alluding to America still in Korea after all these years?
The American forces in Korea can be another layer in The Host. You can say that. I'm not going to say "no" to that. There are so many layers in that title.
在另一个访谈中,你谈到The Host这个英文片名有双重含义。是不是在暗示这些年来美国在韩国的势力依旧?
美国在韩国的势力依旧可以是The Host的一个涵义。可以这么说,我不会否认。这个片名里有如此多层次的涵义。
Could you explain what the thought processes were in designing the creature? Why does it look the way it does?
Jang Hee-chul and I started off with this design of the creature. Since it was from the Han River, it's something fish-like. Then it was something from pollution, so it had a mutated form. From there, we had a storyline, so it had to fit these conditions. For instance, it's got to be able to run on land to crush and snatch people. It has to have a pelican like ability to move people around in its mouth, and do acrobatic feats.
你能谈谈这个怪物造型的构思过程吗?为什么它是现在这个样子?
我和Jang Hee-chul 一起开始这项工作。这怪物来自汉江,所以有点像鱼。又受了污染,所以长得比较怪胎。它还要符合故事的环境。比如,它要能在地上奔跑,能随手抓人碾死人。还要有鹈鹕那样的能力,能在嘴里移动人体,以及种种特技能力。
Too often we hear the phrase, "This movie breaks the genre," or "genre-defying." Do you think maybe "genre" is a misnomer, more effective as a marketing ploy than anything else?
Yes, when you look at the beginning it gives us a chance to recreate the 1980s, so you could say it's a realist film. On the surface, they're going after this serial killer, which is the thriller genre. And this film has a monster creature. I take the Hollywood genre and add the Korean realism and have them crash and create all this tension. I grew up watching American genre films. I have this love and hate relationship with it, and you can see that through my films.
我们太常听到这样的话了,“这部电影打破了该类型”或是“反类型的”,你是否觉得这里的“类型”这词没有意义,更多地是作为营销的手段。
是的,一开始觉得它给我们一个重塑(韩国)80年代的机会,你可以说这是一部现实主义影片。表面上,它又是一个连环杀人事件,所以也是惊悚片。这片又有怪兽。我把好莱坞的类型拿来添加韩国的现实主义,再把他们打碎,造成这些张力。我是看美国类型片长大的。对它是又爱又很,这些都可以从我的影片中看出。
Having broken Korean box office records, how does that pressure you for you next film? After all, James Cameron has not directed a feature film since Titanic.
[Laughs]. My first film was a box office disaster and my last film was a box office hit. I've gone from extreme to extreme. The next film is going to fall somewhere in between. I'm okay with that. That's actually comforting. My next film is small, with an original story. Another one I'm preparing is a huge sci-fi based on a French comic.
打破韩国票房对你下一部影片有没有压力?毕竟,Titanic后James Cameron到现在还没有一部片子。
[笑]我的第一部作品是票房灾难,最后一部反倒打破票房记录,从一个极端到另一极端。下一部片应在这两个极端之间。对此我不觉得有什么,其实还不错。接下来是一部小成本的原创故事片。另一部我正准备的是部大型科幻片,改编自法国漫画。
译自 http://www.greencine.com/central/node/102
最后,说说俺看这部电影的一点小发现:
由上面这些图可见,正反双方都是运动健将。
裴斗娜演的是射击运动员,美国大兵是掷铁饼者。
然后怪物开始是跳水健将,鱼跃啊,甩尾啊。
而后又是体操健将(它在两个流浪的小孩面前
那几个漂亮的动作,那两个小孩看得目瞪口呆)
[访谈]奉俊浩关于《怪物》的一个访谈
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这访谈是07年的,奉俊昊说的正在准备的改编自法国漫画的科幻片是雪国列车,2013年才上映。由此可见拍电影真是个需要长远规划的活儿,能这么干的肯定是真爱。
这访谈是07年的,奉俊昊说的正在准备的改编自法国漫画的科幻片是雪国列车,2013年才上映。由此可见拍电影真是个需要长远规划的活儿,能这么干的肯定是真爱。
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