克里安嬰兒般秀麗的臉龐令人好想用力掐死他呀！
Cillian Murphy & Ken Watanabe Do Their Best to Keep 'Inception' a Secret
By Gabrielle Mitchell-Marell
June 16, 2010
翻譯魂忍不住手癢，其實只想名正言順貼圖又硬要充實內容兼趕流行。本文翻自電影上映前的紐約最棒雜誌【黑皮書】六月號，也不
知道在翻什麼，看得懂就看中文，看不懂就看英文吧！(故意翻很爛有助於讀者對照原文)
"Since I was a teenager, I’ve been interested in finding a way to make a movie about dreams," director Christopher Nolan says of the genesis for his upcoming sure-to-be-blockbuster, Inception. "I’m interested in the fact that it’s both a universal experience and a subjective one." The film hinges on what transpires in the unconscious mind while sleeping. "There’s an interesting relationship between dreaming and watching movies, the way we absorb these worlds that are created for us," he says. Paradoxically, Inception is also an action film.
「我從青少年時代就想拍部關於夢的電影。」克里斯多福諾蘭談起即將成為夏日百視達的【全面啟動】。「我對於夢境是個既普世又主觀的經驗感到興趣。」電影以睡夢中無意識心靈所透露之情事為樞紐。「做夢和看電影存在著有趣關係，我們如何理解這些為我們而創造的世界。」他說。似是而非地，【全面啟動】也是個動作電影。
Waking Life (2001)
As in his amnesia-fueled narrative puzzle, 2000’s Memento, Nolan has achieved the cinematic feat of dramatizing the mind’s inner workings. But it wasn’t easy. The writer-director spent 10 years from inception to Inception. Nolan’s biggest obstacle was "defining the emotional life of the characters so that they would become important to the audience and critical to the story." Although he’s best known for his imaginative rebooting of the Batman franchise Batman Begins and The Dark Knight, Nolan never intended for Inception to be realized on a similarly grand scale. "Every time I try to address the potential of dreams and the human mind, it just expands," he says. His desire to keep an unusually tight lid on the plot of his films, like his metaphor for dreams, is of personal and collective interest. "As an audience member, I never like when campaigns give away the whole movie. I want people to see it the way it’s intended to be seen."
在他的失憶症敘事謎團，千禧年的【記憶拼圖】，諾蘭已經在影史上寫下戲劇化大腦內部運作之豐功偉業。沒那麼簡單。這位編導花了十年全面啟動【全面啟動】。諾蘭最大的障礙就是「定義角色情感生活，好讓觀眾感到重要，故事感到關鍵。」即使他以滿溢想像重振蝙蝠俠招牌【開戰時刻】【黑暗騎士】成名，諾蘭從未希冀【全面啟動】以類似大規模實現。「每次我試圖表達夢和人類心靈的潛能，總是滔滔不絕沒完沒了。」他說。他想抑制電影情節蔓延的欲望，就像他關於夢的比喻，出自個人與集體興致。「作為觀眾，我總是不喜歡宣傳大過電影。我希望人們看到電影想被看到的地方。」
Christopher Nolan directing Guy Pearce on the set of Memento (2000)
說一個導演是好導演，喜歡他一部電影就夠了，之後的，都是插曲。
To bring his vision to life, Nolan called upon two of his go-to actors, indie charmer Cillian Murphy and Oscar nominee Ken Watanabe (the film also co-stars Leonardo DiCaprio, Marion Cotillard and Ellen Page). "It’s an incredible privilege to have guys like that on your side," Nolan says. "Ken is an iconic and charismatic movie star who projects so much intensity. In a different way, Cillian also has an unbelievable sense of charisma. He has these eyes that gaze right through you and tell the audience so much about the character he’s trying to portray. He’s very under-appreciated, and any time I can get him up on stage I’m delighted to do it.”
為了築夢踏實，諾蘭找來兩位愛將，茵地小王子克里安莫菲與奧斯卡提名渡邊謙。(電影卡司還有李奧納多狄卡皮歐瑪荷詠柯蒂亞艾倫珮姬)「有諸位天王天后助陣真是個不可思議的特權。」諾蘭說。「謙哥是個肖像與魅力十足的電影明星，火力全開。克里安則擁有不可置信的魅力感。他臉上生著能夠看穿你的眼神，角色想告訴觀眾的，不言而喻。他非常曖曖內含光，只要可以找他演出我一定樂此不疲。」
沒有指名道姓喬瑟夫戈登李維我生氣了！
Watanabe, 50, sits inside a bright photo studio in Los Angeles, dressed in a pink oxford shirt and matching cotton scarf. "Imagine the way you feel when you wake up from a bad dream,' he says. "That was where Chris started this project. He had a nightmare and woke up to some really complex feelings." Murphy, 34, who shares many of his scenes with Watanabe, agrees. "That tends to be a theme in Chris’ films: how the mind can weaken you," he says. "I find that a fascinating study."
渡邊，五十知天命，坐落於洛杉磯照相館，身裹粉紅色牛津衫和棉質領巾。「想像你從佛萊迪魔爪逃出」他說，「克里斯就是從那兒全面啟動的。他做了個惡夢，伴隨極為複雜感覺醒來。」莫菲，三十四歲，和渡邊共享許多場景，同意該說法。「那成了克里斯電影的一個主題：腦袋如何叫醒你。」他說。「煞是個引人入勝課題。」
Hailing from far-flung continents and nearly two decades apart in age, Murphy and Watanabe initially read as an unlikely pair. But on closer inspection, the two men share common threads: both have solid footing in Hollywood but have settled close to their native lands; both revere Nolan; both possess an alluring blend of feminine and masculine energies; both are handsome, well-dressed, earnest and, at least on this afternoon in early May, prone to trampoline fights and deep bouts of blushing.
自兩個得遠渡重洋才能踏上彼端的大陸板塊即備受寵愛，歲數相差幾乎二十，莫菲和渡邊起初並不被認為是個好組合。但深入觀察後，兩個男人有著共同點：皆於好萊塢站穩腳步，但已選擇親近母國；皆崇敬諾蘭；皆俱備誘人陰陽能量；皆帥氣，會打扮，誠摯，以及，至少在這早梅午后當下，喜好彈簧床武鬥與靦腆陣陣。
克里安哪來的陽？渡邊謙那來的陰？
You’ve both chosen to live outside of Hollywood. In what ways do you think that decision has impacted your careers?
你們倆人都選擇遠離好萊塢居住。你們認為這抉擇如何影響演藝生涯？
CILLIAN MURPHY: Hollywood is the engine of the machine. European and Japanese industries are strong, but in terms of global reach, nothing can touch that place. For Chris, it makes complete sense to live in Hollywood. For me, though, while I love coming here—the weather, the sushi—since I’m European, I think I’d find it difficult to live here permanently.
稻草人：好萊塢是這機器的引擎。歐洲和日本影業都很強大，但就全球觸角觀點，好萊塢無人能及。對克里斯來說，住在好萊塢是完全合理的。對我來說，即使我喜歡住在這裡—宜人天氣，新鮮壽司—身為一個歐洲佬，我就是覺得無法永久居住在這裡。
KEN WATANABE: I always wonder where would be best to live, for my wife and our kids. I want to work in Japan, and I also want commercial films in Hollywood. It’s a difficult balance.
忍者大師：我一直好奇哪裡才是最佳住所，養育我妻兒的最佳住所。我想在日本工作，我也想在好萊塢拍商業電影。難以抉擇。
CM: It’s not impossible, though, because the world has shrunk so much. Twenty or 30 years ago, it would have been harder. Ken, your profile in Japan is so huge, and you’re so valuable to the Japanese film industry. Not all of the films in Hollywood are so good. A lot of studio films are tosh, but a lot of independent films are tosh, too.
稻：還是有可能，因為這世界越來越小。二十或三十年前，會更不可能。謙哥，你在日本是天王巨星，你對日本影業的價值難以算計。不是所有的好萊塢都跟諾蘭作品一樣優秀。許多片廠都是亂來，但也有許多獨立製片是來亂的。
HorrorFever 破膽熱：２０１０恐怖驚選影展
這影展居然也有收錄小克主演的【索命空間】(The Killing Room, 2008)，自行想像個好萊塢電影台會播放的【異次元殺陣】加【奪魂鋸】，然而小克穿高跟鞋走專業心理分析師路線仍然值得一看，眾星雲集卡司如【冰血暴】彼得史托梅爾【鑼鼓喧天】瑪麗亞凱莉老公【老師不是人】【索命黃道帶】克莉杜瓦。精彩截圖請點 這裡！
Cillian, you’ve twice dressed in drag for a film: in Breakfast on Pluto and, more recently, in Peacock. What drew you to those roles?
克里安，你有兩次穿洋裝演電影的經驗：【冥王星早餐】和最近即今在台灣上映的【雙面鬼計】。是什麼力量引領你飾演那些角色們？
CM: In Peacock, I played this guy with a dissociative identity disorder who believes that he is his own wife. Even though I did have to wear dresses in both films, that role was more about playing two characters for me.
稻：【雙面鬼計】裡，我飾演這個認為他是他老婆的反社會份子。即使我在兩部電影都要穿洋裝，那個角色對我來說比較像是飾演兩個角色。
How do you find an authentic place from which to play women, so that it doesn’t become campy?
你如何找尋自我詮釋女人的方法，以不至於巴茲魯曼？
CM: I love playing a woman. It’s the ultimate challenge. They are far more complex and better than men at most things, to be honest. The secret is learning how to be feminine instead of effeminate.
稻：我喜歡飾演女人。那是個無止境的挑戰。大部份情況女人比男人複雜且優秀，老實說。秘密就是學習如何女性化而非娘娘腔。
KW: I couldn’t have imagined you playing so sensitive or so crazy before the shooting of Inception.
忍：我無法想像你在拍攝【全面啟動】前如此依莎貝艾珍妮。
What can you tell us about Inception?
關於【全面啟動】可以給點內線消息嗎？
CM: This film has the structure of a heist movie, although not quite that conventional, of course. It’s an existential heist. Chris plays with shifting narratives, like he did in Memento. This one’s equally complex. I don’t know how it was for you, Ken, but when I first got the script, it was a hard read because it’s so visual. I’d never read anything like it in my life.
稻：這電影架構是個搶劫電影，即使不那麼傳統，當然哩！那是個存在主義的搶劫。克里斯玩弄多線敘事，宛若【記憶拼圖】。這次真的有夠輔雜。我不知道你覺得怎樣，謙哥，但我第一次拿到劇本，相當難閱讀，因為它是如此栩栩如生。生命中從未看過那種劇本。
KW: It was so confusing. I couldn’t understand it the first time.
忍：超級晦澀。第一次看根本看不懂。
What do you do in that situation, when you read a script and have no idea what’s going on?
當時你們如何解決，手裡捧著劇本卻無法略知一二？
CM: I trust Chris. He came up with this idea when he was 16 or something. He’s one of the greatest living directors—I think he’s proven that. So I knew this was material he’d be able to manifest in scale and emotion.
稻：我信任克里斯。十六歲就英雄出少年。他是當代最偉大的導演之一，他已經證明自己是了。所以我知道他在尺度和情感上皆能闡明他的素材。
KW: I had just wrapped a film in Africa and was on my way back to Japan when I got a call from Chris. He asked me to come to L.A., which is a 16 1/2-hour flight from Dubai. I met with him and he asked, "Are you a skier?" Coincidentally, I was born in snow country, and my father is a ski instructor. He explained the synopsis. His projects are really big so I needed to prepare a lot and also train in English. I wasn’t confident I had enough time before we started shooting, but I thought, This is the first time I’ve been asked to work with the same Hollywood director twice. I need
to do this.
忍：克里斯打來時，我剛在非洲殺青一部電影，返回日本途中。他請我到洛杉磯，代表我要從杜拜坐十六點五個小時的飛機。見面後他問我「你會滑雪嗎？」拜託日本是個會下雪的國家耶！他解釋了劇情大綱。他的電影如此巨大，我必須潛心準備並加強英文。我對自己是否能夠在開拍前準備好感到不自信，但我心想，這是我首次被同個好萊塢導演二度邀約。我必須攬下這重責大任。
Now that you’ve seen the film—
求你們別再打太極了……
CM: We’re supposed to keep it a secret! The anticipation is refreshing. People are so impatient. But Chris is very old-fashioned in a lot of ways: in the way he makes films, his take on promotion and technology.
稻：我們理當要保密！期待總是美好。人們總是無耐心。但克里斯在許多層面是個老學校：拍電影的方式，宣傳和技術的選擇。
KW: There wasn’t even a green screen when we were shooting so we were always surprised on set. Every day, we were like, wow. He wants to make the experience as realistic as possible for his actors. He built a regular set and then requested a rotating one to simulate zero gravity.
忍：拍攝現場甚至沒有綠幕，所以我們總是天天吃健達出奇蛋。天天都有驚喜。他希望盡可能讓演員體驗真實。他架構了個正常佈景，又搭個會旋轉的好模擬零重力。
You’ve both worked with Nolan before in Batman Begins. How would you begin to describe his vision?
你們倆之前都曾在【開戰時刻】和諾蘭合作過。如何描述他的影像風格？
KW: I have no idea. I just want to cut open his brain and see what’s inside.
忍：我不知道。我只想切開他的腦袋，看看裡面有沒有馬龍韋恩斯 (Marlon Wayans)。
CM: Batman Begins was my first time doing a studio film. The level of calm and confidence he exudes is amazing. He is never arrogant, but he is in complete control. I have never seen him flustered. It’s very reassuring as a performer when you’re in that environment. It affords you a lot of freedom. He allows the scene to grow organically between two actors and then, very subtly, adjusts the minutiae and massages it.
稻：【開戰時刻】是我的第一部片廠電影。他展現的冷靜與自信程度令人驚奇。他從不傲慢，但掌握大局。未曾看過他慌張。該環境對一個表演者來說是可以放心的。那給你許多自由。他讓場景在兩個演員之間有機地成長，然後，非常微妙地，調整細節並打通任督二脈。
KW: He says, Cillian, that you are the best actor of your generation.
忍：他說，克里安，你是你這世代最優秀的演員。
CM: [Embarrassed] I’d say he feels the same about you.
稻：(羞赧貌) 他對你也如此感覺。
With whom did you two work most closely?
你們和誰在工作上最親密？
CM: Ken and I got to do a lot of cool stuff together.
稻：謙哥和我常常要做很多酷炫的事情。
KW: I shot one scene on top of a mountain. It was freezing cold!
忍：我在山頂上拍戲。冷斃了！
CM: We did some crazy stunts. I was so proud of mine.
稻：我們耍了些瘋狂特技。自我感覺良好。
What did you get to do?
你到底做了什麼！
CM: You’ll see.
稻：才不告訴你。
全面啟動 Inception
148 min. 2010
Leonardo DiCaprio ... Cobb
Joseph Gordon-Levitt ... Arthur
Ellen Page ... Ariadne
Tom Hardy ... Eames
Ken Watanabe ... Saito
Cillian Murphy ... Robert Fischer, Jr.
Marion Cotillard ... Mal
Pete Postlethwaite ... Maurice Fischer
Michael Caine ... Miles
Lukas Haas ... Nash 追兇 大頭目與喬瑟夫相見歡
Claire Geare ... Phillipa (3 years)
Magnus Nolan ... James (20 months) 大導演都要私器公用就是了
1.
我的喬瑟夫越來越帥了♥♥♥ 正式幹掉詹姆士麥克艾維和麥克筆成為我現在最喜歡的 男演員。演諾蘭電影的好處就是被傳聞將接手 謎天大聖 角色。喬瑟夫是獨立製片界的保羅紐曼，在小眾電影魅力四射又能在商業電影當個稱職的不搶戲綠葉。文森蓋洛 是獨立製片界的馬龍白蘭度加奧森威爾斯。保羅紐曼，一種印象。
2.
朱諾在本片意外很正紅外套很好看。諾蘭一貫的缺點就是太緊湊，愛挑戰複雜敘事，炸藥和音樂又摧不間斷，前兩層都蠻好看的，第三層雪地碉堡功虧一簣，大概因為我戰慄時空打很爛吧！如果中間插個喬瑟夫和朱諾談戀愛多好，兩人化學超棒，又可以給觀眾喘息空間。全面最好看場景就是喬瑟夫洗衣機打架和偷吻朱諾 /////
Delphine Seyrig (as A) declined Giorgio Albertazzi (as X) in Last Year at Marienbad (1961)
3.
Shawn Marion (不好笑) 很煩，每次出現背後窗廉都會飄跟亡魂海盜 (or 海盜亡魂) 一樣，受夠她的法國腔了。繼麥可曼電影與羅伯馬歇爾電影 (很少有電影劇照出來就知道垮定的) 慘遭滑鐵盧後，法國妹在好萊塢的第三部電影終於揚眉吐氣哩！難逃法國妹到好萊塢轉型花瓶命運，如果找 陶德海茵絲 (Todd Haynes) 或阿莫多瓦就容易發揮多了。之前玫瑰人生導演 Olivier Dahan 幫 Dior 拍的廣告電影好無聊。
4.
記憶拼圖最工整又茵地 (indie) 勇奪獨立精神獎佳導佳片佳劇佳女所以最好看。全片最不可思議的就是，為什麼受過心靈防衛訓練的稻草人在潛意識看到爸爸的死對頭渡邊謙不會覺得奇怪？就跟陳致中做夢夢到馬英九跟自己一起出任務不起疑相同。陳：因為我們都是到美國學法律的呀！其實克里安莫菲最帥。
IFC 最近重發了諾蘭的處女電影，預告配樂搞得很像全面啟動。克里斯多福諾蘭的 Following 之於記憶拼圖，就好比蝶龍阿諾夫斯基的 Pi 之於噩夢輓歌，我是這樣認為的。
延伸閱讀：
Doodlebug (1997)
Following (1998)
Marion Cotillard by DAVID LYNCH!!!
本片導演若是大衛林區一定超棒
區導說過他和喬治盧卡斯都是拍自己想拍電影的人
只是喬治盧卡斯的電影賺很多錢
他的電影比較沒有商業價值
(全場觀眾哄堂大笑) LOL
Sammy Jankis shares his thoughts on Inception
記憶拼圖糖尿病人現身說法！
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