好莱坞报道 圆桌会议 图 Part 6！
好莱坞报道 圆桌会议 图 Part 6！
Is it harder when you’re a star? The media picks on every single thing you do.
Tatum：They pick on us all. And I’m talking about “us all” meaning pedestrians. Everyone gets picked on. I don’t think it’s just because we’re up on the screen.
Do you like being a star?
Tatum：I don’t really look at it that way. I’ve been afforded a lot of opportunity in this world and I’ve tried to walk through every door that I’ve been given, and some of them have been great on the other side and other one’s haven’t.
Which doors weren’t great?
Tatum：The pressure of what school is projected as, when you’re growing up -- that going to college is the answer, and to me it wasn’t. I went and I didn’t get it. And I failed at it miserably. And I felt like a failure for it. And so I went and tried to find another door.
Keaton：That’s not a failure at all. To me, that’s a victory. He said, “I’m going to do what’s me.”
Benedict, I’ve always felt you resist fame to some degree.
Cumberbatch：There’s so many strands of it, aren’t there? If you mean being scrutinized in your public life, which isn’t your work; if you mean requirements of your time which distract your focus and your energy from what actually brought you to that point where you’re being distracted, that’s a complete Catch-22: The more work you do,the more attention there is. You try to escape by dissolving into work, and it keeps catching up with you every time you stop because it’s part of the process of work now, to publicize it. But I feel it’s just [about] getting used to it, and knowing how to play with that and have fun, which I do. I really do.
Do you have a role model whose career you emulate?
Cumberbatch：We talked before the tape was running about Stephen Dillane’s Hamlet when I was 17. That had a massive impact on me -- the sort of essential, quiet, still truth of what he did. Nobody else was Hamlet but him.
Hawke：And then you saw mine!
Redmayne：I’ve never said this to you, Tim, but when I was a kid, one of the first things I saw was A Midsummer Night’s Dream at the National Theatre. Tim was playing Bottom, and it was all set in mud and there was a contortionist playing Puck, this woman.
Spall：I had a French-Canadian contortionist on my back when I was trying to do Shakespearen comedy. And it felt like hell. You’d go backstage and there were people wearing verruca socks, which are worn [to prevent] plantar warts, you know? It was in massive pile of water, and one day somebody came in and said, “You’ve not heard the latest. Someone’s done a poo in the mud.” I said, “What are you talking about? I’m lying in that before the audience comes in!” I went to the stage doorkeeper who had been there for years, wonderful women. I said, “You’ll never guess what I’ve just heard. You know the fairies who are all diving around the mud? Someone’s done a poo in it.” She said, “Oh, we’ve had a phantom shitter at the Royal National Theatre for years.” (Laughs.) Here’s a pantheon of the most brilliant classical actors in the world, and someone was dropping a log in the [mud].
Cumberbatch：I’ve worked in the National Theatre, but I haven’t poo there. I have peed there.
本尼：我们老早之前就说到了我17岁时看的Stephen Dillane版的哈姆雷特【注：Stephen Dillane斯蒂芬·迪兰，英国著名戏剧演员。】，这对我的影响绝对是巨大的。他所表现的要素、宁静还有不变的真实让我相信，在此之前没人可以是哈姆雷特，他就是哈姆雷特。
Channing, what was the biggest challenge for you in the Foxcatcher?
Hawke：Kicking ass. Beating up Mark Ruffalo.
Tatum：Getting my head kicked in every day by Bennett [Miller].
Hawke：Did you really make Mark’s nose bleed? I wondered in that scene, it looked like you really popped him in the head.
Tatum：I had never done anything like this before and I had no idea how to approach it other than just to talk to Mark Schultz [the real-life wrestler I play]. He’s a very interesting person -- he’s so factual, he knows what move so-and-so did in the ’84 Olympics, and he just reels off all these things. And you’re trying to sort through them all. I just stared to get rid of all the data that he was telling me about his life, and I just clicked into [what he said:] “I never wanted to win. I just didn’t want to lose.”
Hawke：But what is the difference between not losing and winning? What does that mean?
Tatum：For him? It was fear of not being the person that he saw himself as, I think. Dave, his older brother, was this shinning example of something he knew he could never be. He was never going to be this charismatic individual that everyone flocked to. So he decided to go the other way, and he wanted everyone to be afraid of him. He didn’t want anyone to get close to him. And I think that’s a really lonely way to choose.
Cumberbatch：Did he have script approval? Did he looked at the script at all? And did you feel, “I need something from you, but you might not get anything back except something that’s going to upset you.”
Tatum：That was my fear. Because I knew all these things he was telling me he wanted weren’t in the script -- you know, the retribution of people that he felt wronged him. I was terribly afraid that he wouldn’t --
Cumberbatch：What was the seduction of getting him to open up?
Tatum：It wasn’t. He was completely free and open with me, as far as I could tell. Within the first seven seconds of talking, he was welling up with tears. He’s a very emotional person, and I think all of it was pretty overwhelming for us both.
Keaton：It’s not surprising that he remembered every move. Athletes, they’re not like the rest of us. It’s a different type of mentality. Baseball players, they’ll remember the pitch, what the wind was doing, they’ll remember everything. And there’s something in particular about wrestlers. I come from a large family, and one of my brothers was a wrestler. He’s like us and he’s totally unlike us. This intense determination.
Tatum：Wrestling is very similar in a metaphorical way to acting: You’re wrestling; you’re literally in a fight with [a role]. Because in wrestling you’re not just fighting someone else, you’re fighting what’s going on with you. You’re in a suffocating situation, and there’s no resting. You can’t take a minute; you’re constantly in this uncomfortable state of being attacked. You’re dealing with a lot of emotions, a lot of fear -- not that I see acting as exactly that, but there are some parallels.
霍克：踢屁股，毒打Mark Ruffalo【注：Mark Ruffalo马克·鲁法洛，美国实力派演员，与塔图姆一起出演《狐狸猎手》。】。
Fear of what?
Tatum：Fear of doing it honestly, of giving everything you could have given to it. And not walking away and being like, “God, I didn’t do the work for that one.”
Who taught you the most?
Cumberbatch：My first-ever teacher taught me extraordinary truth by literally line-reading Shakespeare at me, so I can read it like prose. My modern drama teacher opened the doors of American theater to me and the wonders of Mamet and Miller and Tennessee Williams; the whole raft of it. And then, beyond that, you get incredibly nuggets of wisdom -- about being present, about grounding a truth from within. I grew up doing a lot of stuff at school. I went from playing Titania, queen of the fairies, [in A Midsummer Night’s Dream] and Rosalind in As You Like It to playing Willy Loman [in Death of a Salesman] at age 17. So I had this huge kind of showing-off period.
Redmayne：But that’s the thing that drama schools and even schools did in England: You’re playing old people, women, from an early age and you’re pushing the boundaries, particularly in [repertory theater], when you were playing characters that sometimes weren’t your casting type.
本尼：我真正意义上的第一位老师，是通过一行一行地读莎士比亚作品来教我真理，所以我才能自然地读莎士比亚的句子。我的话剧老师让我了解了美国喜剧，教我发现领悟到Mamet，Miller和Tennessee Williams的完全魅力【注：Mamet马梅，即大卫·马梅，美国当代声誉卓著的剧作家、电影编剧。Miller米勒，即阿瑟·米勒，美国著名剧作家，著作有《推销员之死》等。Tennessee Williams田纳西·威廉斯，美国著名剧作家，著作有《欲望号街车》《热铁皮屋顶上的猫》等等。】。因此，你就可以令人难以置信地去挖掘那些智慧——关于活在当下，关于践行真理。我在从学校里学到的东西中逐渐成长，扮演过《仲夏夜之梦》里的仙后Titania，《皆大欢喜》中的Rosalind，到后来有扮演《推销员之死》里的Willy Loman，那时我17岁。我就有了这些可以赤果果炫耀一下的辉煌过去。
What’s the most difficult character you’ve played?
Redmayne：My first professional play, playing Viola in Twelfth Night opposite Mark Rylance. Having had that experience, being able to play people so far from who you are, gives you a sense of where you can go. That’s the other thing: The [British] films that make it over here are often to do with heritage and legacy and history.
Spall：That’s very true, but Hollywood is a broad church. Never, never underestimate how much the British yearn to work in Hollywood. It’s not like, “Oh, darling, we just do it ’cause we’re slumming.” That’s a load of balls because most people, if they were given a play or a part in a Hollywood movie, would jump at it and they’d say, “You can stick Polonius straight up your arse.”
Hawke：Our system isn’t built to teach young people the craft. You know, Julia Roberts came to New York to do a play and of course the critics are gunning for her -- and of course she has no experience. It’s a difficult thing to excel [at], and yet we know there’s a lot to be learned from it because our whole culture is worshiping actors who come from this theater background.
小雀斑：我在我的第一次正式演出中扮演《第十二夜》的Voila，和Mark Rylance一起出演【注：Mark Rylance马克·里昂斯，英国著名演员，曾在话剧《第十二夜》中饰演Viola一角；在小雀斑大学时和他同台演过《第十二夜》。】。自从有了那次经历，你就能扮演与你截然不同的人了，它拓宽了你的领域，指引你表演的方向范围。还有另一件事，在好莱坞制作拍摄的英国电影一般都和遗产、传统和历史脱不了钩。
霍克：我们这儿的制度并非要教年轻人如何演戏，你知道的，当Julia Roberts【注：Julia Roberts茱莉亚罗伯茨，美国著名电影演员。】刚开始来到纽约表演时，那些评论人就开始炮轰她，因为她没有任何表演经验。人很难去精通一件事，我们也从一些事例中得知，我们的整个文化都艳羡那些有戏剧表演背景的演员。
Channing, you initially turned down Foxcatcher. Was it because you didn’t identify with the character?
Tatum：I wouldn’t really say that I turned it down. The movie wasn’t clear to me. But you’re right, I didn’t understand it. I didn’t know what the movie was saying, [but] this was after I’d down, like, my second film, and I just had no idea what I was doing as an actor or as a storyteller or anything.
What’s the biggest mistake you’ve made?
Cumberbatch：Wow, you’re not holding back.
Timothy Spall：I think one of the biggest mistakes you could make is, you think that you know enough -- because you can’t, otherwise you’d stop and you’d just keep repeating yourself.
Hawke：It’s funny. I did a movie, I was about 29 years old. And I was feeling really confident at that time. And I remember being very frustrated with the director because I felt he was an idiot and he was really holding me back from doing the work I wanted to do. I felt this really need to tell everybody that I knew more than they did, you know? And when I think back on it now, I feel so embarrassed. There was a moment, and then a couple of years pass, you turn 30. All of a sudden, I saw hallways of things I didn’t know. And the older I get, the more I would never be frustrated with a director like that. There’s a great Brando quote: “You have to meet every director as your kind of spiritual spouse.” You just have to marry them to make the movie they want to make. If you watch Last Tango in Paris, that is an actor completely committed to that story -- and he’s inside a very dangerous film, a film that deals with erotica. Human sexuality is something nobody wants to talk about on a real, about level: mourning, death, fear of death, fear of getting old, sex. I mean, you’re talking about Turing and being gay, and I can’t help but think about 20 years ago how radical it was for an actor to play a gay person. When River Phoenix was in My Own Private Idaho, this was about a young kid who wants to be gay. It was radical that he was doing that.
霍克：说来很讽刺。我在我29岁的时候拍过一部电影，当时我的自我感觉相当良好，特别自信。我还记得我对导演表现得愤愤不平，因为那时我觉得他是个挡我道的白痴，而且我非常想告诉每一个人我懂的东西都比他们多。当现在我回想那个时候的事时，我感到特别窘迫尴尬。几年过后，你30岁了，突然就有那么一刻，一瞬间，我看到了还有一抹多我不知道的事情。我年纪越大，我反而越不会像对之前那样对待其他导演了。Brando【注：Marlon Brando马龙白兰度，美国传奇演员。】有一句名言：“你必须待每一位导演如你的灵魂配偶。”你需要成为导演的灵魂配偶来拍导演想拍的电影。如果你看过Last Tango in Paris 【注：Last Tango in Paris巴黎最后的探戈，为贝纳尔多·贝托鲁奇执导影片，由马龙白兰度和Maria Schneider玛利亚·施耐德主演。】，那就是一个演员完全地将自己投入进一个故事的例子——他处于一个危险的色情电影故事中心。人类的性是一个没有人会想主动谈及却又极真实的东西，同样的还有：哀悼，死亡，对死亡的恐惧，对衰老的担忧惧怕，性。我是想说，当谈到Turing图灵和同性恋时，我不禁想到20年前，对一个要饰演同性恋者的演员来说会遇到多么全新彻底的挑战。譬如在My Own Private Idaho【注：My Own Private Idaho我私人的爱达荷，是格斯·范·桑特执导的电影，由瑞凡菲尼克斯和Keanu Reeves基努里维斯主演。】中的River Phoenix【注：River Phoenix瑞凡·菲尼克斯(1970~1993)，美国著名演员兼音乐家，是同为著名演员的Joaquin Phoenix华昆·菲尼克斯的哥哥。】，这部电影是关于一个想要出柜的青年。在当时，瑞凡那么做是完全全新彻底的。
Today, is there any threshold that you can’t across?
Could you make The Last Temptation of Christ today and get away with it?
如今你们能拍The Last Temptation of Christ【注：The Last Temptation of Christ基督最后的诱惑，由马丁·斯科塞斯执导，威廉达福和哈维凯特尔主演，于1988年上映。】并且能够避开大众责备吗？
Hawke：Martin Scorsese could. It was dangerous at that time. He would have trouble now.
Keaton：The Farrelly brothers might have a hard time.
霍克：Martin Scorsese【注：Martin Scorsese马丁·斯科塞斯，美国著名导演。】可以。那个年代拍这种片很危险，如果是现在的话他估计会遇到麻烦事儿。
基顿：Farrelly兄弟【注：The Farrelly bros法拉利兄弟，是指Peter Farrelly和Bobby Farrelly，俩人都为美国导演编剧制片，都是低俗喜剧的专家，主要作品有《阿呆和阿瓜》等。】可能也有过一段困难期。