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2008/05/07 

『I come~』仏雑誌

[翻訳追記中] すみません。一時中断してますm(_ _)m
 
 『軍鶏 shamo』のプロモで来日しているショーン・ユーのインタビューに、『I come~』に関する質問が1つだけありました。
 また仏「PREMIERE」誌に載った記事(4P)がLovelbhにUPされていますが、ジョシュのファンサイトに記事を英訳したものがありました。内容はちょっとわかりづらいけど、9月末から10月始めの撮影やオフの時のエピソードのようです。

映画『軍鶏 shamo』ショーン・ユーさん、インタビュー
YOMIURI ONLINE 2008年5月7日
[記事抜粋]
Q 今秋公開予定の次回作「I Come with the Rain」(トラン・アン・ユン監督)で、ジョシュ・ハートネットさん、木村拓哉さんやイ・ビョンホンさんとの共演はいかがでしたか?
A 非常に変わっていておもしろかったです。あまりにもバラバラで、監督はフランス国籍のベトナム人で、カメラマンはアメリカ人。俳優もアメリカ人、韓国人、日本人、ボクが香港で、スタッフにタイ人もいて多国籍で感覚的におもしろかったです。


「軍鶏 Shamo」のショーン・ユー、魔裟斗のパンチを食らって失神も!?
eiga.com 5月7日
[記事抜粋]
 「インファナル・アフェア」シリーズで人気が爆発。ジョシュ・ハートネット&木村拓哉&イ・ビョンホンと共演する話題の新作「I Come with the Rain」(トラン・アン・ユン監督)の公開も控える、香港映画界を代表する若手ナンバーワン・スター、ショーンの登場に、客席からは黄色い歓声が飛んだ。


Premiere France (May 08)
luckynumberjosh.com
*画像4ページ、画像をクリックすると大きく(1063×1640ピクセル)なります。

I Come With the Rain
FanHost Network : Josh Hartnett
[記事抜粋]
After the rain, summer
Josh Hartnett is the hero of I come with the rain, an existential thriller directed in Hong Kong by Trân Anh Hùng, eight years after The vertical ray of the sun.
雨の後に、夏
ジョシュ・ハートネットは「I come with the rain」の英雄です、『夏至』の8年後に香港でTran Anh Hungによって指示された、実存的なスリラー。


September, the 30th
It is closed day for the team of I come with the rain, the new film of Trân Anh Hùng. Last week they shot by night and only had the week-end to recover a diurnal rhythm. That is good timing for me, who is in the same state of time difference. The evening of my arrival, the production assistant invites me to a party organised by seven members of the team. As a lot of Chinese people, they play lottery and have just won 21 million Hong Kong dollars that they will share, that is to say 250 000 euros per person. All the team is here. A good occasion to meet them.
Wine and beer are flowing freely, and the loud music from the speakers is often interrupted by speeches, clamours and applauses. The background noise is considerable. You need to speak really loud to be heard but this frenzy stimulates instead of tiring. Welcome to Hong Kong.
The producer Fernando Sulichin gives me the low-down and introduces me. His curriculum vitae shows that he is used to slightly acrobatical international productions : he produced Abel Ferrara (The Addiction), Larry Clarke (Bully), Spike Lee (She hate me) or Oliver Stone (Alexandre). Trân Anh Hùng, who had trouble editing his films after the failure of The vertical ray of the sun, which came out in 2000, needed someone like him to produce the film. For this one, Sulichin is associated with a few European producers. According to him, it is the hardest project he has undertaken. We are at the middle of a shooting that began in Los Angeles and passed in transit in the Philippines before concluded here in Hong Kong. The story follows the inquiry of a former cop (Josh Hartnett), who has to find out the missing son of a Chinese millionaire. The trail leads to a hong-kong gangster (Corean Lee Byung-Hun, seen in A Bittersweet Life) and his junkie girlfriend (Trân Nu Yên-Khê, Trân Anh Hùng’s wife). The more the inquiry progresses, the more the cop’s past come back up to the surface, particularly his traumatic relationship with a serial killer (Elias Koteas). Josh Hartnett passes his last days here : he has to set off soon for a worldwide promotional tour for David Slade’s 30 days of night. Very simple and approachable, he knows everyone and all seem to appreciate him. Hùng comes late at the diner. He is slightly tense, but the contrary would be abnormal for a director in shooting. At midnight, the restaurant empties due to the timetable – the next day will begin early.
9月30日
Tran Anh Hungの新しいフィルム「I come with the rain」チームのための休日です。 先週、彼らは夜に撮影し、昼間のリズムを回復するためだけの週末でした。 時差で同じ状態の私には、うまいタイミングです。 私の到着の晩に、プロダクション・アシスタントはチームの7人のメンバーによって構成されていたパーティーに私を招待します。 多くの中国の人々として、自分達は、宝くじをプレーして、ちょうど、それらが共有する2100万香港ドルを得たところです、すなわち、1人あたり250000ユーロ。 すべてのチームがここにあります。 それらに会う良い時。
ワインとビールは自由に流れています、そして、スピーカーからの騒がしい音楽はスピーチ、どよめき、および拍手喝采でしばしば中断されます。 バックグラウンドノイズは無視できません。 あなたは、聞かれるために本当に大きな声を出す必要がありますが、この狂乱は疲れさせることの代わりに刺激となります。 ようこそ香港へ。
プロデューサー Fernando Sulichinは私に真実を教え、紹介します。 彼の履歴書は、彼が少しacrobaticalな国際的製作に慣れていることを示します: 彼はAbel Ferrara (The Addiction)、Larry Clarke(Bully)、Spike Lee (She hate me) or Oliver Stone (Alexandre)を生産しました。
Tran Anh Hungは、2000年に出た『夏至』の失敗の後、映画を編集することに苦労しました。彼のようなだれかが映画を製作する必要がありました。 これにおいて、Sulichinは数人のヨーロッパ人のプロデューサーに関連しています。 彼によると、それは彼が引き受けた中で最も困難なプロジェクトです。 ロサンゼルスで始まり、フィリピンを経由して、ここ香港で私たちは撮影の真っただ中です。 話は元巡査(ジョシュ・ハートネット)への調査に続きます。(その巡査は、中国人の大金持ちの行方不明の息子を見つけなければなりません)。 手がかりは香港ギャング(「A Bittersweet Life」Lee Byung-Hun)と彼のジャンキーなガールフレンド(Tran Nu Yen Khe)に通じます。 捜査が進むにつれ、巡査の過去が浮かび上がります。特に連続殺人犯(エリアス・コテアス)との衝撃的な関係が。
ジョシュ・ハートネットは彼の最後の日をここで過ごします。: 彼はすぐ、David Sladeの『30 days of night』の世界的な宣伝のツアーのために出発しなければなりません。 大変無邪気(気取らない)で近づきやすくて、彼は、皆んなが彼に感謝するように思えるのを知っています。
ユンは夕食に遅れます。彼は少し緊張したが、その反対に、撮影中の監督は異常でしょう。 真夜中に、レストランは時刻表のため空になります--翌日は早く始まるでしょう。


October, the 1st
On the journey to the set, the composer Gustavo Santaolalla (Collateral, The secret of Brokeback Mountain, Babel) speaks of his work for I come with the rain. As much as possible, he is attached to be there for the shooting, in order to absorb the different ambiances and use the local sound : tropical rain in the Philippines, sound of the town in Hong Kong. Yesterday, he spoke for a long time with Hùng, suggesting a series of themes. The film-maker had apparently very much appreciated them.
Inner scenes in a gangster villa are programmed today. The decoration is very modern and luxurious. Calm and relaxed, Josh Hartnett shoots his last scenes, mostly dialogues with Lee Byung-Hun and Yên-Khê. Between two shots, the actor speaks of his character (“The more he progresses, the more he gets out of his depth.”) He comes to life speaking of the Philippines shooting, in a gold diggers’ town located in the jungle. As a “boom town” of the Far West, it develops for 20 years near a gold mine. Prospectors came massively, hanging their houses to the sides of the sheer hills. After them, a coloured crowd came : private militia to maintain order, but also procurers, prostitutes and criminals on the run. During the shooting, the team was constantly in charge of servicemen. “But I never felt in danger”, clarifies Hartnett, “Thousands of inhabitants followed us constantly. A lot of them had never seen white people.” Until now, the town was privately managed, the town - that counts 43 000 inhabitants – passes this year under the control of the state. Such a set will not be seen again in cinema for a long time.
On the contrary of the other actors, Hartnett came two weeks before the beginning of the shooting. He took advantage of this time to speak with Hùng of all the details of his role, which he tackles with serenity. On the set, the actor is interested in everything, and particularly in numeric camera Viper (the same that was used by David Fincher for The Zodiac). The director of photography, Juan Ruiz Anchia, speaks about its advantages : high flexibility of use, reduced needs for lighting, higher night vision, unlimited recording time, possibility to correct colours immediately. Moreover, rushes are directly calibrated and the adjustments recorded in computer. However, the camera itself is equipped with a hard disk that limits its handiness and makes it as heavy as a 35mm camera. Its working is so complex that a highly specialized team is necessary as well as a monstrous series of computers. As Anchia said, the colour film is not still overtaken.
At the end of a tedious day, the team says goodbye to Hartnett, who turned his last scene. He flew two days later. In his farewell speech, the actor emphasizes the chance of the team – an allusion to the seven lottery winners. He leaves a pile of lottery tickets – enough for each person – so that chance stays with them. This gesture is appreciated to its fair value.

October, the 3rd
On the set, everyone speaks of yesterday’s evening fireworks (Tuesday was a public holiday), which gathered under the rain hundreds of thousand Hong-Kong people. The same series of inner scenes between gangsters are programmed today. David Tang, the Hong-Kong millionaire, is present. He is known in Occident as the Shanghai Tang’s creator, the international brand of chic Chinese clothes. He provided a set for the film and in gratitude Hùng gave him a gangster’s role. In the incoming scene, his character has a conversation with Lee, to whom he brought a gift which takes a particular significance in French version : a crabs’ basket. Certainly not innocent from Hùng, a distinguished French-speaker. Very scrupulous, the cineaste adds water on crabs with a brumiser to make their shells shine and adjusts a mirror’s position to have the reflection he wants. Once finished, Tang leaves the set and lets Hùng prepare the next scene, a complex plan-sequence which follows Lee in the apartment till a bathroom decorated with lush plants. During the rehearsal, a Radiohead’s piece is broadcast as the director wishes. Huang was one of the first to use this band’s music in cinema, in a famous Cyclo scene.
On the evening, David Tang has organized a party in Josh Hartnett’s honour in his restaurant/nightclub, the China Club. The place, which combines English clubs’ way of life and resolutely Chinese decor, is located at the top of the former Bank of China, an art deco building now isolated in the middle of skyscrapers. The businessman had fit it out with an exceptional taste, decorating it with his own private collection of paintings and antiques.
This evening, along with some persons of I come with the rain’s team, he gathered local prominent citizens, English-speakers expatriates and jet-setters. While the dinner is well started, a very beautiful girl comes in. She has a familiar face. Tang breaks off to tease her : “I ask you to welcome a woman well known throughout the world for arriving late : Naomi Campbell.” At the end of the evening, the guests scatter to see Tang’s collection. Josh Hartnett takes advantage of it to slip away. His plane will not take off before a few hours. With his experience of the place, he surely knows where to spend his last moments in Hong-Kong, the city that never sleeps.
Gérard Delorme




 





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