導演Tony Kaya在影片網站的相關回答

非專業電影翻譯，水平有限，歡迎指正。

Q&A W/ TONY KAYE

HOW WOULD YOU DESCRIBE THIS FILM IN A SNAPSHOT FOR SOMEONE WHO MAY NOT KNOW ANYTHING ABOUT IT?
（對於未接觸過本片的人，您會怎樣形容概括它？）
To me, DETACHMENT is a story about a man who is lost and in pain and tries to hide from the real problems of his existence by losing himself in the morals of the voices in his head, the real ones, the voices of god and the voices of the devil. He is constantly running away from facing the truth. He is covered by a huge black curtain that he cannot see. This curtain is his ego.
（對我來說，《超脫》講述的是一個迷失、痛苦的男人，他試圖逃避真正的、關於自身存在的問題，他沉浸在腦海中道德的呼聲，上帝的聲音、魔鬼的聲音。他不斷拒絕直面現實。他看不見他的面前是巨大的黑色窗簾——他的自我。）



WHAT ABOUT THE MATERIAL AND SCREENPLAY MADE YOU WANT TO DIRECT THIS FILM?
（是什麼樣的題材和故事使您決定執導這部影片？）
I am interested in social issues. DETACHMENT stands against and explores education. AMERICAN HISTORY X is a movie about the issue of racism. LAKE OF FIRE deals with abortion. I like big moral and social issues. I have a fourth movie called BLACK WATER TRANSIT which is still unfinished; however, that movie is about environment, environment being everything. I want to make movies that do more than entertain. DETACHMENT is about family also, the importance of family, that family is everything. DETACHMENT is about being a parent; Henry Barthes begins to find his way when he decides to embrace a future that involves the caring of a young lost soul, 艾瑞克a.
（我對社會問題感興趣。《超脫》代表對教育的反抗和探索，《美國X檔案》講種族問題；《地獄之火》講人工流產。我喜歡研究寬泛的道德和社會問題。我的第四部影片《黑水航道》還在製作中，它是關於環境的，這世界的一切都有關環境。我希望能做出超越娛樂價值的電影。《超脫》也在講家庭，家庭的重要性，這世界的一切也都與家庭相關。《超脫》也在探索「為人父母」這個狀態，男主人公Barthes在他決定接受未來，找到他自己的道路時牽涉了一個重要因素：照顧一個年輕迷失的靈魂，艾瑞克a。）


ELABORATE A BIT ON YOUR APPROACH TO MAKING THE FILM AS IT HAS A VERY DISTINCTIVE AND STYLIZED LOOK.
（請您在對電影製作的想法上再拓深一些，您的作品常被認為有獨特的風格。）
I don』t consider my work to be stylized, however most people do think my moviemaking does have a distinct look. I try to just make things look real. I try to make situations have spectacle and truth. I try to capture emotions that are real. I hate acting. I hate things that don』t seem authentic. People cry, people get angry, people whisper, people love and people hate. I simply try to put a microscope and a telescope and a radar logic scope to explore the mental and moral qualities distinctive to the individuals that stand before the camera and microphone.
（我並不認為我的作品傾向於某一類風格，雖然大部份人也許不同意。我只是嘗試讓一切看起來更真實，我希望在我的故事場景、我捕捉的情緒里有真實性。我討厭表演，我討厭那些虛偽的東西。人們哭泣，憤怒，細語，他們在世界裡產生愛和恨。我把顯微鏡、望遠鏡和雷達放在我鏡頭裡的人物面前，去解釋他們心裡的、道德上的東西。）



THE FILM FEATURES AN ENSEMBLE CAST COMPRISED OF BOTH HOUSEHOLD NAMES AND NEWCOMERS. HOW DID YOU CAST THE FILM?
（片子裡有家喻戶曉得明星也有剛剛入行的新人，能談談您是如何選角的嗎？）
The casting of the movie began with the casting of 艾瑞克a. The runaway teenage hooker was the central pin for me in the story, she was the first brick in the wall, although my own daughter Betty had always been in my mind [for 3 years actually] to play Meredith. Betty is nothing like Meredith in real life, she is very confident and very strong and ultra-determined to succeed in life, but she has had a tough life, I walked out on my family when she was very young. I was very selfish and filled with much ego, Betty was 5 years old and took it very badly, Ruby her sister was 2 and did not really get affected by my actions. Betty suffered much pain and I believe really brings that to the surface in her performance as Meredith. I never really knew if I would be allowed to cast my daughter as one of the leads because I would be accused of nepotism or such, and I was quite prepared not cast her if I found somebody better [and would have risked her not talking to me for years], but the truth is she absolutely smoked the audition and she was way, way, way the best for the role, her acting was so damn real, I cry almost every time see the movie through. However, as I said, 艾瑞克a was the cornerstone of the picture because she was a character who connected with Henry, was a part of Henry. Meredith was not, Henry did not connect with Meredith, in a way Henry did not really care about Meredith.
（最開始定下來的是艾瑞克a的角色。這個離家出走的年輕妓女定位了故事的核心，等同牆上的第一塊磚。儘管（三年來）我一直在考慮讓我自己的女兒Betty來飾演Meredith。Betty在現實中一點也不像Meredith，她非常自信、勇敢、有決心，但她成長的過程並不容易。我在她還小的時候就離開她了。她那時只有五歲，我相當自私自大，這對她產生了很壞的影響，她的妹妹Ruby只有兩歲所以並不像她那樣明白事情，也少受了一些傷害。Betty的經歷讓我相信她能詮釋好Meredith這個角色。因為裙帶關係，我其實並沒有想過我會在自己的影片裡看到女兒的出演，如果能找到更好的角色的話（那樣的話她可能會幾年不跟我講話了），但事實上，她在試鏡時表現得很完美，完全、完全、完全勝任這個角色，太真實了，我幾乎每次看這部片子的時候都要大哭。當然，就像我說的，艾瑞克a才是這部影片的基石，她是Henry的一部份。但Meredith不是，Henry跟她之間沒有什麼聯繫，在某種程度上Henry並不在乎她。）

I also have this notion of types, contrasting types, dark against light, controlled neurons against out of control neurons, black hair against brown hair or blonde hair. Sami Gayle [who plays 艾瑞克a] had brown hair which to me implies an outward going nature, an out-of-control zone [or that's what I thought she could easily play], so I looked for a Henry Barthes with black hair, an in-control, a calm, contained person. I found that perfectly in Adrien Brody. So I got him to run away from that. I got him to shout and scream and throw chairs around, I got him to break down and come back to being calm in the end, to be centered and in control, to becoming a parent. That was the arc of the character, the story of DETACHMENT, Meredith took him to hell and back, that was my paradigm.
（我也考慮了概念上的對比，暗對明，神經的控制對失控，黑髮對棕髮或金髮。薩米·蓋爾[飾演艾瑞克a]有一頭棕髮，隱喻外向的天性和失控（我想這也是對她來說相對容易表演出來的感覺）。然後是Henry Barthes，黑髮，控制，冷靜，克制的一個人。我發現艾德里安·布洛迪能完美地飾演這個角色，所以我立刻挑選了他。我讓他大吼、尖叫、摔椅子，讓他崩潰後再恢復平靜，冷靜，感受到控制，成為一名父親。《超脫》這個故事就是這樣一個圓（輪迴），Meredith讓他在地獄走了一圈又回到自身。以上這些就是我對我的作品所理解的框架。）


原文地址：http://detachment-film.com/q-and-a/




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