COME As You Are

女王最新的訪談，關於A Night for Dying Tigers的電影和拍攝，原文連結：

Questions for Jennifer Beals：Our daily interview with the stars of TIFF

By By Richard Ouzounian, 2010/09/07

Jennifer Beals：演出才是首要之務。

(我先不負責任中翻，好像欠了好多稿，這篇完工了o.o。)

Jennifer Beals最被記得的演出是1983年的賣座電影閃舞(Flashdance)中的Alex Owens，她扮演年輕的女性白天當焊接工，晚上則是跳豔舞的舞者，但有個想成為正統舞者的夢想。在那之後，她拍了無數的電影，如藍衣魔鬼(Devil in a Blue Dress, 1995)和六季的電視影集：The L Word。她現在正在拍攝Fox TV一部新的影集：Ride-Along，在那裡她扮演第一位芝加哥女性警察局長。

她在今年的TIFF有一部情緒緊繃的黑色喜劇片：A Night for Dying Tigers，由Terry Miles (When Life Was Good)所編劇和導演。

Q.你扮演的Melanie，要面對一個將要坐牢五年的丈夫。關於這樣的電影主題你有何訴求？

A.我只是享受這個劇本和當電影遊走在喜劇和悲劇的刀鋒邊緣之間。

Q.當導演也是作者時，是不是意謂每一段劇本情節都是神聖不可侵的？

A.當它還是劇本上的文字時是如此沒錯，但Terry會給我們自由表演的空間。我最重要的演出片段是結尾敬酒那段，我告訴Terry：「我有一些想要嘗試的部份，給我一個允許失敗的空間。」

Q.這個電影主題對你而言那些部份是獨特的？

A.它是相當安靜的！有時候整個劇組只有八個人，包括工作人員。我已經非常習慣在人多吵雜混亂的典型拍攝場景工作，在那裡你是次要或第三的，相對於技術類的事務時。但Terry不是這樣，(演員的)演出才是首要之務。

Q.Gil Bellows扮演你的丈夫，John，是一個真正冷漠、沒有信念的人。你怎麼在背後百分之百支持他？

A.我想有一段時期他並不是那樣。她是個聰明的女性而且曾經和他墜入愛河，我記得他應該曾是有愛人的能力和啟發自己感受的時刻。

Q. 現在在倫敦正有一部閃舞的音樂舞台劇正在籌劃。你覺得它會長得像怎樣？

A.我打賭... ...裡面應該會有很多唱歌跟跳舞的部份。

PS：翻到最後，我笑了！女王對最後一個問題應該是莞爾一笑，不，是Bette上身的大笑跟KUSO的回答，這是什麼鳥問題？這位歐里桑記者好像只記得閃舞。

附上伊甸園拉字至上版babylisa網友的中譯版：http://www.sfileydy.com/bbs/viewthread.php?tid=325692&extra=page%3D1&page=138 (#3447)

留一下原文存檔o.o

Jennifer Beals is best remembered for her performance as Alex Owens in the 1983 megahit Flashdance, where she played a young woman who's a welder by day and an exotic dancer by night, but who dreams of being a legitimate dancer. Since then, she's also made her mark by starring in films such as Devil in a Blue Dress and by a six-season run on The L Word. She's currently filming a new Fox TV series called Ride-Along, where she plays the first female police chief in Chicago.

She's at TIFF this year in an emotionally charged dark comedy called A Night for Dying Tigers, written and directed by Terry Miles (When Life Was Good).

Q. You play Melanie, a woman whose husband is about to go into jail for five years. What appealed to you about this project?

A. I just really enjoyed the writing and the razor's edge that the film walks every moment between comedy and tragedy.

Q. When the director is also the author, does that mean every scripted moment is sacrosanct?

A. There were times when it was very much to the letter of the script, exactly, but then there were times when Terry would give us space. My big moment is this toast I give at the end and I said to Terry, "I've got a couple of things I want to try with this. Just give me the room to fail."

Q. What was unique about this project for you?

A. It was so quiet! Some days there were only eight people on the set, including the crew. I'm usually used to having to work through all the noise and chaos of a typical film set, where you're secondary and tertiary to the technical stuff. Not with Terry. The acting always came first.

Q. Gil Bellows plays your husband, John, who's a really unsympathetic, unfaithful man. How could you stand behind him so completely?

A. I thought there had to have been a time when he wasn't like that. She's a smart woman and for her to fall in love with him once, he had to have been loving and interesting an inspiring and that's what I remembered.

Q. They're making a stage musical of Flashdance in London right now. What do you think it's going to be like?

A. I bet . . . there'll be a lot of singing and dancing in it.