"Blending ingredients from 2001: A Space Odyssey and Tarkovsky’s Solyaris..."
-- Awards Daily
/film 長期耳濡目染之下，今年日舞影展最紅非【柔伊迪香奈的伍佰夏日】(500 Days of Summer)【神秘特攻隊】(Mystery Team)【月光光心慌慌】(Moon) 這三部電影莫屬，筆者已寄信給金馬影展，希望到時候真有機會在大螢幕觀賞這部低科技太空幽閉恐懼電影。
怕被洩漏 劇情 都不敢看影評！【蝶楚】(Tetro)【吸血女伯爵】(The Countess) 也是筆者極力推薦的佳作。
Shot in 33 days.
Shot during a writer's strike, which had caused most other productions at Shepperton studios to shut down.
Director Duncan Jones says he got a number of top-class effects people on the crew because of the lull. Outdoor moon scenes were shot using practical effects (small models). Shooting took place over 8 days according to Cinefex magazine July 2009.
97 min. 2008
Sam Rockwell ... Sam Bell
Kevin Spacey ... GERTY (voice)
Robin Chalk ... Sam
Dominique McElligott ... Tess Bell
Kaya Scodelario ... Eve Bell
Benedict Wong ... Thompson Trey in Sunshine, 這老兄太陽月亮都征服過了
本片從不故弄玄虛，相反地，導演給觀眾很清楚的提示好讓觀眾參與劇情發展，離開電影院，完全出乎意料地，滿滿人道關懷洋溢你我心中！媲美榮獲天主教人道主義精神獎的柏格曼電影【處女之泉】。虎父無犬子！Clint Mansell 是電影配樂之神！山姆搖滾好 for Oscar！
Over the ‘Moon’ with Duncan Jones & Sam Rockwell
In Duncan Jones’ directing debut Moon, Sam Rockwell is a hard-working moon miner about to finish up his contract working for the government. His only companions are tapes from home and a talking computer, GERTY (voiced by Kevin Spacey in an eerie HAL-like voice). Sam whiles his time away sending videos back to his wife and child on Earth and building elaborate matchstick buildings when he’s not retrieving precious resources from the moon for the folks back home. His tour of duty is so close to ending, he can taste it—but of course, that’s when things start going awry. It’s hard to discuss Moon without giving away surprises. So beware—Spoilers Ahead!—as we talk with Rockwell and Jones about their trippy, old-school science-fiction flick. We get down to brass tacks about video games, futurism, Sam’s refusal to get a computer, therapy, Twittering, and many other topics besides Duncan Jones’ dad (who is David Bowie, fine, so let’s move on).
Tell me about meeting each other, and Duncan, about your interest in Sam.
Sam Rockwell: We met at a coffee shop. We were set up through my agent, and we were supposed to meet on another project, and that didn’t feel like it was the right one, but then ... it came up somehow that we both were sci-fi fans.
Duncan Jones: We got on well. I didn’t want to let it go because I wanted to work with him. And he was like, "I’m through with this! I’m outta here." And I was like, "Stay! Please, Sam, stay! What can I do? What can I do?" And he was like, "I wanna play a blue collar guy. What can you do about that?" And I was like, "Well, I’ll write something for you." So about nine months later I gave him the script [for Moon].
And, Duncan, your interest in sci-fi goes way, way back. Your thesis in college was ...
DJ: Batshit. Crazy. [laughs]
Batshit crazy, yeah. And amazing. It was "How to Kill Your Computer Friend: An Investigation of the Mind/Body Problem and How It Relates to the Hypothetical Creation of a Thinking Machine." And it ties into Moon and GERTY and all that.
DJ: It’s all about thinking machines.
You’ve been interested in sci-fi for a really long time, since you were a child ...
DJ: Yeah, yeah, absolutely.
What attracts you to the genre?
DJ: You know, when I was a kid growing up, I was a only kid and we traveled an awful lot, and one of the few things that made me feel at home was movies, whether they were on old U-matic tapes or VHS. But we had Star Wars before anyone else had it. We had the first pirate copy of Star Wars, and it was on these three big U-matic tapes, so I used to get all the kids round my house and we used to watch Star Wars. So films were a big deal for me, and science fiction was obviously a big deal as well. And I was kinda geeky, so ...
What attracts you to science fiction?
DJ: At that age, I think it was just the whole escapism of it, the fact that you were in this whole different world, and it was just exciting to be somewhere so different. I think that was part of it, at that age. As I got older, my appreciation for science fiction changed, and I became more interested in the fact that you would hear or read these stories that involved very human things but done in such a way that you could appreciate the human elements of the story, but not feel like you were being lectured to, because again, you had this distance because it was science fiction.
What’s your take on science fiction, Sam? Like, which authors and movies inspired you, especially for this project?
SR: I guess, well, Blade Runner, Alien, Outland, Silent Running, and 2001 ... Alien might have been the first one we talked about.
DJ: That’s true. Well, that kind of tied with the whole blue-collar thing, didn’t it.
SR: Yeah, we were trying to do a combination of science fiction and—well, a lot of science fiction movies in the past 10 or 15 years have been about incredibly good-looking people up in space, and they sort of save the universe from a monster or something, and back then it was like, they’ve got these really great character actors like Yaphet Kotto and Harry Dean Stanton and Veronica Cartwright and all these people. The mix of English and American actors in Alien was interesting, and the fact that the acting was so realistic, and it was about these blue-collar people. Or a movie like The Thing, where you’ve got these blue -collar people up in this isolated working environment, like regular joes, and they’re ordinary people forced into extraordinary circumstances. So you relate to them, and the acting was so real. In Alien, it was so real it was like a Cassavetes movie, actually. You know, you have Harry Dean Stanton improvising with Ian Holm and stuff like that, and these incredibly skilled actors like Tom Skerritt, and they throw this monster into the mix. And the monster seems very real. So I think the reason you get pulled in, if you take Alien, just that movie, is that they have a very naturalistic, kitchen-sink movie in space, and then all of a sudden they start introducing more extraordinary things, and so because you’re sucked in through the reality of the acting, you start to buy the monster. You become afraid just like they are. So it’s a very effective movie, and I think we might have talked about that movie in particular along with Outland and other ones, Bruce Dern in Silent Running, and that’s the thing that I... I said, "Why don’t they make sci-fi movies like that any more? Where’s that movie?" So I think we bonded on that, so that was our aesthetic with Moon, I think. At least it was mine, and I think it was yours, too.
DJ: Yeah, definitely.
So do you want stick with science fiction, as far as movie-making goes?
DJ: Well, my next film is probably gonna be a sci-fi, but no, not forever. I want to do some different genres; there are some things I’d love to do, but not just sci-fi.
Your next project, I read, is similar to a sequel to Blade Runner.
DJ: It’s not a sequel. It’s a thriller that would take place in the world, if Blade Runner’s going on in LA, this is a story that’s going on in Berlin. So they’re not related in any other way except for the fact that it could be from the same world.
And Sam, you don’t play video games.
SR: I don’t.
DJ: He believes in living life. I hide from life.
SR: I’m a bit of a technophobe, yeah... I have a cell phone. That’s about it. I text. That’s about it.
DJ: Thank God for texting. Otherwise, I wouldn’t be able to get ahold of you. I wouldn’t know how to interface.
SR: It’s true. I don’t have email. I don’t have any of that.
You don’t have email?
SR: I don’t have a computer.
DJ: See what I had to deal with?
I don’t know how to respond to that.
SR: It’s possible. You can do it, if you want.
SR: It’s just not necessary for me. Once in a while, I would like to do the research you can get on a computer. That, I think, might come in handy. I might get an iPhone, eventually, just to do some of the research. But I’m not a letter-writer, so I don’t really care. I’ll write some texts. The text thing is already too much. It’s like, enough with this thing. I wanna throw it out the window. It’s like every two seconds I’m texting, almost get hit by a car texting. It’s ridiculous.
But you’re in a science fiction movie.
SR: Yes, but I’m an actor. I’m not a space technician. [all laugh] Technically, it was challenging, making the movie, but for different reasons. There are a lot of people who don’t have computers, you know. A lot of cool people... Tom Stoppard doesn’t have a computer, did you know that? Tom Stoppard. I heard that David Mamet doesn’t have a computer, but he probably has an assistant who has a computer.
DJ: Russell Crowe hates computers. If he sees a computer, he breaks it.
SR: I heard Viggo Mortensen doesn’t have a computer.
DJ: That makes sense.
SR: He’s the coolest guy around... He doesn’t need a computer.
DJ: He just looks at them, and they know.
SR: I know Patricia Clarkson does not have a computer, and I’m a big fan of hers. We’re friends.
按：山姆派翠西亞兩人除了在【各顯神通】(Welcome to Collinwood, 2002) 合作過，後者派飾演前者女朋友 (非母親) 以外，別忘了【綠色奇蹟】(The Green Mile, 1999)。
DJ: But actors need to be able to relate to people and understand people, whereas we don’t. [laughs] We just have to use computers.
SR: You know, if you spend three years in prison, or three years in Auschwitz, it’s different than spending three years in New York City, you know what I mean? So three years on the moon, I think, affected this guy in a way that made him different. It’s a different experience. It’s like ten years on Earth, in a way. It’s a Robinson Crusoe castaway experience that’s going to change you. And we discussed a back story of how he was before he was there; he was more selfish and narcissistic, and then this experience kind of changed him a little bit.
So Sam, Iron Man 2? How’s that going? Fun?
SR: Iron Man 2. Very fun.
Awesome. Jon Favreau’s Twittering about it.
SR: I’m Twittering about him... Twittering in my pants!
Where are your favorite places to go in New York and London?
SR: I like Avenue C Espresso. Esperanto’s over there. I like Zum Schneider, the German place, although it’s crowded, but I like the beer. Good beer during the day.
DJ: In New York, I like K-town, just because I love Korean food, so anything, any bibimbap, just throw it in front of me, I’ll eat it. And in London, there’s a place called The Big Easy, which is basically an overload of Americana. So, because I live in London, I sort of get all the London I need, but whenever I need a little bit of America, I go to The Big Easy.
The Big Easy
Why do you want a little bit of America in London?
DJ: Well, because I’m cosmopolitan. [laughs]
Duncan Jones to Direct Submarine Thriller Escape From the Deep
Moon Man Jones Planning the Berlin Blade Runner
Movie Trailer: Duncan Jones’ Moon
500 Days of Summer Movie Trailer
Sundance Movie Review: Mystery Team
鄧肯瓊斯：為什麼老爸這麼帥我只能長得像 *NSYNC 娘砲太空人 Lance (Himself - Awards Ceremony in Tropic Thunder)？
琪雅拉馬斯楚安尼：Tell me about it.