[金馬] [凱文] Lynne Ramsay: since We Need to Talk About Kevin...
加百列鮑伊感十足！(as her response to Cate Balanchett's Bob Dylan?)
Tilda Swinton Bowie personified (!!!) for Vogue Italia
by Craig McDean, February 2003
「看完被半路搶劫的【可愛骨頭】除了咒罵彼得傑克森是個無恥胖蛋，並事後諸葛與緬懷如果原來給 Lynne Ramsay 改編原著將會多美妙，等了九年，我們三生有幸等到這部電影，我們必須談談凱文。」
還記得 Tilda Swinton 在義大利文藝復興當代經典【我愛故我在】(I Am Love, 2009) 穿著天藍色襯衫佐亮橘色長褲，赴約泡芙塔原生愛人幽會，讓女神殿指數爆表到久久不能自己的亭玉鶴然高雅體態嗎？這回請跟隨 Tilda Swinton 進入生番茄祭典的幽暗世界，及十頭身 Tilda Swinton 和頭幾乎是兩倍大的江西萊里 (John C. Reilly) 所建構出超現實空間感。廢話不多說，以下是英國優良讀物《獨立報》The Independent 之深度訪談：
Making yourself scarce is one way to enhance your reputation as a film-maker.
It worked for Terrence Malick, and in Britain it's worked for Lynne Ramsay. Not that Glasgow-born Ramsay, 41, would have chosen to be so elusive, but her new film We Need to Talk About Kevin has been hailed as a triumphant return for a director too long lost in action. Ramsay debuted with the acclaimed Ratcatcher (1999), followed by Morvern Callar in 2002, then spent four years planning an abortive adaptation of The Lovely Bones – only to find Alice Sebold's book becoming a bestseller and the project spiralling out of control (it was eventually filmed by Peter Jackson).
We Need to Talk About Kevin saw Ramsay getting back on track the hard way, with a gruelling 30-day shoot in Connecticut. The film is adapted from Lionel Shriver's novel about a woman, Eva (Tilda Swinton), whose unusually difficult son Kevin grows up to perpetrate a high school massacre. (John C Reilly plays Eva's husband, Franklin, and Kevin is played as a toddler by Rock Duer, as a boy by Jasper Newell and as an adolescent by Ezra Miller.)
But Ramsay stresses that her film isn't about a Colombine-style slaughter. "The high school killings are, for want of a better word, a smokescreen for what's really going on." The real subject, she says, is the mother-son relationship, and Eva's agonisingly equivocal feelings towards her boy.
Ramsay says she recognised parallels in families she knew: "Older mothers, friends of mine who don't feel totally at ease with a baby, not feeling that instinctive connect that you're meant to feel. There have been films like Rosemary's Baby and The Omen, but they're fantasy, so you can sleep at night. This terrifies people more."
蘭西訴說她所認識的家庭類比案例：「朋友裡較年長的母親，對於小孩子並未感到完全地自在，在這裡不是指理所當然的本能聯繫。恐怖小孩電影如【失嬰記】與【天魔】，但正是因為那只是篇篇瑰麗幻想，所以人們晚上才敢上床睡覺。這才是更深層的恐懼吞噬心靈。」After her enforced absence, Ramsay plans to stay busy behind the camera: she has several feature ideas, and she may also make an Olympics short about wild swimming – depending how the weather holds up this autumn.
Kevin, she says, "was almost a military operation – it'd be nice to do something more free form, as a palate- cleanser".
Five Key Scenes: The view from the director's chair
1. Eva sees red at a tomato festival
"I was looking for a very visceral opening that felt euphoric but also dangerous – that takes Eva back to her days before Kevin, but also has this element of threat or dream. It was like, 'How do I get across that she travels, but in a way that has other psychological meanings as well?'. The tomatina festival happens in Buñol, in Spain – it started because they had a glut of tomatoes. We went out there with a documentary-sized crew, and it was quite a risky thing to shoot – this was 40,000 people in a tiny street. You can see it's completely mental. I don't know if any other actress would have done that, it was sort of dangerous. Me and the cameraman got slammed against the wall. I got tomatoes all over me. It was touch and go; we had 15 minutes, and Tilda [Swinton] dived in. It stank – it was urine and booze, testosterone. I had to literally shove people out of the way. I thought, 'Something bad's going to happen here,' but Tilda was so up for it."
「我想來個直指五臟六腑的開場，歡樂卻又危險—時間追溯到凱文出生前，但也俱備威脅或大衛林區元素。就像是『該如何使觀眾理解伊娃當時正在旅遊，同時乃某種心馳神往？』該場蕃茄節慶發生在西班牙巴倫西亞 (Valencia) 布尼奧爾 (Buñol)—緣起於蕃茄們供過於求。大伙以紀錄片陣仗前往取景，那是件相當危險的任務—四萬多人次擠在一條小小巷弄。可見史雲頓精神力量之強大。我不知道其他女演員有沒有那個種，十分危險。我和攝影師被打趴在牆上。蕃茄遍佈我全身。一觸即發；我們只有十五分鐘，然後蒂妲 (史雲頓) 奮不顧身地闖入紅河谷。氣味很難嗅—滿是尿液，酒精與雄性激素。我非得賞路人拐子開路。我心想『明知大難即將臨頭』，但是蒂妲毫不畏懼。」
2. Eva and the teenage Kevin square off
"That's a real restaurant: it looks like a set, but it's not. All those places round there [in Connecticut] look like sets. This was a really interesting scene to shoot – Tilda and Ezra [Miller] had worked up to it by then. We shot chronologically as much as possible, and they hated each other at this point. Even when you see the two of them together in the first photographs, there's a dislike – it's partly their characters. It wasn't that they weren't getting on, but Ezra had studied Jasper (Newell, Kevin aged seven) and taken on his movements, so there was a creepiness, an awkwardness. I always liked the fact that Eva and Kevin mirrored each other slightly. I wanted him to look like her, and her to see that monster within herself. It's that moment every parent recognises with teenagers – she says, 'How's school going?' and he says, 'Do you want a course schedule?' He takes her to task – 'Don't give me the mummy-son conversation now'. I've seen that kind of thing between mother and son, but he takes it to an extreme. They were kind of mirroring each other, they were watching each other, getting into the whole thing. It totally was a face-off, it was real 'Fuck you' from him."
「那是個真的餐廳：看起來像假的，實則不然。(在康乃狄可) 所有的場所看起來都像樣品屋。實在太有趣了—蒂妲與伊薩 (米勒) 準備就緒。我們盡可能按時間順序拍攝，兩人在當下仇恨彼此。即使你在首景看到兩人在一起，厭惡浮現—僅止於角色。不是說他們不夠投入，但伊薩研究了賈斯伯 (紐威爾，七歲凱文)，並且學習他的動作，所以有種毛骨悚然，古怪詭異感。我總是喜歡伊娃和凱文彼此鏡映。我希望她看起來像他，而她看見心內那頭怪物。這是個每位父母都能認同青少年的時刻—她問起『學校還好嗎？』他回道『妳要不要順便跟我拿課程表？』他反將她一軍—『不要現在給我來個母子連心。』我看過類似場景，但凱文把氣氛搞到極度難堪。母子兩人相互輝映，他們看著彼此，融入事情全貌。基本上是齣變臉，等於凱文罵聲「操你媽」。」
3. Eva and Franklin – 'a real couple'
"John [C Reilly] phoned me up because he wanted to work with me. I think he'd made a list of directors he wanted to work with, so that was quite an honour. John and Tilda got on really well: both their kids are in Steiner schools, they have a lot of similarities – and his kids were actually doing archery lessons, like Kevin in the film, because he didn't want them to use guns. John would come round every night during the shoot and I'd make him dinner – it was a good chill-out after intense days. He was very in awe of Tilda – very: 'She's a goddess!' I think he found her really attractive; there was a vibe. I wanted a more real couple. That's what I like about Don't Look Now – you've got Julie Christie, who's really gorgeous, and Donald Sutherland, who's a bit runny-nosed. John added a bit of humour – I loved working with him."
「約翰 (西萊里) 打電話給我因為他想和我共事。我猜他手上應該有一票導演想合作，所以煞是榮幸。約翰和蒂妲相處愉快：他們的小孩都就讀同間學校，他們分享許多相似之處—而且約翰的小孩是真的正修習射箭課程，猶如電影裡的凱文，因為他們不希望小孩接觸槍枝。約翰拍戲期間每晚都來串門子，我會做晚餐給他吃—情緒緊繃的日子需要輕鬆一下。他超級崇拜蒂妲—超級：『她是一枚女神！』女神魅力十足；有股情愫正流動，我要來對真正的情侶。所以我喜歡【威尼斯痴魂】—妳有超級正點的茱莉克莉絲蒂，以及唐諾蘇德蘭，一枚鼻涕哥。約翰添增幾許幽默—我樂於和他工作。」
Don't Look Now
4. Kevin and the nappy
"Rocky Duer (Kevin as a toddler) was amazing, but he did have a freak-out when we were doing this scene – he said, 'I'm much too big to be wearing a nappy.' Luckily, Ezra was there for the whole shoot because he wanted to study Jasper and Rocky and their mannerisms. He saved the day – he took Rocky outside and got Santa Claus to call him or something, and he stopped crying. We didn't have a lot of time to shoot – and when you're working with kids and you only have 10 minutes .... Rocky is very small, he looks bigger in the picture than he is. Directing a three-and-a-half-year-old is quite hard. He came in, climbed on the chair. I said, 'Can you say "Mommy"?' He said (sulky voice), 'No.' But he did exactly what I said – then got up and walked out of the room, completely silent. He took direction like I've never seen. This is the rolling-the-ball scene (where little Kevin refuses to co-operate with his mother). I couldn't believe I was getting that – it was like CGI or something."
「洛基杜爾 (蹣跚學步的凱文) 太神奇了，但他也有起肖時刻—他說『我才不要穿小嬰兒在穿的尿布。』幸好，伊薩全程參與，因為他想學習蹣跚學步凱文，與男孩時期凱文的言行舉止。他拯救了大家—他把洛基引導至外頭，來個聖誕老公公降臨之類的，然後洛基就不哭了。我們沒有太多時間—尤其你和小孩只能有十分鐘……洛基很小隻，照片看起來比較大。導演伊個三歲半的小孩是件苦事。他進來，爬上椅子。我說『你會說「媽咪」嗎？』他說 (機歪貌) 『鼻要。』他完全照著我的指示演戲—然後起身走出房間，安安靜靜。我沒看過這麼配合的小孩。這是滾球遊戲場景 (小凱文根本不屌媽媽)。我不敢相信就這樣拍好了—又不是電腦動畫或什麼的。」
5. The McMansions of Connecticut
"We shot the film in Connecticut. All those McMansions there, they're like sets inside – it's a real location but it looks like a set. Everything's a façade within Eva's family, and those places do look kind of cold. When I think about American films by Europeans, I think of Wim Wenders – Paris,Texas Americana. But actually it's a super-bland place – especially if you're outside the big cities and you drive from one mall to another. The houses are 'mock', big, rich houses, but there's something slightly tacky about them. Connecticut is a hugely rich area, and a beautiful area, but I wanted the feeling that Eva is the boho one in the couple, so ending up in the 'burbs like that was like death for her. It might seem cartoonish in the film, but it was surprising how much it was really like that."
凱文怎麼了？We Need to Talk About Kevin
112 min. 2011
Tilda Swinton ... Eva
John C. Reilly ... Franklin
Ezra Miller ... Kevin [凱文]
Ursula Parker ... Lucy
Jasper Newell ... Kevin - Childhood [小凱文]
Rock Duer ... Kevin - Toddler [小小凱文]
最後是我的壞朋友荷荷貝瑞觀賞前程似錦明日之星 Ezra Miller 主演之【下課後遺症】關穎心得。
[學院系列] Afterschoo (2008) by halleberry
Ezra Miller in Afterschoo (2008)
請大家端詳完現代版養子不教誰之過【凱文怎麼了？】Ezra Miller 鮮嫩蠻腰後，到電影院收看【壁花男孩】並讚嘆凱文現實生活中面對自我真實的勇氣，然後發明時光機器回到去年高雄電影節欣賞【下課後遺症】(Afterschoo, 2008)，十五歲的凱文首次演電影即展現無以名狀強大演技，一個恐怖小孩誕生就這樣誕生了。