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他 雙 唇 讓 沉 睡 的 慾 火 重 燃

他 身 軀 讓 失 落 的 心 靈 快 慰

妳 … … 今 晚 寂 寞 嗎 ？

《 裸 男 速 遞 》

10 月 16 日 慾 • 罷 不 能

對 辛 尼 來 說 ， 紐 奧 爾 良 便 是 他 的 「 家 」 。 無 論 他 用 多 大 的 努 力 ， 他 還 是 逃 不 出 去 。 是 心 魔 ？ 或 是 現 實 ？

決 心 去 服 兵 役 的 辛 尼 ， 以 為 從 此 便 可 擺 脫 既 定 的 命 運 ， 但 數 年 後 ， 最 終 走 回 的 還 不 是 紐 奧 爾 良 的 老 家 。 不 過 ， 辛 尼 對 前 途 依 然 充 滿 憧 憬 ， 他 認 為 只 要 夠 堅 決 ， 過 去 是 可 以 忘 記 ； 但 當 他 面 對 母 親 和 她 的 「 密 友 」 享 利 時 ， 親 情 總 讓 他 勾 起 以 往 的 一 切 … …

在 紐 奧 爾 良 從 事 色 情 事 業 多 年 的 寶 珠 ， 她 的 獨 生 子 辛 尼 便 是 她 的 唯 一 希 望 、 唯 一 依 靠 。 她 悉 心 培 訓 他 成 為 紐 奧 爾 良 最 出 色 的 男 妓 。 他 的 顧 客 主 要 是 那 些 渴 求 激 情 、 貪 戀 年 輕 壯 男 身 軀 的 中 年 女 人 。 辛 尼 是 他 母 親 的 搖 錢 樹 ， 但 他 極 度 厭 倦 這 種 生 活 ； 他 有 夢 想 ， 但 他 卻 逃 不 出 自 己 的 「 過 去 」 。

辛 尼 服 兵 役 的 時 候 ， 嘉 露 便 成 為 了 寶 珠 的 新 寵 兒 。 她 是 寶 珠 在 醫 院 救 回 的 雛 妓 ， 現 在 便 成 了 她 手 上 的 皇 牌 ， 替 她 賺 錢 。 嘉 露 在 辛 尼 身 上 看 見 了 自 己 ─ 她 要 逃 離 這 裡 ， 這 點 她 比 辛 尼 更 要 堅 決 。 可 惜 ， 現 實 從 來 不 曾 接 受 他 們 這 類 人 。 每 當 辛 尼 踏 出 一 步 ， 「 過 去 」 總 把 他 拉 回 原 地 。 究 竟 他 能 否 敵 過 命 運 ， 選 擇 一 條 真 正 屬 於 自 己 的 路 呢 ？

奧 斯 卡 金 像 影 帝 尼 古 拉 斯 基 治 首 次 執 導 筒
占 士 費 高 演 技 新 考 驗

最 初 尼 古 拉 斯 基 治 接 到 《 裸 男 速 遞 》 這 個 劇 本 時 已 經 是 十 五 年 前 的 事 ， 當 時 他 被 邀 請 擔 演 辛 尼 一 角 。 多 年 後 ， 他 竟 擔 任 導 演 一 職 ， 看 著 眼 前 一 眾 年 輕 男 演 員 ， 基 治 毫 不 考 慮 由 曾 飾 演 占 士 甸 的 新 一 代 型 男 占 士 費 高 來 演 辛 尼 。 在 《 蝙 蝠 俠 》 中 飾 演 綠 魔 兒 子 的 占 士 費 高 ， 他 那 模 特 兒 的 身 型 ， 加 上 俊 俏 的 外 貌 ， 絕 對 是 女 影 迷 心 中 的 白 馬 王 子 。 單 是 外 型 這 點 ， 基 治 已 敲 定 辛 尼 一 角 必 屬 占 士 ； 加 上 他 那 不 羈 和 堅 定 的 氣 質 ， 完 全 配 合 辛 尼 劇 中 那 矛 盾 和 追 求 突 破 的 性 格 。

《 裸 男 速 遞 》 這 個 劇 本 一 直 吸 引 著 基 治 多 年 。 他 近 年 一 直 希 望 嘗 試 執 導 ， 這 部 電 影 正 好 成 為 他 導 演 的 第 一 部 作 品 。 由 於 前 期 籌 備 頗 為 短 促 ， 很 多 製 作 上 的 一 作 也 是 到 了 紐 奧 爾 良 才 繼 續 進 行 ， 幸 好 一 切 也 十 分 順 利 。 基 治 把 John Carlen 的 原 著 故 事 作 了 些 改 動 ， 把 六 十 年 代 的 背 景 轉 為 八 十 年 代 ， 因 為 八 十 年 代 對 他 的 影 響 很 大 ， 他 更 把 一 些 個 人 經 歷 放 進 電 影 裡 。 而 原 著 的 路 士 安 娜 亦 被 遷 到 紐 奧 爾 良 ， 基 治 認 為 紐 奧 爾 良 有 其 獨 特 一 面 ， 與 美 國 其 他 地 方 十 分 不 同 ， 很 切 合 辛 尼 的 成 長 和 性 格 。

導 演 ： 　 　 尼 古 拉 斯 基 治
監 製 ： 　 　 尼 古 拉 斯 基 治
　 　 　 　 　 洛 歌 萊 特
　 　 　 　 　 保 羅 布 魯 克 斯
執 行 監 製 ： 洛 韋 特
聯 合 監 製 ： 格 連 士 基 諾
演 員 ： 　 　 占 士 費 高 《 蝙 蝠 俠 》
　 　 　 　 　 曼 娜 蘇 華 莉 《 美 麗 有 罪 》
　 　 　 　 　 白 蓮 達 比 芙 蓮 《 聲 光 乍 洩 》
　 　 　 　 　 尼 古 拉 斯 基 治 《 石 破 天 驚 》
攝 影 指 導 ： 巴 里 馬 高 域
美 術 指 導 ： 夢 露 姬 莉
發 行 ： 　 　 Lark Films Distribution Ltd.
級 別 ： 　 　 III
片 長 ： 　 　 110 分 鐘
院 線 ： 　 　 UA 金 鐘 、 沙 田 、 時 代 廣 場 、 GH 旺 角 、 港 威 、 AMC

SONNY

PRODUCTION INFORMATION

For Sonny (James Franco), home is Bourbon Street. In the heart of New Orleans, where Sonny grew up, glitz rubs shoulders with grime. The new lies like a sheet over the body of the old. And old habits are hard to break.

When he's discharged from the military, Sonny has nowhere else to go but home. His mother Jewel (Brenda Blethyn) and her longtime companion Henry (Harry Dean Stanton) are overjoyed to have him back. But each moment of home reminds him of the old life he left behind, a life his mother desperately wants him to return to.

Jewel is a Madame, and Sonny was her greatest prize. But Sonny has other plans. It's time to go straight. Time to start over. For Sonny, Bourbon Street is just a stop along the way.

Jewel's new star girl, Carol (Mena Suvari), sees herself in Sonny - the promise she always told herself she had, that getting out was possible even for someone like her. But the "straight" world doesn't seem to take their kind. Every step Sonny takes, he gets knocked two steps back. And as the old life calls him home, each stumble makes it harder to say no.

Academy Award winning actor Nicolas Cage makes his directorial debut with SONNY, a story of love, promise and enduring hope set against the streets of New Orleans. Set in the 1980s, the film stars Golden Globe Winner James Franco ("James Dean," "Spider-man") as Sonny; Mena Suvari ("American Beauty," "American Pie") as Carol; Academy Award nominee Brenda Blethyn ("Little Voice," "Secrets and Lies") as Jewel; and Harry Dean Stanton ("The Green Mile," "The Straight Story") as Henry Wade. The film also stars Scott Caan ("Ocean's 11," "Gone in 60 Seconds").

A Saturn Films/Gold Circle Films production, the film is written by John Carlen and produced by Nicolas Cage, Norm Golightly ("Shadow of the Vampire") and Paul Brooks ("My Big Fat Greek Wedding," "Shadow of the Vampire"). Norm Waitt ("My Big Fat Greek Wedding") executive produced the film, with Glenn S. Gainor ("Happy, Texas") serving as co-executive producer and Debra L. Gainor ("Who's Your Daddy?") as associate producer.

The creative behind the scenes team is led by director of photography Barry Markowitz ("All the Pretty Horses," "Sling Blade"), production designer Monroe Kelly ("Monster's Ball"), three-time Emmy nominated costume designer Shawn-Holly Cookson (TV's "The Nanny") and editor Howard Smith ("Shadow of the Vampire"). Clint Mansell ("Murder by Numbers," "Requiem For A Dream") composed the score.

SONNY tells the story of a young man who is discharged at the age of 26 from a stint in the military. It's the early 1980s, and though Sonny is happy to see his mother, who raised him on her own, he has set his sights on building a new life - one that doesn't involve prostitution. Director and producer Nicolas Cage describes Sonny as "filled with promise and hope," he says. "He hasn't been shot down yet."

James Franco, who earned a Golden Globe Award for his portrayal of actor James Dean in the eponymous telefilm, has completed a number of roles in films like "City By the Sea," opposite Robert De Niro, and as Norman Osborne in the summer blockbuster "Spider-Man." "Sonny is someone who has a certain kind of life inside him that has not been given a chance to grow," comments Franco. "He was brought up in this world of prostitution and that's all he has known from a very young age when he didn't have a choice. The spirit inside of him is conflicting with this forced lifestyle. He's searching for a way out, but maybe not having the support or strength yet to get out."

When Cage first encountered the script by John Carlen, he approached it as an actor. Now, some fifteen years later, he was faced with casting the role. "We looked at a lot of young actors to play the role of Sonny," remembers producer Norm Golightly, Cage's partner and president of Saturn Films. "Nick felt it should be a young guy, at the prime of his life, when the potential of hope is still a real possibility. At one point while scouting in New Orleans, we sat down and watched Franco's work in 'James Dean' and we were just blown away by what he could do."

Franco's abilities as an actor and "matinee idol" good looks were only part of the appeal for Cage. "The first thing that struck me about James when I met him was how passionate he was about the material," the director notes. "He was very excited about it. And he seemed willing to go places that were dangerous and risky. I knew I had an adventuresome actor in front of me when I met him. And then when he read the scenes with me -- it was just the two of us together -- he had so much emotion at his fingertips. I knew he could go anywhere."

The world Jewel inhabits, the world Sonny was born into, is the barely concealed underground of prostitution in New Orleans. "It's a world that I don't know very much about - probably that most of us don't know very much about," comments Oscar nominee Brenda Blethyn, who plays Jewel. "But to these people, it's simply their stock and trade. It's what they do, and they want to do it as best as they can. It's like selling shoes. If you're good at selling shoes, you want to sell a whole store full. But as in any business, unless you're making it, unless you get lucky, it's a struggle."

Jewel's existence depends on the work of others, and her love for her son is inextricably joined with her instincts to make a living. "She has lost her assets, she has lost most of her looks, so her future doesn't look particularly bright," Blethyn comments. "She's frightened of losing her boy. Who can blame her for trying to hang on to some kind of security. All us lucky people, outside the world of desperation, can frown on it, but actually, if you're in that life, it would be pretty hard not to do anything you can do. And she can't see anything wrong with what she's doing."

With so many shades for this conflicted character to play, Cage, who had admired the actress' performances in films like "Little Voice" and "Secrets and Lies," had Blethyn in mind from the start. "I needed Jewel to be someone that could dominate the scene, dominate the room, and really take charge," he says. "A traditional grand dame of the south. And even though Brenda is British, I sensed that she could fill that presence and wear those shoes."

Executive producer Norm Waitt adds that their complex relationship is built not only on love, but also commerce. "There is an extreme level of love and control that flies back and forth between these two characters," Waitt comments. "Jewel loves her son, but at the same moment, needs to control him. It's a very complex and sometimes beautiful relationship."

During Sonny's time in the military, Jewel makes a living through the efforts of transplanted Arkansan Carol, played by Mena Suvari, whose acclaimed performance in "American Beauty" as well as her commercial success in the "American Pie" films shot the young actress to worldwide attention. Suvari describes Carol as "Strong and sweet. She has an innocent girlish side to her even though she has been through so much and been taken advantage of for much of her life. Jewel is very hard core. She has to care about Carol to a certain extent, but at the end of the day, what's between them is business."

Though Jewel cares for Carol, there is great disparity between that relationship and the love she shares with Sonny. "You can feel the affection and the sense of responsibility Sonny has for his mother," says Blethyn. "But with Carol it's different. Carol's is a good moneymaker. But if this was an office relationship, she'd pay her for typing the letters but wouldn't want her taking the paper clips home."

When Sonny and Carol meet, their connection is instant and powerful. "She has been trying to convince herself that maybe there's nothing else out there for her," says Suvari. "She feels that Jewel is stronger than both of them, so they might as well just give in. But she grows through Sonny."

"Carol and Sonny have a very fast relationship," adds Franco. "They're sex workers and consequently, sex has become less precious to them, but in other ways more enjoyable, more open and free for exploration. He sees in her an understanding, someone who can empathize with everything he's been through with Jewel. So, they're kindred spirits in a way."

Suvari came to the project not long after hearing about it. Once she had read the script, she immediately contacted Cage. "From what I'd seen in her other films, Mena had a very young and at times fragile quality that I thought would make the role of Carol more heartbreaking," Cage says. "She emerges from the film with this very delicate and fragile soul that is in need of love -- and perhaps the only person that could understand this need is Sonny."

"There's so much magic and chemistry between these two characters," Golightly adds. "Mena has this ability to be tantalizing and tempting yet, at the same time, very sweet and innocent. Although she's stuck in this world, there's a hope about her that allows the audience to believe she has the chance to overcome her environment and eventually escape."

The last component of their makeshift family is Henry Wade, an armed robber who is a father figure to Sonny and a lifetime companion to Jewel. Screenwriter John Carlen, who met the actor while serving as a consultant on the 1978 film "Straight Time," wrote the part with Stanton in mind. Director Cage "never heard anybody else's voice when I read that part," he explains. "I only saw Harry Dean." Stanton had been pegged to play the role during its earlier incarnation opposite Cage's Sonny, but the actor expressed surprise when Cage first contacted him. "He wanted to know why I wanted him in it, and I said, 'I can't hear anybody else's voice,'" Cage continues. "Harry Dean is somebody that has never been bad in a movie. He has this effortless, deeply real persona on film."

Stanton has known Cage since they both appeared together in David Lynch's "Wild At Heart." An actor who has quietly turned in critically lauded performances in over 100 films, Stanton sees the lives of these characters as something anyone can relate to. "I think every human psyche has all of this within it anyway," he says.

Despite the sometimes harsh lives they live, Henry's relationship with Jewel is tender and filled with both love and understanding, as illustrated by their night out at Antoine's Restaurant. Blethyn explains that their relationship goes back to when Jewel was "first turned out" into prostitution. Though he spent a number of years absent from her life, they soon reconnected. "There is a bond between the two of them," Blethyn says.

Blethyn likewise developed a close relationship with Stanton during production. "I just love Harry Dean Stanton," she says. "He's the best. He's wonderful to work with."

For Sonny, Henry is an encouraging, steady force in his life. "He'd like to see of them make it in the 'square' world, as it were," Stanton says. "I've met a lot of ex-bank robbers and a couple of hit men, and all these guys, if you meet them in an ordinary social situation, you'd never know what they do. They're all human beings. Everything just happens. Nobody's in charge."

But Waitt points out that "having a regular, square way of life is not that easy in itself," he says. "There are troubles with that too, and it's not that easy to reinvent yourself. When people know you as one thing, it's hard to become a different person."

Cage feels this sentiment resonates throughout all the characters in the film. "This film is about several people who are outcasts in society," he says. "They either do or don't have love in their lives, but when you view them close up like this, they are not that much unlike all of us."

ABOUT THE PRODUCTION

Though Cage's original encounter with the project did not ultimately result in a film, SONNY was considered at the time one of the top ten unproduced scripts on the market. During a pause in Cage's schedule, the actor asked Norm Golightly, his partner at Saturn Films, to locate the script. "It has always been on his radar," producer Golighly notes. "Nick had been moving closer and closer towards directing and this is a project he's been passionate about for years and years. It was an obvious choice for him to make as his directorial debut."

Norm Golightly approached Paul Brooks at Gold Circle Films to come on board as a producer and financier. "I had a great experience with Nick and Norm on 'Shadow of the Vampire,'" Brooks comments. "I had complete confidence in Nick as a filmmaker - he is a unique voice in American cinema and I had no doubts about his ability to deliver a remarkable film. We had to move extremely quickly and, after discussing the matter with my chairman, Norm Waitt, we decided to fully finance the film."

Eight weeks after their initial conversation, they were in production in New Orleans. "We had everything scouted professionally before we got here," says co-executive producer Glenn S. Gainor. "Everything just came together beautifully. It was phenomenal."

Golightly adds, "I think the time pressure we were under always kept things moving forward until we eventually found ourselves in a territory where there was no turning back."

The short prep time gave Cage and his actors a narrow window in which to learn their lines, rehearse, get fitted with their costumes and do all the things normally associated with preproduction. Four days before the start of principal photography, Cage brought the key cast, director of photography Barry Markowitz and a handful of other crew members onto the set as it was being built - simultaneously rehearsing, lining up shots and fine tuning the set design. "Everything was happening so fast to get this movie up and running," Cage recalls. "We had one script read through and four days to rehearse scenes on the set so the actors would get an idea of what the home was like -- if they had any ideas for props or where they wanted to move or what felt right."

The filmmakers brought in dialog coaches, with some initial help for Blethyn from Tulane University's Paul Shearhorn, to help the three principal actors perfect the New Orleans dialect spoken by their characters. "It's called Yat Country," Gainor explains, "from 'where y'at?'" Suvari required a separate dialect coach to help her capture Carol's Arkansas sounds. "We even had a voodoo coach," says Gainor. "Everything was extremely authentic."

Cage and director of photography Markowitz, who created the surreal and visually striking images of films like "The Apostle," "Sling Blade" and "All the Pretty Horses," composed a visual palette for the film that would make Sonny's world at once colorful and nostalgic. "I wanted this movie to be sumptuous," says Cage. Markowitz described a photo process that entailed shooting on Fuji film but printing it in high contrast on Kodak. They tested the process with a series of visually stunning establishing shots around New Orleans. The effect was oversaturated colors with vibrant blues, yellows and greens. "Poor Barry was really excited about it, but I knew I wasn't going to use any of the footage because I wanted to start the picture on Sonny's face," Cage says. "It's not a normal choice for most filmmakers to want to go this rich with the colors, but I thought it would be gorgeous."

When Cage committed to making the film, he knew he wanted to change two key elements of John Carlen's script - the time period and the location. "I knew the '80s quite well," he explains. "It was a pretty rockin' time in my life; I could relate to it. When I made the decision to move it to the early '80s instead of the '60s, it became clear to me that I would have to put some of my own memories of that period of time."

Production designer Monroe Kelly and four time Emmy nominee Shawn-Holly Cookson put together a wardrobe for the characters inhabiting Sonny that would be 1980s-specific without caricature. "Shawn-Holly has an enormous flair for this era, so I deferred to her judgment on all that," says Cage, noting that while they pegged 1981 as the year, they used it as a guideline rather than a stringent detail. Golightly notes, "It was subtle but accurate. We didn't go out of our way to do fluorescent bracelets or leg warmers, but everything was very reminiscent of the time."

Likewise, the location of New Orleans resonated more with the director than Lafayette, Louisiana, which is where SONNY was originally set. "There are a lot of unique elements to New Orleans that make it unlike any city in America -- the restaurants, the voodoo, the architecture, the concept of Bourbon Street, which is world famous as a party street," he explains. "The idea of actually growing up on Bourbon Street and living there as a child says a lot about Sonny's life and what he becomes."

Golightly adds that New Orleans' unique, authentic flavor demanded that everything be shot on the actual streets of the city. "You really can't replicate the culture and the atmosphere on a soundstage," he says. "Nick had previously spent time in New Orleans and it was an area that he responded to creatively."

Cage had shot a number of films in New Orleans and fallen in love with the city - so much so that he wanted to buy a house in the French Quarter. "Nick was looking to buy a house while we were scouting," remembers Gainor. "So, while we were scouting we were concurrently looking for a house for Nick, and we found this fantastic house here that was completely distressed, which fit well with our characters. We basically turned it into a soundstage here in New Orleans."

To save costs and create an insulated, controlled setting, Cage decided to shoot nearly 70% of the film's interior scenes inside his house, making it home to not only Jewel's house, but the interior for Antoine's Restaurant, where Henry takes Jewel, and an out-of-town brothel. "It helped us enormously in terms of time and convenience," says Cage. "I would just go upstairs and look at dailies, and then come downstairs and start shooting."

For six weeks, the crew inhabited the city, interrupting the everyday life going on around them as little as possible. As events turned out, their visit to New Orleans coincided with both Superbowl and Mardi Gras. "Things were honking and going off and we're trying to carve these delicate scenes," Cage remembers.

Locations within the city include Rubenstein's, the oldest clothing store in New Orleans; Chris Owen's on Bourbon Street; the Bourbon Orleans Hotel; the Tropical Isle bar; and numerous other locations along Bourbon Street. "The crews in New Orleans are fantastic," notes Gainor. "There's so much color here, from the people on the street, musicians, vendors, or just someone singing on the corner. We'd say, 'That guy! He's in the film.' The city has been completely open to this film."

Cage concurs, adding that the local crew helped enormously to facilitate the tight budget and schedule for this independent film. "I felt great with the crew that I had and I would work with all of them in a heartbeat," he notes. "They were gung ho about the project for all the right reasons. I had a superb first A.D. in Mark Little, who was willing to get out there on Bourbon Street and just steal shots. It was like guerilla filmmaking. We didn't really take no for an answer. We just went in there and got what we needed. It's pretty remarkable that we were able to do it, and I wouldn't have been able to do it if the crew had been much bigger. So, we had to keep it tight and small and move fast, and get what we could when we could."

To shoot scenes from Sonny's trip to Texas, the crew moved about thirty miles outside New Orleans to the towns Madisonville and Hammond, "a lovely little town which looked like it had skipped the last thirty years, without a Starbucks or McDonalds in sight," Golightly describes.

Though Franco arrived in New Orleans three weeks before the start of principal photography to get to know the individuals in Sonny's trade and spend time with them on the Quarter, all of the actors explored the city. Blethyn particularly enjoyed walking the Quarter with Stanton. "Everybody recognizes Harry, and everyone seems to adore him," she says. "One time we stopped in the street, some guy he'd never seen before in his life approached him, and they sang a song together right there on the sidewalk. It was lovely." Adds Stanton, "You can walk out of a bar with a drink in your hand and walk in another bar with the same drink. In L.A. they'd put you in jail. I love that about it."

For Cage, an accomplished actor with over 40 films and an Academy Award for Best Actor under his belt, the experience of directing "Sonny" was both challenging and familiar. Though he got last minute pointers from directors like Oliver Stone and Spike Jonze, Cage ultimately let himself be guided by instinct. "It was a lot more exciting than I could ever imagine," he says. "What I knew I could do, what I had an instinct for, was communicating with actors. That was the only card I could play going into it. It was like my first day at school, I was nervous. But I was surprised at how quickly everything started to fall into place and how quickly I began to operate with the crew. We all got into this groove very, very quickly. At a certain point it just began to work instinctively, and then the fear went away."

Cage's clear focus on characters and actors proved a tremendous asset to the cast. "I find it quite exciting working with a first time director," says Blethyn. "As an actor, you're always exploring and making discoveries, and the director is too. First time directors don't come in with any preconceived ideas. They're ready to try things, to not be afraid of anything, to take risks." Adds Stanton, "Being a great actor himself, his insight and understanding of the whole acting process was natural and totally helpful."

"With every director, you create a certain language between the two of you, and it's always different," explains Franco. "With Nick, I think it's just listening to how he talks and relating that to his roles. He has a certain intuition level. There is also more of a trust knowing that he is an actor. It's been a very personal experience to him. He designed the whole shoot around acting and will do anything to get the best performance, whether it be talking it out or making extra time for a scene. What is especially nice is that he seems to care about this script so much and is constantly reworking and thinking, bringing a lot of himself into the piece."

Cage's ultimate goal is to create a film that presents rather than judges, revealing real life characters that are not so different from those watching. "I want people to take what they want when they go home from this film," says the director. "They can read into it whatever they want. But I hope they can see that it was an honest film and that I did make it from the heart."

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