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《迷失東京》
Lost In Translation
由《鎖不住的誘惑》導演蘇菲亞哥普拉(Sofia Coppola)執導，標梅利(Bill Murray)主演的《Lost In Translation》(迷失東京)，乃本屆威尼斯影展最受歡迎的作品，更被美國影評協會(AFI)選為十大電影之一及三藩市影評人組織最佳電影；男主角標梅利更分別摘下美國電影學院紐約影評人協會及全國影評人協會最佳男主角。電影去年更於威尼斯國際電影節及多倫多國際電影節公映，分別奪得最佳電影、最佳導演、最佳男主角、最佳女主角及最佳編劇多個殊榮. 亦於2003年的金球獎獲得共5項的提名. 而導演蘇菲亞哥普拉(Sofia Coppola)更有機會成為奧斯卡最年輕的金像導演。
《迷失東京》全片於東京及京都拍攝。故事由兩個身在東京的美國人，一個中年過氣電視廣告明星Bob Harris(標梅利)，一個嫁夫隨夫的新婚少婦Charlotte(絲嘉莉鍾安遜)，身處異鄉，面對陌生的人和事，感到不惑及迷茫。二人同渡失眠夜，午夜徘徊時遇上，自此建立了一段微妙的友誼，在言語不通的國度內，同於東京冒險，和市民們狂歡，在異鄉領略到生存的新狀態。
導演、編劇、監製：
蘇菲亞哥普拉(Sofia Coppola)
演員：
標梅利(BILL MURRAY) 飾演 Bob Harris
絲嘉莉鍾安遜(SCARLETT JOHANSSON) 飾演 Charlotte
導演：蘇菲亞哥普拉(Sofia Coppola)
導演蘇菲亞哥普拉(Sofia Coppola)是《教父》導演哥普拉(Francis Ford Coppola)之女，畢業於 California Institute of the Arts，曾拍攝14分鐘短片《Lick and Star》，並於威尼斯影展放映；00年，推出其處女作《鎖不住的青春》(The Virgin Suicides)，獲得不俗的評價，她勇奪MTV 電影大獎最佳新進演員獎；第二部作品《迷失東京》更成為本屆威尼斯電影節最受歡迎的影片，而導演蘇菲亞哥普拉(Sofia Coppola)更有機會成為奧斯卡最年輕的金像導演。
導演的話：
這部威尼斯影展大熱之作，乃導演蘇菲亞哥普拉早年於日本旅遊時的體驗。由於言語不通及時差問題，以致美國人身在東瀛，感受特別深，往往至深夜時份才是最活躍之時，故此電影背景設定是兩個同是寂寞的美國人，深夜失眠邂逅的故事。
當我們外遊時，體會的人和事，已成為回憶的一部分，深刻但不會持久，可是，這些回憶片段不時湧上心頭，影響著我們。
導演訪問：
《迷失東京》於威尼斯影展放映時，成為最受歡迎的電影。導演蘇菲亞哥普拉於多次遊歷東京後，希望透過電影去告訴大家她所愛的東京，以及所見所聞所感。
「故事概念源於我廿歲於日本生活的體驗，那時，我一年內會到日本六至七次，當遊客的體驗特別不同，因為時差及言語不同，事情好像被扭曲、誇大，直到午夜才是我們美國人的黃金時間。我以Park Hyatt Hotel做背景，或許與年輕時負擔不起昂貴的酒店租金有關。每次去到哪裡，發現當中有很多奇怪的事情，即使東京這個大城市有幾混亂，但置身於酒店內的紐約酒吧或法國餐廳，感覺特別閒靜，可是，說到底那還是日式化了的酒吧。」
「雖然片子於日本攝製，可是，我並沒有特意返回東京寫劇本，只因我手上還有不少旅遊時的照片嘛！」
《迷失東京》全片於東京及京都拍攝，攝製隊中有90%日本人，全程趕工，27日內完成拍攝工作。
「由於這是一個有關美國人在東京的故事，是我首部於東京拍攝的電影，我並不想於日本拍一部美式電影，故此攝製隊中只有8人來自美國，其餘的都是當地人。我們互相適應，互相學習。不能否認的是語言是最大的障礙，翻譯又不能經常在身邊，故此往往要利用符號、圖畫，再加上身體語言與他們溝通。一場講述Bob Harris拍威士忌廣告的戲口，因為翻譯問題而導致Ng十次，正正是一個我們攝製的情況哩！」
「拍攝期間都曾鬧出不少笑料。好像片尾發生於深夜時份的一幕走火警的戲，當時有50位穿上整齊西裝的臨時演員齊齊到了拍攝現場的停車場，可是，當我們正式拍攝時，才發覺他們於深夜時份穿起西裝，很奇怪，完全說不通，我們的服裝指導唯有臨急的走回酒店，想盡的辦法去找一些合適的戲服給他們，弄了很久，慶幸地，最後都能順利完成。」
「日本人對於拍攝是很拒抗的，即使答應借出地方，但一定要於特定時間內完成，可是，拍攝時往往有很多難以估計的情況發生。故此，不管東京街頭，以及不准攝影的行人隧道，攝影師Lance想盡辦法去『偷拍』，們採用傳統攝錄機，棄用方便的DV，無非是為了營造視覺距離及浪漫氣氛，來突顯這個城市的童話色彩。」
蘇菲亞哥普拉公開承言Bob Harris這個角色，是為標梅利度身定做的。
「一向以來，我很欣賞標梅利的演出，雖然他多演喜劇角色，可是，卻不失其感性的一面。很希望能為他寫一個故事。Bob Harris是一位中年的過氣影星，為了生活而迫不得已飛到東京拍攝廣告，身處異鄉，言語不通，對婚姻、對事業及生命感到厭倦，淡然無味。我透過標梅利過往的演出去找尋靈感，從而去塑造角色性格。」
Bob Harris 與 Charlotte同於東京鬧市馳騁，建立了一段非愛情的超友誼關係。
「現實中，有很多男女關係，超乎友誼，帶點曖昧且親密，又談不上是愛情，仿如在踩鋼線。Bob人到中年，對生活感到枯燥無味，遇上新婚、隨夫到東京工作的Charlotte。年紀相距廿年，可是，同聲同氣，又站在人生的十字路口，此友誼關係比一般的更有認同感。」
標梅利的話：
蘇菲亞哥普拉為標梅利度身訂做Bob Harris這個角色。標梅利已憑此角色勇奪美國電影學院、
紐約影評人協會及全國影評人協會最佳男主角獎，更獲提名金球獎最佳男主角，亦被視為奧斯卡候選影帝參考指標。
「拍攝時，有些念頭不期然湧出來，心忖『Bob這個角色真的很像我，導演真的為我度身訂做！』其後，突然醒覺到，原來是自己才是Bob的創造者，只因他集合了我過往的演出及角色的特質，還有心路歷程。我和Bob，工作又得不到滿足感，也曾離鄉別井工作，生活不如意，又得不到別人認同。此外，我一直認為英語是一種很普遍的國際語言，當我首次到日本後，才知道我這想法是不對的。我對日語完全不明所以，真的不知他們在說甚麼哩！」
男主角標梅利(Bill Murray)
現年53歲的標梅利(Bill Murray)，生於芝加哥，70年代尾，於NBC電視台的演出綜合節目而《Saturday Night Live》而漸為人熟識。其後的《瘋狂高爾夫》(Caddyshack) 、《窈窕淑男》(Tootsie)及《天才也瘋狂》(What About Bob?)以及票房大賣的黑色喜劇《捉鬼敢死隊》及叫好的黑色幽默片《Groundhog Day》，奠定標梅利的荷里活份量級諧星地位。近年於《神探俏嬌娃》中的飾演聯絡人阿包以及《癲才家族》的作家角色均獲得不少回響。
要數標梅利近年的代表作，可算是參演韋斯安德遜執導的《Rushmore》(港譯：撬牆腳)；由膾炙人口的漫畫《加菲貓》改編而成的真人電影，他聲演加菲貓的主人。除了演戲外，標梅利曾出版《Cinderella Story:My Life in Golf》著作。
女主角絲嘉莉鍾安遜(Scarlett Johansson)
與標梅利走遍東京街頭窄巷的Charlotte，由現年19歲的絲嘉莉鍾安遜(Scarlett Johansson)飾演。生於紐約的絲嘉莉鍾安遜，自8歲起已公開表演；94年加入影圈，於羅拔烈福主演的《情深說話未曾講》中的演出初露嶄角；其後參演由英國漫畫改編的《黐孖妹》(Ghost World)，更為她贏得多倫多影評人協會最佳女配角榮譽。其他作品包括《綠帽離奇勒索》、《近蛛者殺》及《寶貝智多星3》等。新作《The Perfect Score》將於1月16日美國公映。
男配角祖雲尼域巴斯 (GIOVANNI RIBISI)
曾為《鎖不住的青春》當幕後讀白的祖雲尼域巴斯，飾演Charlotte的攝影師丈夫。祖雲尼域巴斯出入行多以客串身份現身不同的電視劇本，自從參演不少有份量的電影後，人氣開始上揚，作品包括、《雷霆救兵》、《極速60秒》《驚魂眼》及《基本懸兇》等，不日上映的有04年矚目大片《Cold Mountain》。
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| 發行 ： | Golden Scene Company Limited | |
| 上映日期 ： | 2004年2月12日 | |
| 院線 ： | TBC | |
| 級別 ： | TBC | |
| 片長 ： | 102分鐘 | |
| 網址 ： | http://www.goldenscene.com |
Lost in Translation
Awards & Nominations:
| Won: | ||
| 2003 | Athens International Film Festival Golden Athena - Sofia Coppola | |
| 2003 | New York Film Critics Circle Awards Best Actor Bill Murray Best Director - Sofia Coppola | |
| 2003 | San Francisco Film Critics Circle Best Actor - Bill Murray Best Picture | |
| 2003 | Sao Paulo International Film Festival Critics Award Best in Competition - Sofia Coppola | |
| 2003 | Toronto Film Critics Association Awards Best Performance, Male - Bill Murray Best Picture Best Screenplay - Sofia Coppola | |
| 2003 | Venice Film Festival Lina Mangiacapre Award - Sofia Coppola Upstream Prize - Best Actress - Scarlett Johansson | |
| 2003 | Boston Society of Film Critics Awards Best Actor - Bill Murray Best Actress - Scarlett Johansson Best Director - Sofia Coppola | |
| 2003 | Southeastern Film Critics Association Awards Best Actor - Bill Murray Best Screenplay, Original - Sofia Coppola | |
| 2003 | Valladolid International Film Festival FIPRESCI Prize - Sofia Coppola | |
| Nominated: | ||
| 2004 | Golden Globes, USA Best Director(Motion Picture) - Sofia Coppola Best Motion Picture - Musical or Comedy Best Performance by an Actor in a Motion Picture (Musical or Comedy) - Bill Murray Best Performance by an Actress in a Motion Picture (Musical or Comedy) - Scarlett Johansson Best Screenplay (Motion Picture) - Sofia Coppola | |
| 2004 | Independent Spirit Awards Best Director - Sofia Coppola Best Feature - Sofia Coppola, Ross Katz Best Male Lead - Bill Murray Best Screenplay - Sofia Coppola | |
| 2003 | National Board of Review, USA Special Achievement Award - Sofia Coppola (For writing, directing, and producing.) | |
| 2003 | European Film Awards Screen International Award - Sofia Coppola |
Synopsis
Bob Harris (Bill Murray) and Charlotte (Scarlett Johansson) are two Americans in Tokyo. Bob is a movie star in town to shoot a whiskey commercial, while Charlotte is a young woman tagging along with her workaholic photographer husband (Giovanni Ribisi). Unable to sleep, Bob and Charlotte cross paths one night in the luxury hotel bar. This chance meeting soon becomes a surprising friendship. Charlotte and Bob venture through Tokyo, having often hilarious encounters with its citizens, and ultimately discover a new belief in life's possibilities.
Shot entirely on location in Japan, Sofia Coppola's Lost in Translation is a valentine to the nature of close friendships and to the city of Tokyo. Ms. Coppola's film, from her original screenplay, contemplates the unexpected connections we make that might not last - yet stay with us forever.
Ms. Coppola studied Fine Art at California Institute of the Arts. She then wrote and directed the short film Lick the Star (which world-premiered at the Venice International Film Festival), followed by the feature The Virgin Suicides (which she adapted from Jeffrey Eugenides' novel, and which world-premiered at the Cannes International Film Festival).
Focus Features presents in association with Tohokushinsha an American Zoetrope/Elemental Films production. Bill Murray, Scarlett Johansson. Lost in Translation. Giovanni Ribisi, Anna Faris. Music Producer, Brian Reitzell. Production Designers, Anne Ross, K.K. Barrett. Costume Designer, Nancy Steiner. Editor, Sarah Flack. Director of Photography, Lance Acord. Executive Producers, Francis Ford Coppola, Fred Roos. Produced by Ross Katz, Sofia Coppola. Written and Directed by Sofia Coppola.
Lost in Translation
Let's Get Lost: Translation Talk with Sofia Coppola and Ross Katz
Q: Sofia, the vantage point of a young woman has been a constant in the work you've done so far. But here, working with Bill Murray, you explore the older man's as well…
Sofia Coppola: …and he's having a midlife crisis in Japan - where it's already so confusing. In the film, Charlotte is having that early 20s, "what do I do with my life" crisis. She and Bob are two people at opposite ends of something comparable; she's just going into a marriage and he's on the other end, having been in one for years. There is camaraderie between them at the moment in time that they're at. It's two characters going through a similar personal crisis, exacerbated by being in a foreign place. Trying to figure out your life in the midst of all of that…I always do that on trips, just start to think of these issues when I'm away from home.
Ross Katz: One of the exciting things for me was what Sofia said to me when we met: "Bill Murray is my leading man." We did not conceive of this movie without him. I genuinely believe that Sofia would not have made it if he didn't agree to do it. He is a real leading man and his performance is, I think, wonderful.
Q: What was the genesis of the idea for Lost in Translation? Did it come from a specific trip?
SC: It was inspired by spending time in Japan in my early and mid-20s. I went there six or seven times over a couple of years. Just from spending time there, being in the Park Hyatt Tokyo, I wanted to do something set in Tokyo, and I liked the idea of how, in hotels, you keep running into the same people. There's this sort of camaraderie even though you don't know them or even talk to them. And, being foreigners in Japan - things are distorted, exaggerated. You're jet-lagged and contemplating your life in the middle of the night.
Also, I love Bill Murray and I really wanted to write something for him showing his more sensitive side - what you felt a little bit of in Rushmore, I wanted to see more of that side.
And there's just something funny about being stuck in a situation that you don't really want to be in.
Q: The Park Hyatt hotel that you stayed at, that's the one in the movie, right?
SC: Yes, although I didn't stay there when I was younger because it was expensive [laughs]…I stayed there a few times later on. There's something very specific and odd about that hotel. The city is so chaotic and here's this silent floating island in the middle of Tokyo. They have the "New York" bar and a French restaurant - but it's the Japanese version.
RK: The pool is pretty amazing too. And the view - we would often sit by windows, look out at Tokyo from 40 stories above and say, "How the hell are we going to make this movie in a few weeks?"
Q: Ross, when and how did you come aboard the project?
RK: We were brought together. I was finishing up The Laramie Project and was in L.A. on behalf of In the Bedroom, and Bart Walker - Sofia's agent - thankfully put us together for a meeting. Bart had asked me, "Would you be interested in meeting Sofia?" I said, "Are you kidding? She's one of the most exciting filmmakers around." I had just loved The Virgin Suicides so much. We met and it was a little bit like asking someone to the prom. I left our meeting thinking that she has a great sense of humor and perspective. She really understands the movies that she wants to make. Every nuance is so clear to her. I wanted to help her realize that. I waited by the phone and then she called - the best call you could get.
When we were talking about Lost in Translation it was clear that she would evoke Charlotte's [(Scarlett Johannson)] journey. In addition, she really had the Bob Harris [(Bill Murray)] character down. She saw the film in terms of those special times in your life where you make a connection, and it doesn't make any sense and it doesn't fit into your world but somehow you connect with someone. Everybody comes from different places in their lives yet a lot of things are the same. Sofia talked about a memory of something that only lasts a short time yet stays with you forever - and I thought it was a great way of describing the movie.
Q: Sofia, had you gone to Japan to write the screenplay, or for further inspiration?
SC: I didn't write it there. I'd been there a lot and had my photos. A lot of the places in the movie are places I've gone. My friend Charlie Brown always takes me around. That's his nickname; his real name is Fumihiro Hayashi. I met him a long time ago and he has a fashion magazine there. Charlie is in Lost in Translation, he sings "God Save the Queen"; he always sings that, and that was one of the first images I wanted to make a movie around. I did go back a year before we shot, with friends, and videotaped anything that looked interesting and worked on the script after that. Some of that stuff I did put into the script: staying in the hotel and seeing the "aquaerobics" in the pool and having the shabu-shabu dining experience.
Then there are these advertising campaigns that you see in Japan: American actors endorsing products and being a little bit embarrassed about it. I'm affectionately poking fun at it; I don't look at it as hypocritical. It's just so weird to be in Japan and to look up and see Brad Pitt selling coffee, and see a Brad Pitt head floating in a vending machine. It's one of those out-of-context things in Japan, like a replica of a French café.
Q: This film was made entirely on-location in Japan. How does a purely American filmmaking team plan on and prep for such an adventure in an exotic break from the familiar - especially as an independent feature with a modest budget?
SC: It was a big adventure. One of things I love about Tokyo is that it's so different than being in Europe - much more foreign and unfamiliar with regard to the culture, the language. Everything's different, even getting the groceries. There's different rules and traditions that you learn as you go. We got there a little bit in advance. There were about eight of us from the U.S. and the rest were local.
RK: Very different than what I'd been involved with. You can't really embark on this kind of a journey without a total willingness to have your plans change, your ideas thrown back in your face, and reinvent your plan on a daily basis. The only way you can do that is with a true partner, and that's Sofia; she was really up for the adventure. It was completely exhilarating - and terrifying at times.
It's not as simple as a language barrier. A lot of people work with language barriers. More than 90% of our crew was Japanese, many of whom were non-English-speaking. In Japan, there's a different kind of cultural protocol, there's a different way that things are done, including on the filmmaking side of things - the structure of a crew and how a crew works. So, there were a lot of big adjustments on both sides. Sofia and I didn't want to jump into Japan and make an American movie, American style. I think a lot of people plop down in their location and say, "Well, we're just going to do it the way that we do it."
But there were certainly examples of the language barrier. One night, we were shooting the fire alarm sequence that comes toward the end of the movie and takes place in the middle of the night. Our casting folks were great - mainly non-English-speaking. They had arranged for us to have about 50 extras there. When the extras arrived, we were ready to shoot, the camera was there, everything was set, great night for shooting - and all of the extras were dressed in business suits. We looked around and went, "Uhhhh…it's the middle of the night…?" And the casting people, through the translator, were saying, "Yes, yes, we're ready!" And we're saying, "Well, in the middle of the night, people are generally in their pajamas, nightgowns…" So our costume designer, Nancy Steiner, had to make a mad dash to the wardrobe van. We went into the Park Hyatt and pulled every robe, nightgown, casual attire, kimono that we could get and basically re-dressed all of our extras in the parking lot.
Those kind of things happened a lot. But I think the other thing that happened to us, which is probably more exciting, is that the experiences and extremes of making the film were just like the experiences in the film. A lot of what was happening in the film was pure for us.
| Cast & Crew: | ||
| Director and Screenplay writer : | Sofia Coppola | |
| Producer : | Ross Katz, Sofia Coppola | |
| Executive Producers : | Francis Ford Coppola, Fred Roos | |
| Character Starring | ||
| Charlotte Scarlett Johansson | <Ghost World>< Eight Legged Freaks> | |
| Bob Harris Bill Murray | < Royal Tenenbaums><Charlie's Angels> | |
| John Giovanni Ribisi | <Heaven><Cold Mountain> | |
| Kelly Anna Faris | <Scary Movie><Scary Movie2><Scary Movie3> |
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| Distributor ： | Golden Scene Company Limited & Panorama Entertainment | |
| Release Date ： | 12 February, 2004 | |
| Category ： | IIB | |
| Running Time： | 102 minutes | |
| Cinemas ： | ||
| Website ： | http://www.goldenscene.com or http://www.lost-in-translation.com |
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