|
|
 |
| 首頁 Home | 電影 Films | 評論 Opinions | 戲院 Cinemas | 資訊 Information | 網站地圖 Site Map |
首頁 ->
電影 -> 香港每年上映電影
->
Home -> Films ->
Films Released in Hong Kong by Year ->
| 開畫日期 Release Date | ||
| 片長（分鐘） Running Time (Min.) | ||
| 級別 Category | ||
| 上映戲院（首週） Cinema Line-Up (First Week) |
遇上塔羅牌殺手
＜Scoop＞
活地阿倫 Woody Allen
繼<迷失決勝分> 又一鬼才傑作
<死亡魔法><變種特工>
曉積曼Hugh Jackman
<迷失決勝分><迷失東京>
史嘉莉祖安遜Scarlett Johansson
<白宮群英>
伊安麥西恩 Ian McShane
貴族公子 身懷塔羅牌絕技
是迷人殺手，還是完美情人？
11月23日 神秘相遇
故事撮要
＜遇上塔羅牌殺手＞是導演／編劇活地亞倫最新一齣喜劇，亦是他繼＜迷失決勝分＞後第二齣於倫敦取景攝製的電影。
追查倫敦「塔羅牌連環殺手」一案的英國記者祖（伊安麥西恩飾）離奇遇害。美國新聞系學生Sondra Pransky（史嘉莉祖安遜飾）到倫敦探朋友，在魔術師Sid Waterman（活地亞倫飾）的一次表演中，她竟發現自己能見到祖的鬼魂。祖向Sondra透露疑犯資料，Sondra遂跟Sid（又稱Splendini）假扮成父女查案。但隨?真相漸漸水落石出，Sondra也不知不覺地愛上了來自英國上流社會、英俊迷人的疑兇Peter Lyman（曉積曼飾）。
製作花絮.
A. 風度翩翩：曉積曼(Hugh Jackman)
問（記者）：＜遇上塔羅牌殺手＞是一齣甚麼類型的電影？
曉：＜遇上塔羅牌殺手＞是一套睿智、充滿幽默感、夾雜黑色情節的喜劇。我一直是活地亞倫的影迷，在今次的劇本內，亦能找到一些他早期的喜劇的影子。
在電影裏，史嘉莉祖安遜和活地懷疑我是塔羅牌連環殺手，但由於我的角色是一名新晉政客兼英國貴族之子，所以看上去根本不像殺人兇手。當蛛絲馬跡越來越明顯，史嘉莉的角色同時又愛上了我，令劇情變得十分複雜。
問：你的角色 Peter Lyman是一個怎樣的人？
曉：嗯，這樣說吧，他像一個會出現在＜Hello!＞或＜OK!＞等雜誌的人。這些英國雜誌跟美國小報不同，它們會報道上流社會、貴族之後的消息。而Peter出身自一個極顯赫的家庭，在一般市民眼中，他是個溫文爾雅、會約會新晉模特兒的年輕才俊。
問：那他如何結識到史嘉莉飾演的Sondra？
曉：她與一個鬼魂通靈，得知Peter可能是個連環殺手，於是開始尋根究底，和活地一起追查我。Peter的生活本來正經又乏味，所以當他認識化名為Jade Spence的Sondra時，他立即被漂亮、活潑、直率的她深深吸引，而且很快便愛上了她。
問：她的角色看來像經典電影內那種年輕記者──說話直接，有魄力，孜孜不倦地追求自己想要的東西。
曉：是的，史嘉莉演繹角色的方法，令她今次的角色看來有點「復古」。
問：活地亞倫如何接洽你來扮演Peter？
曉：我的經理人有天致電給我，說活地亞倫會在英國開拍一齣新戲，他們的選角經理想見見我。當時我感到有點新奇，因為活地亞倫和倫敦聽上去格格不入。他們還說，萬一我跟活地只有兩分鐘見面時間，希望我也不會介意。
事實上，那次會面有三分鐘，所以必定是很順利（笑）。活地說：「我要拍這齣戲，而你可能有更重要的事情要做，但要是你有興趣看看劇本－雖然我猜你沒興趣─如果看過以後又喜歡的話，嗯，我希望你能參與演出。」就是這樣，然後一切都很自然地進行。＜遇上塔羅牌殺手＞是我目前最喜歡的電影之一。
問：今次跟活地亞倫合作，他既是你的導演，又是你的對手演員──
曉：（笑）「跟活地亞倫合作」，這句話真叫我自豪──有時我真的不敢相信自己能得到這機會，得捏捏自己，看看是否在做夢．．．跟他拍戲的感覺無可比擬，因為他總是令全場氣氛輕鬆自在。有時候我們輕輕鬆鬆的拍攝，然後，突然之間，他會在下午三時完工，讓你回家──工作模式舒適得跟銀行家一樣。
活地一幕戲不會拍很多次，正式拍攝前也不太綵排。今次在戲裏有一幕我要吻史嘉莉──這一幕難度很高，但我始終要硬?頭皮上。幸好，活地沒有拍很多次，因為這麼一來，回到家我便能跟太太說「打令，那一幕一take過，就這樣子」
對我來說，跟活地拍對手戲，最大的問題是他喜歡即場發揮，尤其會即興改對白。當然，他亦不介意你即興；而每次他的改動，只會令一切更有趣和別出心裁──有時我甚至會忍不住笑，這間中會令活地抓狂──「不不不，曉！我的角色是個老粗，你不應該笑。」我就答：「但你即興的東西令我不可能不笑，我想你得令自己悶一點才行。」
看活地和史嘉莉的戲也妙不可言，他倆有種不言而喻的默契，我完全明白為甚麼活地在＜迷失決勝分＞後再次起用史嘉莉。他們演對手戲時經常擦出火花，令片場裏的所有人捧腹大笑。
問：你跟史嘉莉的合作又怎樣？
曉：史嘉莉很特別，真的，她甚麼都會。在熒幕上她綻放光采，在片場我們會一起唱歌，她的歌聲動聽得像天使。她連跳舞都會。可以說，整個攝製隊都被她迷倒。
她出奇的平易近人，也多才多藝和泰然得叫人驚訝。有她在的時候，拍戲變得一點也不辛苦。我將在基斯杜化諾倫（Christopher Nolan）的新電影＜死亡魔法＞中與她再次合作。
問：你的角色藏?一個疑團，你怎樣演繹那種神秘感？
曉：因為這套戲既是懸疑又是喜劇，所以觀眾一邊看會一邊猜測他是否兇手。我是個澳洲人，但我的父母都是英國人，我也在英國生活過頗長的一段時間，我體驗到英國人深藏不露，要了解一個英國人，你得花很長的時間。在演繹Peter時，我為他的性格添上一點點引人入勝的內斂，令觀眾更難看清他．．．這樣觀眾便會一直追看至結尾。
問：跟一位典型美國導演在英國拍戲的感覺是怎樣的？
曉：他很受愛戴──很多社會名人都希望能跟鼎鼎大名的活地亞倫合作，活地亦受寵若驚，他說：「我很不好意思，其實我只需要給他們一句對白。」事實上，在倫敦取景的戲本就不算多，活地在那兒拍攝更是千載難逢，所以有份參與的人都感到很榮幸。
問：這會否令你以一個嶄新的角度來看倫敦？
曉：嗯，活地拍外景時不大愛陽光充沛的天氣，他認為大太陽只會令一切看上去粗糙又刺眼，也會令演員的瑕疵更明顯。所以，今次是我首次跟一碰上英國的著名壞天氣便歡天喜地的攝製隊。我不知道活地是不是暗地裏祭過神，但我們真的「好運」地遇上連續四星期完全沒有雨的憂悒大陰天。一般人都會抱怨這種天氣，但我身邊的人都很高興。
能參與這次演出是個難忘又珍貴的體驗，我會永遠記得這次的經歷。
B. 愛上倫敦：活地亞倫
問（記者）：你曾在過往的訪問裏說過，你經常同時構思好幾齣戲，是甚麼促使你先拍攝＜遇上塔羅牌殺手＞？
活：嗯，我在＜迷失決勝分＞中跟史嘉莉祖安遜合作，當時我們談過要再度合作。＜遇上塔羅牌殺手＞是個適合的構思，所以我便挑了它出來。
問：當初這個劇本最吸引你的題材是甚麼──那殺人兇手謎團、愛情，抑或是史嘉莉扮所飾演的固執年輕女記者？
活：都不是。最初我構思一名固執記者的故事，他死了才得知一單好新聞，而他就算已不在人世但仍堅持繼續追訪，沒有任何東西可阻撓他。這個故事是想向認真求證新聞的新聞主義致敬。
問：是反對近年捍護新聞自由的倫敦艦隊街新聞主義（Fleet Street journalism）嗎。
活：應該說是反對小眾新聞主義。
問：那麼，你是從這個念頭開始，然後構思出史嘉莉扮演的新聞系學生記者．．．
活：對。早在認識史嘉莉前我已有這個記者的構思，但整理劇本時我腦裏有了史嘉莉的映像，令我自然地認為這角色應該是個到英國度暑假的學生記者。
問：＜遇上塔羅牌殺手＞是你第二齣在倫敦拍攝的電影，而你將會開拍第三部，在戲裏討厭倫敦的你，會否剛好相反、愛上了這城市？
活：倫敦是個很好的取景地方，我本身喜歡在紐約拍攝，但倫敦實在適合我，在那兒，我得到我想要的天氣、贊助和藝術氣息，它真的是個拍電影的好地方。
問：那麼，在倫敦有沒有你特別喜歡的景點，就像你喜歡的紐約皇后區Kaufman Astoria片場和格林威治村那樣？
活：其實我還未熟悉倫敦這城市，但我很喜歡四處逛，倫敦是一個很美的城市，還有灰灰濛濛、充滿情調的天空．．．鏡頭下的倫敦十分誘人。
問：看來在＜迷失決勝分＞後，你繼續在＜遇上塔羅牌殺手＞內發掘倫敦有特色之處。
活：沒錯，因為我還未看清這城市──當然，一些我熟悉的地方，或是美指帶我去看的景點都很懾人。作為一個城市人──我相信每一個來到這裏的人都一樣──我很自然地被倫敦大量的公園和廣場、漂亮小屋子和郊區吸引?。英國的房屋和村落都很著名，在那兒拍攝樂趣無窮。
問：繼＜迷失決勝分＞後，今次你再與攝影師Remi Adefarasin合作。
活：我是在＜迷失決勝分＞時才認識Remi的，但其實我早聽過不少關於他的讚賞，很多人都說他很棒，我一定會喜歡他。果然，他是個很親切的人，我們的合作也很愉快，所以我再次邀請他參與這齣電影，而很高興他真的答應了，他真的是個才華洋溢的攝影師。
今個夏天我在拍第三齣倫敦電影，但他早已接了另一套戲＜傳奇女王伊利沙伯＞續集＜The Golden Age＞，所以我找了老拍檔Vilmos Zsigmond，我們已在＜美蓮達與美蓮達＞中合作過。
問：扮演Sid Waterman（Splendini）時，你的動作和對白有很多關於魔術和魔術師的元素，為甚麼你對這方面產生了興趣？是不是你小時候喜歡的東西？
活：對，那只是我個人一些無聊的興趣。我自小便愛看魔術了，人大了還是那樣沉迷。我覺得魔術既具娛樂性又有意思，我自己特別愛看那種老土的東洋紅色箱子、絲手帕、劍、撲克牌、銀鋼圈等等有點異國風味的小道具。
問：當然還有魔術師的裝束，對吧？
活：對！（笑）我總是很留意魔術師穿甚麼。
問：可以談談你的角色在戲裏的心路歷程嗎？這角色令我想起，你過往的電影或故事裏，也曾描繪過一些人無意中被捲入別人的生命裏，自此改變了一生。
活：這是典型的懸疑電影情節──今次套用在我這齣的喜劇懸疑片內──永遠有個角色，他身旁有?一些他自己沒留意過也不想理會的事情，卻因為某些特別原因而被拉下水──今次，Sid是被Sondra說服的，Sondra友善、活潑又人見人愛，因此Sid一步一步走進她的故事裏，漸漸他也不自覺地投入去幫她一把。
問：隨?劇情發展，Sid好像不由自主地為Sondra賣力。
活：對，他喜歡她，不是男女之情，是欣賞一個人那種喜歡。他的理智叫他不要再插手，但Sondra跟他是同鄉，是一個他熟悉和喜歡的類型。所以他越來越投入，而Sondra也追查得越來越起勁，一來是因為她的毅力，二來是因為她愛上了自己追查的對象。
問：你對上的數齣電影都有年輕的角色，今次你和Ian McShane的角色，也對史嘉莉的角色有一種家長式的保護心態。
活：嗯……。
問：你是不是故意在情節中加入這元素？
活：啊，不，應該這樣講，過去我在自己的電影中多數擔任主角，然後我越來越老，主角也應由其他年輕一點的演員去做──尤其是愛情故事的主角。那就是我起用年輕演員的原因。就這樣子而已。
問：曉積曼的角色和演出手法，是否參考了＜深閨疑雲＞Suspicion中的加利格蘭？
活：不，曉的角色裏沒有加利格蘭的影子。Peter Lyman是個爽快、懂得跳舞唱歌、英俊又有情趣的男人。我記得以前也有人比較曉格蘭特和加利格蘭，因為曉格蘭特也是一個很溫文爾雅的男演員；曉也一樣，難免有人拿他跟加利格蘭相提並論。
問：你看過曉在「The Boy from Oz」的演出嗎？
活：沒有，完全沒有！今次之前，我從未看過曉任何一套電影，我甚至完全不知道他是甚麼樣子的！我也不知道為甚麼，總之我就是從來沒接觸過他。我只是聽過人家對他的讚美，知道他是個出色的演員而已。
我們打電話給他，看看他有沒有興趣來試鏡，他說「好的」。當他來到，我發覺他不但外型好看，舉手投足間還有一種親切優雅的氣質。我立即便把Peter Lyman這角色給了他！真幸運他有檔期又喜歡這角色。
問：那麼，跟早已成名的Ian McShane合作是怎樣的？早在英倫搖擺六十年代，他已在倫敦拍過電影，你看過他的東西嗎？
活：沒有，沒有。之前我也不知道Ian McShane。我沒看過他的電視劇（＜無法無天＞）或是甚麼的。跟我一起選角的Juliet Taylor說：「我知道有個演Joe Strombel的適合人選──Ian McShane。」我答道：「讓我看看。」當Ian McShane來到──這些年來Juliet多次向我推薦我不認識的演員──第一眼看到他，我心知他真的是適合人選。所以我就選定了他。
問：你說過你了解已合作過一次的史嘉莉祖安遜，在＜迷失決勝分＞你展現了她不為人知戲劇化的一面，在＜遇上塔羅牌殺手＞她又是怎樣的？
活：她真的是個可人兒，我的感覺彷彿了中了六合彩。她得到上天眷顧擁有一切──漂亮、性感、亮麗、風趣、親切、聰敏，跟她工作是件樂事，而且她可塑性極高，一舉一動都充滿力量，要搞笑時又能搞笑。
過去我跟不少極具才藝的演員合作過，戴安姬頓就是一個好例子。史嘉莉也一樣。她一現身，整個片場便會活潑起來，工作人員都喜歡她。她時刻都精神奕奕，散發?叫人愉快的正面力量。
能與她合作叫我很高興，我不單是指與她演對手戲，而是繼＜迷失決勝分＞後整間電影公司的人都期待能再見到她。
問：史嘉莉能表達你在戲內想表達的東西嗎？
活：嘩，她簡直比我還行！（笑）老實說，無論是台前幕後，她總是佔了上風。就算我們唇槍舌劍時我想出怎樣好的對白，她總是最後贏的那個，還要贏得很漂亮。這令我很欣賞她，因為我一直以為自己腦筋動得快，所以當有一個人連連佔了上風，我不得不嘆為觀止。這是事實──片場內每個人都會這樣告訴你。
問：你早已摸清紐約市的演員和電影風格去向，但英國還有大量出色的演員。在＜遇上塔羅牌殺手＞裏，不少配角其實是觀眾熟悉的面孔，如John Standing、Julian Glover、Fenella Woolgar……
活：對，英國有悠久的戲劇傳統，孕育了不少好演員。有趣的是，越有名、越好演技的演員，越不介意演一些小角色。他們不計較戲分或形象，所以你能看到莎士比亞歌劇的演員上電視節目和拍廣告。他們根本不理會甚麼形象不形象。所以我有幸能找到一些不介意紆尊絳貴演小角色或拍半天戲的名演員。而他們絕對交足貨，因為他們尊重而熱愛演戲。入了片場，他們總是隨時準備就緒。所以今次的每一個角色都有分量，我當然受惠不少。
問：你寫劇本或拍攝時，會否想起其他人的喜劇懸疑片？因為＜遇上塔羅牌殺手＞可以說是輕鬆版的＜迷失決勝分＞，但就同樣有?犯法和謎團的元素．．．
活：我有想起我年輕時發生而引起我興趣的兇殺疑案──不論是惹笑或嚴肅的都有。而我自己最喜歡的電影之一，是＜曼克頓神秘謀殺案＞Manhattan Murder Mystery －
問：嗯。
活：──我喜歡這一類電影。我喜歡年輕時看過的、像＜官仔骨骨＞的那類電影，還有數齣以前很想看的卜合謀殺懸案電影，當然少不了無數非喜劇懸疑片，由希治閣至其他人拍的電影都有。
拍喜劇很難像拍嚴肅認真戲那樣徹底發揮，那是無可奈何的。＜遇上塔羅牌殺手＞是套喜劇，我希望貫徹那種輕鬆的感覺。這是一套我自己十分喜歡，亦十分享受拍攝過程的電影。至於觀眾喜不喜歡，就不是我能控制的了。
問：我之前提及＜深閨疑雲＞Suspicion，是因為有一幕Sondra把一杯牛奶遞給Peter。看?看?，又叫我想起了＜像惡魔的女人＞Diabolique……
活：對，是的。看我的戲，不難叫人想起──我無意比較，因為那實在是抬舉了我……但你不難想到希治閣，因為他拍過無數懸疑片，說我沒受過任何他的影響只是撒謊。我不敢說能做到他的層次，但在電影結構上我的確有參考他。不過，我的作品是輕鬆的──我的重點是那種「輕」。
問：跟＜曼克頓神秘謀殺案＞Manhattan Murder Mystery相似，＜遇上塔羅牌殺手＞也是關於兩個人在一個城市裏竭力找出一些事情端倪的故事。
活：沒錯，還有很多急速對話的場面，我希望在＜遇上塔羅牌殺手＞做同樣的事。跟史嘉莉不同，我的戲路很窄，我只可以扮演學者、大學教授或精神科醫生之類的專家，或是低下階層如蹩腳作家。在＜遇上塔羅牌殺手＞，我演一個粗鄙的雜耍魔術師。
問：你說希望今次能令觀眾開懷，作為一個多產的電影製作者，觀眾的反應是否你關注的東西？
活：不。如果你要顧及觀眾的反應，只會被縛手縛腳。整天老坐在家中想像觀眾喜歡看些甚麼，每做一件事又會想「不，觀眾不會喜歡這些的。」所以，作為創作人，你只能做自己喜歡的東西，然後希望觀眾會喜歡。
只做自己喜愛的東西已成了我的模式，無論是音樂劇、黑白片抑或英格烈褒曼式（Bermanesque）電影。只要那一刻覺得有趣，我便會做。而我會希望觀眾也愛看。如不，我也沒辦法，我的注意力已在下一齣作品上。當然，他們愛看就最好。
最不好是你想拍自己喜歡的戲，但結果因為觀眾而要拍了自己不喜歡的東西．．．劇本是我寫的，戲是我拍的，如果我自己不喜歡，那麼就算票房大賣，我也會想「這齣戲不像我的東西」、「觀眾根本沒眼光」或是「這齣戲很垃圾」．．．我不會好受。
但要是能拍自己喜歡的東西，你會想「這是件傑作，我把劇本的神髓拍了出來」──而戲受歡迎的話就最好。就算外界反應欠佳，你依然有種自豪感。你會覺得，「他們不喜歡，真可惜，因為這真的是齣好戲。」這種感覺怎說都比拍一套自己不喜歡但大賣的戲好。
演員履歷
活地亞倫Woody Allen，飾Sid Waterman
＜What's New Pussycat？＞1965：編劇、男演員
＜What's Up, Tiger Lily？＞1966：副編劇、男演員
＜鐵金剛橫掃皇家賭場＞Casino Royale，1967：男演員
＜Take the Money and Run＞1969：導演、副編劇、男演員
＜Don't Drink the Water＞1969：副編劇
＜傻瓜大鬧香蕉城＞Bananas，1971：導演、副編劇、男演員
＜情慾奇譚＞Everything You Always Wanted to Know About Sex But Were Afraid to Ask，1972：導演、編劇、男演員
＜北非幻影＞Play It Again, Sam，1972：編劇、男演員
＜傻瓜大鬧科學城＞Sleeper，1973：導演、副編劇、男演員
＜愛與死＞Love and Death，1975：導演、編劇、男演員
＜The Front＞1976：男演員
＜安妮荷爾＞Annie Hall，1977：導演、副編劇、男演員（奧斯卡最佳導演、最佳原著劇本、最佳男主角）
＜內心世界＞Interiors，1978：導演、編劇（奧斯卡提名最佳導演、最佳原著劇本）
＜曼克頓＞Manhattan，1979：導演、副編劇、男演員（奧斯卡提名最佳原著劇本）
＜星塵往事＞Stardust Memories，1980：導演、編劇、男演員
＜仲夏夜綺夢＞A Midsummer Night's Sex Comedy，1982：導演、編劇、男演員
＜變色龍＞Zelig，1983：導演、編劇、男演員
＜意馬心猿＞Broadway Danny Rose，1984：導演、編劇、男演員（奧斯卡提名最佳導演、最佳原著劇本）
＜戲假情真＞The Purple Rose of Cairo，1985：導演、編劇（奧斯卡提名最佳原著劇本）
＜姊妹情深＞Hannah and Her Sisters，1986：導演、編劇、男演員（奧斯卡提名最佳導演，奧斯卡最佳原著劇本）
＜歲月流星＞Radio Days，1987：導演、編劇、旁白（奧斯卡提名最佳原著劇本）
＜September＞1987：導演、編劇
＜緣盡半生＞Another Woman，1988：導演、編劇
＜紐約故事＞New York Stories（Oedipus Wrecks一段），1989：導演、編劇、男演員
＜歡情太暫＞Crimes and Misdemeanors，1989：導演、編劇、男演員（奧斯卡提名最佳導演、最佳原著劇本）
＜Alice＞1990：導演、編劇（奧斯卡提名最佳原著劇本）
＜Scenes from a Mall＞1991：男演員
＜Shadows and Fog＞1992：導演、編劇、男演員
＜Husbands and Wives＞1992：導演、編劇、男演員（奧斯卡提名最佳原著劇本）
＜曼克頓神秘謀殺案＞Manhattan Murder Mystery，1993：導演、副編劇、男演員
＜子彈橫飛百老匯＞Bullets Over Broadway，1994：導演、副編劇（奧斯卡提名最佳導演、最佳原著劇本）
＜Don't Drink the Water＞（電視電影）1994：導演、編劇、男演員
＜無敵愛美神＞Mighty Aphrodite，1995：導演、編劇、男演員（奧斯卡提名最佳原著劇本）
＜為你唱情歌＞Everyone Says I Love You，1996：導演、編劇、男演員
＜解構愛情狂＞Deconstructing Harry，1997：導演、編劇、男演員（奧斯卡提名最佳原著劇本）
＜The Sunshine Boys＞（電視電影）1997：男演員
＜蟻哥傳奇＞Antz，1998：男演員（聲音演出）
＜The Impostors＞1998：男演員（客串）
＜名人百態＞Celebrity，1998：導演、編劇
＜Sweet and Lowdown＞1999：導演、編劇（訪問錄影）
＜貧賤夫妻百事吉＞Small Time Crooks，2000：導演、編劇、男演員
＜神蹟也瘋狂＞Picking Up the Pieces，2000：男演員
＜Company Man＞2001：男演員（客串）
＜玉蠍子的咀咒＞The Curse of the Jade Scorpion，2001：導演、編劇、男演員
＜荷里活大結局＞Hollywood Ending，2002：導演、編劇、男演員
＜活得比你好＞Anything Else，2003：導演、編劇、男演員
＜美蓮達與美蓮達＞Melinda and Melinda，2004：導演、編劇
＜迷失決勝分＞Match Point，2005：導演、編劇（奧斯卡提名最佳原著劇本）
＜遇上塔羅牌殺手＞，2006：導演、編劇、男演員
總結：
獲提名奧斯卡最佳導演：6次（＜安妮荷爾＞Annie Hall獲獎）
獲提名奧斯卡最佳原著劇本：14次（＜安妮荷爾＞Annie Hall、＜姊妹情深＞Hannah and Her Sisters獲獎）
獲提名奧斯卡最佳男主角：1次
獲提名奧斯卡最佳電影：2次（＜安妮荷爾＞Annie Hall獲獎）
曉積曼Hugh Jackman，飾Peter Lyman
於1999年獲選為「澳洲年度影星」的曉積曼，早年作品包括Anthony J. Bowman的＜Paperback Hero＞及Alan White的＜Erskineville Kings＞，並憑此獲澳洲影評圈提名最佳男主角。其後，他接拍Tony Goldwyn的＜失戀萬人迷＞、杜明尼辛拿的＜極速暴劫＞、史提芬森瑪斯的＜狙魔人＞，以及占士曼商的＜隔世俏佳人＞（獲提名金球獎）。他於票房大賣的<變種特攻>(X-Men)三部曲中扮演狼人，他本身亦將執導或出演數齣電影。
曉亦是舞台劇的常客，作品包括Carousel、Oklahoma!（獲英國東尼獎奧立佛獎Olivier Award提名）、Sunset Boulevard（贏得澳洲東尼獎MO Award的音樂劇最佳男主角），以及Beauty and the Beast（獲MO Award nominee提名）。
現時他於澳洲演出音樂劇＜The Boy from Oz＞，扮演已故傳奇影星彼得艾倫，更贏得東尼獎最佳男主角、紐約戲劇獎Drama Desk、戲劇聯明獎Drama League、紐約外劇評人獎Outer Critics Circle Award及戲壇獎Theatre World Award。
曉近期參與的電影有基斯杜化諾倫的＜死亡魔法＞、戴倫阿朗夫斯基的＜The Fountain＞（女主角為麗素慧絲）、動畫電影＜沖出水世界＞及＜踢躂小企鵝＞。
史嘉莉祖安遜Scarlett Johansson，飾Sondra Pransky
今時今日荷里活最炙手可熱的女星之一史嘉莉祖安遜於紐約出生，年僅八歲便與伊森霍克合演首齣舞台劇＜SOPHISTRY＞，自此嶄露頭角，入行十年至今已獲三度金球獎提名。＜遇上塔羅牌殺手＞是她繼＜迷失決勝分＞（獲金球獎提名）後，第二次參與活地亞倫的電影。
她首個廣為人知的角色，是Lisa Krueger的獨立電影＜Manny & Lo＞中的女主角「Manny」，其突破性演出令她被提名獨立精神獎的最佳女主角提名。其後，於僅14歲的她接拍羅拔烈福執導的＜情深說話未曾講＞，飾演因騎馬意外受創的女孩，獲得國際影評的讚賞。
她獲提名金球獎的三電影分別是Shainee Gabel的＜A Love Song for Bobby Long＞（男主角為尊特拉華達）；2003年則有彼得韋伯改編自Tracy Chevalier同名小說的＜畫意私情＞及蘇菲亞哥普拉執導的＜迷失東京＞。
她的其他電影包括高安兄弟的＜綠帽離奇勒索＞（比利卜科頓主演）、Eva Gardos自傳式的＜An American Rhapsody＞、保羅韋士的＜公私密友＞（丹尼斯奎爾及杜飛格雷斯主演），以及泰利史維高夫的＜黐孖妹＞（史嘉莉憑此電影奪得多倫多影評學會最佳女配角獎）。
她最近於白賴仁?龐馬的＜艷屍案中案＞中跟觀眾見面（同戲主角有希拉莉詩韻及佐殊哈尼特），並跟今次＜遇上塔羅牌殺手＞的拍檔曉積曼再次於基斯杜化諾倫的＜死亡魔法＞碰頭。現時，她正拍攝Shari Springer Berman及Robert Pulcini執導的＜The Nanny Diaries＞。
伊安麥西恩Ian McShane，飾Joe Strombel
生於英國的伊安麥西恩，現正在HBO劇集＜無法無天＞Deadwood中扮演「Al Swearengen」，並憑此贏得金球獎、電視劇評家協會獎，以及提名艾美獎和及美國演員工會獎。
伊安麥西恩於英國及美國演出過的作品甚多，他於世界最著名的戲劇學院Royal Academy of Dramatic Arts修讀過一個學期，其後為參與他的處女作、Ralph Thomas執導的＜The Wild and the Willing＞而退學。八十年代末，他創辦McShane Productions製作公司，出品電影如＜Lovejoy＞系列、電視電影＜Soul Survivors＞、＜Madson＞系列等。他亦執導過數齣全球大賣的喜劇電影。
他的其他電影包括美國足球片＜We Are...Marshall＞、Rodrigo Garcias的＜Nine Lives＞（茜絲史治Sissy Spacek及Amanda Seyfried主演的部分）、Harald Zwart的 ＜特務B＞Agent Cody Banks、Jonathan Glazer的 ＜Sexy Beast＞、James Toback的＜Exposed＞、Herbert Ross的＜The Last of Sheila＞、Michael Tuchner的＜Villain＞（主角有李察波頓Richard Burton）、Guy Hamilton的＜Battle of Britain＞。
此外，他亦參與了動畫電影＜史力加3＞，扮演傳奇的鐵?船長，以及於Mark Osborne和John Stevenson的＜Kung Fu Panda＞中扮演壞蛋雪豹Tai Lung。
電視短篇劇作品包括＜Roots＞、＜Jesus of Nazareth＞（飾Judas Iscariot）、＜Disraeli＞（飾男主角Disraeli）、＜Wuthering Heights＞（飾Heathcliff），以及Dan Curtis的＜War and Remembrance＞。
舞台劇方面有Joe Orton原創劇＜Loot＞、＜Promise＞、＜The Witches of Eastwick＞（飾Darryl Van Horne）、＜The Glass Menagerie＞（飾Tom Wingfield），以及為他贏得洛杉磯戲劇評論家獎Los Angeles Drama Critics Circle Award的＜Betrayal＞和＜Inadmissible Evidence＞。
製作人履歷
活地亞倫Woody Allen (導演／編劇)
Letty Aronson（監製）
與活地亞倫合作無間，電影、電視及舞台作品繁多。包括＜美蓮達與美蓮達＞、＜活得比你好＞、＜荷里活大結局＞、＜玉蠍子的詛咒＞（製片），以及＜貧賤夫妻百事吉＞（副監製）。並於活地首齣電視電影的嘗試＜Don't Drink the Water＞中出任副監製。她獲奧斯卡提名的電影包括：獲七項提名的＜子彈橫飛百老匯＞（戴安蕙絲奪最佳女配角）、＜無敵愛美神＞（美娜蘇雲露奪最佳女配角），以及＜甜蜜的結局＞Sweet and Lowdown（辛潘及莎瑪花摩頓獲提名）。她亦是活地多齣舞台劇如＜為你唱情歌＞、＜名人百態＞、＜解構愛情狂＞的副監製。
Aronson監製的其他電影包括：名導演大衛馬密的＜西班牙囚犯＞The Spanish Prisoner，此戲於1998上映，甫面世國際間便好評如潮，劇本並奪得普立茲戲劇獎。此外，還有新丁Sean Smith及Anthony Stark編導的＜Into My Heart＞；以及Coky Giedroyc的＜Women Talking Dirty＞（海倫娜寶咸卡特主演），此電影乃Aronson首次與英國名歌手艾頓莊的Rocket Pictures電影公司合作的歐洲作品。
音樂劇作品包括關於藍調傳奇女歌手Dinah Washington的＜Dinah Was＞、著名導演Tom Donaghy編導的＜The Story of a Bad Boy＞、由Jason Alexander執導、風格溫馨成熟的＜Just Looking＞，以及於哥爾威影展及1999多倫多國際電影節播映、由Nelson Hume導演的喜劇＜SUNBURN＞。
電視劇作品有：美國NBC長壽搞笑電視節目＜Saturday Night Live＞及＜The Robert Klein Comedy Hour＞。她負責策劃的舞台劇有由Elaine May、活地亞倫及大衛馬山馬密合寫的三場獨幕喜劇＜Death Defying Acts＞。她亦曾擔任美國紐約的電視廣播博物館副院長十年之久。
Gareth Wiley（監製）
自1993年起「半途出家」投身電影業的Gareth Wiley，與活地合拍＜迷失決勝分＞前同時於倫敦、香港及美國兼任銀行投資及電影融資工作。他曾為三部電影擔任監製：＜Till Human Voices Wake Us＞（2002）(派拉蒙電影公司Paramount Classics)，主角包括海倫娜寶咸卡特及Guy Pierce，於全美國及澳洲上映；得獎短片＜Green Monkey＞（1998），以及澳洲黑色喜劇＜Muggers＞ （2000）。於2003年，Gareth成立古典音樂錄音公司「G & H MUSIC」，同年獲得格林美獎提名。
--------------------------------------------------------------------------------------------------------------
上映日期 : Nov 23, 2006
上映戲院 : AMC, 百老匯電影中心, Palace IFC, 百老匯數碼港
官方網址 : www.scoopmovie.net
發行 : Golden Scene Co Ltd.
SCOOP
Synopsis
Scoop is the new contemporary comedy from writer/director Woody Allen, and is his second consecutive film to be set and shot in London (following Match Point). Scoop stars Mr. Allen, Hugh Jackman, Scarlett Johansson, and Ian McShane.
The late U.K. journalist Joe Strombel (played by Mr. McShane) is being mourned by his colleagues ? even as, stuck in limbo, Joe remains committed to pursuing a hot tip on the identity of "the Tarot Card Killer" at large in London. But how can his legwork get done now? Via the very much alive Sondra Pransky (Ms. Johansson).
Sondra is an American journalism student visiting friends in London. During a stage performance by another American, magician Sid Waterman (Mr. Allen), Sondra is shocked to find herself able to see and hear Joe. From beyond, he gives her the scoop of a lifetime and urges her to pursue it. Sondra immediately starts chasing the big story, enlisting the aid of a reluctant Sid (a.k.a. Splendini).
That chase leads right to handsome British aristocrat Peter Lyman (Mr. Jackman). Soon, Sondra finds that the romance of her life may well be the dangerous scoop she's looking for.
A Focus Features Presentation in Association with BBC Films and Ingenious Film Partners, Produced in Association with Phoenix Wiley, of a Jelly Roll Production. Scoop. Woody Allen, Hugh Jackman, Scarlett Johansson, Ian McShane. Casting, Juliet Taylor, Gail Stevens C.D.G., Patricia DiCerto. Costume Designer, Jill Taylor. Editor, Alisa Lepselter. Production Designer, Maria Djurkovic. Director of Photography, Remi Adefarasin B.S.C. Co-Executive Producers, Jack Rollins, Charles H. Joffe. Executive Producer, Stephen Tenenbaum. Co-Producers, Helen Robin, Nicky Kentish Barnes. Produced by Letty Aronson, Gareth Wiley. Written and Directed by Woody Allen. A Focus Features Release.
About the Prodcution
Under Suspicion: Q&A with Hugh Jackman
Q (interview by Maitland McDonagh): What kind of movie is Scoop?
Hugh Jackman: It's a smart, funny, and witty comedy, with a couple of dark moments. I'm a huge fan of Woody Allen's movies, and when I read the script, it kind of reminded me of some of his earlier comedies.
In the plot, Scarlett Johansson and Woody's characters get a tip that my character might be a serial killer. But my character happens to be a budding politician and the son of a Lord. So he's in every way the opposite of a person you might suspect to be a serial killer. The evidence starts to mount, Scarlett's character starts to fall in love with mine, and it gets very complicated.
Q: What kind of person is your character, Peter Lyman?
HJ: Well, I saw him as someone who you'd find in the pages of Hello! or OK! magazines in England. Unlike American tabloids, these have [coverage of] the social set, aristocrats and their offspring. Peter is from a very well-established family; he's a debonair man about town who dates the latest models.
Q: How does he get involved with Scarlett's character?
HJ: She gets this tip - from a ghost - that Peter might be a serial killer, and she's doggedly chasing it; she and Woody's character try to investigate my character. Peter's world is quite stitched up and very formal. When he meets Sondra - [although] he [initially] knows her as Jade Spence - he's completely intrigued by her and a little bit knocked sideways by her. She's very beguiling, beautiful, spunky, charming, and very forthright. And dare I say it, he starts to fall in love with her.
Q: Her character sounds like a spunky reporter, from classic movies, who speaks her mind and goes after what she wants.
HJ: The way Scarlett plays her, it is a little bit of a throwback to those spunky young reporters in old movies.
Q: How did Woody Allen approach you to play Peter?
HJ: I got a phone call from my agent saying that the casting director for Woody Allen wanted to see me - for a movie shooting in England, which seemed odd to me; a Woody Allen movie shooting in London sounded like a contradiction. I was also told not to be offended if my meeting with Woody only took two minutes.
Well, the meeting actually took about three minutes, so it obviously went pretty well [laughs] He was sort of like, "Well, I've got this movie and I know you've probably got more important things to do. But if you want to read it - you probably don't, but if you do and you like it, then, you know, I'd love you to do it." And that was pretty much it. It was, and continued to be, easy. Scoop was one of my favorite film experiences to date.
Q: You worked with him as a director, and as an actor as well -
HJ: [laughs] "Working with Woody Allen - " I just love saying that, "Working with Woody Allen..." I did have to pinch myself on several occasions...Working with him was terrific, because the atmosphere that he creates on set is incredibly easy. It's very calm, and all of a sudden, at 3:00 in the afternoon, he sends you home - almost like bankers' hours.
He doesn't do a lot of takes; there's not a lot of rehearsal. I have to kiss Scarlett in this movie - it's a tough job, but someone's got to do it - and Woody didn't do a lot of takes [of those scenes]. However, it was good [for] when I came home to my wife; "Darling, one take, that's all it was..."
The big problem for me was that Woody likes to ad-lib occasionally, particularly on his lines. He's fine if you want to ad-lib something. Of course, every time he ad-libbed, it was funny and it was different - and I found myself laughing, and he'd occasionally get a little upset with me. He'd be like, "No, no, no, please, my character is boorish; he's not funny." I said, "But if you keep ad-libbing like that and I'm in the shot, I'm going to laugh. You've got to be a little more boring."
It was also terrific to watch Woody and Scarlett working together. They have a unique rapport. I can see why he had asked Scarlett to come back and work [with him] again [after Match Point]. They are very funny together on-set, and they made everybody laugh a lot.
Q: How did you find working with her?
HJ: She's kind of extraordinary, really, because the girl can do anything. On film, she just lights up. On the set, we'd sing together; she can sing like an angel. She can dance, too. Pretty much everyone on the crew had a crush on her.
She's unbelievably down-to-earth, incredibly talented, very poised. There was not a hard day's work on the entire movie, working with her. I've just worked with her again, on a Chris Nolan movie [The Prestige].
Q: With your character part of a mystery, how did you approach the ambiguity of playing him?
HJ: Since the movie is a mystery as well as a comedy, you're following their relationship and you're not sure if he really is a killer or not. I'm Australian but I have English parents, and I have spent a lot of time there, and they don't let you see very much; it takes a long time before you really get to know an English person. So I wanted to make Peter charming and also a little reserved. That way, he's a little more enigmatic...and this can keep the audience guessing right to the end.
Q: What was it like shooting in the U.K. with a quintessentially American director?
HJ: He's beloved over there; the actors that we had on Scoop were incredible. I mean, people would come in for the day that were knighted - Sir this and that. They would come in because they just wanted to work with Woody Allen. He was bowled over. But he said, "I feel bad; all I have to give them is one line." There's not a lot of film work that happens in London, and certainly not a lot of films of the caliber of a Woody Allen movie. So, everyone working on it felt privileged and honored.
Q: Did you ever feel like you were looking at London through a fresh pair of eyes?
HJ: Well, Woody doesn't like direct sunlight when he shoots outside. Direct sunlight can be very harsh; he thinks it makes for a slight ugliness on the actors. So this was the first time that I've ever worked in England where everyone would be thrilled when it was overcast and gray. I don't know if he'd been setting out sacrifices to the gods, but it was like four weeks of straight cloudy weather with hardly any rain - extraordinary. Normally, people complain a lot there about the weather, but I was around a lot of very happy people.
The whole thing was a real thrill, and a great opportunity. I'm forever grateful for it.
London Calling: Q&A with Woody Allen
Q (interview by Jason Simos): You've said before in interviews that you often have several potential film projects percolating at once. How exactly was it that Scoop jumped to the fore?
Woody Allen: Well, I had done Match Point with Scarlett Johansson, and we had talked about doing another film together. Scoop was an idea that I had which accommodated both of us, so I thought we would do it.
Q: What was the creative point of entry into this story, in terms of your writing the script - the mystery, the romance, or the concept of Scarlett's character as a tenacious young journalist?
WA: No, originally the concept was, a reporter so dogged and so determined that he would come back and get his story from the afterlife; that there was a good story to be had that he learned of after death, and nothing would deter him from getting that story. It was an homage to first-rate investigative journalism.
Q: As opposed to some of the Fleet Street journalism we've seen over the years.
WA: Well, as opposed to lesser journalism.
Q: So it evolved from there to encompass the young college journalist character played by Scarlett...
WA: Yeah. When I had the idea, I thought it would be a reporter, because I had the idea prior to knowing Scarlett. But when I was formulating the script, and I knew Scarlett was playing the character, it seemed like it was a natural that she was a college journalist on vacation for the summer.
Q: Scoop is your second movie filmed in London, with a third on the way; unlike the character you play in Scoop, have you fallen in love with this city?
WA: It's a very nice place to film in. I mean, I like filming in New York a lot myself, but London is accommodating to me; the weather's very good there and the conditions for shooting - the financial conditions, the artistic conditions - are good, so it's a pleasant place to shoot.
Q: Do you now have favored locations in London - equivalents to, say, Kaufman Astoria Studios or Greenwich Village?
WA: You know, I don't know the town that well, so I still enjoy going around to all the places in town. I like going around the streets of London, which is a particularly pretty city. So it's very easy to get locations when you combine the beauty of the city and the beauty of the weather that you get every day; these wonderful, moody, gray, soft-lit skies. It comes out very seductive on film.
Q: In Scoop, it seemed like there are parts of London that you're still exploring, after Match Point.
WA: Right. Because I don't know it that well, of course I gravitate to those places that I know or that the art director brings me to that are picturesque. Being a city person myself, naturally I'm taken - I think anybody would be, in London - with the enormous amounts of parks and squares that they have, and the beautiful white houses and beautiful country locations. They're famous for their country houses and estates, and it's fun to shoot on those.
Q: To shoot all these locations for Scoop, you've reteamed with cinematographer Remi Adefarasin, following Match Point.
WA: I didn't know Remi at all before I met him on Match Point, but his reputation preceded him; people said I'd love to work with him, and he's terrific. I met with him and he's a very affable guy, and I did love working with him, so I invited him back for the next one. I was thrilled that he was available for my second picture in London. He's a very gifted cameraman.
For my third one in London, that I'm doing this summer, he's not available; he's on another film that he's been committed to for a long time [the Elizabeth sequel The Golden Age]. So I'll be working with Vilmos Zsigmond, who I've filmed with before [on Melinda and Melinda].
Q: In scripting and playing the character of Sid Waterman - a.k.a. Splendini - you're returning to writing about, and playing out, scenes of magic and those who practice it. What is the appeal; it's an interest dates back to childhood, does it not?
WA: Yeah. It's just something that always was a little junk-tooth interest of mine. I liked it when I was a kid, and I've grown up as a sucker for it. It always strikes me as amusing and interesting, and I'm always taken with the kind of cheesy-looking Japanese red lacquered boxes and silk handkerchiefs and swords and cards and silver rings and all the apparatus that give it an exotic look.
Q: And also, what the magician wears, right?
WA: What the magician wears, yes. [laughs] In my case, well, I always take a little license there.
Q: Also regarding your character in Scoop, can you discuss a little of his journey in the course of the story? He reminded me of some of the people in your films or in your stories who find themselves unexpectedly swept up from one part of their life to another, and kind of deposited on another side they didn't anticipate.
WA: There's a standard suspense picture gimmick - in this case, in a comic suspense movie - where an innocent character is, for one reason or another, sucked into a story that he has no real interest in and that he doesn't want to waste his time in. But there's always a reason why they are; in Scoop, Sid is talked into it by Sondra, because she's an amiable, energetic, likable student. He starts to get involved with the story, and gets carried away with it a little bit in helping her out.
Q: In the later scenes, he seems compelled to carry it through for the girl.
WA: Yes, he likes her; not as a girlfriend, but as a person. His common sense tells him not to get involved - if anything, this is going to lead to trouble - but she's clearly someone who comes from his neighborhood, his country, who he can identify with and empathize with. So he gets more and more drawn in, and her enthusiasm is boundless because she's relentless and because she starts to fall in love with the subject of her investigation.
Q: Your last several films have spotlighted younger protagonists. In Scoop, there's also the element of your and - from beyond the grave - Ian McShane's character feeling protective and paternal towards Scarlett's character -
WA: Mmm-hmm.
Q: Do you think this is a conscious evolution of your films' storytelling?
WA: Well, no, I think what happens is I, over the years, starred in my movies and played the lead. And then, as I got older, the lead has got to be passed on - certainly, the romantic lead has got to be passed on - to younger leading people. And so, you know, I just cast them that way.
Q: In terms of leading men, was Cary Grant perhaps an inspiration for the Hugh Jackman character and performance - maybe Suspicion, especially?
WA: No, I think that's built into Hugh; he's such a dapper, sweet, likable, guy who can dance and move gracefully and is so handsome and can sing that comparisons are inevitable. You could always - just as there was a time Hugh Grant would be compared with Cary Grant, because he also is very debonair and charming, well, so is Hugh Jackman, and it is an inevitable comparison.
Q: Had you seen Hugh onstage in The Boy from Oz?
WA: Oh no, no, I didn't see him. I had never seen Hugh Jackman or his movies or even knew what he looked like before I met him. He was just one of those people who I'd never come in contact with for one reason or another. I only heard wonderful stories about him, and how great he was as an actor.
We called him and asked him if he'd be interested in doing something, and he said "sure." He came by to say hello, and he walked in and not only is he fun to look at - great-looking - he's also lovely and suave. I offered him the role right away. I was very lucky that he was free to take it, and wanted to take it.
Q: In terms of knowing people's work, what was it like working with Ian McShane - he was making movies in London when you did a couple, back in the Swinging '60s. Were you aware of him from back then?
WA: Nope, nope. I was completely unaware of Ian McShane as well. I had never seen his television show [Deadwood] or anything. Juliet Taylor, who casts with me, said, "I know the guy who would be great for this role - Ian McShane." And I said, "Send him in." He came in - and it was one of those situations that Juliet's had me in over the years where she sends in an actor or an actress that I've never heard of - and the minute Ian walked in, I thought, right on the money, he'll be perfect. I looked no further.
Q: As we've said, you knew Scarlett Johansson well, having just made a film prior with her. You showcased an unseen dramatic side of her in Match Point, and now in Scoop the comedic side. What's she like to direct - and, in Scoop, act opposite?
WA: She's a total joy. It's like I hit the lottery or something. She simply has everything. She just lucked out in life; she's beautiful, sexy, very bright, funny, nice, quick-minded, easy to work with. She's got range; dramatically powerful, and funny when you need her to be funny.
There are certain people I've worked with over the years - Diane Keaton was one - who were just hit with the talent stick and had it all. And Scarlett has got it all. She lights up the set when she comes on; the crew loves her. She's full of energy, and infuses the whole set with positive feeling all the time.
It's a treat to work with her, and I'm not just saying this as her costar; everyone in the company looked forward to working with her on the second picture after the first picture's experience.
Q: Acting with her in Scoop, did you find she kept pace with you in scenes -
WA: Oh, she leaves me for dead. [laughs] I mean, she's one of those people that always - offstage or on - always tops me. No matter how good a line I come up with - when we're putting each other down, teasing each other, whatever - she always nails me last, and best. Of course, that, to me, earns a lot of respect. Because I always think that I'm quick and witty, and so when someone outguns me consistently, I'm just amazed by it. But it's true - and everyone on the set will tell you that.
Q: You well know the pool of actors in New York City, and how it's evolved. But in the U.K., there's this incredible bench strength; there's people in small roles in Scoop, like John Standing, Julian Glover, Fenella Woolgar...
WA: Yes; England has a great, great theatrical tradition. The people there are wonderful. One of the interesting things is, the most gifted people, the biggest people, have no problem taking small roles. They don't get into the business of ego, or size of roles. So you'll see a great Shakespearean actor on television, doing a commercial; there's no stigma to any of that. So I get these great people who - perhaps if they were in this country, wouldn't deign to do a small part or a 1-2-day part. There, they do it with great relish and enthusiasm, and they love it. Everybody's ready to pitch in, and so you get great actors throughout the whole fabric of the piece. And I get the benefit of that.
Q: In terms of the comedic suspense genre, were there any works that you had in your head while writing the script or being in London? Scoop is a lighter story than Match Point, but there's still malfeasance and mystery...
WA: Well, I was thinking of those murder mystery stories that gave me pleasure when I was younger, whether they were comic or - more usually - serious. One of my own favorite films of mine is Manhattan Murder Mystery -
Q: Yes.
WA: -- and I like that kind of a film. I liked the Thin Man films when I used to see them as a younger person, and certain Bob Hope murder mysteries that I would see when I was younger, and of course the many non-comic suspense pictures...from Hitchcock all the way down to other good ones that were made over the years.
You know, when you're making one that's comic, you can't really be as effective as when you're doing it seriously. But there's nothing I could do about that; this was a comic film, and I wanted to keep it light - even broad, in spots. It's a type of film that I myself get pleasure out of watching, and pleasure out of doing. Whether an audience will get pleasure out of seeing it, I can only hope.
Q: I'd mentioned Suspicion before in part because of the glass of milk Sondra brings Peter in one scene, and I thought of Diabolique later in the movie...
WA: Right, true. You can always go back to - I mean, I don't want to make this comparison, because it's pretentious...but you can always go back to Hitchcock on these films because he did so many suspense films and used so many tricks that it's impossible to do suspense things without being in some way reminiscent of Hitchcock; I don't mean in his high quality, but reminiscent structurally. But mine is done with the light touch completely - emphasis on the lightness.
Q: As with Manhattan Murder Mystery, Scoop has two people roaming around a city trying to make sense of something.
WA: Yeah, and many fast dialogue scenes. In Scoop, I wanted to do the same thing. You know, I don't have a big range as an actor; unlike Scarlett, my range is kind of small. I can play an intellectual - a college professor, or a shrink - or I can play a lowlife - a cheesy little bookmaker; in Scoop, a cheap vaudevillian magician.
Q: You mentioned hoping that audiences get pleasure from this latest movie. In always keeping up such an active filmmaking pace, is it ever a concern of yours how moviegoers will respond to a film?
WA: Well, it can't concern you. Because if it concerns you, then what happens is, it paralyzes you and you sit home trying to anticipate what they're going to like. And you make a step and then you panic and think, "No, that's not it." So you've just got to do what you want to do, and hope that they like it.
That's always been the way that I worked; I always made whatever I've wanted, whether it was a musical or a black-and-white film or a Bergmanesque drama. Whatever strikes me as interesting at that time, that's what I make. And I hope the audience likes it. If they don't like it, there's nothing I can do about it; I'm off on the next one. If they do like it, that's always nice.
The position you don't want to be in is, you want to like the film yourself, and if you make the film and you yourself don't like it...I write the script and then direct, and if I don't like what I've done when it's over, then even if the audience likes it, I figure, "Well, I got away with one" or "They're not perceptive" or "This is such a piece of junk" - so it's not a good feeling.
But if you make a film that you like - "This is really a good piece of work; I got the most out of this script and executed it beautifully" - and they like it, it's great. But if they don't like it, you still get somewhat of a decent feeling. You figure, "Well, it's a bad break for me, they don't like it; but I really did the best job I could and I'm sorry they don't like it." That's a much better feeling than if they love it and you yourself don't get any kick out of it.
Cast List
Woody Allen - Sid Waterman
Woody Allen - Director/Writer
Filmography
Academy Awards summary
Hugh Jackman - Peter Lyman
Hugh Jackman's next starring roles are in Christopher Nolan's The Prestige (reuniting with Scoop leading lady Scarlett Johansson); in Darren Aronofsky's The Fountain (opposite Rachel Weisz); and in the animated features Flushed Away (directed by David Bowers and Sam Fell) and Happy Feet (directed by George Miller).
He is currently in his native Australia, starring in a staging of The Boy from Oz in which he reprises his Tony Award-winning portrayal of legendary entertainer Peter Allen. The Broadway staging of the show also earned Mr. Jackman Drama Desk, Drama League, Outer Critics Circle, and Theatre World awards.
His earlier stage credits include Carousel (at Carnegie Hall); Oklahoma! (at London's National Theatre, and for which he was an Olivier Award [England's equivalent of the Tony Award] nominee); Sunset Boulevard (for which he won the MO Award [Australia's equivalent of the Tony Award]); and Beauty and the Beast (for which he was an MO Award nominee).
Mr. Jackman's film work in his native country led to his being named Australian Star of the Year in 1999 at the Australian Movie Convention. His early films there included Anthony J. Bowman's Paperback Hero and Alan White's Erskineville Kings (for which he was named Best Actor by the Film Critics Circle of Australia, and was an Australian Film Institute Award nominee).
His subsequent films include Tony Goldwyn's Someone Like You...; Dominic Sena's Swordfish; Stephen Sommers' Van Helsing; and James Mangold's Kate & Leopold (for which he earned a Golden Globe Award nomination).
Mr. Jackman has starred as Wolverine (a.k.a. Logan) in all three blockbuster X-Men movies, each of which has been more successful than the last. X-Men and X2 were directed by Bryan Singer; the recent X-Men: The Last Stand was directed by Brett Ratner. He is developing several feature film projects which he will produce and/or star in.
Scarlett Johansson - Sondra Pransky
Scarlett Johansson has progressed from being an award-winning child actress to being one of the most sought-after leading ladies in the film industry. She previously starred for Scoop writer/director Woody Allen in Match Point. Her performance in that film earned her a Golden Globe Award nomination.
She has been a Golden Globe nominee three times prior, for Shainee Gabel's A Love Song for Bobby Long; and, twice in the same year, for Peter Webber's Girl with a Pearl Earring and Sofia Coppola's Lost in Translation. For the latter film (also a Focus Features release) she received several honors, including both the BAFTA Award and the Boston Society of Film Critics award for Best Actress.
Ms. Johansson will next be seen starring in Brian De Palma's The Black Dahlia, with Hilary Swank and Josh Hartnett; and again stars opposite Scoop leading man Hugh Jackman in Christopher Nolan's The Prestige. She is currently filming The Nanny Diaries, directed by Shari Springer Berman and Robert Pulcini.
The native New Yorker made her professional acting debut at age eight in the off-Broadway production of Sophistry at New York's Playwrights Horizons.
Ms. Johansson's breakthrough film role, as Manny in Lisa Krueger's critically acclaimed Manny & Lo, earned her an Independent Spirit Award nomination for Best Female Lead. Soon after, she attained worldwide recognition for her performance in Robert Redford's The Horse Whisperer.
Her additional film credits include Joel and Ethan Coen's The Man Who Wasn't There (opposite Billy Bob Thornton); Eva Gardos' autobiographical An American Rhapsody; Paul Weitz' In Good Company (opposite Dennis Quaid and Topher Grace); and Terry Zwigoff's Ghost World (alongside Thora Birch, and for which Ms. Johansson won the Toronto Film Critics Association award for Best Supporting Actress).
Ian McShane - Joe Strombel
Ian McShane can currently be seen starring in the third season of HBO's series Deadwood. His potent portrayal of Al Swearengen has to date earned him a Golden Globe Award and a Television Critics Association Award, as well as Emmy and Screen Actors Guild Award nominations.
Soon to be seen in McG's We Are...Marshall (with Matthew McConaughey and Matthew Fox), his many other film credits include Rodrigo Garc?s Nine Lives (in the segment with Sissy Spacek and Amanda Seyfried); Harald Zwart's Agent Cody Banks; Jonathan Glazer's Sexy Beast; James Toback's Exposed; Herbert Ross' The Last of Sheila; Michael Tuchner's Villain (opposite Richard Burton); and Guy Hamilton's Battle of Britain.
Additionally, Mr. McShane will be heard in two upcoming animated features. In Raman Hui and Chris Miller's Shrek 3, he plays the legendary Captain Hook; in Mark Osborne and John Stevenson's Kung Fu Panda, he plays the villainous snow leopard Tai Lung.
Born in Blackburn, England, he has enjoyed a long career in both Britain and America. He attended the Royal Academy of Dramatic Arts, leaving the school one semester shy of graduation so as to make his film debut in Ralph Thomas' The Wild and the Willing.
Mr. McShane has starred in several classic television miniseries. These include Roots; Jesus of Nazareth (in which he portrayed Judas Iscariot, under Franco Zeffirelli's direction); Disraeli (in the title role, under Claude Whatham's direction); Wuthering Heights (as Heathcliff, under Peter Sasdy's direction); and Dan Curtis' War and Remembrance.
In the late 1980s, he formed McShane Productions. The company made the series Lovejoy, in which he starred as the title character. Mr. McShane also directed several episodes of the globally popular comedy/drama. McShane Productions subsequently made the telefilm Soul Survivors and the dramatic series Madson, both of which starred Mr. McShane.
His many stage credits include the original production of Joe Orton's Loot; Promise, with Judi Dench and Ian McKellen; The Witches of Eastwick (as Darryl Van Horne); The Glass Menagerie (as Tom Wingfield); and two productions for which he was honored with the Los Angeles Drama Critics Circle Award, Betrayal and Inadmissible Evidence.
Crew List
Woody Allen - Director/Writer
Patricia DiCerto - Producer
Letty Aronson previously produced Woody Allen's Match Point, Melinda and Melinda, Hollywood Ending, and The Curse of the Jade Scorpion.
Her extensive film, television, and stage experience includes numerous other collaborations with Mr. Allen. She co-executive-produced such films as Don't Drink the Water, which marked Mr. Allen's first foray into television moviemaking; Bullets Over Broadway, which garnered seven Academy Award nominations, winning for Best Supporting Actress (Dianne Wiest); Mighty Aphrodite, for which Mira Sorvino was awarded the Best Supporting Actress Oscar; and Sweet and Lowdown, for which Sean Penn and Samantha Morton both earned Oscar nominations. Her other credits as a co-executive producer include Mr. Allen's highly acclaimed musical comedy Everyone Says I Love You; and his Celebrity, Deconstructing Harry, and Small Time Crooks.
In addition, Ms. Aronson co-executive-produced The Spanish Prisoner, written for the screen and directed by Pulitzer Prize-winning playwright and critically acclaimed filmmaker David Mamet. Critics universally praised the film when it was released in 1998. She also co-executive-produced Into My Heart, which was written and directed by two newcomers, Sean Smith and Anthony Stark; and Coky Giedroyc's Women Talking Dirty, starring Helena Bonham Carter, which marked Ms. Aronson's first European co-production with Elton John's Rocket Pictures.
Her credits also include Dinah Was, the off-Broadway musical about blues legend Dinah Washington; The Story of A Bad Boy, written and directed by acclaimed playwright Tom Donaghy; Just Looking, a heartwarming coming-of-age film directed by Jason Alexander; and the comedy Sunburn, directed by Nelson Hume, which screened at the Galway Film Festival and the 1999 Toronto International Film Festival.
Ms. Aronson's television work includes Saturday Night Live and The Robert Klein Comedy Hour, both for NBC. In the world of theatre, she served as associate producer of Death Defying Acts, an off-Broadway comedy consisting of three one-act plays written by Elaine May, Woody Allen, and David Mamet.
She had earlier served as Vice President of the Museum of Television and Radio for ten years.
Gareth Wiley - Producer
Gareth Wiley is continuing his collaboration with Woody Allen on Scoop, having previously produced Match Point.
He had earlier served as an executive producer on several film projects, including Michael Petroni's acclaimed independent film Till Human Voices Wake Us, starring Helena Bonham Carter and Guy Pearce; Rob Sprackling's award-winning short film Green Monkey; Dean Murphy's Australian dark comedy Muggers; and Simon Sprackling's independent horror film Funny Man.
Mr. Wiley started out in the banking business, but has been involved in film production since 1993. Prior to working with Woody Allen on Match Point he maintained a career in investment banking, with an increasing involvement in film finance. Since 2002, he has been working exclusively in the entertainment arena.
In 2003, he founded a classical music recording company, G & H Music, which received its first Grammy Award nomination in 2005.
Helen Robin - Co-Producer
Helen Robin served as a co-producer on Woody Allen's Match Point, starring Jonathan Rhys Meyers and Scarlett Johansson, which was Mr. Allen's first film to be shot in London.
She began her film career as a production assistant on Mr. Allen's Stardust Memories. Over the course of his next 18 films, she worked her way up from an office production assistant, production coordinator, and production manager to, eventually, line producer. Ms. Robin co-produced Alice, Shadows and Fog, Husbands and Wives, Manhattan Murder Mystery, Bullets Over Broadway, Mighty Aphrodite, and Everyone Says I Love You.
Following the last, she left Mr. Allen's production company to take some time off and do freelance film work. During that period, she worked as an associate producer on Allan Arkush's highly-rated television miniseries The Temptations for Hallmark Entertainment and NBC.
After a three-year hiatus, Ms. Robin returned to work with Woody Allen on his comedy Small Time Crooks, which she co-produced. She has since served as a co-producer on all of his films, including Melinda and Melinda, Anything Else, Hollywood Ending, and The Curse of the Jade Scorpion.
Nicky Kentish Barnes - Co-Producer
Nicky Kentish Barnes previously teamed with Woody Allen as a co-producer on Match Point. She is currently producing Jake Paltrow's romantic comedy The Good Night, starring Penelope Cruz, Danny DeVito, and Gwyneth Paltrow.
Ms. Kentish Barnes also recently produced Marc Evans' thriller Trauma, starring Colin Firth; and served as a co-producer on the Weitz brothers' hit comedy About a Boy, starring Hugh Grant.
Her additional film credits as a co-producer include Mel Smith's comedy High Heels and Low Lifes, starring Minnie Driver and Mary McCormack; Paul McGuigan's crime drama Gangster No. 1, starring Paul Bettany; Oliver Parker's romantic comedy An Ideal Husband, based on the Oscar Wilde play and starring Cate Blanchett, Rupert Everett, Minnie Driver, and Julianne Moore; and John Henderson's drama Loch Ness, starring Ted Danson and Joely Richardson.
In addition, Ms. Kentish Barnes was a line producer on Nicolas Roeg's Heart of Darkness, starring John Malkovich and Tim Roth; and produced Alastair Reid's independent film What Rats Won't Do, starring Parker Posey.
Stephen Tenenbaum - Executive Producer
Stephen Tenenbaum previously executive-produced Woody Allen's Match Point, Melinda and Melinda, Anything Else, Hollywood Ending, and The Curse of the Jade Scorpion, the last of which marked his first onscreen producing credit.
He graduated with a B.S. from New York University, where he majored in Accounting. He began his show business career in the financial arena, handling such noteworthy clients as The Beatles, Jimi Hendrix, Barbra Streisand, Bruce Springsteen, Percy Faith, the Platters, Nat King Cole, Mario Lanza, Gilda Radner, Robin Williams, and many others.
Mr. Tenenbaum later decided to venture into the field of motion picture and television production, as well as personal management. He is currently a partner in Morra, Brezner, Steinberg & Tenenbaum Entertainment, Inc. (MBST), where his client roster includes Woody Allen, Billy Crystal, Robin Williams, and Alain Boubil (the creator of Les Mis?bles and Miss Saigon). MBST has also been involved in the production of feature films, including Barry Levinson's Good Morning, Vietnam; Steve Gordon's Arthur; Danny DeVito's Throw Momma from the Train; and Bill Paxton's The Greatest Game Ever Played, to name only a few.
Remi Adefarasin B.S.C. - Director of Photography
Remi Adefarasin most recently collaborated with Woody Allen on Match Point.
In 1999, he earned an Academy Award nomination, and won a BAFTA Award for Best Cinematography, for his work on Shekhar Kapur's acclaimed biopic Elizabeth, starring Cate Blanchett. They are all reuniting for the sequel The Golden Age, which is currently in production.
In 2002, Mr. Adefarasin earned an Emmy Award nomination for his work on five segments of the epic World War II miniseries Band of Brothers, which teamed him with several different directors, including Tom Hanks, Richard Loncraine, and David Leland.
His other film credits include Paul Weitz' In Good Company; the Weitz brothers' About a Boy; Rob Minkoff's The Haunted Mansion; Terence Davies' The House of Mirth; P.J. Hogan's Unconditional Love; Martha Fiennes' Onegin; Peter Howitt's Sliding Doors; and Anthony Minghella's Truly Madly Deeply.
Mr. Adefarasin has also worked with director Angela Pope multiple times, on the films Hollow Reed and Captives; and the television movies Children Crossing, Dream Baby, and Sweet as You Are.
Earlier in his career, he lensed three telefilms for director Mike Leigh: Four Days in July, Home Sweet Home and Grown-Ups. His television credits also include more than 30 additional movies, miniseries and series.
Maria Djurkovic - Production Designer
Maria Djurkovic's feature film credits as production designer include Stephen Daldry's award-winning The Hours and Billy Elliot. She received nominations for Excellence in Production Design, for both movies, from the American Art Directors' Guild.
Among her other feature credits are two earlier Focus Features movies, Mira Nair's Vanity Fair (which earned her a Satellite Award nomination) and Christine Jeffs' Sylvia; Regis Wargnier's Man to Man; Tim Blake Nelson's The Grey Zone; Kay Mellor's Fanny and Elvis; Peter Howitt's Sliding Doors; Brian Gilbert's Wilde (for which she won the Evening Standard Best Technical Achievement Award); Curtis Radcliffe's Sweet Angel Mine; and Benjamin Ross' The Young Poisoner's Handbook.
Ms. Djurkovic has also been the production designer on television projects, most notably Benjamin Ross' Golden Globe Award-winning RKO 281 (for which she was an Emmy Award nominee) and Giacomo Campiotti's miniseries remake of Doctor Zhivago.
While attending Oxford University, she won a scholarship in Theatre Design at the Riverside Theatre. She then embarked on a 15-year career as set designer, starting out designing sets for stage, opera, and ballet productions at major U.K. theatres (including the Oxford Playhouse and the Royal Opera House). She has also worked on television commercials and music videos.
In 2002, Ms. Djurkovic was honored with the Women in Film and Television Technical Achievement Award.
She is currently production-designing Scoop writer/director Woody Allen's next movie.
Alisa Lepselter - Editor
Scoop marks Alisa Lepselter's eighth collaboration with Woody Allen. She first worked with him when she edited his critically acclaimed feature Sweet and Lowdown, and has since edited Small Time Crooks, The Curse of the Jade Scorpion, Hollywood Ending, Anything Else, Melinda and Melinda, and Match Point.
Ms. Lepselter began her editing career as an intern on Jonathan Demme's Something Wild. She has also worked with such leading filmmakers as Martin Scorsese, Francis Ford Coppola, Volker Schl??rff, and Nora Ephron.
She cut her first feature when she edited Walking and Talking for director Nicole Holofcener.
Jill Taylor - Costume Designer
Jill Taylor designed the costumes for Woody Allen's Match Point.
In 2005, she earned an Emmy Award nomination and won a Costume Designers Guild Award for her work on Stephen Hopkins' HBO movie The Life and Death of Peter Sellers, starring Geoffrey Rush, Charlize Theron, John Lithgow, and Emily Watson.
One of Ms. Taylor's earliest film credits was 1997's international sleeper hit The Full Monty, directed by Peter Cattaneo. That same year, she designed the costumes for Graham Theakston's period drama The Mill on the Floss, for which she received a BAFTA Award nomination.
Her additional film credits include two movies for director Peter Howitt, Sliding Doors and Johnny English, as well as John Henderson's Two Men Went to War; Simon Cellan Jones' The One and Only; Fred Schepisi's Last Orders; John McKay's Crush; David Kane's Born Romantic and This Year's Love; Mark Herman's Purely Belter; Sam Miller's Elephant Juice; and Antonia Bird's Priest.
For television, Ms. Taylor has served as the costume designer on the miniseries The 10th Kingdom; and on such telefilms as Patrick Marber's After Miss Julie, Stephen Whittaker's Killing Me Softly and Antonia Bird's Safe.
Juliet Taylor - Casting
Juliet Taylor has worked with some of the most honored directors of our time, including Steven Spielberg, Mike Nichols, Woody Allen, Louis Malle, Martin Scorsese, Sydney Pollack, Alan Parker, Roland Joffe, John Schlesinger, James L. Brooks, Stephen Frears, Nora Ephron, Neil Jordan, and Martin Brest.
In 2004, Ms. Taylor won an Emmy Award for her casting of Mike Nichols' acclaimed HBO miniseries Angels in America. She was previously Emmy-nominated for her work on Mr. Nichols' HBO movie Wit.
In a career spanning more than 30 years, she has cast close to 100 film and television projects, including the Oscar-winning Best Pictures Schindler's List, for director Steven Spielberg; Terms of Endearment, for director James L. Brooks; and Annie Hall, for Woody Allen.
Ms. Taylor's collaboration with Woody Allen dates back to her work on 1975's Love and Death, followed by all of the director's subsequent films, including Manhattan, Interiors, Hannah and Her Sisters, Crimes and Misdemeanors, Husbands and Wives, Bullets Over Broadway, Mighty Aphrodite, Everyone Says I Love You, and Match Point.
Her long list of film credits also includes Martin Scorsese's Taxi Driver and upcoming The Departed; Sidney Lumet's Network; Fred Zinnemann's Julia; Steven Spielberg's Close Encounters of the Third Kind; Louis Malle's Pretty Baby; Steve Gordon's Arthur; Roland Joff? The Killing Fields and The Mission; Alan Parker's Mississippi Burning; Stephen Frears' Dangerous Liaisons; Mike Nichols' Working Girl, The Birdcage, and Primary Colors; Nora Ephron's Sleepless in Seattle; Neil Jordan's Interview with the Vampire; and Sydney Pollack's The Interpreter, to name only a portion.
Gail Stevens, C.D.G. - Casting
Gail Stevens has been one of the U.K.'s busiest casting directors for over two decades, encompassing film, television and theatrical projects. Recently, she served as a casting director on Andrew Adamson's The Chronicles of Narnia: The Lion, The Witch and the Wardrobe; Brian W. Cook's Colour Me Kubrick; Clive Gordon's Cargo; Christopher Smith's Severance; and Michael J. Bassett's Wilderness. She also joined Juliet Taylor to cast Woody Allen's Match Point. Ms. Stevens has worked repeatedly with director Danny Boyle, beginning when she was a casting director for London's Royal Court Theatre between 1981 and 1984. Since then, she has collaborated with Mr. Boyle on his films Trainspotting, The Beach, ...28 Days Later, Millions, and his upcoming untitled project.
Her other film work includes Julian Jarrold's Kinky Boots; Guy Ritchie's Revolver; Neil Marshall's The Descent; Gaby Dellal's On a Clear Day (also a Focus Features release); Martha Coolidge's The Prince & Me; Istvan Szabo's Being Julia; Nigel Cole's Calendar Girls and Saving Grace; Simon Cellan Jones' The One and Only and Some Voices; Philip Davis' Hold Back the Night; Patricia Rozema's Mansfield Park; Brian Gibson's Still Crazy; John Byrne's The Slab Boys; Angela Pope's Captives; and Ken Russell's The Lair of the White Worm, among others.
Ms. Stevens has also cast extensively for television, including such longform projects as Jamie Payne's Child of Mine; Philip Martin's Bloodlines; Andrew Piddington's Dinosaur Hunters; Stuart Orme's Goodbye, Mr. Chips; John Madden's Truth or Dare; Our Friends in the North; and Julian Jarrold's White Teeth, Crime and Punishment, All the King's Men, Painted Lady, and Great Expectations. In addition, she cast for the series Cracker, Touching Evil, and Spooks (titled MI-5 in the U.S.).
Patricia DiCerto - Casting
Patricia DiCerto served as a casting director on Woody Allen's Match Point.
She has also cast such independent features as Jeff Lipsky's romantic drama Flannel Pajamas; Michael Clancy's Eulogy, starring Ray Romano and Debra Winger; Tom Cairns' Marie and Bruce, starring Julianne Moore and Matthew Broderick; Michael Tolajian's Bought & Sold; and David and Michael DiCerto's No Exit.
In addition, Ms. DiCerto has worked alongside a number of the industry's top casting directors, including a longtime association with Juliet Taylor. As a casting associate, Ms. DiCerto has been involved in the casting of ten Woody Allen films, as well as such projects as Martin Scorsese's upcoming The Departed, starring Leonardo DiCaprio and Matt Damon; David Frankel's The Devil Wears Prada, starring Meryl Streep; Sydney Pollack's The Interpreter; Alan Parker's The Life of David Gale and Angela's Ashes; Mike Nichols' Primary Colors and miniseries Angels in America; Nora Ephron's You've Got Mail; and Martin Brest's Meet Joe Black.
----------------------------------------------------------------------------------------------------------------------------
Release Date : Nov 23, 2006
Cinemas : AMC, Broadway-Cinematheque, Palace IFC, Broadway Cyberport
Official Website : http://www.scoopmovie.net/
Distributed By : Golden Scene Co Ltd.
註：以上資訊由片主或其推廣代表提供。本網並不保證此等資訊是否正確。
Note: The information above is provided by the owners of the film or their agents
who are responsible for the promotion of the film. We do not guarantee the accuracy
of such information.
相關連結 Related Links
|
Copyright(C)
1999-2011 Hong Kong Internet Ventures. All rights reserved.
|