Metro Morning Interview 2003/9/10 ヴィルジニーが語る映画"BON VOYAGE" (カナダ・トロントにて)

□ヴィルジニーの声を聞きたい人はこちらから

1.

For me, it's always hard to describe the work I did in a movie. It's...I never knew how to explain exactly the work I'm doing. because I think it's the combination between, of course, a character and myself and also the actors and the director. It's, you know, for me, being an actor is being the vector between a director and the public and trying to translate better as you can the vision of someone. And I think in that movie I was very connected with Jean-Paul and what he wanted. He wanted a girl, very, I think, not just you know, cute or native, but this kind of brave, you know, heroic character who... you, I don't know if this is a correct English expression but who decides own way. And this is something that I...who...really seduced me in the Camille's character.

 「映画での自分の仕事を話題するのはいつも難しいのね。自分がやっていることをどうやってきっちり説明していいのか分からないの、だってそれはもちろん役と私自身、俳優と監督とのコンビネーションだから。それに俳優であることは私にとって監督と観客を繋ぐベクトルになることで、誰か他人のヴィジョンをうまく表現することだから。この作品では私は監督と彼が求めていた事にとても強い結びつきがあったと思うわ。彼は可愛くてナイーブな子じゃなくて、ある種勇敢なヒロインが欲しかったのよ、これが英語で正しい言い方かどうか知らないけど、自分で決断できる子がね。カミーユの役で私が惹かれたのはそれだと思うわ」

2.

It really depends on movies because there are some directors who need huge preparation, you need years old, sometimes they prefer not. Jean-Paul didn't want any research about it, because he didn't want to make a historical movie especially because he was afraid, you know, to make like a school movie, you know, it was the war, look how war was. And he wanted a human drama, and especially with Camille and Frederic. He wanted them to be very comtemporay you know, very modern to have an identification quicker as you can have with Viviane, it was a very product of the epoque. And but the challendge with Camille that we work with, before the movie and during the movie, too was Jean-Paul was afraid that because she is a tough girl, I mean, she had lots of energy, she was never happy, I mean, she's sympathic, she was never happy, she was always yelling at people and he was afraid she was arrogant and we had to be very careful all the time between, you know, when you're unhappy with something, but just you know, this limits when you shouldn' be antipatheic or arrogant or cause she, I mean, that what I did,  that she need to be touching.

 「長い準備期間、何年もかける監督もいるから映画によると思うわ。準備をかけるのが嫌いな監督もいるし。ジャン=ポールは調査はしたくなかったのね、歴史をテーマにした映画を撮りたい訳じゃなかったから。それに学校で見に行くような映画にはしたくなかったから。戦争を描いて、戦争はこうだったんだみたいなね。人間のドラマをやりたかったの、特にカミーユとフレデリックに関しては。彼らをとても現代的にモダンにしたかったのね、ヴィヴィヤンよりも早く感情輸入できるようにしたかったの。彼女は正に時代の産物なんだけど。でも撮影の前でも途中でもカミーユ役の難しさですけど、監督が不安だったのは、彼女がタフで凄いエネルギーの持ち主だけど、幸福な役じゃないのよ、つまり感じが悪いって訳じゃないんだけど、幸せではなくて、いつも大声をあげているし、彼女が傲慢な人物になって欲しくなったのね、だからいつもとても注意していたの、なにか嬉しくない事があっても、彼女が反感を持たれたり傲慢にならないようにしたわ、つまり彼女が感動的であるようにって」

3.

With the words, with lines, you know, each word is important. You cannot change one word but really is completely before the shooting, he worked maybe two years on the "decoupage" you know, so he knew exactly how he was gonna film, how we're gonna walk, how even we're gonna move. He's so precise that it's pretty, it's really interesting because it could be scary before you say "Oh, my God" you know, he decides everything, what can I give and finally you're really free. In these rules, you know, you can invent all the time. It's really interesting paradox to work like that. When you work with a director who knows what he wants, he has his own way of working, could be, lets you completely free and try to catch some moments. Or so precise and it's really, if you have that direction with a diretor, you can do everything and you can work any ways.

 「台詞に関しては、一語一語が大切なの。台詞は一語も変えることはできないのよ。撮影に入る前の2年間位、監督はこの作品のコンテを考えて、どう撮影するのか詳細に知っていたのね、俳優の歩き方、動き方も。もの凄く細かいの、でもとても面白かったわ、「うああ、どうしよう」全部決められちゃっていて、とか思って怖い気もするの、私はなにが出来るかな?って思ってね、でも最終的にはとても自由なの。こういうルールなら、いつも新しい事が生み出せるの。あんな矛盾の中で仕事をするのも、とても面白いのよ。何がやりたいかきちんと分かっている監督となら、その監督の仕事の仕方があって、俳優を完全に自由にやらせて、ある瞬間を捕えようとするのね。凄く細かいけれど、方向性さえ監督と決めてあれば、何でもできるし、どんな仕事の仕方も可能になるのよ」


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