​​Timothée Chalamet on 'The French Dispatch'

Timothée Chalamet关于《法兰西特派》的问与答

"Maybe you're sad, but you don't seem lonely to me," says Timothée Chalamet in character as student revolutionary movement leader, Zeffirelli, in Wes Anderson's latest offering: the self-described "love letter to journalists" anthology film, 'The French Dispatch'. And with classic Anderson hallmarks including emotional precision and masked feelings, of course, Frances McDormand playing American journalist Lucinda Krementz (paying homage to Canadian writer, Mavis Gallant, who lived in Paris, near Anderson's own apartment, and wrote for The New Yorker), firmly replies, "Exactly!"

“也许你有点难过，但在我看来，你并不孤单，”Timothée Chalamet在导演Wes Anderson的最新作品，以“一封献给记者的情书”为引的诗集电影The French Dispatch中饰演学生革命运动的领袖：Zeffirelli，当然，带着Anderson电影的经典特征，包括细细密密的情感走向和朦胧的性情，饰演美国记者Lucinda Krementz(为了向曾住在巴黎，离Anderson他自己的公寓不远，并为《纽约客》写过文章的加拿大作家Mavis Gallant特致敬) 的演员Frances McDormand，坚定地回答道：“就是这样！”

'The French Dispatch' also features beautifully lit slow-motion shots of Chalamet riding on the back of an e-bike with on-screen flame, Lyna Khoudri, cast as opposing student revolutionary movement leader, Juliette.

电影The French Dispatch还用上唯美灯光下的慢动作镜头来拍摄Chalamet，还有他载着的银幕上闪着火焰光辉的演员Lyna Khoudri饰演反对派的领袖Juliette，他们一起乘着一辆电动自行车。

Zeffirelli and Juliette appear in the story, 'Revisions To A Manifesto', inspired by the events of May 1968 when student protests and civil unrest led to a movement that shut down the entire country. "Wes sent all these references over," says Chalamet. "Magazines, photos, film references - 'The 400 Blows' by Truffaut, films by Jean-Luc Godard."

Zeffirelli和Juliette的出场在故事《宣言的修正》中，这个故事的灵感来自1968年5月发生的一场浩劫，当时由学生抗议和国内动乱引起了一场变革，几乎导致整个国家处于停摆状态。“韦斯把所有的参考资料都寄来了，”查拉梅说，“杂志，照片，还有记录事件的电影——Truffaut的《400次爆炸》，还有Jean-Luc Godard的电影。”

Describing his first-time working with Anderson, Chalamet explains: "It’s an extremely well-oiled machine. Nothing is wasted, every screw and every wire function, and everyone is working together, from Sanjay to Bob Yeoman to Milena to Adam Stockhausen and their teams. And, of course, Wes, who is always inspiring. It’s a little daunting, his captain hood, because the atmosphere is a kind of communal Bohemian circus, but absolutely everything runs like clockwork - everyone is united behind Wes’ vision and everyone contributes to making it happen... There was one shot that lasted about 4 seconds, where I pinned a piece of paper to a wall and walked to a jukebox. I think we did 45 takes. At a certain point, I thought: 'Really?' But I got it. Those moments are inspiring because he’s pushing himself, he’s chasing something extremely refined, and what to me seemed random at the time was to him the finest edges of something very deeply thought out. If generality is the enemy of art, then Wes deserves a statue."

在描述他与Anderson的首次合作时，Chalamet解释说：“整个团队就像一台结构严密、运转润滑的机器。没有任何努力被浪费掉，每一颗螺丝帽和每一根电线都在发挥作用，大家都在一起进步着，从Sanjay到Bob Yeoman到Milena到Adam Stockhausen 和他们的团队。当然还有Wes，他一直是鼓舞人心的灵魂所在，他的掌舵使命感有点让我时时刻刻心悬大石，因为整个拍摄氛围就像走进了一整个波西米亚马戏团一样，但一切都有条不紊地进行着——每个人都在他的愿景下团结着，每个人都为实现这部电影的成功献出努力..... 有一个大约4秒的镜头，拍的是我把一张纸钉在墙上，走到一个点唱机前。我记得我们大概拍了有45次。拍到一定程度时，我想:“真的要拍这么多条吗?”但我后来悟了。这些他执着于捕捉的时刻是灵感的激发点，因为他在一遍一遍捕捉到他心里的最好，他在追求一些极度精华的瞬间，当时对我来说似乎是随机产生的情感，对他来说却是经过深思熟虑后的选定的最好的边缘性展现。如果普遍性是艺术创作的敌人，那么Wes导演应该得到一座雕像。”

Earlier this year at the Cannes Film Festival launch of 'The French Dispatch', Chalamet discussed learning from co-stars McDormand and Khoudri, dinners with the ensemble cast, being directed by Anderson, and more below...

今年早些时候，在戛纳电影节The French Dispatch的首映礼上，Timothée谈到了从一起合作的主演McDormand和Khoudri的身上所学，与全体演员共进晚餐，参演Wes Anderson执导的作品，以及更多以下的内容.....

After 18 months of pandemic how does it feel to be back in the world, premiering this movie at Cannes?

TIMOTHÉE: It’s amazing. We’re staying about an hour east of Cannes, and it’s a similar vibe to the movie where everyone’s staying in the same hotel. I got to my room and there’s a calling list for everyone associated with the movie right next to the phone. And then for the premiere, we’re all going to show up in a big bus - it’s the Wes Anderson bus. It’s so nice to be here. I remember being in London when it all kicked off. I was going to do Amy Herzog’s '4000 Miles' at the Old Vic with Eileen Atkins, and Matthew Warchus was going to direct it. We rehearsed for three weeks, and I was staying in Notting Hill. And then it all got interrupted. So, it’s a wonderful feeling to be back in the world, promoting this movie, and it’s going to be a real head spin tonight, watching it in a theatre, because it’s going to feel like we shot this film in a different time and place. A different world.

在经历了18个月的疫情笼罩之后，回归你的现实世界，在戛纳见证这部电影首映，你感觉如何?

Timothée：哇真的很棒。我们住在距离戛纳东边大约一小时车程的地方，这里的氛围和当时拍摄的氛围很像——所有人都住在同一家酒店。我回到房间，电话旁边有一份与这部电影有关的所有人的电话名单。然后在首映式上，我们将乘坐一辆大巴士出场——那是Wes的车。很高兴来到这里。我记得疫情开始的时候我还在伦敦。我当时的行程计划是和Eileen Atkins在老维克剧院演Amy Herzog的《4000英里》，Matthew Warchus担任导演。我们排练了三个星期，期间我一直住在诺丁山。但后来一切都被迫搁浅了。所以，回到电影世界上宣传这部电影的感觉真的很奇妙，我有种感觉，今晚在电影院看这部电影会让所有在场的观众收获不一样的体验，疫情后时代，回归影院，一切的感觉都是崭新的，那些拍摄的时间和地点，在回忆里蒙上与当时不一样的滤镜，所有一切都是某种意义上的重生。

Did you get to see this movie before the world shut down?

TIMOTHÉE: I remember I finished on 'Dune', and then in December 2019, Wes had a screening in New York that the actors got to go to. So, I’ve seen it once, at that screening in Times Square, but I can’t wait to see it again tonight. I’m so proud of the film and of everyone’s performances in it. And I feel truly humbled and honoured to be a texture in the grand tapestry of a Wes Anderson movie, alongside people like Bill Murray and Owen Wilson.

你在疫情开始前有机会提前看这部电影吗？

Timothée：我记得我当时拍完了《沙丘》，后来19年12月的时候，Wes在纽约安排了一场试映，参演的演员都能去看。所以我的确看过（是在时代广场的那场试映上）但我真的等不及要在今晚再看一次了，我非常为这部电影和每个人在其中的表演感到骄傲，能和Bill Murray和Owen Wilson这样的前辈一起出现在Wes Anderson指代的这部宏大的电影中，我深感谦卑和荣幸。

And sharing a bed with Frances McDormand, no less.

TIMOTHÉE: Of course, with Frances McDormand. I wish she were here. What an invaluable experience it was for me to get to work with her at such a young age, and she had just come off 'Nomadland'; she was only finished for a week when she came to see us.

在戏里还和Frances McDormand同床共枕了，难以置信！

Timothée：当然，和Frances McDormand一起。我希望她现在就在这里。在我这个年纪就能和她演对手戏，这对我来说是多么可贵的经历啊，而且她刚刚才拍完[《无依之地》Nomadland]，她进组时才刚刚杀青一个星期。

Was it intimidating at all to step into an ensemble this grand?

TIMOTHÉE: It was a totally different experience for me, the whole way. I remember getting an email from Wes about two weeks before we started. He said something like, “Over the years, I have new actors join me, and sometimes they don’t show up, or they don’t have everything prepared.” And I took that email to heart, 10 times over. I really didn’t want to stick out like a sore thumb. I wanted people to watch the movie, and to experience it, and think of me as one button in a panel of many buttons Wes is pushing to get this thing going. The voice of my character, Zeffirelli, and the tone of Wes’s writing are both so specific. When you get the gist of it, it takes on a life of its own. But you don’t want to be performative doing it. And I’d seen all of Wes’s movies before I even got the offer, but for me that’s the mark of Ralph Fiennes’ performance in 'The Grand Budapest Hotel'. He has a perfect grasp of how the lines have been scripted. Because of course it’s good; the dialogue is just so beautiful. But he makes it roll off his tongue in that movie.

加入这么豪华的阵容，会不会觉得有点吓人？

Timothée：这段经历从头至尾对于我来说都是段完全不同的体验。我记得大概开拍前的两周收到韦斯的邮件，里面有几句话，大意是“这些年来一直有新的演员加入，这些演员有的时候不来现场，或者没有做好准备工作。”那封邮件我反反复复读了很多遍，一直耿耿于怀。我真的不想（注：因为演得不好）成为最扎眼的那个。我想让大家去看这个电影，去体验它，然后想起我的时候认为我是韦斯为了把这个电影做好尝试摁动的多个按钮中的一个。我的角色泽菲雷里(Zeffirelli)的腔调和韦斯的写作风格都太有特点了，一旦你把握了要点，所有这些就有了自己的生命。但你又不想表演痕迹太重。我在拿到这份工作前就看过韦斯所有的电影，个人觉得拉尔夫·费因斯(Ralph Fiennes)在《布达佩斯大饭店（The Grand Budapest Hotel）》里的演绎就有这样的特点。他对自己的台词在剧本里是怎么写的掌握得一清二楚。因为当然，台词本身就很好，对话都太美了。但在那个电影他做到了把这些流畅自然地说出来。

Were you able to see much of the other parts of the film when you were shooting yours?

TIMOTHÉE: I did, because my room in the hotel in Angouleme, where we all stayed during production, was right next to Andy [Weisblum]’s editing suite. I got to see Adrien Brody’s section before I did mine. It was so valuable to see it because it just gave me a sense of the whole thing, to watch him and Léa Seydoux and Benicio del Toro. God, they were all so great.

在你拍摄自己部分的时候，能看到电影的其他大部分片段吗？

Timothée：我有看，因为电影制作过程中我们都住在奥古莱姆的一家酒店里，我的房间就和安迪（威斯布勒姆）(Andy Weisblum)的剪辑室挨着，在拍摄我的部分前我看到了艾德里安·布洛迪的片段，他，蕾雅·赛杜(Léa Seydoux)和本尼西奥·德尔·托罗(Benicio del Toro)，这一点帮助很大，让我有了一个整体感觉。天，他们都演得太好了。

What do you think living together like that did to add to the experience of the shooting as a whole？

TIMOTHÉE: Just to be in that place in Angouleme with all these actors who have been doing it for so long and at such a high level, and who aren’t jaded and are continually inspired and curious about their work... To see that joviality and friendship and sense of community with Wes, in a not un-luxurious setting, but not a nakedly elitist one either, was something special. It was quite an artistic salon feeling and expression that he created, and I found myself trying to be really present for it. I just remember dinners with Bill Murray cracking jokes. And when we ended – me, Lyna Khoudri and Steve Park all wrapped at the same time – I just kind of tapped my glass and said, “Thank you so much to Wes, what an opportunity you’ve given me.” And then a couple of the others said something and then Bill Murray taps his glass. We all went, “Oh no.” And of course, he just did a riffing mockery of everything we’d said and dressed us down [laughs]. But he’s a great example of someone who hasn’t been jaded by the industry, even having achieved the kind of success he has and for such a long time. Not that it should justify jadedness, but he’s seen it all, done it all, and I was just so inspired to see him be so jazzed to be there, and excited about the movie. And, of course, for him to be teasing and tough on all us new folks too. Only someone that is genuinely excited to be there would be like, “Welcome to the train, and here are your stripes.” He makes himself immediately accessible, which is really nice. But at the same time, you don’t want to be on the butt-end of his jokes [laughs].

你觉得像那样住在一起给整个拍摄经历增加了什么不一样的东西？

Timothée：很特别，去到奥古莱姆的那个地方，和这些演员们待在一起，他们都有那么长的戏龄，那么高的水平，但并不会表现出厌倦，永远都对自己的工作保有创造力和好奇心；在一个并不能说一点都不豪华，但也不是赤裸裸的精英主义（注：大概就是有优越感，排外）的景里和韦斯一起感受那种欢快的氛围，体会那种友谊和集体感。韦斯营造了一种艺术沙龙的感觉和表达方式，我当时就想着切身体会和感受，努力融入进去。我记得那些比尔·默瑞(Bill Murray)大开玩笑的晚餐时刻。我们杀青的时候——我，琳娜·库德里(Lyna Khoudri)，还有斯蒂夫·朴(Steve Park)，我们是一起杀青的——我敲了敲玻璃杯说，“太感谢你了韦斯，给了我这么好的一个机会。”其他有几个人也说了几句别的什么，然后，比尔·默瑞敲了他的杯子。我们同时“哦，不”。当然啦，接着他就就我们所有人刚说的话来了段即兴模仿，把我们都贬了一通（笑）。但他是没有对这个行业感到腻烦的很好例子，即便他很早以前就取得了巨大成功。我并不是想为“腻烦”做什么辩解，但他能经历的都经历过了，能做的也都做过了，还是对去到现场和这部电影充满激情，看到他这样，我受到很大启发。当然，也包括他讽刺挖苦我们这些新人这部分。只有真正对这件事有激情的人才会表现出“欢迎乘车，这是你们的车厢”的样子。他非常平易近人，真的很好，但同时你可不想成为他玩笑的目标（笑）。

Does that atmosphere on location feed into the character and the actual work?

TIMOTHÉE: You get that sense of inspiration from it, for sure. The relief of working with someone like Wes is twofold. First, you feel you’re in the hands of a real master; someone who knows exactly what shots he wants, and who doesn’t want to waste takes, and yet will do as many as he needs. The second relief is that when the world of the movie is specific to that person, whether in production design or whatever it is in his head, you know it’s not your job to worry about anything other than your role. I’ve been lucky to almost exclusively work with directors like that, but the opposite will have you worrying about everything that’s not your job, and which you have no power to control.

实景地的这种氛围有影响到角色塑造和实际拍摄吗？

Timothée：你确实会从中受到启发。和韦斯这样的人一起工作的轻松是双重的。首先，你知道自己是在一个大师手下，他很清楚自己想要什么，不想浪费镜头，但会拍到自己满意为止。第二个是，当一个人对他的电影所创造的世界非常明晰的时候，不管是艺术设计方面还是他设想里的其他方面，你就知道你不需要为除了你角色之外的任何东西担心。我很幸运，我合作过的导演几乎都是这样的，但如果情况相反，你就得为不属于你工作范围内的东西忧虑，而且这些东西你其实并没有能力控制。

Zeffirelli has a great frisson with Juliette, played by Lyna Khoudri. What was the experience of working with her?

TIMOTHÉE: Our relationship wasn’t like that in real life, thank god [laughs]. She’s an intuitive and strong actress, and ‘frisson’ is such a good word for what’s going on between the two characters. The shot that stands out, both in the moment and in the movie, is that opening chess scene where she’s standing on the bleachers, and she’s watching him play chess, but she’s got her arms folded. That’s who they are to each other. It was a great working relationship with Lyna, and I think a fun challenge for us to cross the language barrier, because my French is good but not perfect – I’m basically fluent but I struggle a bit sometimes – and her English is good but not perfect. She’s so good – I mean, she’s already won a César award – and I think this film will open her up to new audiences too.

泽菲雷里和琳娜·库德里(Lyna Khoudri)饰演的朱丽叶之间有一种很强烈的火花（注：原文为frisson）。和她一起工作是什么样的一种体验？

我们戏里的关系和真实生活中完全不同，谢天谢地（笑）。她是很敏锐很优秀的演员，用“火花”这个词来形容这两个角色之间的关系再合适不过了。有一个镜头，不管是镜头本身还是放在整个电影里都很突出，那就是开场那场围棋的戏，她站在看台座位上看他下围棋，但她双臂交叉着放在胸前。这就是他们两个的关系。和琳娜合作很愉快，而且我们都要跨越语言障碍，这也是个很有趣的挑战，因为我法语虽然还行但并不完美——基本是流畅的，但有时候有点困难——她的英语也是一样。她真的太优秀了——她已经拿了凯撒奖——我觉得这部电影会让更多观众认识她。

You’ve had an incredible ride for the past few years since you first broke through. How do you maintain your focus as you become an increasingly public figure?

TIMOTHÉE: It’s in the challenge of the work, really. The work requires every muscle of preparation, and that keeps you focussed. Even like now, playing Willy Wonka, which is a big challenge musically and I’m having to learn all sorts of new skills, that’s the saving grace for me. And the challenge of the last 18 months or so is that there wasn’t that. Things couldn’t be shot, really, and I had to keep laser-focussed in other ways. But what was good for me was the kind of Listerine of the time off; finding the crease in the cushion of the couch once more. That’s important to find even when you are working, and whatever role you’re playing, whether it’s Paul Atreides in 'Dune', or Henry in 'The King', or Zeffirelli in 'The French Dispatch'.

继你的第一次大获成功，过去这几年对于你来说应该是段很疯狂的经历，随着曝光度越来越高，你是怎么保持注意力集中的？

Timothée：说真的，是工作的挑战。准备工作需要你竭尽全力，这个会帮你集中注意力。即便现在演威利·旺卡(Willy Wonka)在音乐剧表演方面有很大的挑战，我需要学各种各样新的技能，对我来说也是好的。过去18个月左右很难的地方是没有这些东西。戏是真的拍不了，我得把注意力转移到其它方面。但对我来说不拍戏那段时间的好处是它的“防腐”作用，再一次去寻找沙发垫上的缝隙。 这很重要，即便你在工作，不管你演什么样的角色，《沙丘(Dune)》的保罗·厄崔迪，《兰开斯特之王(The King)》的亨利，或是《法兰西特派(The French Dispatch)》里的泽菲雷里。

翻译：圣克莱门特派/！

转载请注明TCN

cr：https://www.coupdemainmagazine.com/timothee-chalamet/18120​​​​