BEVERLY HILLS, Calif. -- The Continuum today begins its series of interviews from the Constantine movie press junket with Rachel Weisz, who is teamed with Keanu Reeves for the second time, following 1996's Chain Reaction.
베벌리 힐즈, 캘리포니아 - 오늘부터 콘스탄틴 영화 인터뷰 시리즈들을 시작하는데요, 첫 번째로는 96년 체인 리액션 이후로 키아누 리브스와 2번째로 영화에 출연한 레이첼 와이즈 인터뷰입니다.
In Constantine, Weisz plays the catalytic role of Detective Angela Dodson as well as Angel's deeply disturbed twin sister Isabel, who jumps off a building and kills herself.
콘스탄틴에서 와이즈는 안젤라 도슨 경관과, 빌딩에서 뛰어내려 자살한 그녀의 쌍둥이 동생을 연기합니다.
Following is an edited transcription on Sunday's roundtable interview. (Click on the thumbnails for larger and fuller images.)
다음은 인터뷰입니다.
QUESTION: You did a scene in the morgue when you're with your twin. How did they do that? Was that split-screen or CG?
시체 공시소에서 쌍둥이와 함께 있는 장면을 찍으셨는데, 어떻게 한건가요? 장면을 나눠서 촬영했나요, 아님 CG인가요?
WEISZ: No, they made a dead me.
아뇨, 죽은 저를 만들었어요.
QUESTION: What was it like to see that?
그걸 보니깐 어땠어요?
WEISZ: It's really strange. Because the technology and the craftsmanship now, it
looked real to me. It was me, but dead. It was slightly paler. I went to a morgue as part of my research for the character. I had never seen dead bodies before, but that's how they look. They get slightly sunken that way.
좀 이상했어요, 기술이랑 분장이 너무 발달해서, 진짜 저같았거든요. 저였지만, 죽은저였죠. 저보다는 더 하얳어요. 저는 시체 공시소에 제 캐릭터를 연구하기 위해서 갔었어요. 전 시체들을 전에 본 적이 없었지만, 그것들은 진짜 그렇게 생겼더군요. 얼굴들이 다 움푹하죠.
So it was not your everyday experience.
평범한 경험은 아니었겠군요.
QUESTION: So did you hang on to it for next April Fool's Day?
만우절이 기대돼시겠네요?
WEISZ:It would be fun to be in the car pool with it.
차 교대할때 써먹으면 재밌을 것 같아요 ㅎ
QUESTION: You and Keanu (Reeves) have some great chemistry. How did you work on that?
영화 중에 당신과 키아누 사이에 교감이 잘 드러나던데요, 어떻게 한거죠?
WEISZ: How did we practice our chemistry? You either got it, or you ain't! That's all there is to it.
캐릭터 사이의 교감요? 그냥 돼는 거죠, 아님 아니고! 그냥 그런거에요.
With chemistry, you may be feeling it, but it may not be on the screen. If it's there, then... It's not very hard to have chemistry with Keanu, actually, as you can imagine. That's just outside. You can't work on it or create it. Either there's a zing or there's not.
그 교감이 영화 자체에는 없지만, 여러분들이 느끼는 걸꺼에요. 만약에 근데 진짜 있었더라면..뭐, 키아누와 교감을 느끼는 건 그다지 어렵지 않아요. 근데 그걸 연습하거나 만들 수 는 없죠. 뭔가 딱 오는게 있고, 아니면 아닌거구요.
QUESTION:Do you like playing Americans?
미국인들을 연기하는걸 좋아하시나요?
WEISZ: It's my favorite thing.
제일 좋아해요.
QUESTION: Do you find you lose your accent after playing Americans?
미국인 연기를 하고 나면 액센트가 바뀌나요?
WEISZ: No. No. When I'm playing a character who's American, there's an American accent, but when I go home to England, I just slide right back into Englishness immediately.
아니요, 미국인 캐릭터를 연기하면, 미국 액센트를 쓰지만, 영국으로 돌아가면 바로 영국 발음으로 돌아가죠.
QUESTION: Do you have a dialect coach?
발음 코치가 있었나요?
WEISZ: Everybody uses a dialect coach. Every actor. Like they say, if they don't, they're lying. Everybody does. You don't want to worry about it. You want to have somebody looking out so that you're not straying.
거의 모두가 발음 코치를 써요. 모든 배우가요. 만약 그렇게 얘기 안 하면 거짓말이에요. 진짜 신경 쓰지 않아도 돼요. 다른 길로 가지 않는가 봐주는 사람이 필요하거든요.
QUESTION: Is there a variation on your American accent from film to film, in your mind?
영화마다 당신의 ‘미국인 발음’이 좀 바뀌나요?
WEISZ: In this movie I'm just going for what they call "general American." It means it's from nowhere. Unless you're doing something where you're from Brooklyn or you're from Philly or you're from the South, it's just a plain accent. It's called "general America." Who knows what that means, really.
이 영화에서, 저는 그냥 ‘평범한 미국인’ 역을 맡았어요. 그건, 그냥 어디서나 볼 수 있는 사람을 뜻해요. 특별히 브룩클린, 필리, 남부 등에서 온 캐릭터가 아니라, 보통 액센트를 쓰는 인물 말이에요. 그래서 그걸 ‘평범한 미국인’이라고 하죠.
QUESTION: I don't know what your religious background is, but how do you feel about how this film works, with all these theological things in a big special-effects movie?
당신의 종교적 배경이 어떤지는 모르지만, 이 영화에 대해서 어떻게 생각하세요? 엄청난 특수 효과랑, 안에 스며든 종교적 색채 같은거 말이에요.
WEISZ: What do I feel about the theology of the movie? Well, it's definitely a fantastical, supernatural, entertaining movie, but it's housed within a very traditional Judeo-Christian theology. And I thought that sort of grounded it in something really interesting. And it asks something interesting questions about morality and good and evil and free will and predestination, and how much is up to us and how much is God's plan. And the struggle between man trying to make a choice to do good and evil and fate intervening. And big unanswerable questions that people have been asking for thousands of years since religion was started and, I guess, we'll always carry on asking. So, there big old questions.
영화 안의 신학 이론이요? 뭐, 당연히 초자연적이고 흥미로운 영화지만, 안에는 전통적인 Judeo-크리스챤 이론이 들어있어요. 그래서 전 그것이 이 영화를 좀 흥미롭게 만들지 않았나 해요. 영화가 질문을 던지죠, 도덕성, 좋음과 나쁨, 자유 의지와 예정설, 그리고 우리가 무엇을 해야 하고 신은 뭘 결정했는지 그런 것들이요. 선택을 통한 행동을 하려는 한 남자와 운명이 관련되죠. 사람들이 수천 년동안 질문해오던 - 대답하기 힘든 질문들이 영화에 내포 돼 있어요. 오래된, 거대한 질문들이요.
QUESTION: Does this make it more interesting for you as an actor in the context of a big special effects movie, instead of a movie like The Mummy?
대형 특수효과 영화에 출연하는 것이 흥미로우신 가요, 머미 같은 영화 말고?
WEISZ: Yeah. This and The Mummy are tonally completely different planets. Like apples and oranges. I loved the tone of The Mummy. It reminded me of Saturday morning TV and B-movies, and it was very comedic. This was much more grown up, darker, I guess a little more intellectual. It asks more challenging questions. It's just that one's a lot more serious.
네, 이 영화와 머미는 많이 다르죠. 사과랑 오렌지 처럼요. 전 머미의 줄거리를 정말 좋아해요. 토요일 아침 TV와 B급 영화들을 떠올리고, 또 되게 코믹하잖아요. 근데 이 영화는 좀 어둡고, 성숙한, 또 제 생각에는 좀 더 지적인 영화 같아요. 어려운 질문들을 던지잖아요. 하나는 좀 더 심각하다는 거에요.
QUESTION: How was that scene in the bathtub where Keanu's holding you down?
How was that filmed and how long did you have to hold your breath?
키아누가 당신을 밑으로 누르는 욕조 장면은 어땠어요? 어떻게 찍으셨고, 얼마나 오랬동안 숨을 참으셨는지..?
WEISZ: Golly, a really long time. I wasn't timing it, but I guess like a minute and a half. I don't know, a long time. The director said that he wanted Keanu not to go easy on me; he wanted it to look real. So he was really holding me down. It was scary.
진짜 오랫동안 참았어요. 재지는 않았지만, 제 생각에는 1분 30초 정도 돼는 것 같더라구요. 감독이 키아누가 절 쉽게 놓아주지 말라고 했죠, 실감나게 하기 위해서요. 그래서 진짜 꽉 누르고 있었는데, 무서웠어요.
QUESTION: What was the safe signal?
신호 같은거 없었나요?
WEISZ:The safe signal was something ridiculous, like "I'll tap you three times on the arm." I was thrashing around so much that he couldn't tell. I was really trying to get out. There was a moment when I was not acting any more. I was just trying to get out of the bath. Keanu's a sensitive guy and we were pretty in tune, so you know when somebody's had enough.
그 신호가 좀 웃겼어요, 뭐 ‘팔에 3번 두드릴게’ 이런거였죠. 근데 전 몸부림치고 있어서 그는 몰랐어요. 전 진짜 나가려고 했는데 - 연기하지 않는 순간이 있었죠. 전 욕조 밖으로 나가려고 했어요. 키아누는 예민하고 우리끼리 잘 맞았기 때문에, 충분히 참았을 때를 그는 알았어요.
QUESTION: So you're shooting The Fountain right now?
‘더 파운텐’을 찍고 계시다던데?
WEISZ: It's a little bit secret, but I'll tell you what I can. It's an original screenplay. It's written by Darren Aronofsky and it's also directed by Darren. And it's a great big love story, a huge love story that kind of goes through times. And it has a science-fiction kind of thing to it. It's very original, that's why it's almost impossible to explain. It's not like anything anybody's ever seen before. Thank God.
좀 비밀이지만, 말씀드릴 수 있는 대로 해드릴게요. 각본은 Darren Aronofsky가 지었고, 다렌이 감독을 하죠. 커다란 사랑 영화예요 시공간을 뛰어넘은, 그런 거 있잖아요. 그리고 큰 SF 요소가 들어가 있죠. 좀 특이해요 - 그래서 설명하기 힘들어요. 다른 사람들이 본 적이 있는, 그런 류의 영화가 아니에요.
It's about the search for the Fountain of Youth, hence the title. And it's Hugh Jackman. I'm starring opposite Hugh.
젊음의 샘을 찾는, 그런 내용이에요. 상대역은 휴 잭맨이죠.
QUESTION: Was that you that was pulled through the walls in the one scene?
콘스탄틴에서 벽에서 빨려 나가는 장면에, 진짜 당신이었나요?
WEISZ: That was me. They made a chair in which I was strapped into. And then they made a track, a really long track. Then they pulled a lever and the chair was shot back, very, very, very, very fast. And then they computer-generated the office block around me. So I was moving through a studio and then they painted the office block around me. Why should I tell everybody that? Maybe I should say it was real.
저였죠. 바퀴 달린 의자에 묶였어요. 그래서 긴 길을 만들어서 뒤로 엄청 빨리 끌어당겼어요. 그런 다음에 사무실 배경을 컴퓨터 그래픽으로 처리했어요. 그래서 전 스튜디오에서 움직이고 있었고, 저 주변에 사무실 블록을 만들었죠. 제가 왜 이런걸 말씀드리나..; 그냥 진짜라고 해야하나요.
QUESTION: Was it like a ride?
‘타는’ 것 같았나요?
WEISZ: Was it like an amusement ride? I suppose, yeah. It was more scary than any amusement ride. I was scared.
놀이공원에서 타는 그런거 말이에요? 뭐, 그렇다고 할 수 있겠죠, 근데 좀 더 무서웠어요.
QUESTION: Was it the most difficult thing you had to do or was it the bathtub?
그게 제일 힘들었나요, 아님 욕조?
WEISZ: People always wanted to know what was the most difficult thing, I don't know why. Which was more difficult? Probably, the bath tub was more difficult.
사람들이 어느게 제일 힘들었냐고 묻더라구요. 왜인지는 모르겠지만 - 제 생각에는 욕조 장면이 제일 어려웠던 것 같아요.
QUESTION: Was there a most fun thing?
제일 재밌는 장면은 없었나요?
WEISZ: It's not really fun. It's pretty intense all the way thing. I liked shooting that last scene on the rooftop. It had a little noir feeling to it. It was like, "Finally, I'm going to get kissed!" But it was not to be.
재밌는건 없었어요. 끝까지 긴장감 있는 그런거였거든요. 전 마지막 옥상에서 찍은게 제일 좋았어요. 약간 블랙 유머가 들어간 것 같았거든요. ‘드디어 키스 받는다!’하는데 끝은 안 그렇잖아요.
QUESTION: Did you do a version where you kissed?
키스 버전은 없었나요?
WEISZ: No, we didn't. Because we thought if we did, they would use it. So we made sure it was not to be.
아니요. 만약 만들면, 사람들이 쓸까봐 안 만들었죠.
QUESTION: Was the set light with such heavy subject matter?
세트 장 분위기는 무거운 주제에도 좀 밝았나요?
WEISZ: All actors are different. Personally, when things are intense, I need to be really silly to let off steam in between.
모든 배우들은 다르잖아요. 개인적으로, 뭔가 긴장되고 타이트 하면, 사이에 김새게 할 필요까지는 없잖아요.
QUESTION: Are you interested in or contracted for sequels?
다음편 영화에 대한 계약하는 것에 관심 있으시나요?
WEISZ: No, there's no contract. I don't know, it would depend on the script.
아직 계약은 없고요, 모르죠, 대본이 어떻냐에 달렸죠.
(몇달 전에 한 인터뷰지만 흥미로워서 올립니다~번역이 이상해도 이쁘게 봐주세요♥)