《九龍城寨之圍城》動作指導谷垣健治（Kenji Tanigaki ）專訪：Part 3 --非武打演員以熱血搭救（Non-martial artists' heroic rescue）

Рет қаралды 2,572

Күн бұрын

第三部｜Part 3
「非武打演員以熱血搭救」（Non-martial artists' heroic rescue） &「兩代武打方向：傳統Vs 街頭」（Two generations of martial arts: Traditional vs. Street Fight） &「異邦人的身份認同」（Identity of the foreigner）
事先聲明，這一節的內容，大部分都不會收錄在電影實景集》（因為那畫集主要談場景 :P），這些談及動作演出的內容，只會出現在此剪輯片段中 ^^
問：有些演員本第有武打底，作為動作指導，你會根據他們的擅長的武術去設計動作嗎？還是根據角色設計動作呢？
Kenji：盡量用他們的長處是最好的，但如果他們的功夫跟角色本身不吻合的話，就不用了！電影原本的設計是：上一代就用功夫底，因為以前有很多武館，每個都吃過夜粥。例如任賢齊就用了洪拳，是真的功夫；Tiger叔也是功夫，打鶴拳。新一代就不懂打功夫了，比較Street Fight，每一個世代有不同打法。所以，王九（伍允龍）是比較Street Fight，不過他本身懂詠春、洪拳，西洋拳擊、短打也很厲害，那我就或多或少加入當中，但又未到完全詠春、洪拳的感覺，那就會脫離了王九本身的角色。四仔的武器是拳頭和踢腳，預告中就看到他的踢腳，正片後來剪輯了，大家就看不到。問：除了大哥大、伍允龍及German之外，其他演員大多沒有武打根基，你是如何與演員合作，確保他們能夠做到高強度動作？
Kenji：其實他們（子彤、林峯等）很少接觸打片，不過他們本身是一個好演員。好演員就是可以和觀眾Sync（同步、共情），令觀眾看得很投入。他們不是做葉問、黃飛鴻，打得熱血、有拼命感就可以了！反而有時懂得打的人，打到好像吃飯一樣，每天都打，就會變得太過理所當然，就沒有那種熱血感。
例如阿謙，他會覺得不好意思，他會講：我真是很少拍打片，今天做得不好。其實不是的。他做動作的時候，不知道行不行，不過先做出來，做到你們喊cut之前，他能做的都做出來。他Sync到信一的處境，拼命打、打到死為至。這就是演員的共情能力！所以我覺得，演員不是打不打到的的問題，而是他們能否做到生死之間的感覺出來呢，才是感染觀眾的關鍵！所以我覺得這次很適合他們，他們四個能夠進入角色、性格，最後出來也是很成功的。
在片場時，我自己很喜歡他們的火花，但我喜歡是一件事，觀眾喜不喜歡又是另一回事。起碼我很滿足、滿意，他們都個個都不錯，不過沒想到他最後會這麼受歡迎、厲害！
談了那麼多其他人，結尾，難免要問他一些關於自身的問題⋯⋯
兜兜轉轉，一開始誤打誤撞的人，最後同樣為其所愛的地方和事物，以他的力量拼搏到底。Kenji肯定地說：「我對香港的感情很大！因為我懂的、學的，九成九都來源於香港。無論去到全世界哪個地方，我都是一定脫離不了港式思維。如果要稱自己是『香港電影人』抑或是『日本電影人』，那我一定是香港電影人。」Let me first clarify, most of the content in this section won't be included in the movie's set photography book (since that book mainly focuses on scenes :P). The discussion on action performances will only appear in these edited clips ^^.
Q: Some actors already have a martial arts background. As an action choreographer, do you design movements based on their martial arts strengths or according to the character?
Kenji: It’s always best to use their strengths, but if their skills don’t fit the character, we won’t use them! The film’s original design is that the older generation uses traditional martial arts since back then, many martial arts schools existed, and everyone had been through rigorous training. For example, Richie Jen uses Hung Kuen, which is real kung fu; Uncle Tiger also knows kung fu and practices Crane Fist. The new generation, however, doesn’t know traditional martial arts and leans more toward street fighting. Each generation has its own fighting style. So, Wang Gau (Philip Ng) is more about street fighting, but he also knows Wing Chun, Hung Kuen, and is skilled in Western boxing and short-range combat. I incorporated some of those, but not to the point where it becomes completely Wing Chun or Hung Kuen, as that would stray from Wang Gau’s character. AV’s (German’s) weapon is his fists and kicks; you see his kicks in the trailer, but the final edit cut that part out, so the audience didn’t get to see it.
Q: Besides Sammo Hung, Philip Ng, and German Cheung, most of the other actors don’t have martial arts training. How do you collaborate with these actors to ensure they can perform intense action scenes?
Kenji: Actually, people like Tze-Tung and Raymond Lam haven’t done much action before, but they are great actors. A good actor can sync with the audience (emotionally connect), making the viewers fully engaged. They are not playing Ip Man or Wong Fei-hung. What matters is that they fight with passion and intensity. In contrast, people who are highly skilled in martial arts can sometimes come off as too casual, like it's second nature to them, and that can lose the sense of fiery determination.
Take Ah Him (Terrence Lau) as an example. He sometimes feels embarrassed and says, "I don’t often do action scenes, I didn’t do well today." But that’s not true. When he performs action scenes, even if he’s unsure, he pushes himself to do it all before we call 'cut.' He syncs with Shins (Shin’s) situation, fighting desperately as if his life depends on it. This is the actor’s ability to empathize! So, it’s not about whether they can fight, but whether they can convey that life-or-death feeling, which is the key to captivating the audience. That’s why I think this cast was a great fit, and in the end, they brought out their characters and personalities very successfully.
On set, I loved the chemistry between them. Of course, what I enjoy is one thing, but whether the audience likes it is another. But at least I’m very satisfied, and they all did very well. I didn’t expect the film to become so popular and impressive in the end!
＊足本文字訪問，見於年底再版推出的《電影實景集》（國際版）。
The full text interview can be found in the upcoming re-release of “The Art of Cinematic Set Constructions“ (International Edition).
#九龍城寨之圍城 #九龍城寨 #九龙城寨 #谷垣健治 #KenjiTanigaki #動作片 #港產片 #標誌動作 #動作設計 #特技 #廣東話 #武術指導 #電影製作 #古天樂 #龍捲風 #林峯 #陳洛軍 #劉俊謙 #信一 #胡子彤 #十二少 #張文傑 #四子 #伍允龍 #王九
#TwilightOfTheWarriors #KowloonWalledCity #KenjiTanigaki #ActionCinema #HongKongFilms #ActionDesign #Stunts #Cantonese #MartialArtsDirector #FilmMaking

Пікірлер: 6

@yangsherby 3 күн бұрын

身為一個七十年代嘅香港人睇到香港電影由盛轉衰真心好難受，見到港產最強動作片後繼無人更是難過，尤其係我好喜歡港產片，七八九十年代嘅港產片我入塲睇過至少八成以上。而家見到港產動作指導再有較年輕嘅一代出現，雖然係日本人但冇所謂的（因為佢識感恩亦知道自己嘅嘢從何以來）希望佢繼續努力將港式動作傳𠄘下去發揚光大。我深信港式動作仍大有可為，因為到今時今日不單止仍未有任何地方嘅動作設計能與港片並肩，甚至香港仍然係嬴人地好多嗰隻。