字幕表 動画を再生する 英語字幕をプリント (uptempo music) - Hello everyone, I'm Stephen Galloway, and welcome to Close-Up with Hollywood Reporter Directors. I'd like to welcome Angelina Jolie, Guillermo del Toro, Greta Gerwig, Patty Jenkins, Joe Wright, and Denis Villeneuve. You're on a lifeboat. You happen to have a DVD or Blu-Ray player. - Oh no! - We're gonna do that? That's not fair. - Oh no. - [Stephen] What film are you gonna take with you to watch? Let's start with you, Guillermo. - Oh, why? (laughs) - [Denis] You're the cinephile of the group. (laughs) - Why? Emotionally, I will answer something completely non-prestigious. Yeah, it's because of what it did when I was a teenager, The Road Warrior. (laughs) It completely destroyed my brain. - [Stephen] Wow, I thought you were gonna say Frankenstein. - And, that's the problem. The other one is I would do that. I would take James Whale's Frankenstein. And, it's just The Road Warrior, for me, it's the first time I noticed how the camera worked and moved and it was a ballet. And, I would probably change my mind half way through the life boat journey. I would go, "Where is Frankenstein?" (laughs) - Have you ever met George Miller? - I met and I worship George Miller, and I intend, my sabbatical this year I'm going to do two two week interviews. One with Michael Mann and one with George Miller purely about the craft to publish them in book form just because I wanna talk with them about what we never talk about, which is the craft. Lenses, cameras, why, why push, why not push, when crane, when dolly, why not? To talk about the aspects of or painting that nobody talks about which is vigor of the trays, amount of paint. We always discuss movies sort of in a liturgical way. - If you had one question to ask George Miller what would it be? - To whom? - If you had one question to ask George Miller what would it be? - Do you like me? (laughs) - [Stephen] You're so insecure. (laughs) - Dad? (laughs) (laughs) - What's your lifeboat film? - Oh god, you're going to jump to me next. I'm like sitting here listening to him the whole time and I'm like, "Oh my god, so many movies "go through my head." 'Cause there's the, I have all my-- - Only one. - One. - I Know Where I'm Going, Powell and Pressburger. Like, I just love that movie and also like, there's the design of it fascinates me because it's like so romantic but you never notice that it was really becoming that romantic. - It was so romantic, Powell and Pressburger, so romantic. - And so good, and timeless. - What did it teach you that you then brought to your work? - The pocket of emotion of romance because I love romantic films and I love romantic things. - What do you mean by the pocket of emotion? - It's the space where you get it and it's sincere and it's real and you just keep it from hitting the ground. It's almost the electricity of what love is, to me, is it's when fear is mixed with desire and it's (vocalizing). And so, there was something so incredible about that moment, you never saw it coming and all of a sudden you were (vocalizes) these two people are just sitting there and you're like (gasps) those people are meant to be together, oh my god. And then, the storm and, you know, anyway. - They do it in other films, too, they do that. - Oh yeah, and they're so incredible. - Masterful. - Such incredible filmmakers. - Is love in real life ever what it is in films? - I think so. - Yes. - But, I think too often-- - Good answer. - Well anyway, I have theories about love but the fear and desire being equaled is the thing and I think film allows that to happen, but that's what it is in real life, too. Although, we always wanna shut it down. And, your desire is always to get, no, upper hand and then as soon as you do it's not so much love anymore. - I love that answer. - So, I think it's like film allows people to feel comfortable extending it longer. - But, just to talk about romance, I'm not choosing this on my boat, but Brief Encounters that David Lean movie when they're talking and she has that moment where she looks at him, he's describing something and she looks at him and she says, "You looked like "a little boy just then." And then, he looks at her and it's like too late, they're already in love and it's too late. And, it's like that moment of like they both realized what had happened and they both knew that the other one knew it. And then, they have to go and it's like all of sudden you're like oh no, you and I, now you're already in love. Anyway-- - And your boat, what is your boat? - [Greta] Singing in the Rain. - Aw. - That's a nice one. - I mean, if you're on a boat-- - Don't doubt yourself, it's a really good one. - If you're on a boat. - Do you find that you're trying to imitate the best in another work or that your job is to react against it? 'Cause there is that theory that great artists actually have another artist that they react against. - Against. - Against. - Mm, but why just one? It would be hard to pick just one that you're reacting against. - There's a lot. - But, I think we're always, I think it's the, I think you're always absolutely studying and paying homage to the people before you and then turning it just a little bit yourself. Like, that's the whole game, to me. - But, it happens, sorry to interrupt the boat thing, but has it happened to you that there are other directors that you start against and you end up realizing they're your favorite. And you go, "I love this guy." - They're all silent, that means you're the only one. - Yeah, not so much, not so much. There are filmmakers that I have aspired to be like. Personally, very personally it's probably a reaction against my father, as well, his work, who was a puppeteer. - Freud would have something to say about that. (laughs) - Yeah, he was a puppeteer and he made very beautiful marionette shows. He founded the first purpose built puppet theater in London in 1961. But, one of the burden's of his career was the fact that everyone saw puppetry as being a kind of a children's entertainment, and he considered it to be a fine art. And so, a lot of it is a kind of reaction against his perceived failure, as well. - And react against it meaning what? - Determination to do better. - Oh yeah, your Anna Karenina has a little bit of that. - No, no it's all about puppetry. It's all about how, you know. - Oh wow. - It all comes from puppetry, really. - Would you chose the lifeboat film with a puppet or without? - Would I choose what? - Your lifeboat film with a puppet or without. - Without, definitely. - It would be what? - It would be probably Wings of Desire by Wim Wenders. - Wow, yeah. - Which I love because of its humanity. And, I think on a lifeboat I might need to be reminded of my love of humanity. So, I'd take that one. Maybe even also Brief Encounter, as well. - Denis? - Yeah, I was saying I think I'm reacting as when I was a very, right out of film school I had I would say the burden of being liked, I made a short film. I was liked by an older filmmaker at home which Pierre Perrault who was like he's a master who was like doing documentaries. And, in the 60s he was like part of the film movement, realistic film movement where they were the first one to have actually taking the camera out of the tripod and go with real people. And they had made a fantastic movie called Pour La Suite Du Monde on a small island in Quebec where they spent three years shooting a fisherman there. - Oh yeah. - And, they made a feature film there that was like, it's considered almost a masterpiece. But, for some reason he liked me and he was very sad that I was going to do fiction instead of documentary. He was like he didn't, because for him fiction was like why are your crying when Catherine Deneuve is crying it's like it's fake, when you can real. Because, his movies are very (mumbles), very strong. And so I have all my live I felt like I owe him a lot because I learned a lot working with him. But, I always felt that I was the bad son. (laughs) The one who went to do fiction instead because I was attracted to fiction-- - So, would you chose his film to take with you as a kind of penance? - That's a good, that's a-- - How deep does your guilt go? (laughs) - There is trilogy about that island which are amongst the most beautiful movies I've seen yeah, about fishermen and I think, yeah, I might, that could be the answer, yeah. Or, to prepare me for to death it would be 2001: a Space Odyssey. (laughs) It's like my favorite film of all time, I think. And a one that I discovered through television when I was young, - Oh wow. - not allowed to watch it because it was too late in the night for me. - Forbidden fruit are always the best. - And still to this day is one of my movies I revisit with great joy. It's a very existential journey. I think it could be a good one to prepare me to passage if you're on a lifeboat without hope. - I don't know, I mean, it's a really interesting question because it's not like a favorite film. It's like, if you were at the end of you life and you had something and this only thing that was-- - It's a horrible question. - That's the question-- - Sorry. - It's more the film that prepares you for death or prepares you for or helps you through solitude. - I would till choose The Road Warrior. (laughs) - Which is actually a bit of a survivalist. - Oh yeah. - Like, it's so it's interesting. So, I really, I don't know if I'd want to be watching movies on your lifeboat. I think it'd be important to not go crazy. - That might be a possibility. - I mean, you know I love Sidney Lumet. So, I love The Hill and I love The Hill because I love seeing, and maybe it would help on the lifeboat to see something just about how you manage through surviving against all odds. I love Milos Forman as we were talking about I love Amadeus, I love Cuckoo's Nest. I love the idea of Cuckoo's Nest might just make me feel full of a certain level of humanity but also maybe I'd be feeling like I'm going a bit crazy on my life raft and I wanna like connect to something that feels alive.