【S.H.→☆访谈】独家：霍克和霍金斯谈论他们的新电影《莫娣》

Andrea Christensen: What drew you to doing this movie? Had you heard of Maud Lewis before this?
Sally Hawkins: I hadn't. No. Shame to say. But Aisling, well, I known Aisling [the director] for a long time and worked with her a few years ago. And I always wanted to work with her—she sent me a beautiful picture of Maud and some examples of her art, and I knew from that. That was just the first e-mail and that said she'd been sent the script, the minaret script—Wow. What a beautiful story, and a true life story.
Ethan Hawke: There's something about Aisling's being and personality when you meet her in relationship to this story, it feels like somehow—the second I met her I thought, "Oh, I'm doing this movie." Because there's something about her like, "Oh you should tell this story." She has a strong handle on it. And sometimes you meet a director and something happened and you can talk like, " Oh, you're where you're supposed to be. You'd be a good leader." And she's an excellent leader.
SH: And she came from art. She went to art school, something she could relate to very strongly and... Yeah, I don' t know whether I would go to art school or drama school, so exactly for me as well, but yeah, she is that.
EH: And she's very young…without trying at all, she's a natural born feminist, and in that you feel her wanting to tell stories, and in that way I felt [my character in the movie] Everett was equally respected because she's a humanist. And that's really what a person is when they're about the equality about all of us. She has that very strong you feel that from her.
SH: And you have to be diving in this industry with female directors. You need more of them.

AC: Yes. So did she send you the script first, or did you meet her and then…
EH: Sally first.
SH: Yes, yeah.
EH: They had worked together before and then I met you guys both in London.
SH: Yes, and that was so nice.
EH: Yes, and I just…the story is so simple and so clear, and the kind of movie that got made when I was a kid and I see less and less of around—like complicated adult emotional movies…
SH: It takes its time. Not action-based. Well, a little bit.
EH: It's a little bit…That' s action. You know.
SH: Yes, yes!

AC: What did you guys like about working with each other?
EH: (sarcastically) We didn't. It was really uncomfortable. Sally's not dedicated to her work, (Sally laughs) her commitment is fragile at best.
SH: Straight back at you.
EH: No imagination, she has a lot of difficulty learning the lines…
SH: It' s a problem. Thank you for being patient.
EH: She's really addicted to dresses. All she wants to do is go to premieres.
SH: Yes, I love.
EH: It's an exhausting experience. And she can't— I can't get her out of it, do photo shoots. And like she wants to talk about it— make-up, quite exhausting to me.
SH: I've got to go in a minute, because I'm going to go to shopping. So, yes, that is me, yeah.
EH: So we had terrible times. But thanks for asking.
SH: Yes! Who's difficult.
SH(To Ethan): It's good to see you.
Sally and Ethan laugh together.

AC: Well, can you tell me a little bit about your research and prep behind, both of your parts? It seems like what ... With the physicality, the limp, the dialect ... everything.
SH: I wanted to represent arthritis like a rumor you know, and juvenile arthritis quite particular, and got to Toronto quite early on before we start to do a bit of research to make sure it was all bedded in and not thinking about it. I didn't want it to be…you know it didn't stop her and I didn't want it to be the predominant thing because she is so much more and that's just part of her. So you just want it to be natural and not take away from who she was as a human spirit, really.
EH: It was a responsibility that Sally took incredibly seriously, of telling this woman's story and representing it authentically and truthfully. And it was contagious for everybody on board.
SH: Thanks.
EH: I mean her commitment was a hundred percent and exciting to be near. I think the art design and director and myself…when somebody is dedicated to a level of excellence, it asks the same of everybody else. It's really exciting to be around. And for me…about 15 or so years ago, I escaped to Nova Scotia. It was a place I met through friends. I was having a difficult time in my life and I bought a cabin there and disappeared there. I grew to love it there and met people and so I was a fan of Sally's acting, so when the script came, she was already attached and I was so interested to read it. And then it opens and says Nova Scotia, and for me, I'm like "I know that place". So I was reading about this man and I knew him, for better or for worse. And sometimes you read something and you're like "I can't play that person, I'm not the right person for that part, my imagination can't go there." But because I had spent a decade around some of these fisherman. And also that type of person is in Texas too, where I'm from. But the accent I was deeply familiar with, and the world.. I could picture his life because I spent a lot of time there and that was very helpful for me to believe myself in this. When you ask about research…all the exercises you hear about actors…they're all exercises to believe yourself so that you can tell the truth.
SH: It's like something to hold on to, a foundation…and you just forget it and hopefully it will be okay. And for me, Ethan was, there was no one else.
The film hits theaters this Friday.

独家：伊桑·霍克和莎莉·霍金斯谈论他们的新电影《莫娣》[视频]
作者：安德里亚·克里斯滕森 2017年6月14日
在由爱尔兰、加拿大合拍的新电影《莫娣》中，莎莉·霍金斯饰演可爱的主角，伊桑·霍克饰演她那粗鲁的丈夫。
这部电影根据莫德·刘易斯的真实生活改编，她出生于加拿大新斯科舍省，患有严重的关节炎，是一位鼓舞人心的民间艺术家。上周，我们有机会和两位演员坐下来讨论这部电影，大家可以在这里看到：

安德里亚·克里斯滕森：是什么吸引你们拍这部电影的呢？你们之前听说过莫德·刘易斯吗？
莎莉·霍金斯：我没有。没有。说来惭愧。但爱斯琳，嗯，我认识爱斯琳（导演）很久了，几年前还和她合作过。我一直想和她再次合作——她寄给我一张莫德的漂亮照片和几幅她画作的样本，我才了解了她。那是第一封邮件。然后她给我寄了剧本——哇。多么美丽、真实的人生故事啊。
伊桑·霍克：我能从这个故事中看到爱斯琳的个性跟影子，就像我一与她会面时就想，“哦，我要拍这部电影。”一样。因为她有这样的想法：“哦，该由你来讲这个故事。”她对这种事很在行。有时，你能遇到一个导演会让你对自己这样说：“哦，我可算来对地方了。我会是一个好的主角。”她是一个优秀的导演。
莎莉·霍金斯：她也是画家出身。她读的是艺校，这对她很有帮助。是啊，我当年不知道自己会去艺术学校还是戏剧学校，虽然对我来说一样，但是的，她就是那样。
伊桑·霍克：而且她当时还很年轻……根本没受过训练，她是一个天生的女权主义者，我能看出她想讲故事的那份热忱，从这个角度讲，我觉得（我在电影中的角色）埃弗里特同样受到了尊重，因为她是个人道主义者。当关乎人皆平等的时候，一个人的本质就显露出来了。从她身上你能感觉到她的坚强。
莎莉·霍金斯：你要多跟女导演一起投身这个行业。这行业太需要出更多女导演了。

安德里亚·克里斯滕森：没错。那导演是先把剧本寄给你们，还是你们见过她后……
伊桑·霍克：莎莉先到的。
莎莉·霍金斯：是的，我先到了。
伊桑·霍克：她们先一起工作的，后来我才去伦敦跟你俩碰的面。
莎莉·霍金斯：是啊，那样其实很好。
伊桑·霍克：嗯，是呀，我想说……故事既简洁又明了，很像我小时候看的那种电影，我现在越来越少看那些复杂的成人情感电影了……
莎莉·霍金斯：那些电影自有自己的节奏。没那么多动作戏。嗯，当然也有一些啦。
伊桑·霍克：是有一些动作戏……这就是表演嘛。你知道的。
莎莉·霍金斯：没错，是这样！

安德里亚·克里斯滕森：你们走了不少路。
伊桑·霍克：我们去遛了狗。太爽了。但最有趣的是，这部电影是关于心灵如何在一段时间内改变的——人们如何发生改变，艺术如何改变人们，人们如何改变彼此。这对我来说真的很有趣。这部电影的世界非常有趣……新斯科舍省是一个独一无二的世界。世界上有些地方有自己的特色——你知道，爱尔兰有自己的特色，就像这个小小的新墨西哥也有特色……世界各地都有独特的地方，而新斯科舍省并没有在现有的电影中得到应有的充分挖掘。它是那么的美丽。
莎莉·霍金斯：那里的风景太美了。爱斯琳是爱尔兰人，你可以在那里找到这种联系。
伊桑·霍克：真的有。这就像是一种精神上的联系。
莎莉·霍金斯：是的，就像被割开的土地……

安德里亚·克里斯滕森：你们搭档的感觉如何？
伊桑·霍克：（讽刺地）不咋样。真让人不舒服。莎莉并没有全身心地投入到工作中，（莎莉笑了）她根本没负起自己应承担的那份责任来，她的承诺脆弱不堪。
莎莉·霍金斯：你也没好到哪去。
伊桑·霍克：莎莉没想象力不说，她记台词还超艰难的……
莎莉·霍金斯：这是个确实存在的问题。谢谢你一直以来的耐心。
伊桑·霍克：她真的超爱礼服。她一心只想去参加各种首映。
莎莉·霍金斯：是的，我确实很爱礼服。
伊桑·霍克：这是一段很累人的经历。她没法——我没法让她不接受各式各样的媒体宣传拍照。还有她超想聊的事情——化妆，我真是精疲力竭了。
莎莉·霍金斯：我马上得走了，因为我想去逛街。所以嘞，没错，这就是我，就这样。
伊桑·霍克：所以啊，我俩最近这段时间都过得糟极了。不过，还是要谢谢你（对记者说）的关心。
莎莉·霍金斯：是的！我就是这么难相处的一人。
莎莉·霍金斯（对伊桑说）：很高兴认识你。
莎莉和伊桑一起笑了。

安德里亚·克里斯滕森：嗯，你能跟我谈谈你拍摄前为角色所做的研究和准备工作吗？比如……形体上的模仿、跛行的状态，或是口音方面的……一切。
莎莉·霍金斯：我想淡化病痛，尤其是退行性关节炎对塑造角色的影响。早在我们开始做那些前期扎实的研究时我就去了多伦多，我要尽力不去想它。我不想这样，你知道的，关节炎并没有成为她的绊脚石，我也不想让这成为她人生的主导，因为她本人是复杂、多层次的，而身患关节炎只是她的一部分。所以，我只是希望它顺其自然，而不是掩盖和剥夺她的本质与个性，真心的。
伊桑·霍克：莎莉非常认真、严肃地担起了这份责任，她讲述了这个女人的故事，并且真实、如实地予以展现。这一点对剧组的每个人都具有传染性。
莎莉·霍金斯：谢谢你。
伊桑·霍克：我的意思是，她对角色是百分之百负责的，而与她搭档是令人兴奋的。我认为艺术设计、导演和我……当一个人致力于追求卓越的时候，其他人也会对自己有同样的要求。与大家一起工作真让人激动。我大约15年前曾躲到新斯科舍省。我当时通过朋友了解到这个地方。我在那里买了一间小屋，然后就消失了。我渐渐喜欢上了这里，也认识了很多人。况且，我可是莎莉的表演粉，所以，当（我发现）剧本出来而她已经签约出演时，我迫不及待想看剧本了。然后，看到剧本提到了故事发生在新斯科舍省，我当时想：“我了解那个地方啊”。于是，我开始读埃弗雷特的故事，并了解了他的方方面面，无论好坏。有时，你读到一些东西，会说：“我不能扮演那个人，我不是那个角色的合适人选，我的想象力无法达到那个角色。”但由于我与渔民一起住过十年的时间。在我老家德克萨斯州也有不少这种人。我不仅对口音很熟悉，而且很熟悉这个世界。我可以想象出他的生活，因为我在那里呆了很长时间，这对我说服自己很有帮助。当你问关于研究的问题时，演员们都会告诉你他们所做的练习是让自己相信自己，这样他们就能真实呈现角色了。
莎莉·霍金斯：这就像是一种可以作为稻草去把握的东西，一种基础……你会忘掉它，然后祈盼一切奏效。对我来说，伊桑就是，无可替代的那个人。
这部电影将于本周五上映。