Interview with Joanthan
on "The Disappearance of Finbar" DVD - UK version |
皆さま、お待たせいたしました。この 『Finbar』 インタビューは、2003年10月にイギリスで発売された
『The Disappearance of Finbar』 英国版DVD の特典映像に収録されています。
以下の Transcript （文字おこし）は、flagstone さんのご好意で実現しました。大変な作業をしてくださって、本当にありがとうございました！
また、早くから頂いていたのに、アップするのにこんなに時間がかかってしまって本当にすみません…（平謝り）
なお、赤色部分は、flagstone さまによる補足です。[ ] 内は、分かりやすいように言葉を足して下さって、( ) 内は、別の言葉で言い換えて下さってます。何から何までありがとうございました〜！
The Disappearance of Finbar
DVD special feature-Interview with Jonathan Rhys Meyers
Transcript and supplementation (in red) by flagstone
★ Interview Clips
One morning I got a phone call from Patsy Pollock (*1), who's a very very close friend and a very very beautiful woman. And she
said "I've got this script and I think, you know, you're really good
for it". So she sent it to me and it was The Disappearance of Finbar and I read it straight away that morning about 9 o'clock.
I was undecided between two characters because, you know, Danny get's more
air time within it. But I knew I was never going to play that [part], that Finbar was closest to me.
What I found attracted me to Finbar and I also found in myself was his
faults, and his faults were very much [the same as] mine and so were his dreams.
And, you know, he wanted everybody to be at peace with him (= get on well with him), he wanted love from his family and essentially he wanted to fly (=have his dream) ---which he did.
Your dreams are very important and for some people they have this thing which they call their fate and, hmm, destiny. Well, everybody has, I think, a destiny and some people also have a fate. Oh, and I'm not sure they're the same thing, they are very very similar.
But for some people it's not written at all unless they write it themselves. So they've been presented [with] a blank page. Now you can either fold it up and make a little aeroplane
out of it and fly it out the window or you can, you know, take a pen and,
you know, start writing it yourself.
And I think I got a blank page because anything I do I'm going to have
to do it myself. I'm going to have to be my own author, and the same with
Finbar.
★Leaving home
In Finbar the influence of his parents is quite huge, and maybe as a young man [they influenced him] quite positively because he has got a lot of love for them. So there was some affection at some point, but it slowly turns to a bitterness because, I suppose, when children are young and their parents are young the children get more affection because their parents still believe they can have their dreams. But as they grow older and their dreams don't happen, it turns on the kids to have their dreams (=achieved vicariously).
And Finbar was so strong in his own dream that he couldn't be intercepted by another (=parent's dream) for any length of time. And so, I think, that is the reason why he had to run away from playing football and he also had to run away from this family.
When he eventually came back and found that it wasn't open arms for him
(=warm welcome), it was more like crossed daggers (=hate).
★Fear of flying
It is very very difficult because I've never been a courageous boy and
Finbar isn't a courageous boy. You know, courageous people do not run away---they
stand [and fight].
And he is constantly running away but, I think, throughout the film you can see him slowly admitting it to himself and he has almost got this sneering humour (=look) about his cowardice.
And I was a big coward as well, I suppose that's why I was so close to what he was doing.
And, you know, I had this wonderful man called Francios who was my stuntperson
and he was fabulous. And he made me feel as comfortable as he could but
it wasn't easy, you know, but I chose to do it so I had to block my mind.
And my heart became rosier (=happier) after it because I'd actually done something and challenged myself physically,
mentally, and faithfully.
[Scene from the movie]
Finbar: Jaysus (=Jesus), You've got me surrounded (=you've caught me), have ya?
Girl: Hey, would you tell him to come down..
Danny: You fucking eejeet, will ya come down!
Girl: No, Finbar, don't.
Danny: Finbar, Finbar, Jesus Christ!
Girl: OK...No, you can't look.
Danny: Come down!
Girl: Finbar, you're gonna fall.
Girl: Finbar, get down, do you hear me?
Danny: Shut the fuck up, will ya...
Finbar: Yeah, I hear you.
Danny: Finbar,....will you come......
There are basically 4 stunts to make up the one sequence (=scene). Hmm...
They...there was a half built flyover in Fettercan (=a place in Ireland) and I had to climb on this and I had to originally lean forward as if
I was falling, but I had a wire attached to me, and [while] bouncing a football. And then the most dangerous one was the Lucan (=a place in Dublin)bypass which I did twice in like 2 different very different shots of it.
And I think that was the scariest because I had trucks going under me and
a 50 foot drop and such like. And of course I had to drop out of that (=not do the stunt myself) also which was very difficult [to decide]. But, you know, Francois did a lot of the stuff (=stunts)....the most most dangerous stuff that has to be done. I have to continue
to play out the story (=finish the movie) but I did as much as I could, as much as my heart would let me.
Then we built a platform that was maybe, you know, 8 feet high, maybe 9 feet, 10 feet maybe. an mattresses below it. And I had to fall clean (=straight) past the camera at a very very, you know, just inches past [from] it, which was very scary. I didn't know (=realize) it at the same time but if I'd hit the camera I could have been hurt pretty
badly, but it didn't seem to matter.
★Relationship with Danny
The relationship between Finbar and Danny is... It's difficult in the sense
that they meet after 3 years and they are very very good friends but when
they rekindle their friendship they find that they are strangers who have
learnt and grown in different circles.
And they find themselves not clicking even though they really really want to feel that energy that they once felt between themselves.
And with Luke personally when I first met him as just Luke we started to
get on quite well and then for some reason we drifted (=apart) and started to not get on as well [as we did before]. There was, I suppose, little bits of jealousy within 2 young actors,
one who has never actually acted before or another who has acted and has
some experience and is older. And there is also 6 year gap between us,
so he had a different mind at that point. Hmm, It is the same I think,
it paralleled the characters in what we were feeling and the emotions we
were using and the emotions we were manipulating while we were doing it.
And eventually ends out in (=ends up) happiness for Danny and a new lease of life (=reborn) for him.
And for Finbar---the unknown---which is what he wanted to do because when you fly, you fly into the unknown.
★The Arctic
The people of the Arctic and the general Arctic itself is one of the most
magical places I've ever been to. Whereas, I found it very very difficult
being up there being away from home, shooting a film for the first time,
not feeling totally confident within myself because you don't really [feel confident] at 17, but at the same time, having some fun.
And I wasn't very very mature and, I think, people realized I wasn't very
very mature and so I got away with a lot of things (=not be punished), but a lot of things I did not get away with.
Hmm, but the people up there, they were from different time. They had antique thoughts, they had a culture that for some people hadn't been touched for hundreds and hundreds and hundreds of years.
That was so beautiful and pure and it's the most beautiful and pure place
I think I've ever been. I have never felt cleaner than when I've been in
Kirana (/Kirina/Kiruna? = a place in Sweden). It is probably one of the most beautiful places I've ever seen. And the blistering sun, the beautiful snow, the beautiful light that shines in peoples' faces; they suddenly become angels, everyone becomes an angel.
★Subsequent films
I did a film with Stephen Poliakoff called The Tribe and I finished that and went to the Unite States and did a film with Tim
Hunter called The Maker. And after that I went and did a film called Telling Lies in America. After that I did B.Monkey with Michael Radford.
Then Velvet Goldmine with Todd Haynes, The Governess with Sandra Goldbacher, The Loss of Sexual Innocence with Mike Figgis, Ride with the Devil with Ang Lee, Titus Andronicus with Julie Taymor and then Gormenghast with Andy Wilson for the BBC the Millennium project.
★Lessons from Finbar
I learned that I did not know everything and so in that presumption you make when you are a kid. And, I think, what I've learned from the point of view of my enduring professional career is trying to be an actor is you know, unthinkable (=I've learned quite a lot).
I mean if I did the part now I would have much more control over what I do, and I'd understand it a lot more.
Hmm, when I did ' The Disappearance of Finbar,' I wasn't acting it I was
being it. I didn't know any other way to be.
But, I think, my experiences out of (=from) it have definitely been in the identification (=realization) that I was in a different world that I'd never even thought about in,
you know, embracing. Kirana was such a different different different experience
from my boyhood my background.
Everything seemed so clean and fresh and rich and new.
And here I was in this film with people, constantly surrounded, you know, saying " Hello, Jonny" every single morning, so it wasn't like I didn't feel unwanted any more. I felt wanted in a way that I was worth something which, I think, a lot of kids who are brought up in areas which aren't as affluent are made in society to feel they are not worth the same.
So it's much more difficult [from them] because, you know, the possibilities for education are not the same, the
possibilities for getting a job are not the same if you come from a certain
area (=poor area).
It does make a difference, it makes a difference in social friends, friends who can get you interested in moving (=energy to do something) because friends are very very essential if you want to get on (=succeed) in the world.
And for a lot of kids in their areas, you either, you know, sing or act
or dance or kick (=play football) or box (=boxing) you way out. And, you know, it's changing slowly but surely because the
world is now becoming much smaller and information is becoming more available
to everybody.
And, I think, people are becoming more accessible to a broadminded intelligence and so the kids who are in those areas and who have had that background of not having [anything] realize that they can fulfill their dreams.
(*1) Patsy Pollock (IMDb): ヨーロッパを中心にご活躍のキャスティング・ディレクター。ジョナサンが受けた最初のオーディション
『War of the Buttons （草原とボタン）』 の制作アソシエイトに名を連ねてらっしゃいますので、その頃からの知り合いかと思われます。
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