奥里奥尔·保罗导演的《海市蜃楼》比起前作《看不见的客人》有什么改变？ 第1页

感谢中国团队的朋友们帮我翻译

The Invisible Guest was about revenge, justice. This one is is about love. It also has elements of revenge and justice, but the love is the strongest feeling in this film. Not only for Vera, the main character, but also for the killer. Everybody is moving for love in this film.

I think they both share the complexity of the structure in the story telling, in how you tell the story. But I think this one is much more emotional. I think it pushes the audience to a higher emotional level. For The Invisible Guest, we had a strong plot twist at the end. And then this movie, we had a strong emotional plot twist. It’s in the basis of the story.

The Invisible Guest was like an investigation movie, like you have to guess what's going on. And in this one, you also have to guess, but you have the element of a mother looking for her lost daughter in time and space, which makes, the audience putting the situation of this mother and look for an answer. It's more emotional because you need to get that answer. Otherwise you’ll lose your daughter forever. So that's how we pushed the emotions. And also this movie somehow based on some personal experiences which make me know how to push the emotion.

This film is not just a thriller. It's also have some science fiction elements inside of it. For example, like the time traveling and also the alternate reality. For the shooting, it was a mess. Because everything you do, you have to do it twice, meaning you have two different timelines, which is the present time and 1989. And in these two different timelines, you have two realities. That means that every time you were shooting one timeline, you have to change it. When you change reality. And when you're shooting the other timeline, you have to change everything, meaning how the characters are dressed, the production design, the houses and everything. We had to change everything all the time. That meant that our schedule was really tight because were maybe shooting one scene in the present timeline. And the next day we're shooting another scene. But the timeline has changed, meaning that we had to change for that, like the production or the house, or how the protagonist looks. So it was kind of a mess to organize the shooting, but it's okay.

Is it possible to just shoot one timeline all together and then another? Yes, but it's much more expensive. Because I'm lucky to work with very famous Spanish actors and they have a very, very tight schedule sometimes. So you have to adjust to them, not them to me.

Actually it took ten weeks for me to shoot this film. But if to shoot the first reality first and then the other one, Maybe it would be twelve of fifteen weeks to do it. All the crew needed to adjust themselves. And also for the actors to be ready for every timeline. In fact, I think nobody shoots from the beginning to the end, just to follow a timeline. We always make the movies in different parts, not in order, but in this case, it was even harder because of the change of reality. For example, the way the character is dressed. For example, the killer, in one reality, he is young and in the other one he's older. So that means for the makeup, in one reality, he is a poor guy, and then in the other one, he's just happy. We needed to adjust all these things. It was kind of messy for the crew.

In terms of makeup, making it older and younger, making it older is more difficult to do. I didn’t apply any special effects. I just makeup. That's why it was a mess. Because I didn't want to use fake makeup. I wanted them to look real, but that means they needed time at the makeup room. In order to look like the age they are supposed to have. The neighbor was the most difficult part, the two of them, maybe four hours, every day.

The movie has the science fiction element, but I didn't want the movie to look like it’s done with a lot of effects. I thought that the fantasy was there, and I wanted the rest to look real. That's why I didn't want to use special effects. Probably the Nolan films, like Inception and the Interstella, what I like about Inception, I think is also a good reference for this film, is that the science fiction, is a conceptual science fiction. You don't see special effects, or a spaceship falling from the sky, or aliens. It's just a concept.

The movie doesn't really have a happy ending. It's open. She’s suffered so much that we need to give her something at the end of the film. Otherwise, audience goes home and says, wow, this is very depressing, but the end it's open. You don't know what's next. I mean, you can guess, and that's what I like about the ending, you can decide what happens next. But I think in my opinion, every movie needs an end according to the story you're telling. The audience needs to understand the statement of the film.

I think what I like about this film is that at the end, you can go to a bar and just talk about the timelines. And people just start to guess and wander around what they have seen. I think is good because it’s about alternate realities, it means that we present different realities and there is a gap between the two realities. And I like the audience to fill this gap between the two timelines and just guess what might have happened. When we wrote the script. We had this gaps, written for us to have them cleared. I had the board and everything, but for instance, we cut some scenes of the film like at the end Vera just leaves her husband, but we thought it's obvious she will leave her husband. So we didn't add it to the final cut. I think the audience can guess, or they can tell that she will leave the husband.

It's part of the game. It's part of the fun to guess all the time and like brainstorm all the time while you watch the film. In The Invisible Guest, I had the same deal with the audience. I don't like people just to go to the films and just say thay “let's see what's going on”. I like audience to be like okay, I need to be pay attention, and be careful about what they are presenting to me because everything is important. This is like twice of The Invisible Guest, because we have two timelines. So the effort is double, you have to think it twice all the time. One character belongs to one timeline, and the other belongs to another timeline. And you can see that they are different people in every timeline. It's right there, in the screen. You have to be careful and pay attention. It feels like treasure hunting. And it's like with The Invisible Guest, when you watch the movie for the second time, then everything becomes much more clear. And you can say, that’s how it happened.

《看不见的客人》主题是复仇和正义，而《海市蜃楼》是关于爱的，虽然它也有复仇、正义这些情节在里面，但是爱才是这部电影的主题。不仅主角的动机是因为爱，这部电影中杀手的动机其实也是因为爱，每个人都在为爱而活。

《海市蜃楼》和《看不见的客人》都有复杂的叙述结构。但我觉得《海市蜃楼》在情感渲染部分会更强烈，这会把观众的情绪提升到更高的临界点。《看不见的客人》在结尾有一个巨大的情节反转。而在这部电影中，这种反转主要体现在感情中。

说到调动观众情绪的方式，其实是源于这个故事的基础。《看不见的客人》就像是一部侦探、破案类电影，你得一直猜发生了什么。这部电影你也要猜测，你有一个线索是母亲在时空中寻找她失散的女儿，观众把这位母亲的情况摆出来，寻找答案。你需要得到答案，否则你会永远失去你的女儿。这就是我推动情绪的方法。这部电影还有基于一些个人经历，所以让我更容易知道如何推动情绪。

这部电影不仅仅是一部悬疑片，里面还融入了一些科幻元素。比如时间旅行、交替的现实。在拍摄过程中，我们也遇到了不少问题。因为有两个时间线，每一件事，都必须做两次。，现在和1989年。在这两个不同的时间线中，你有两个现实。这意味着你每拍摄一个时间线，所有一切都被改变了。当你拍摄另一个时间线时，你必须改变一切，这意味着人物的穿着，制作设计，房子什么的都要改。我们每拍摄一次就全都要改。这意味着我们的日程很紧，因为我们可能在目前的时间表中拍摄了一个场景，第二天我们又拍了另外一个时间的戏。时间轴发生了变化，这意味着我们必须为此改变，比如制作或房子，或者主角的长相。所以这一切拍起来就会是一团乱。

有没有可能把一条时间线一起拍，然后再拍另一条？有可能，但是那样要贵得多。这一次我很幸运能和非常有名的西班牙演员们一起工作，但他们的日程非常紧，所以我得适应他们，而不是让他们来跟随我的节奏。

我花了大概十周的时间来拍完这部电影。但如果要先拍第一个时间线，然后拍另一个，也许需要十五周以上的时间。所有的工作人员都需要调整自己，也要让演员们做好准备。事实上，我认为没有人会遵从时间线来拍摄。我们总是把电影分成不同的部分来拍摄，而不是按顺序，在这种情况下，拍摄会变得更加困难。例如，角色的着装，又或者凶手，在一个现实中，他很年轻，而在另一个现实中，他是个老人。这就意味着，在一个现实中他是穷小子，在另一个现实中他又可能很快乐。我们需要调整所有这些东西，这对大家都很难。

所以在化妆方面，对于我们和演员来说，也是一个挑战。对比年轻妆和老年妆，老年妆更难做。这部电影中我没有做任何特效，只是让他们化妆。所以这才会很麻烦，因为我不想让他们的妆看起来很假，我希望他们看起来像真的，但这意味着他们需要更多时间在化妆室，让他们看起来像应该有的年龄。两位邻居的妆容是最难的，每天他们俩都要花4个小时化妆。

这部电影的确有很多科幻元素，但我不想让它看起来像是用了很多特效。我更希望这种科幻感，体现在对现实的想象中，所以不想用过多的特效，让作品失去这种真实感。就像诺兰的电影其实也是这样，我喜欢《盗梦空间》，它也是我这部电影一个很好的参考，这个电影里面包含科幻概念，但你看不到特效，没有飞船啊外星人啊这些，科幻只是个概念。

这部电影不完全是一个大团圆的结局，它是开放式的。她受了太多的苦，我们需要在电影的结尾给她一些东西。否则，观众会回家说，这太令人沮丧了，所以结局是开放的。你不知道结束的时候会发生什么，或者说，观众可以决定下一步会发生什么。我觉得，电影的结局如何，需要结合具体的故事来看。观众需要理解的是，你希望通过这部影片表达的是什么。

我想我喜欢这部电影的是，在结束的时候，你可以去酒吧谈谈这个故事。人们开始延展、思考他们所看到的东西。我认为这样会很好，因为它是关于交替的现实，这意味着我们呈现不同的现实，两个现实之间存在空白。我喜欢观众来填补这两个时间线之间的空白，猜猜会发生什么。当我们写剧本的时候，我们就留有这些要被填补的空白。我们把电影中的一些镜头剪掉了，比如最后女主角就离开了她的丈夫的片段，因为我们觉得很明显她会离开她的丈夫。所以我们没有把它添加到最后的正片中。我想观众可以猜测到，她会离开丈夫。

这是游戏的一部分。在你看电影的时候，猜测时间和头脑风暴都是有趣的一部分，在《看不见的客人》中也是这样的。我不喜欢人们只是去看电影，然后想着“让我看看发生了什么”。我喜欢观众时刻保持注意力，不愿意错过任何一个细节。这个片子就像是同时看两部《看不见的客人》，因为我们有两个时间线。所以你的努力是加倍的，你必须每个情节都想两次。一个角色属于一条时间线，另一个属于另一条时间线。你可以看到他们在每条时间线上都是不同的人。你要时刻小心，这种感觉就像寻宝一样。就像《看不见的客人》一样，当你第二次看电影的时候，一切都变得清晰了。你那个时候就知道，故事是这样发生的。