好萊塢是如何拍攝性愛(ài)場(chǎng)面的

好萊塢是如何拍攝性愛(ài)場(chǎng)面的

To hear most actors tell it, filming sex scenes is no turn-on. There are big cameras, of course, and big crew members that come with them. It’s a performance with a stranger-turned-scene-partner, for a director who’s judging every caress and whimper. It’s the antithesis of hot, stars assure us on late-night TV; it’s awkward and tense. Speak to the filmmakers, though, and you get a different take.

根據(jù)大多數(shù)演員的說(shuō)法，拍性愛(ài)戲沒(méi)什么可興奮刺激的。當(dāng)然啦，片場(chǎng)有大大的攝像機(jī)，還有大群劇組人員跟著。和你一起表演的是剛剛變成拍片搭檔的陌生人，導(dǎo)演在一旁對(duì)你們的每次愛(ài)撫和嗚咽做出評(píng)判。在深夜電視節(jié)目中，明星們告訴我們，拍性欲戲完全是熱辣性感的反面，是笨拙而緊張的體驗(yàn)。但制片人們又是另一種說(shuō)法。

“I personally am very excited when we shoot sex scenes,” said Sarah Treem, a creator of the Showtime series “The Affair.” “Because I think they can be transgressive; they can be very, very real.”

“拍性愛(ài)戲的時(shí)候我個(gè)人覺(jué)得挺興奮的，”映時(shí)臺(tái)(Showtime)電視劇《丑聞》(The Affair)的主創(chuàng)莎拉·特里姆(Sarah Treem)說(shuō)，“因?yàn)槲矣X(jué)得它們可能是違法的;也可能非常、非常真實(shí)。”

When they work, she added, “everybody actually enjoys them.”

她還說(shuō)，一旦拍攝成功，“所有人都會(huì)喜歡它們。”

Audiences certainly do, if the blockbuster success of “Fifty Shades of Grey” is any measure. But they are delicate moments to capture. “We did actually save the explicit sex to the final week” of shooting, said Seamus McGarvey, the cinematographer of “Fifty Shades of Grey,” based on E. L. James’s S-and-M-centered novel — though on-screen, some of the whipping is created via digital imagery.

從《五十度灰》(Fifty Shades of Grey) 的轟動(dòng)性成功來(lái)看，觀(guān)眾當(dāng)然喜歡。但性愛(ài)戲是需要悉心捕捉的微妙時(shí)刻。“我們確實(shí)把最直白的性愛(ài)戲放在最后一周拍攝，”《五十度灰》的攝影師謝默斯·麥克加維(Seamus McGarvey)說(shuō)，這部影片根據(jù)E·L·詹姆斯(E.L. James)的虐戀小說(shuō)改編，片中有些鞭笞的鏡頭是用數(shù)碼技術(shù)實(shí)現(xiàn)的。

To simulate sex, actors employ tricks: pillows between them, prosthetics and body stockings, and push-ups to get their muscles bulging. But the movement is often improvised. “If it’s overly rehearsed or overly thought through, it seems like a bad soft-core porn on Cinemax,” said Judd Apatow, the auteur of raunchy rom-coms (and a producer of “Girls”). In the forthcoming comedy “Trainwreck,” Mr. Apatow directed the writer and comedian Amy Schumer in her first big-screen sex scenes; she pumped herself up by listening to Beyoncé in her trailer.

為了模擬性愛(ài)，演員們使用一些技巧：兩人之間隔著枕頭，他們還會(huì)使用假體化妝和連體緊身衣，做俯臥撐讓肌肉鼓起來(lái)。但動(dòng)作常常是即興的。“如果過(guò)度排練或想得太多，感覺(jué)就像是電影業(yè)內(nèi)拙劣的軟性色情片，”情色浪漫喜劇片導(dǎo)演和《都市女孩》(Girls)的制片人賈德·阿帕托(Judd Apatow)說(shuō)。在即將上演的喜劇《火車(chē)出軌》(Trainwreck)中，阿帕托指導(dǎo)編劇兼喜劇演員艾米·舒默(Amy Schumer)初次嘗試大屏幕上的性愛(ài)戲，她在自己的片場(chǎng)拖車(chē)?yán)锫?tīng)碧昂斯(Beyoncé)，好讓自己興奮起來(lái)。

On “Fatal Attraction,” Michael Douglas and Glenn Close were loosened up with Champagne and margaritas, said Adrian Lyne, the director of that sexually charged classic as well as “Indecent Proposal” and “Unfaithful.”

經(jīng)典情色電影《致命吸引力》(Fatal Attraction)的導(dǎo)演阿德里安·萊恩(Adrian Lyne)說(shuō)，拍攝該片時(shí)，邁克爾·道格拉斯(Michael Douglas)和格倫·克洛斯(Glenn Close)靠香檳和龍舌蘭酒放松，萊恩的《桃色交易》(Indecent Proposal)和《不忠》(Unfaithful)也是情色佳作。

Naturally, not all steamy scenes are amorous. Some, like those in Jean-Marc Vallée’s “Wild” and “Dallas Buyers Club,” are meant to be uncomfortable, and those are among the most difficult to create.

當(dāng)然，并非所有涉及性愛(ài)的戲都是色情的，比如讓-馬克·瓦雷(Jean-Marc Vallée)的《涉足荒野》和《達(dá)拉斯買(mǎi)家俱樂(lè)部》(Dallas Buyers Club)里面的性愛(ài)都讓人感到不舒服，這樣的場(chǎng)面是最難拍的。

In individual telephone conversations, these film professionals discussed one of the weirder aspects of their jobs, the logistics of sex on screen.

在分別進(jìn)行的電話(huà)采訪(fǎng)中，這些電影專(zhuān)家暢談電影工作中一件奇怪的事：性愛(ài)戲背后的準(zhǔn)備工作。

Write, rehearse and choreograph? Or just let the camera roll?

要寫(xiě)東西、要彩排，要設(shè)計(jì)動(dòng)作?還是干脆把攝像機(jī)打開(kāi)就行了?

Sarah Treem There’s a difference between the way that sex scenes are written and performed. We do have detailed stage directions. A lot changes on the day you’re shooting sex scenes, because they are so vulnerable for the actors. Some actors would say it’s them at the most honest.

莎拉·特里姆：寫(xiě)下來(lái)的性愛(ài)戲和演出來(lái)的性愛(ài)戲之間是有區(qū)別的。我們的確有詳細(xì)的表演指示。到真正拍性愛(ài)戲的當(dāng)天會(huì)有很多變化，因?yàn)檫@樣的戲?qū)τ谘輪T來(lái)說(shuō)太微妙了。有些演員會(huì)說(shuō)，他們才是誠(chéng)實(shí)付出最多的。

Amy Schumer I think I overwrote the sex scenes. It was probably half a page of very specific stage directions before I even said one word in the movie.

艾米·舒默：我覺(jué)得關(guān)于性愛(ài)戲我寫(xiě)得太多了。大概在我在片中的角色張口之前，我寫(xiě)了半頁(yè)非常詳細(xì)的表演指示。

Judd Apatow I took photos of every possible angle you could have sex in, but then on the day, all of it goes out the window. There’s only so many places you can put the camera for that activity.

賈德·阿帕托：我在拍性愛(ài)戲的布景地點(diǎn)，從每個(gè)角度拍照片，但到了拍攝當(dāng)天，一切都被丟到一邊去了。拍那種戲的時(shí)候，能放攝像機(jī)的地方有那么多。

Seamus McGarvey We did have rehearsals and to make the actors feel comfortable initially, look at how we might photograph the sex. Also, that suited the first few sex scenes, to have a slight awkwardness to them; the camera would be more at a distance. In the Red Room, when things heat up a little bit, that was less choreographed. Sometimes we would use a remotely operated camerahead so the actors wouldn’t have an operator leaning in.

謝默斯·麥克加維：我們確實(shí)會(huì)排練，先讓演員覺(jué)得自在，我們也看看該怎么拍攝性愛(ài)。另外，為了表現(xiàn)他們剛開(kāi)始做愛(ài)有些笨拙，鏡頭應(yīng)當(dāng)離得遠(yuǎn)一些。在 “紅房間”兩人之間的熱情有點(diǎn)升溫，就不需要設(shè)計(jì)那么多動(dòng)作了。有時(shí)候我們會(huì)用遠(yuǎn)程控制的頂部攝像機(jī)，這樣演員就不會(huì)受攝像機(jī)操作者的干擾。

Adrian Lyne You try and create a situation where there are possibilities. I’ve always thought that sort of grabbed sex is more fun than that statuesque sort of bedroom stuff. So in “Fatal Attraction,” the scene where they [have sex] over the sink, I knew it had humorous possibilities because there was plates and cups in the sink. If you don’t get some humor in, the audience will laugh at you, because they’re nervous watching it.

阿德里安·萊恩：你試著創(chuàng)造出一個(gè)有各種可能性的情景。我總是想，那種激烈的性愛(ài)比臥室里安靜的性愛(ài)更有意思。所以在《致命吸引力》里，他們?cè)谒圻呑鰫?ài)，我知道這有幽默的可能性，因?yàn)樗劾镞€有杯盤(pán)。如果你不放進(jìn)一點(diǎn)幽默，觀(guān)眾會(huì)嘲笑你，因?yàn)樗麄兛粗@種戲會(huì)覺(jué)得非常緊張不安。

Jean-Marc Vallée There was no specific choreography, but there’s a way of setting a tone. Restricted crew, it’s just available light where we can move 360 degrees with the camera — this is the intention, and let’s see where it goes from there. [In “Wild”] it wasn’t specifically planned for this guy to take Reese [Witherspoon], to turn her on her back, and take her from behind, but it just happened as we were shooting. And [in “Dallas Buyers Club”] with Matthew [McConaughey], at one point he had a threesome, with two girls in this trailer home with his friend watching him, and he was on fire.

讓-馬克·瓦雷：沒(méi)有特殊的動(dòng)作設(shè)計(jì)，不過(guò)要設(shè)計(jì)一種基調(diào)。對(duì)工作人員做出要求，要有足夠的光線(xiàn)，讓我們可以360°移動(dòng)鏡頭——目的就是這樣，然后讓我們看看在這兒拍會(huì)怎樣。(在《涉足荒野》中)，和瑞茜·威瑟斯彭(Reese Witherspoon)做的男人到她背上，從身后和她做，這不是特意設(shè)計(jì)的，就是拍攝時(shí)自然發(fā)生的。在《達(dá)拉斯買(mǎi)家俱樂(lè)部》里，馬修·麥康納 (Matthew McConaughey)有一場(chǎng)3P戲，和兩個(gè)女孩在拖車(chē)?yán)镒?，朋友看著他，他非常亢奮。

Do you ask for nudity, and then worry about covering it up afterward?

你是不是會(huì)要求演員裸體，然后再考慮遮擋的事情?

Lyne That’s the best way to do it. [In “Fatal Attraction”] I always remember when Michael Douglas is trying to carry her over her to the bed, and he couldn’t get out of his pants, and he’s having hysterics laughing. And he was naked — well, he had his shirt on. We noticed in the cutting room literally one frame where his testicles were visible. You couldn’t cut it out — it’s very, very brief. [Laughs] I hope Michael will forgive me for saying this.

萊恩：這是最好的辦法。我一直記得，在《致命吸引力》里，邁克爾·道格萊斯想帶她上床，他沒(méi)法脫掉褲子，于是歇斯底里地大笑起來(lái)。后來(lái)他穿著襯衫，赤裸下身。在剪輯的時(shí)候，我們發(fā)現(xiàn)，在一個(gè)鏡頭里，可以看到他的睪丸。你沒(méi)法把這個(gè)畫(huà)面剪掉——這一幕非常非常短(大笑)。我希望邁克爾原諒我說(shuō)這些。

Treem We have actors on our show who have varying relationships to nudity; people have things they will and will not show, and we have to respect that. We had to create sex scenes that looked like we weren’t trying to cover body parts when we were. And — this was a discovery for us — sometimes the sexiest sex scenes, we shot very tight, only the actors’ faces.

特里姆：演員們對(duì)待裸體有各種各樣的方式;有人愿意露某些部位，有人不愿意露，我們得尊重他們。拍性愛(ài)戲的時(shí)候，我們得遮擋一些部位，同時(shí)又要顯得好像什么都沒(méi)遮。有時(shí)候最性感的性愛(ài)戲只有貼近演員面部拍攝——這個(gè)發(fā)現(xiàn)倒是適合我們。

McGarvey We were protecting the actors. Jamie [Dornan] had a cover over his penis. Dakota [Johnson] had kind of a patch that went over her pubic area, and right round her whole body. We were in the curious situation, in postproduction, of adding [pubic hair]. I wouldn’t say it was one of the highlights of my career, but it certainly was one of the most surreal scenarios. We did have a butt double for Dakota. I had the pleasure of casting a nontattooed bottom — Surreal Scenario No. 2.

麥克加維：我們要保護(hù)演員。杰米·多南(Jamie Dornan)遮住了自己的陰莖。達(dá)科塔·約翰遜(Dakota Johnson)在私處貼了某些東西，繞她身體一圈。后期制作時(shí)非常奇妙，我們得添上陰毛。我不覺(jué)得這是我事業(yè)生涯中的亮點(diǎn)時(shí)刻，但這確實(shí)是非常超現(xiàn)實(shí)的一幕。我們拍達(dá)科塔的屁股時(shí)使用了替身，我喜歡沒(méi)有紋身的屁股——這是第二個(gè)超現(xiàn)實(shí)的場(chǎng)面。

Schumer I am sort of a boundaryless person, which is something I’m working on. In our house, nudity wasn’t a big deal, so that was never an issue for me. It was about the crew. The sex scenes that are funny, I don’t care, but the ones that are actually sexual, it’s like these people are seeing me be really vulnerable. Frank, who’s holding the boom, is seeing, “Oh, this is what Amy is like when she really means business.” In between every single take, I think I screamed, “It’s so embarrassing!”

舒默：我是那種百無(wú)禁忌的人，拍東西也是這樣。在我們家，裸體算不上什么大事，所以對(duì)于我來(lái)說(shuō)從來(lái)不是問(wèn)題。問(wèn)題在于劇組人員。性愛(ài)戲很有意思，我不在乎，但是那些人是有性欲的，好像那些看著我的人真的很脆弱。弗蘭克拍性愛(ài)戲時(shí)說(shuō)，“啊，艾米當(dāng)真的時(shí)候就是這樣的”。拍每場(chǎng)戲間隙的時(shí)候，我都大叫： “太尷尬了!”

Sex scenes mean a small crew. But how close are the cameras and how many takes?

拍性愛(ài)戲時(shí)只會(huì)有少數(shù)工作人員在場(chǎng)，但鏡頭要離多近，要拍多少次?

McGarvey For the sex, we would always shoot with two cameras, so they wouldn’t have to do numerous takes. I have done sex scenes before that have more abandon, for instance, in “We Need to Talk About Kevin.” When I did that scene with Tilda Swinton and John C. Reilly, with a 5D [camera], I was literally under the covers.

麥克加維：拍性愛(ài)戲的時(shí)候，我們總是用兩個(gè)鏡頭拍攝，這樣就不用拍很多遍。有幾次，拍性愛(ài)戲時(shí)一次就成功了，比如拍《凱文怎么了》(We Need to Talk About Kevin)的時(shí)候。那是和蒂爾達(dá)·斯文頓(Tilda Swinton)與約翰·C·賴(lài)?yán)?John C. Reilly)一道拍的，使用5D鏡頭，我感到很放心。

Lyne [In “Indecent Proposal”] the scene with Woody Harrelson and Demi Moore, I remember shooting it on the zoom so you can just push in and grab bits and pieces without stopping, and then get it wider. It’s a mistake to stop them. Usually they’re quite quick, love scenes like that, because there’s a limit to their endurance. Just in terms of kissing somebody, you can’t kiss forever.

萊恩：(拍《桃色交易》的時(shí)候)，有一幕戲是伍迪·哈里森(Woody Harrelson)和黛米·摩爾(Demi Moore)一起拍的，我記得當(dāng)時(shí)把鏡頭推得很近，這樣就可以一氣呵成地拍下各種細(xì)節(jié)，然后又給更寬的鏡頭。讓他們停下來(lái)是不對(duì)的。通常他們都會(huì)很快，性愛(ài)戲就是這樣，因?yàn)樗麄兊娜棠褪怯邢薅鹊?。比如說(shuō)接吻，你不可能一直吻下去。

Do the performers have to be turned on?

演員必須有性興奮嗎?

Vallée I’ve never seen an actor with an erection, in all of the films and the sex scenes that I’ve done, but it doesn’t mean that I haven’t seen a guy being excited. It’s so technical, but we’re humans, and they’re naked, and they touch each other.

瓦雷：在我拍的所有電影和性愛(ài)戲里，我從來(lái)沒(méi)見(jiàn)過(guò)有男演員勃起過(guò)，但這并不意味著他們不會(huì)興奮。拍性愛(ài)戲太需要技巧，但我們都是人類(lèi)，而且他們都是裸體，還要觸摸對(duì)方。

Lyne The scene wouldn’t be working if they weren’t. Obviously, you’re not literally doing penetration but they’re both aroused; they would have to be; otherwise the scene would be hopeless.

萊恩：如果他們沒(méi)有性興奮，這一幕就無(wú)法讓人信服。顯然，你不能真的有插入，但雙方都要有興奮感，他們必須這樣;否則這一幕就沒(méi)法拍好。

Do actors express worry about their bodies?

演員是否會(huì)對(duì)自己的身體表示焦慮?

Lyne Yes, I did have [an actor concerned about his manhood] — without the slightest reason to be worried — but it did show the amount of paranoia in their minds. I say, “You’re fine, you’re great!”

萊恩：是的，我遇到過(guò)(一個(gè)男演員擔(dān)心自己的生殖器)——他們其實(shí)沒(méi)有任何理由去焦慮——但他們腦子里確實(shí)有不少妄想狂的念頭。我會(huì)說(shuō)：“你很好，你棒極了!”

Vallée It happened in my first feature film. The lead actress had to perform a sex scene, and I think she was 35 at the time. She wanted to really talk about the angles and not show her from behind, and O.K. from the side, but not her breasts when she laid down. I can understand.

瓦雷：我執(zhí)導(dǎo)第一部長(zhǎng)片時(shí)發(fā)生過(guò)這種事。女主角得出演一幕性愛(ài)戲，我想她當(dāng)時(shí)有35歲了。她想討論一下拍攝角度，不要從她后面拍，從側(cè)面拍沒(méi)問(wèn)題，但當(dāng)她躺下來(lái)的時(shí)候，不要拍她的乳房。我可以理解。

Schumer I definitely was saying to my sister [a producer on the film], do I look O.K.? They want us to look good, so they’re not going to be like, “Oh, cool, look what a realistic cellulite shot.” Beforehand I tried to look good; once they’re rolling, it’s the last thing on my mind. [But] I definitely skipped Taco Tuesday that day.

舒默：我真的問(wèn)了我的姐妹(她是這部片子的制片人)，我看上去怎么樣?他們希望我們看上去好看，所以他們不會(huì)說(shuō)：“好酷，多棒的脂肪團(tuán)呀。”以前我都盡量想顯得好看，一旦拍起來(lái)，我就不去想了。但那天我確實(shí)沒(méi)有吃玉米卷餅。

Quiet on the set! Or not?

拍攝時(shí)會(huì)保持沉默嗎?

Vallée With actors, while they’re doing it, I tell myself, “Shut up; don’t talk,” even though I want to.

瓦雷：演員表演時(shí)，我會(huì)告訴自己：“閉嘴，別說(shuō)話(huà)”，盡管我想說(shuō)。

Lyne What I have a horror of is these poor souls in total silence and not knowing whether they look good. So I’m always vocal, almost like I’m doing it with them. I’m going: “That was good. Do it again.” Afterward they have to cut my voice out.

萊恩：我討厭讓這些可憐的家伙們置身沉默之中，不知道自己做得怎么樣。所以我總在說(shuō)話(huà)，簡(jiǎn)直就像我在和他們一起演。我說(shuō)：“這個(gè)好，再來(lái)一次”，然后他們還得把我的聲音剪掉。

McGarvey [The director] Joe Wright is a great proponent of music to help actors get into the mood. It helped the actors’ movement and the camera’s kind of coalesce, because it is like a dance. On “Atonement,” there’s a scene in the library between James McAvoy’s character and Keira Knightley’s, and we shot that to “Come to Me” by Mark Lanegan and PJ Harvey, a very languid, sexy tune, because the camera was hand-held.

麥克加維：(導(dǎo)演)喬伊·懷特(Joe Wright)喜歡用音樂(lè)幫助演員進(jìn)入情緒。它能幫演員的動(dòng)作和攝像機(jī)更好地結(jié)合在一起，因?yàn)檫@很像舞蹈。在《贖罪》(Atonement)里有這樣一場(chǎng)戲，是詹姆斯·麥克沃伊(James McAvoy)的角色和凱拉·奈特莉(Keira Knightley)的角色一起排的，我們邊拍邊放馬克·雷尼甘(Mark Lanegan)和PJ·哈維(PJ Harvey)的《來(lái)我身邊》(Come to Me)，這是一首慵懶性感的歌曲，因?yàn)槲覀冇玫氖鞘殖謹(jǐn)z像機(jī)。

Is it ever awkward for you?

你曾經(jīng)感到過(guò)尷尬嗎?

Treem One of the sex scenes in Episode 4 — the character of Alison doesn’t really [have an orgasm]. She’s in grief, she’s lost a child, she’s sexual but she cannot enjoy it, and finally she does. Getting to that place was a bit of a challenge. I was acting out the sex scenes for [the episode director] Jeff Reiner. I’m acting out an orgasm with the whole crew behind me, and finally he was like, “Oh, I get it.”

特里姆：在第四集，有這么一場(chǎng)性愛(ài)戲——艾莉森(Alison)的角色不想(做愛(ài))。她很悲傷，她失去了一個(gè)孩子，她有性欲，但她并不覺(jué)得享受，但她最后還是做了。拍這樣的戲有點(diǎn)挑戰(zhàn)性。我給(這一集的導(dǎo)演)杰夫·雷納(Jeff Reiner)演示這場(chǎng)性愛(ài)戲。我演示的時(shí)候，整個(gè)劇組成員都在我身后，最后他說(shuō)，“啊，我懂了。”

Vallée I do get excited, but not sexually. I’m excited as a filmmaker.

瓦雷：我都很興奮，但沒(méi)有性欲。是那種作為電影人的興奮。

Apatow I’m very shy. We did “The 40-Year-Old Virgin”; there was a speed-dating scene. The joke was a woman’s breast pops out, and I might’ve done half a take of it before I said we had what we need.

阿帕托：我非常害羞。拍《四十歲的老處男》(The 40-Year-Old Virgin)時(shí)，有一場(chǎng)快速約會(huì)的戲。搞笑的是，一個(gè)女人的乳房露出來(lái)了，我可能才拍到一半就說(shuō)，已經(jīng)拍好了。

Schumer [The scenes] totally serve the story; they belong there. As to whether I would rather just be sitting in a dialogue with someone in a diner versus having them thrusting in my thigh — yeah, I’ll take the diner and get a piece of coconut cream pie. [But] I’m glad we did it.

舒默：(性愛(ài)戲)完全是為故事情節(jié)服務(wù)的;它們屬于整體故事。你要問(wèn)我是愿意拍晚餐時(shí)的聊天戲還是愿意讓別人戳我的大腿——好吧，我愿意吃晚餐，再來(lái)一塊花生醬派。(但是)我很高興我們拍了這個(gè)。