很喜歡這部片子和Dree 轉載訪談，幫助理解片子臺前幕后，沒看錯av場面果然是替身然后剪得真不錯。好有趣的制作過程耶，原來去參加色情業(yè)展會是真的，使用隱藏拍攝，很多人以為女主就是pornstar然后各種~~ 哈哈，不過no judgement也是棒棒噠。dree也聊到很多關于自己家族的事情，喜歡她的低調單純，而且做出了一部好片子，這是我看她的第一部，很偶然找到的。翻譯就不做了，我覺得最直接的理解是看原文，給幾個關鍵詞，有興趣的自己理解。
body double 替身；improvisational 即興的；scatterbrained
注意力不集中

The young actress talks to THR about her burgeoning acting career as well as how she copes with bearing the last name of one of the world's most famed writers.

正文
As much as she'd probably like to avoid it, the first line in Dree Hemingway's biography probably would note that she is the great-granddaughter of famed writer Ernest Hemingway and the daughter of actress Mariel Hemingway. But with a few more movies like Starlet, her first leading feature role, that just might change.

Hemingway, 25, plays Jane, a flighty, listless woman in her early 20s living in Los Angeles with her friend and the friend's boyfriend. She flits about through her days, smoking weed and shopping and taking her Chihuahua wherever she goes. She might seem like a low-rent Paris Hilton, but she has more depth than it appears at first glance.

Film Review: Starlet

When she buys a thermos for a dollar at a yard sale from an old woman, she finds $10,000 rolled up inside. After trying to return the thermos to the cantankerous octogenarian, who refuses, she decides to at least befriend the lonely widow, Sadie. This is easier said than done, though the two eventually form an odd relationship. It is one built partially on lies; Jane doesn't tell Sadie about the money, or the fact that she works as a porn actress -- something kept from the audience through much of the movie, as well.

THR recently spoke to Hemingway about the film and her famous bloodlines.

The Hollywood Reporter: What happened in your interview with director Sean Baker?

Dree Hemingway: I’m so passionate about this character, but a lot of it was how I perceived her and who I thought she was and to clarify if I’d do the porn scene. And really wanting to assure me that they’d use a body double and just wanting to make sure I’d be comfortable with the whole situation. And everything he was saying about the character was something I had thought of, and there were things that I wanted to bring, and it was really nice. And what really hooked it was the communication between us.

THR: So you weren’t uncomfortable with the porn thing?

Hemingway: I mean, it freaked me out, I’m not going to lie. I think I was so passionate about the whole story that it’s kind of something that it needed. It freaked me out, but also knowing that it wasn’t me was kind of OK for me -- although I’m not in denial that people are going to think it’s me because a lot of people don’t watch the end credits, and it’s really well cut. But as much as it scares me, and is such a scary thing to do, it’s such a neat film that I think that one ending scene is kind of the most perfect ending for any movie, and I just love it. … I’m not a huge fan of porn, but I really wanted to embrace the world from a different perspective, where it’s not a tragedy, it’s not coming from a tragic place.

VIDEO: Starlet Trailer

THR: How much of the film was improv?

Hemingway: Most of it was improvisational, to be honest. It was like, we were given some lines, and you always had to know where you were going to end up in the scene, but a lot of it was improvisational. A lot of it was scary in a way that you can’t really craft. But it’s actually one of the most fun things I’ve ever done. You really have to be present in the situation that you’re in because a lot of time you were working with real people, who didn’t know until they were done working with us that they were on film and working with actors.

THR: Which points were that?

Hemingway: The whole entire porn convention. We had a hidden camera. I had a hidden mic. People thought I was a real porn star at a real booth. All those people talking to me.

THR: So they were just big porn enthusiasts.

Hemingway: They all kept coming up to me and saying: “I really love your movies. I want to work with you.” And I was like, 'Let’s go!' It’s so weird and crazy. And all those people playing bingo, we just stood in the bingo hall.

THR: Was anyone upset about being caught on camera?

Hemingway: A lot of people at the porn convention were really upset that they were on camera. Some of them were like parents, and some of these guys were like, “I’m a schoolteacher.” And you’re like, OK. … But the thing is, there is no judgment on them because they are just the ones that have the balls to get their asses off the computer and go to an actual porn convention. Which I have to say is kind of hilarious and really fun.

THR: Really?

Hemingway: Yeah. It’s an adult amusement park.

THR: It’s like a Comic-Con but for porn.

Hemingway: Exactly! It’s just like Comic-Con. You get some whacked, crazy people, but it’s so much fun. I think if you come to it from a point of not taking it seriously -- a lot of these people go, and they’re there to see one porn star whom they’re obsessed with -- but if that’s not your basis, it is a fun time. It’s hilarious.

THR: What would you do if you found that money, in that situation?

Hemingway: Oh, I’m such a guilty person, I’d totally give it back.

THR: No hesitation?

Hemingway: I mean obviously, I think that part of me would want to keep it in a way because it’d be like, oh I found it, and it’s -- what is that saying? Finder's keepers? But no, even if I’d try to do that, I’m too guilty. I remember when I was 14, I stole a little bracelet from a vendor, like an outside cart vendor, it was me being rebellious, and I had a lot of friends who loved to steal ChapSticks and little things, and so it was me trying to include myself in the situation. So I stole this bracelet. And I had it for a full day, but I couldn’t wear it because I felt so guilty. So when I wasn’t with my friends, I went and brought it back.

THR: So you are Ernest Hemingway’s great-granddaughter? Did you ever feel pressure to be a writer?

Hemingway: I would never write, ever. I might as well exile myself.

THR: Why?

Hemingway: Because it’s like, if I were related to Monet, I don’t know if I would be comfortable becoming an artist because it’s too much, the comparison. If I wrote a book and put it out, the comparison to my great-grandfather, the comparison would be hilarious. Every critic, it would be their dream, they’d tear me apart. I’m just not a confident writer, either. I feel like I can’t make sense of things in a way. I’m so scatterbrained when I write.

THR: Do people ask you to?

Hemingway: People ask me all the time. And my mother is an actress, and my aunt Margaux was a model. And it’s funny, as much as I’m all about I’m my own person, and I’m making my own name for myself, I have grown up in a world where most of these people who are like me are children of famous parents. So it’s easy to become the socialite and be famous for that. But my whole thing was, as much as I was inspired by what my parents do, and growing up on film sets, watching that made me really want to do that. I am my own person, and I think that the only thing with the Hemingway name is that it has gotten me in the door. But once you’re in there, I know I’m under a huge microscope, and everything you do, people are going through it with a fine-toothed comb and picking at you.

So it’s great, it gets you in there, but once you do, you’ve got to f---ing prove yourself. The modeling, I think it’s different because they don’t give a f---, it’s harder to get in there with a name already, and I think I had to prove myself, and it didn’t matter who I was. But I don’t feel like I’m competing against anything in my family; I’m so honored to be a part of it, but I also know I am my own self, and I’m not riding anyone’s coattails because I know I really worked for something.

Sadie在知曉Jane的秘密之后，亦然愿意與Jane一起前往巴黎，但是要求先去一趟亡夫的墓園，這次她讓Jane代替她去獻花，意在讓Jane發(fā)現S亡夫旁邊的墓碑——Sadie的女兒（1951-1969），她從來不曾向Jane提及她有一個十八歲就早逝的女兒。而Jane回過頭向Sadie的方向望去，她亦明白了一切，老太太當初為什么那么抗拒難以靠近的原因。還有一幕就是當Jane寄放在Sadie家的狗走失后Sadie尋找時那種絕望與無助，以及將小狗歸還給Jane時試圖將她們攆出她的世界她的生活，她經歷過喪夫喪女之痛，已經無法承受任何形式的失去了，不曾擁有就不會害怕失去，不是嗎。最后的鏡頭給了太多讓我們可以遐想的東西，她們之間已經建立了一種類似母女的感情，這種感情讓Sadie原諒了Jane并重拾行李一起去巴黎，像每個父母原諒子女一樣，而Jane也得到了無法從母親那里得到的東西。

看不懂結局，就搜索了一下。

看這部電影的原因只是因為當時它在人人影視的首頁，而且個人喜歡西方電影以人名（這部劇里面是女主狗狗的名字）或者普通名詞來命名影片，雖然翻譯成中文經常變成四字短語什么的，還以偏正短語居多== 往往更形象但是始終失去了原本簡單到包含一切的感覺【當然只是個人看法，而且貌似扯得有點遠。。

下面回到影片本身，之所以溫情是因為描述的是獨居老人Sadie和年輕女孩Jane的友情，雖然這段友誼剛開始的動機不純：Jane買下了老人的舊水瓶，卻驚訝地發(fā)現里面藏著的一萬塊錢，但她確實試著想還回去，而且試圖在生活中做到補償老人。剛開始，老人對她非常抵觸，當然這也是人之常情，年紀輕輕的女孩整天跟在獨居老太的背后還想辦法搭訕這不是騙子是什么。個人認為兩人真正的友情展現始于那次超市之行，Jane沒能及時出現在約定地點，Sadie自己默默地往回走。后來找到Sadie的Jane在車上默默牽起了老人的手，想必那時候觀眾也都明白正如她所說的，Jane無論如何是不會丟下老人的，陽光灑下，這是我覺得影片里最溫情的一瞬。

本以為兩人的友誼就這么平淡地發(fā)展下去，但是朋友間照看寵物的行為卻讓Sadie產生了對失去的恐懼，可以說是再一次產生這種深深地恐懼。小狗意外的丟失，老人幾近崩潰的尋找，這段看的我直流淚TTATT 聯系到影片結尾，失去十八歲的女兒，又失去了丈夫，只剩自己孤身一人。如今這段友情她要不起，也承受不了Jane的托付，只是因為怕失去，而這，是她再也承受不了的。

影片的結尾我很喜歡，雖然憤怒的Melisa告知了老人所謂“真相”，而且在老人重新整理旅行箱的時候我確實有了“天哪！不會不去巴黎了吧！”的擔憂，但是老人還是最終徹底敞開心扉，讓Jane自己看了老人丈夫及女兒的墓碑【這段鏡頭先是讓觀眾與Jane同樣陷入迷惑。結尾導演并沒有給出關于兩個人的答案，但是當我看到這里時，心里留下的只有樂觀。畢竟，友誼是同時滋潤兩個人的，一起經歷的種種，真真假假，大概也只有當事人才能體會。

回頭一想，無論是對于高齡獨身的老人，還是拮據的年輕女孩，一萬塊真的不如一段真正的友誼來的珍貴。



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個人很喜歡影片中的人物塑造，真實，豐滿。Jane確實是個女優(yōu)，而且影片也完完全全不帶掩飾地展示出來了，這是她的工作，也是整個人物的一部分。但這絲毫沒有影響她內心的善良，她真實、立體、不容忽視。即使是有些自私、不可理喻的Melisa也有她脆弱，讓人產生共鳴的一面。當她發(fā)現Jane藏起來的錢之后，我本以為“完了！她肯定要把這些統(tǒng)統(tǒng)花光了！”但是實際上，她還是把大部分的錢又放了回去，并且在心里默默期待其實Jane是拿她當真正的朋友，Jane內心也是希望把錢能花在她身上的，這種想法，也不免讓人生出幾分憐惜。。