– 英語/日本語バイリンガル歌詞

歌詞と翻訳

[日本語]

クリエイティブなコラボレーションにおいて

ルールや格言、原則を作るのは難しいものです。

その「化学反応」というものは

状況ごとにあまりにも特殊だからです。

50本近く映画を作ってきましたが、

I've made like 50 films, and I'm not

効果的で前向きなコラボレーションを生み出すための

for creating a

唯一のメソッドがあるかどうか、

正直確信が持てません。人はそれぞれ

全く違うやり方で働きます。

リーダーシップは必要です。それは

誰もがその中で動くことになる「枠組み」を

creates the

作り上げ、

you're all working and

目標を明確に示し、

the goals and articulates in some sense

守るべき原則や価値観がある場合には

それをはっきりと定義してくれるような存在です。

人は本来、非常に順応性が高く、柔軟です。

adaptable, very malleable, and can get

どんなやり方に対しても意欲的になれるものですが、

リーダーシップとは、

最初に全員の周波数を合わせる作業だと思います。

getting people tuned into the same

frequency

そうすることで、最高の、いや、

the you know, um I don't want to say

「最高」とは言わずとも、効果的な

コラボレーションが可能になるのです。

これまで本当に刺激的だった

that

were really inspiring. I I mean, working

クリエイティブな経験がいくつかあります。

例えば『バードマン』でアレハンドロ・イニャリトゥと仕事をした時です。

彼は撮影が始まる前に、

started to uh

フィリップ・プティが世界貿易センターの間で

命綱なしで綱渡りをする様子に例えていました。

without a net. He He established that it

彼はこの作品が非常にリスクを伴うこと、

ワンカット撮影が失敗するかもしれないことを認めました。

しかし、それに挑む価値があること、

that putting ourselves out

逃げ場のない状況に身を置くことこそが

workaround was going to produce

何か面白いものを生み出すのだと説いたのです。

彼は全員を「クリエイティブなリスクを取る」という意識で

together around the idea of creative

一つにまとめ上げました。

オリヴィア・ワイルドも、最近の映画『ドント・ウォーリー・ダーリン』で

this film The Invitation that we did.

素晴らしい言葉を使っていました。

She used a phrase I love. She said,

「飛び降りながらパラシュートを縫い合わせるの。

the way down

開くと信じてね」と言ったんです。

彼女が言いたかったのは、

is that she was willing to set out on

物語の結末を知らないまま旅に出る覚悟、

without knowing what the the end of the

そして撮影の過程でその結末を

to find

that we were going to actually find the

見つけ出していこうということでした。

彼女は私たちに状況だけを提示し、

自分たちのキャラクターに対する意見を持ち寄るよう求め、

our characters into the mix and

どこへ向かっているのかを正確に知らない状態を許容してくれました。

we were going.

おかげで不確実性は「発見」へと変わりました。

into discovery. You know, and discovery

発見は楽しく、活力に満ち、生き生きとしています。

全く同じ状況でも、もし全員が不安を感じていたり、

and if everybody feels like you know,

「何をすべきか分からない」「知っていて当然じゃないのか」なんて思っていたら、

doing or aren't we supposed to know what

we're doing,

it has a very different feedback loop

全く別のフィードバックループが生まれてしまいます。

同じ状況であっても、どう枠組みを作るかによって、

it

to people can make it a positive an

ポジティブな感情にも、ネガティブな感情にもなるのです。

negative.

優れたリーダーは、関わり方のルールと、

communicates the rules of engagement,

どのようなやり方で進めるかを伝えます。

going to work in because then people can

そうすれば、メンバーは「ああ、不安を感じていいんだ。

supposed to feel uncertain. Feeling

不安なのは良いことなんだ」と思えるようになります。

「試してみないか？夜のうちに機材を設置しておくよ。

it in I'll come in in the night.

We'll put them in. We'll put them in for

無料でやる。気に入らなければ、

And if you don't like it, you know,

取り外せばいい。損することなんて何もないだろ？」

Um we'll we'll we'll take it away and

you know, what have you what have you

got to lose? And people would sort of

そう言われると、みんな「分かった」と言った。

マイク・ブルームバーグが自らカーペットを剥がして

Bloomberg in with carpet, you know,

ケーブルを這わせ、初期の端末を設置していた姿が目に浮かびます。

run and putting his early terminals in.

でも、一度使い始めると、

they

then they would then they never gave it

彼らはもう二度と手放さなかった。

今でも人々はブルームバーグ端末のデータフィードに夢中です。

Bloomberg terminal data feeds. But I I

アイデアを「とりあえず試してみるもの」として提示できれば、

if you can frame up like an idea you

have as something that can be tried, you

know, at like like almost like the what

「失うものなんて何もない」と思える。

have we got to lose?

いつも上手くいくとは限りませんが、悪い提案ではありません。

it's not a bad pitch. Like the idea of

「ちょっとだけ、これを通させてくれ。君に証明してみせるから」と言うようなものです。

this for a minute and and in a sense

prove it to you."

非常に頭が硬い監督と仕事をする時、

tight,

um

頭の中に「あるべき映像」が完成している監督ですね。

a video tape in their head of the way

something's going to go,

映画の素晴らしいところは、今私たちがやっているように

テイクを重ねられることです。

takes, right? And it's like, "Why don't

だから「少しだけ自由にさせてくれないか」と言ってました。

誰かにアイデアを否定されたときは、

was really giving me friction around an

idea

I had about a way to play something, I'd

「いいかい、いくつかチャンスをくれ。

試させてほしい」と伝えます。

few to just run an idea.

そして自分のアイデアをやりきった後に、

「もし君が白を求めているなら、黒は撮れたから、次は白を撮ろう」と言えばいい。

white, then come in and say,

"Great, we've got black. Can I have

私のアイデアは試し終えたんだから、次は別のことに挑戦すればいいんです。

get I've I've tried my idea. Great,

let's try another one, you know, let's

try something else. Um

私はどんなアイデアであれ、自分の持てる力の全てを注ぎ込むのが好きです。

force

of whatever my capabilities are behind

any idea because it's it's a fun

楽しいエクササイズですからね。

俳優として、行き詰まりそうな時には、

「アイデアを形にするまで、もう少しだけ自由にさせてほしい」と頼むこともあります。

just enough rope to tease an idea out

before you you you you shut it down. And

それをうまく伝えれば、

to someone that way

彼らは「選択肢を増やしてくれているだけだ」と気づいてくれます。

them is options, then maybe you can get

否定的なマイクロマネジメントをする人でも、

someone who's negatively micro-managing

can be encouraged to

それが自分にとってポジティブな「選択肢の拡大」だと見なせるように促せるかもしれません。

themselves.

これまで自分で事業を始めたことはほとんどありません。

映画の世界では一人じゃ何もできないんです。

書くことはあっても、

but every business I've ever started

ビジネスはいつもパートナーと立ち上げてきました。

雇った優秀な部下ではなく、対等なパートナーです。

partners. Like

「1+1+1=10」になるのが、私の成功の方程式です。

has always been a winning formula. I

パートナーという存在を本質的に大切にしているし、

intrinsically and I think I've been

人を見る目には自信があります。

パートナー選びは本当に慎重に行う必要があって、私はとても幸運でした。

really carefully and I've been really

really lucky. I've worked with and I've

素晴らしい経験をしたからこそ、同じメンバーと何度も別のプロジェクトを重ねてきました。

multiple enterprises because my

experience was so good and we wanted to

do it again.

映画作りでも同じです。

filmmaking, you build you build

「この人なしでは戦いたくない」と思える仲間を作る。

don't ever want to go to battle again

without her on props or without him on

チームを作り上げるんです。

mean, you you build your team. You build

a team that you can

もちろん、プロジェクトごとの特注のニーズに合わせて

the bespoke needs of a project and you

know

特定のスキルを持つ人を求めることもあります。

specific

面白いですよね、2026年になっても

2026 but I still think conversation

結局は人間同士の会話が大事なんです。

誰かと波長が合うかを確かめる一番の近道は、

you vibe with someone is it's to ask

質問をすることです。

Um

一つ学んだことがあるとすれば、

I've kind of learned over time is

obviously I can be

自分の考えを伝えることは当然できますが、

thing, but if you're really trying to

もし本気で人を採用し、相性を確かめたいなら、

figure out is this the right person for

me? Sometimes you got really got to

時には「黙る」ことを学ぶ必要があります。

分かりますよね？

空間を開けておいて、相手がどう埋めるかを見る。

and see how other people fill the space

それこそが、相手の何たるかを知る唯一の方法です。

going to learn

what they've got, you know? I mean

こちらが求めすぎると、誰でもイエスマンになってしまいます。

explain what you're looking for. I think

あえて余白を残しておけば、相手が何で埋めてくれるかが見えて、

if you if you [music]

leave a lot of empty space, you'll see

what someone else fills it with and

ずっと多くのことを学べるはずですよ。

[英語]

It's hard to create

rules or maxims or principles around

creative collaboration. The chemistry of

it is so specific to each scenario, you

know? I mean, I've made

I've made like 50 films, and I'm not

sure that there's a single methodology

for creating a

an ef- an effective or positive

collaboration. Different people work in

very different ways. You know, you need

you need leadership in the sense that

you need someone who almost

creates the

the frame in which you're inside which

you're all working and

articulates

the goals and articulates in some sense

if there are principles or values

that you want to work within.

I think people are actually very

adaptable, very malleable, and can get

excited about lots of ways of working,

but I do think leadership is sometimes

about

getting people tuned into the same

frequency

at the front end so that you can get

the you know, um I don't want to say

happiest, but you can get a effective

collaboration.

I've had certain creative experiences

that

were really inspiring. I I mean, working

with someone like

Alejandro Iñárritu on Birdman, where he

analogized to the process before we even

started to uh

Philippe Petit walking on the the the

wire between the World Trade Centers

without a net. He He established that it

was going to be risky, that the idea of

a film in one take might not succeed,

but that it was worth going for, that

that putting ourselves out

into a position where there wasn't a

workaround was going to produce

something interesting. And he And I

think he got he got everybody pulled

together around the idea of creative

risk taking.

Olivia Wilde did that really recently on

this film The Invitation that we did.

She

She used a phrase I love. She said,

"We're going to stitch the parachute on

the way down

with the faith that it's going to open."

And I think what she meant in that case

is that she was willing to set out on

the journey

without knowing what the the end of the

story was going to be that we were going

to find

that we were going to actually find the

end of the story and route to making it

that she kind of gave us a scenario. She

asked us to bring our own ideas about

our characters into the mix and

permitted us to not know precisely where

we were going.

Instead of uncertainty, it turned it

into discovery. You know, and discovery

is fun and vital and feels alive and you

could take the same set of circumstances

and if everybody feels like you know,

insecure or I don't know what we're

doing or aren't we supposed to know what

we're doing,

it has a very different feedback loop

that gets created. So, you can have the

same scenario and the way that you frame

it

to people can make it a positive an

emotional positive versus an emotional

negative.

A good leader I think communi-

communicates the rules of engagement,

communicates the modality that you're

going to work in because then people can

say themselves, "Oh, that's what we're

supposed to feel uncertain. Feeling

uncertain is good."

>> I mean, why don't you try it? I'll put

it in I'll come in in the night.

We'll put them in. We'll put them in for

free.

And if you don't like it, you know,

we'll take it away.

Um we'll we'll we'll take it away and

you know, what have you what have you

got to lose? And people would sort of

say, "Okay." And as soon as he

And I I mean, I love the image of Mike

Bloomberg in with carpet, you know,

pulling up carpets and getting cables

run and putting his early terminals in.

But he said once they got on it, then

they

then they would then they never gave it

up, you know, and that and today people

still people are addicted to their

Bloomberg terminal data feeds. But I I

think that

if you can frame up like an idea you

have as something that can be tried, you

know, at like like almost like the what

have you got to lose, you know, or what

have we got to lose?

It's it's not always going to work, but

it's not a bad pitch. Like the idea of

saying, "Hey, will you let me run with

this for a minute and and in a sense

prove it to you."

When I've worked with directors who are

tight,

um

who have in some sense

a video tape in their head of the way

something's going to go,

you know, the great thing about film is

just like we're doing here, you can do

takes, right? And it's like, "Why don't

you just let me

I I used to use the line like if someone

was really giving me friction around an

idea

I had about a way to play something, I'd

just say, "Look, you know,

let me have a few. Just just give me a

few to just run an idea.

And when I'm done with the idea, then,

you know, if I did black and you want

white, then come in and say,

"Great, we've got black. Can I have

white?" And you know, and I've already

get I've I've tried my idea. Great,

let's try another one, you know, let's

try something else. Um

I like to I mean, I like to put the full

force

of whatever my capabilities are behind

any idea because it's it's a fun

exercise. But sometimes, um

sometimes I've even as an actor I've

asked for sort of just enough rope

just enough rope to tease an idea out

before you you you you shut it down. And

usually And again, usually if you put it

to someone that way

and they realize that all you're giving

them is options, then maybe you can get

someone's

someone who's negatively micro-managing

can be encouraged to

to see it as positive optionality for

themselves.

I've almost never started any enterprise

by myself. I mean, you can't in film.

I've written things

but every business I've ever started

I've done it with partners. Not people I

hired who were good, but with with

partners. Like

to me like 1 + 1 + 1 = 10 is like

has always been a winning formula. I

val- you know, I value partners

intrinsically and I think I've been

pretty good at picking them. I think you

know, you have to pick your partners

really carefully and I've been really

really lucky. I've worked with and I've

worked with a number of people on

multiple enterprises because my

experience was so good and we wanted to

do it again.

And that's true. Certainly in

filmmaking, you build you build

people who you're like, "Oh man, I I

don't ever want to go to battle again

without her on props or without him on

production design or without you know, I

mean, you you build your team. You build

a team that you can

uh but but then other times you look at

the bespoke needs of a project and you

know

you're looking for someone with a real

specific

set of skills. It's funny, I mean, it's

2026 but I still think conversation

we're still people and the fastest way

to determine whether

you vibe with someone is it's to ask

questions.

Um

you know, I mean, it's funny. One thing

I've kind of learned over time is

obviously I can be

I'm I I I can say what I think about a

thing, but if you're really trying to

recruit people and you're trying to

figure out is this the right person for

me? Sometimes you got really got to

learn to when to shut up. You know what

I mean? And and and in a way make sure

that you know, you leave the space open

and see how other people fill the space

cuz it's really the only way you're

going to learn

what they've got, you know? I mean

anybody can sort of yes you if you over

explain what you're looking for. I think

if you

if you if you [music]

leave a lot of empty space, you'll see

what someone else fills it with and

you'll learn a lot more.

主要な語彙

語彙	意味
maxim /ˈmæksɪm/ C2	noun - 格言
methodology /ˌmeθəˈdɒlədʒi/ C1	noun - 方法論
articulate /ɑːˈtɪkjuleɪt/ C1	verb - はっきり述べる
malleable /ˈmæliəbl/ C2	adjective - 可塑性のある
analogized /ˈænələˌdａɪzd/ C1	verb - 類推する
uncertainty /ʌnˈsɜːrtnti/ B2	noun - 不確実性
vital /ˈvaɪtl/ B2	adjective - 極めて重要な
modality /moʊˈdæləti/ C2	noun - 様式
bespoke /bɪˈspoʊk/ C1	adjective - 注文仕立ての
intrinsically /ɪnˈtrɪnzɪkli/ C1	adverb - 本質的に
enterprise /ˈentərpraɪz/ B2	noun - 事業
optionality /ˌɒpʃəˈnæləti/ C2	noun - 選択肢

主要な文法構造

• I'm not sure that there's a single methodology for creating an effective or positive collaboration.

  ➔ 複雑な名詞句を伴う存在構文 'there is'

  ➔ 専門的な文脈で概念の存在（または欠如）を断言するために使用されます。

• You need someone who almost creates the frame in which you're inside which you're all working.

  ➔ 前置詞を伴う関係代名詞節

  ➔ 'in which' は、環境と行動を結びつけるためのフォーマルな言い回しです。

• He established that it was going to be risky.

  ➔ 過去における未来（was going to）

  ➔ 過去の視点から立てられた計画や予測を記述します。

• She was willing to set out on the journey without knowing what the end of the story was going to be.

  ➔ 形容詞 + 不定詞 (willing to) + 前置詞後の動名詞

  ➔ 'Willing to' は意欲を表現し、'without knowing' は前置詞の後に動名詞を使用しています。

• Instead of uncertainty, it turned it into discovery.

  ➔ 句動詞 'turn into' + 名詞

  ➔ ある状態から別の状態への変容のプロセスを記述するために使用されます。

• If you don't like it, we'll take it away.

  ➔ 第一条件法 (If + 現在形, will + 動詞の原形)

  ➔ 現実的で可能性の高い未来の状況に対して使用されます。

• I've almost never started any enterprise by myself.

  ➔ 頻度を表す副詞を伴う現在完了形

  ➔ 現在までの人生経験を結びつけます。

• The fastest way to determine whether you vibe with someone is to ask questions.

  ➔ 最上級形容詞 + 主格補語としての不定詞

  ➔ 最も効果的な戦略を強調するために最上級を使用しています。