웡카 감독, 폴 킹 인터뷰 (영화 웡카 그리고 티모시 샬라메)

* 원문 출처 : https://www.bfi.org.uk/interviews/paul-king-timothee-chalamet-wonka-this-movie-allowed-him-scratch-itch-that-hes-probably-had-long-time

Paul King on Timothée Chalamet as Wonka: “This movie allowed him to scratch an itch that he’s probably had for a long time

 

왜 웡카를 선택하게 되었나요?

패딩턴 2를 마무리하고 프로듀서 David Heyman에게 제가 흥미로워할 만한 다른 작품이 있는지 물어봤어요. 그랬더니 두 단어를 말하더군요. '어린 웡카'라고요.

저는 어릴때부터 '찰리와 초콜릿 공장'을 좋아했기 때문에 호기심이 들어군요. 제가 처음으로 혼자서 읽은 제대로 책 중 하나였죠. Quentin Blake의 삽화가 그려진 오래된 책이 있었는데, 페이지가 다 떨어져 나갈 정도로 여러 번 읽었죠. 그 책을 다시 꺼내 읽다보니 윌리 웡카는 물론 움파룸파 부터 시작해서 수많은 놀랍도록 다채로운 캐릭터들을 기억이 나더라구요.

이 책이 얼마나 감동적인지 잊고 있었어요. 불쌍한 작은 찰리와 그가 사는 끔찍하고 가난한 곳에 대한 놀라운 찰스 디킨스식 이야기가 담겨 있죠. 초반 장 중 하나는 '굶주리기 시작한 가족'이라는 제목인데, 정말 놀라울 정도로 비장함이 느껴져요. 150페이지가 끝날 무렵, 그가 초콜릿 공장을 물려받을 때 저는 완전히 눈물을 흘리며 "오, 와우!"라고 외쳤어요. 로알드 달이 제가 패딩턴 이야기에서 하려고 했던 모든 것을 해냈구나!"라고 생각했어요. 실물보다 더 크고 화려한 캐릭터가 등장하지만, 심장 박동과 감정이 정말 강렬하게 느껴지죠. 그래서 이 분야가 제가 탐구할 수 있는 분야라고 생각했고, 크게 망치지 않았으면 좋겠다고 생각했습니다.

 

요즘보면 원작이 있는 프랜차이즈 작품을 이용한 이야기들을 만들고 싶어하는 것 같은데요. 사람들이 정말 보고 싶어 할 만한 가치 있는 이야기를 만들었다 생각나요?

말씀하신 부분이 사실 굉장히 고민되는 부분이었어요. 오리지널 스토리를 보다보면 "대단하다"고 생각될 정도로 훌륭한 캐릭터가 있고 이에 관객들에 이해를 높이고 깊이를 더하게 되는 경우가 있잖아요, 하지만 반면에 가끔 영화를 보고 "저게 꼭 필요한 건지 모르겠다"고 생각하는 영화도 있기도 하고요, 그래서 어느 정도가 적정한지 판단하는 부분이 참 어려웠어요.

우리 영화는 초콜릿 공장 사건이 일어나기 25년 전, 윌리가 세상으로부터 은둔하고 이상하고 미스터리한 인물이 되기 전을 배경으로 합니다. 작가인 저와 제 파트너 사이먼은 윌리가 어떤 인물인지 찾는 것이 관건이었죠. 그를 초콜릿같은 사람이라 표현하고 싶은데, 겉모습은 매우 부서지기 쉬운데 그가 누구인지, 그의 태도는 어떤지, 왜 이런 사람들을 초대했는지 알 수 없잖아요? 게다가 상당히 불안한 모습도 보이고요.

조 할아버지도 그를 좋아하고 찰리도 그를 좋아하는 모습을 보며 독자들은 윌리카 결국에는 괜찮아 질거란 예상은 할 수 있게되죠. 하지만 마지막에 윌리가 찰리에게 초콜릿 공장을 물려줄 때 윌리가 지금까지 특별한 행동들이 바로 이 관대함, 한 사람이 경력이나 인생의 마지막을 맞이하는 행위라는 것을 깨닫게 되죠. 그는 자신이 하고 싶은 일은 모든 것을 아이에게 나눠주는 것이라고 이야기해요. 저희는 그 관대함과 친절함에 정말 흥미를 느꼈고, "대기업의 세계에서 온갖 시련과 화살을 겪기 전 이 캐릭터는 어떤 캐릭터였을까?"라는 생각을 하기 시작했어요.

그러자 캐릭터가 머릿속에 떠오르기 시작했습니다. 가장 먼저 떠오른 이미지 중 하나는 안개 속을 뚫고 등장하는 남자였는데, 모두가 어떤 인물인지 짐작할 수 있었을거에요. 모자를 쓰고 있지만 지저분하고 지저분하고 부츠는 물이 새고 옷은 너덜너덜하죠. 마치 찰리 채플린의 순진한 캐릭터처럼, 이 세상에 처음 온 이민자처럼 ,초롱초롱한 눈망울에 덥수룩한 꼬리를 가진 완전히 순진한 아이처럼 말이죠. 향후 25년 동안 발전하게 될 그의 사업적 기발함은 전혀 없는 모습으로요.

 

자주 협업하는 사람 중 한 명인 Simon Farnaby를 언급하셨습니다. 그와의 작업에 대해 조금 소개해 주시겠어요?

저는 20대 초반부터 사이먼과 함께 일해왔고, 제작되지 않은 대본도 많이 만들었어요. 더 큰 규모로 함께 작업할 기회가 생겼을 때 저희는 바로 뛰어들었죠. 우리 둘 모두에게 꿈이 이루어진 거죠. 사이먼은 작가일 뿐만 아니라 뛰어난 코믹 연기자이기도 한데, 자만심에 빠질까 봐 그런 얘기를 하고 싶지 않아요. 하지만 대본을 작업할 때는 항상 서로에게 있는 그대로 피드백을 하곤 해요. 그가 대본을 읽는 첫 연기자가 되는거죠. 사이먼이 연기 할 때 제가 웃음이 터지는 경우가 있는데 이 경우 잘 되고 있구나라는 생각이 들면서 스스로에게 큰 자신감을 주는 것 같아요.

감독으로서 제가 가진 유일한 자질은 무언가를 처음 봤을 때 정말 크게 웃었던 기억을 잘 한다는 건데, 저는 그 느낌을 살리려고 노력해요. 물론 꽤 어려운 일이죠. 오디션을 하다보면 같은 장면을 수백 번, 때로는 수백 번씩 반복해서 서로 다른 배우가 읽어야 하니까요. 자칫하면 금방 지루해 질 수도 있구요. 그 장면을 처음 만들었을 때의 웃음을 기억하고 그 믿음을 유지하는 것이 매우 중요한 것이죠. 맞아요. 사이먼은 제가 절대적으로 신뢰하는 오른팔이에요.

 

뮤지컬로 만드신 이유가 있을까요?

간단해요 만들 수 있으니까요! 마치 마법 왕국의 열쇠 같은거라고 해야 할까요.저희는 이 작품을 1971년도 뮤지컬 동반작처럼 만들고 싶었거든요. 그 중심에는 당연히 음악이 있고, 'Pure Imagination'을 통해 진 와일더(1971년 웡카 역 배우) 의 내면에 있는 희망과 꿈을 표현했었잖아요. 그리고 움파룸파 노래는 또 어떻고요. 움파룸파가 나오는데 움파룸파 음악이 안 들린다는 건 제에겐 말이 안되는 일이라 생각했거든요. 하나님도 그렇게 생각하실걸요?
저희는 그 영화에서 많은  영감을 받았습니다.

원작자인 로알드 달도 많은 부분에 음악을 사용했었잖아요. 그의 책에는 항상 노래나 구절, 시가 나오는데, 움파룸파 시종일관 노래를 부르죠. 윌리 웡카와 초콜릿 공장이나 치티치티 뱅뱅 [달은 이안 플레밍의 소설을 각색한 1968년 영화 시나리오를 썼다] 에서 모두 음악이 작품과 매우 편안하게 어울리는걸 보면 리듬감이 뛰어난 작가라고 생각해요.

분명 그에게도 중요한 일이었죠. 그 당시의 음악도 많은 사랑을 받았지만 저희만의 걸 만들고 싶었어요. 다행히 운이 좋게도 10대 시절부터 제 절대적 영웅이었던 Neil Hannon과 함께 작업할 수 있었죠. 그는 정말 대단하고 훌륭한 작곡가라고 생각해요. 그는 굉장히 재밌는 사람인데 노래는 감성적이거든요?, 사실 흔한 조합은 아니죠. 게다가 현대적인 작곡가이면서도 과거의 느낌도 잘 살리는 것 같아요. 그의 작업에는 시대를 초월하는 특성이 있습니다. 저는 그가 자신만의 세계를 구축하고 우리를 연결 시켜 줄수 있는 능력을 가졌다고 생각했는데, 우리 모두가 원했던 것이죠.

 

제가 가장 좋아하는 뮤지컬은 1968년도 작품인 올리버에요!! 그 유쾌함과 장난스러움이 제게는 매력적으로 다가왔어요. 뮤지컬 영화를 만드시면서 영감을 받은 작품이 있는지 궁금합니다.

좋은 선택이네요. 올리버(Oliver!)는 디킨스적인 스토리 때문에 정말 많이  참고 했어요. 라이오넬 바트는 분명 천재에요. 그리고 애니(1982년작)가 약간 들어 있고, '벅시 말론'(1976)도 약간 있고요. '소 유 워너 비 어 복서'는 저희와 비슷한 느낌이에요. '카바레'(1972)도 꽤 많이 들어 있고, '스위트 투스' 같은 곡은 피트 밴드의 스윙이 느껴지기도 하죠.

배경이 71년 영화의 25년 전 프리퀄이라서  "1940년대 후반으로 돌아간 것 같다"고 생각했죠. 공교롭게도 해당 시기가 할리우드 뮤지컬의 황금기였잖아요. 저는 그당시 뮤지컬을 좋아하거든요. 그 시절 옛날 영화들을 찾아보며 저녁 시간 보내는건 너무 좋은 시간들이었어요.

Olivia Colman as Mrs Scrubbit in Wonka (2023)

 

디킨스의 작품이 어느 정도 영향을 미쳤나요?

사실인지는 모르겠지만, 저는 로알드 달이 이야기를 쓸 때 그런 것들을 일부 반영하고 있다고 느꼈어요. 일종의 올리버 트위스트 요소가 있죠. 찰리는 고아는 아니지만 왠지 모르게 그런 느낌을 받아요. 물론 그는 누더기 옷을 입은 어린 소년이고 주변 사람들은 모두 부유한 모자와 연미복을 입고 있는 것처럼 보이죠. "윌리 웡카의 의상 선택이 이상하네"라고 생각하게 되죠. 하지만 저는 그가 그 옛날 세계를 참조한 것 같고 그래서 더욱 더 시대를 초월하는 훌륭한 작품이라고 생각합니다. 그러면서도 현실 세계에 기반을 두고 있거나, 적어도 독자들에게 공감대를 주기도 하니까요. 백퍼센트 판타지는 아니죠 굳이 표현하자면 완벽한 크리스마스 카드처럼 느껴진달까요

 

유튜브에서 티모시의 고등학교 연극 공연을 보고 배역을 제안하셨다고 들었어요.

콜 미 바이 유어 네임(2017)에서 그를 처음 봤어요. 그 영화에서 그는 완전히 영화에 녹아들었죠. 그리고 레이디 버드(2017)에서 그를 봤는데, 정말 웃기고 우스꽝스러우면서도 화려한 캐릭터를 연기했죠. 그는 재미는 연기는 물론 감정도 잘 표현하고 모든 것을 다 할 수 있는 것 같았어요. 그 이후로 그는 엄청난 연기들을 해왔지만 노래는 많이 하지 않았어요. 그가 출연한 우디 앨런 영화에서 잠깐 노래를 부른 것 같은데 잘 모르겠어요. 이 영화에는 노래가 꼭필요했고 그가 필요하다 생각했죠.

21세기라는 말도 안 되는 시대에 그의 고등학교 시절 뮤지컬 공연이 유튜브에 올라와 수십만 번 조회된 것을 보면서, 저의 15살 때 학교 연극에서 제 모습을 누군가 봤다면 다시 대중 앞에 얼굴을 내밀 수 있을지 모른다는 생각에 식은땀이 나더라구요.

물론 티모시는 저보다 연기를 조금 더 잘하긴 하지만요. '스위트 채리티'에 출연했는데 정말 환상적이었어요. 그 때문에 제가 제안했다고 말하진 않겠지만 그에게 그런 재능이 있다는 것을 알게 되어 좋았어요. 그가 한 일을 폄하하고 싶지 않아요. 그는 이 작품에 출연하기 위해 몇 달 동안 노래와 댄스 트레이닝을 받으며 영화 수준의 실력을 갖추기 위해 노력했어요. 하지만 저는 그가 가진 재능이 타고난 거라고 생각해요. 그의 어머니는 무용수이고 그는 공연 예술 배경을 가지고 있습니다. 그가 우리가 오랫동안 가지고 있던 가려운 곳을 긁어준 것 같아요.

Left to right: Fickelgruber (Mathew Baynton), Prodnose (Matt Lucas), the Chief of Police (Keegan-Michael Key) and Slugworth (Paterson Joseph) in Wonka (2023)

Did he look at at any other characters or any other films for inspiration?

Some pretty good actors have had a crack at Willy Wonka, which I imagine is quite daunting for him. It certainly was for me. I know he knew the movies anyway, but he went back and watched them again. I mean because ours is a younger character at a very different stage of his journey I think there was enough of a difference for him to be able to make it his own character.

But we’re certainly doffing our hat to the Gene Wilder performance at many points, just like, “Scratch that. Reverse it,” which is a big line. Some of the choreography as well, the way he dances and uses his cane and the little moves Timothée would look at and move with.

The biggest reference that I gave him, though, was probably Mr. Smith Goes to Washington (1939). Those Capra movies, they’re very dear to my heart. The little guy in the big, scary world that Capra did so brilliantly was really the feel I was after in this movie. I think some of Timothée’s work is brilliant, but he’s often played these brooding, slightly troubled characters. To get that sense of hope, optimism and joy was something that, strangely, was the biggest challenge for him, to open himself up to somebody who’s completely uncynical, unjaded and unsceptical. Capra was a great way of unlocking that.

Could you tell me about how you developed the film’s visual identity?

We started from the 1940s. We worked with this brilliant production designer, Nathan Crowley. I think your idea of that time can sometimes be quite influenced by the fact that it’s mostly photographed in black and white. The first thing he did, which I thought was a stroke of genius, was to get all these old 1930s and 1940s chocolate bar wrappers. They’re so colourful, beautiful and ornate – they’re hand-painted and so exquisite. That really started the aesthetic ball rolling.

We wanted to create a city that was real and felt grounded but also had that storybook flavour that Dahl has. Dahl’s really specifically non-specific. The ’71 movie was filmed all in Germany to give it this middle European vibe. We were trying to channel some of that spirit. He ended up building this enormous world of buildings. Nathan’s so great, because each building had its own history. It’s so easy for those cities to feel like toy towns and they’re off-the-shelf models. But his cathedral would have a medieval base and then the idea was that it had been knocked down and then it was rebuilt. The work that went in is just phenomenal to me.