香片內心OS：小女孩能言善道，我還是去吃娜塔莉波曼好了。顆顆。
珍娜是有腦正妹
Q: ［記者很愛用sort of...］
You guys have a sort of limited amount of screen time to create a sense of what he's either running form or coming to terms with.
For you guys was there more material that you did on camera off to sort of develope what is family live was like,
or to creat an impression of it so we what he sort of, thinking about when he was going through his travels.
妳們(指珍娜和瑪西)只有一點點時間來營造整體氛圍：關於克里斯逃避的、追求的是什麼。
對妳們來說，拍攝時是否需要額外的準備、做功課，來呈現這個家庭是什麼樣子的？
或是打造一個印象，讓觀眾可以大約理解，當克里斯踽踽獨行時，在想啥？
Jena Malone:
Well, you know, you create a complete world for yourself. Um..I mean, it's even, you know, it was obviously more helpful that there was,
this is a real story, and there's real things to follow, and there's a lot of history and facts to sort of feed upon.
There's personal journey, there's personal experiences, there's actually meeting the real characters, there's so many aspects of it.
There's Jon Krakauer 's book, there's the people that met Chris. I mean it's such an intracked web of personal stories and history.
And then also the imagination that you bring to it, which is the story, um...which is, making the film, is that,
of course there's so many layers of "I think this is here and this is there" and then, you know,
what's so great about Sean is that, in those small moments you see, and they are very simple, and they are very perfectly placed.
You understand all of that, all of those textures and all of those colors,
by something simple as Marcia playing Billie standing alone in her dinning room, not moving.
Somehow I understood more about Billie through that moment, then I have ever understood, actually, from meeting Carine,
and having momnets where she told me a lot about her mother. That was the moment where I was like:"Wow, ok, I get it." You know?
So I think it's just about building a whole infrastructure for you to work within.
And also that's the gift of Sean Penn as a director; he gives you so much,
and sort of pushes you to keep trying things and gives you so much freedom that, you feel all of that.
你知道嗎？在拍片時，演員會為自己創造新世界。
我的意思是，當然若有真實故事會更有幫助：關於克里斯，有太多的歷史文獻和資料需要吸收。
我們有克里斯的心路歷程、個人觀感；我們與真實角色見面。整個故事的層面十分廣。
我們有Jon Krakauer的那本《阿拉斯加之死》、還有那些遇過克里斯的人。這是如此複雜的私人故事網絡。
身為演員，必須在影像中加入想像，讓故事更鮮活；當然置身在其中，總會有「我覺得可以這樣做云云」的不同詮釋層次。
香片最了不起的地方是，在那些你看見的微妙瞬間，它們是如此簡單，卻又巧妙的凍結、安插於電影當中。
好像在那些時間點，你可以完全理解他們，那些表情那些色彩；這只需飾演比莉(克里斯的母親)的瑪西，站在餐廳，動也不動。
不知為何，看到那幕，珍娜豁然開朗；比之前和可琳(珍娜飾演的角色)見面、她口述她母親的事，更讓珍娜扎心震撼。
那時我宛如當頭棒喝：哇！珍娜都暸。
所以我想，以基本的素材營造一個讓珍娜能安心工作環境，很重要。
同時，香片又是位不可多得的導演，他給珍娜好多，會在背後推你一把；要你多做嘗試、也給你自由。你感覺的到。
現在很紅的某人，當時人緣看起來不太好XD
我知道珍娜現在仍是要紅不紅小甜心。
我喜歡她訪問時不自覺的冰雪聰明，專心聽問題、加上可愛手勢用力回答。
珍娜並不因為自己是正妹就安於室，她超有想法。這篇簡短訪問是最佳證明。
珍娜的回答字句美妙，筆者認為可以熟背當英文作文範例。
有人覺得珍娜不會演戲；我覺得可能是珍娜演得太用力，觀眾覺得她很刻意。
我依然堅持珍娜大有可為［你看柔依都熬到了30才出運...］，有想法的正妹最得我心。
希望短髮美人給我們更多驚喜！
PS:《阿拉斯加之死》仍是筆者鍾愛的電影／報導文學之一。
The Messenger(2009) *又是戰後傷痕電影嗎?
d. Oren Moverman
Staff Sergeant Will Montgomery ... Ben Foster
Captain Tony Stone ... Woody Harrelson
Olivia Pitterson ... Samantha Morton
Kelly ... Jena Malone
Dale Martin ... Steve Buscemi
珍娜馬龍飾演小班前女友(演的好but小角色)
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