Minden szinkronban van valami jó

Hogy mi a közös a Ponyvaregény, a Jumanji, az Amadeus és a Garfield filmváltozatában? Az, hogy mindegyik szinkronja Juhász Anna munkáját dicséri. A hosszú évtizedek óta a pályán lévő, Balázs Béla-díjas szinkronrendezővel szinkronizálás előtt egy stúdióban beszélgettem.

Hirdetések

Juhász Anna– Hogy sikerült a februári Magyarhangja című szinkron-előadás a Weöres Sándor Színházban?

– Nagyon jól. Szerette a szombathelyi közönség. El is határoztuk, hogy tartunk még hasonló esteket különböző helyeken.

– A nagy múltra visszatekintő Pannónia Filmstúdióban kezdted a pályádat. Miként emlékszel vissza ezekre az évekre és kikkel dolgoztál együtt?

– Érdekes időszaka volt az életemnek. Akkoriban szinte mindenkinek asszisztáltam: Fehér Imrétől – aki a Bakaruhában című mozifilm rendezője – Dr. Márkus Éváig, a szakma kiválóságáig. Végül Fodor Tamással dolgoztam nagyon sokáig, aki jelenleg a Stúdió „K” Színház vezetője. Azt hiszem, amit ma tudok, azt mind tőle tudom a szakmáról. Horányi Özsébtől pedig, aki a nyelvészet, a kommunikáció és a szemiotika nagy tudója – rengeteget a nyelvről.

– Kik azok a szinkronrendezők, akik viszont tőled tanultak?

– Nehéz lenne felsorolni az összes asszisztensemet, akik ma már rendeznek. De a teljesség igénye nélkül: Dóczi Orsolya, Szalay Éva, Bajnok Andrea, Lengyel László – elnézést kérek azoktól, akiket kihagytam.

– Jó néhány színészt te fedeztél fel a szakmának. Említenél néhányat közülük?

– A Kalán néni meséiben – amelynek Tolnay Klári szólaltatta meg a címszereplőjét – egy teljes osztály szerepelt, mint egerek, babák és gyerekek. Köztük volt Kautzky Armand, Csankó Zoltán, Schnell Ádám és Kerekes József.
Néhány színészpárosítást én találtam ki. Stohl Andrást például Hugh Grant-re a Négy esküvő és egy temetés kapcsán, Kautzky Armandot én hívtam először Pierce Brosnan szerepére a James Bond sorozatba vagy Viczián Ottót a Ponyvaregényben Eric Stoltz magyar hangjának. Ezekre büszke vagyok és kifejezetten szeretem őket.

– Milyen szempontok dominálnak, amikor kiosztasz valakire egy szinkronszerepet?

– Ez sok mindentől függ. Ha például énekel vagy idegen nyelven is beszél a külföldi színész, akkor az eredeti hanghoz hasonlót kell találnom. Máskor nem ez a legjellemzőbb, hanem, hogy mennyire illik alkatilag a karakterhez a magyar kolléga. Gyakran még azt is szem előtt tartom, hogy arcberendezésben hasonlót találjak, mert valószínűleg hasonlóképp képzi a hangot. A hangzás fontos dolog: Általában egy nagytestű szereplő esetében öblösebb, nagyobb háza van a hangnak. Ugyanakkor ennek a fordítottjára is akad példa, amikor egy magas, fekete színész egész fent képzi a hangot.

– Igazán különböző műfajú alkotásokat rendezel a Dumbótól a Ponyvaregényig. Hozzád melyik áll közelebb mind szakmai, mind személyes oldalról?

– Mindkettőt egész más szempontok szerint kell megrendezni és igen különböző célközönségnek szólnak. Számomra két kategória létezik: jó film és rossz film, és a kettő közül a jó filmeken jó dolgozni. A rossz filmeket nem lehet megjavítani, de igyekszem, hogy ne legyen még rosszabb, amikor kikerül a kezeim közül. Alapvetően szeretem a munkámat, még a legrosszabb film esetében is.

– Ha most lennél pályakezdő, akkor is magával ragadna a filmkészítésnek ez a különleges ága?

– Nem tudom, mert, ahogy változott a kor, változtam vele én is. Más lett a technika; felgyorsult a világ és ezzel felgyorsultunk mi is.
Azt szoktam mondani, hogy akkor, amikor én belekerültem a szinkron még művészet volt, majd egy ideig szakma, mára pedig inkább ipar. Mégis úgy vélem, aki komolyan veszi, és jól akarja művelni, annak sikerül is, mert nagyon jó színészeink vannak és jó a technika.

– Mi az, amiért leginkább szeretsz a szinkronban?

– Mindent; magát a munkát, a munkatársaimat, és persze a színészeket, akik nélkül nem tudnánk szinkronizálni.
Magyarországon a szinkronnak nagy hagyománya van. El se tudjuk képzelni a filmeket nélküle. Bár kicsit magam ellen beszélek, nem bánnám, ha a DVD-k mintájára a televízióban is lehetne választani szinkron és felirat között, mert az talán hozzájárulna a nyelvtanuláshoz, amelyben elég rosszul állunk. Ha a szinkronnak fel lehet róni valamit, akkor talán azt, hogy mindent tálcán kapunk magyarul.

– Te rendezted a nagy népszerűségnek örvendő „Így jártam anyátokkal” című sorozat magyar változatát. A felvételek is a produkcióhoz hasonló humoros hangulatban teltek?

– Igen, nagyon sokat nevettünk felvétel közben. Mindig több időre kell diszponálni a színészeket, mert elnevetik a forgatást és mi is. Amennyire lehetett, együtt vettük őket, és kimondottan jó hangulat kerekedett mindig.

– Várhatóak új epizódok?

– Igen, április első hetében kezdődnek az új részek szinkronmunkálatai.

– Milyen munkáidra emlékszel szívesen vissza?

– A legfontosabbnak az Amadeust tartom. Azt hiszem a Balázs Béla-díjat is erre kaptam. De a Függetlenség napját is fontos állomásnak tekintem. Ezek mind komoly kihívást jelentettek és valószínűleg azért is ragadtak magukkal annyira, mert ilyenkor az ember úgy kel, úgy fekszik, hogy együtt lélegzik a filmmel. Nagyon szeretem a Sült zöldparadicsomot, amely egy egészen fantasztikus morálú alkotás. Illetve a Tűzszekereket még asszisztens koromba forgattunk, de azóta is a filmművészet egyik legtisztább filmjének gondolom.

– Min dolgozol jelenleg?

– Ma egy amerikai filmet veszünk fel. Ezt azért is hangsúlyozom, mert elég rég dolgoztunk amerikai produkción. A héten például lengyelt és spanyolt csináltam. Egy asszonyról szól, akinek meglehetősen hányattatott a családi élete, de amellett nyomkereséssel foglalkozik. Egy elveszett kislány után kutat a sivatagban. A filmben valahogy összegyúródik a kettő; a belső hangulata összekapcsolódik azzal, ahogy viszonyul a kislányhoz, akit keres – akit természetesen a végén megtalál és a gyerekeit is visszakapja. Minden jó, ha jó a vége.

– Ki fogja magyarul megszólaltatni a főszereplőnőt?

– Linda Hamilton alakítja a nyomozónőt, akit általában Kisfalvi Krisztina szokott szinkronizálni, így itt is.

– Kit választanál következő interjúalanynak?

Hirdetések

– Bár Jordán Tamás messze van, ő nagyon szeret a szinkronról beszélni. De ajánlanám Csankó Zoltánt, Stohl Andrást, Kovács Nórát és mindenkit, akivel valaha is dolgoztam.

Be Bo

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