「我最近戒菸了！」拍攝這天，陳柏霖早已準備好一切，在約定的好幾分鐘前就蓄勢待發的走進來。「我沒有想要戒菸，是菸不要我了。戒一個多月了我超開心，我也不知道為什麼，時間到了就知道，就是不想抽了。我是為因戲而開始接觸，也曾經戒過兩年，或許哪一天又抽了，不知道，希望我別過陣子自己打臉抽回去。」大笑間充滿著陳柏霖式的頑皮幽默。

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"Recently, I quit smoking!". On the day of the photoshoot, Chen Bolin has prepared everything, a few minutes before the appointed time, he walked over. "I didn't make a conscious decision to quit, its the cigarettes who doesn't want me. After quitting for a few months, I feel super happy. I do not know why, it's just when the time comes, I just do not want to smoke. Because of acting, I picked up the habit. I have tried to quit before. Perhaps after a few days, I will pick it up again. Don't know.. maybe I'll slap myself in the face. A big laugh accompanies Chen Bolin's naughty humour. 

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「不過我希望這不是逗點，而是一個句點。」最近的他，似乎有些改變。不論是我們看到的，或是我們源自他自己揭露的內在感受，都預告著可能在接下來的作品中，看到另一個全新階段的他.我自己也不知道自己是什麼樣的人。因為很年輕就開始拍戲，所以其實不太知道自己的個性，很未知。也不知道是角色影響我、還是我影響角色，錯綜複雜，沒有先後順序，都是隨機的出現。」

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"But I hope this is not a comma, but a fullstop." Recently he seemed to have changed. Whether it is from observing him or the feeling that radiates from his own inner feelings, it is very likely that in his upcoming work , we will see a new him. "I don't know what kind of person am I.  It's because I started acting since young, so actually,  I am not sure of my own personality, its an unknown. I'm not sure whether the role influenced me or I influenced the role. It's complex and does not have an fixed order, it randomly appears."

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每階段的角色其實都會在演員身上留下痕跡，「很像液體，我把自己丟進去就變什麼形狀。然而，在某個時間又會跑出來！」這讓人驚喜，就像是小說《36個比利》似的，你會在真實生活中看見他們，「我邏輯會變很多種，思考模式、說話節奏、甚至修辭也是，口音也會突然的變化，冒出韓國腔、英文腔，家人的感受通常最明顯。準備一個角色的時候，在生活習慣上也會不一樣。」

「演完我就忘記了，演的時候不是我自己，回去看，會覺得我有做這件事情嗎？我根本不知道我做過這些事情。很像是夢遊被記錄下來，可是是很現實的，但狀態不是我自己的思考邏輯，我可能是在那角色裡面，只是就被留下來了。戲外的東西才是屬於陳柏霖自己的記憶，而戲裡面的劇情跟台詞就已經變成那個角色了。」在工作狀態裡，由內的投入、進入角色的生命中，下戲後全身抽離，或許是陳柏霖早已駕輕就熟的能力。但「他們」，早已融合為一。

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In every role , there will be traces left in the actor. "It's like liquid, whatever I throw myself into , will be the shape I become .However, at times, the character will suddenly appear ! This is surprising like the novel "36 Billy"(The book The Minds of Billy Milligan), you will see them in real life," My logic will change, the way I think, my talking rhythm. sometimes even my accent will suddenly change, I will have Korean tone, English tone. The feeling with my family is usually most obvious. When I prepare for a role, I will have different habits.

 

“Once I’ve finished acting, I will forget everything.When I’m acting , it is not me. When I look back, I would think,  “Did I really do this? ”  I really do not know what I’ve done.  It is like someone recorded me sleepwalking, but it is very realistic. But that state does not belong to my own logical state of mind, I may be inside the role which is retained, but outside of the act, it belongs to Chen Bo Lin's memory, and the drama inside the story and the lines have become that role." At work, everything he has in translated into the act bringing into the life of the character and completely disassociated from himself after filming has ended. This is probably a skill that Chen Bolin has cultivated. However, 'they' ( the characters ) has long been integrated into one.

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彩虹漸變中解構．重塑

「有時候進不去角色，也會覺得很累很困惑。只有失去自己才能找到角色。過程中你也不知道會是lose yourself or find yourself。」演員在鏡頭之外對自我的功課掘得越深，越能將角色演繹得不著痕跡。「但這其實很曖昧，沒有一個像是黑與白的明確界限，它像是彩虹般的漸層，雖然有七種顏色，卻不是死的、是漸變過去的。」

 

陳柏霖在這個彩虹般的道路上有彈性地來回探索，拆解，再組裝自己，「自己其實分成兩種，本身的自己，是一種延展；當作為工作角色時，就是一種摧毀再重建。重建時，拿起一些原有的零件去重塑。」很抽象，但其實很具體。

這段15年的軌跡讓陳柏霖對演戲有了自己的定義，「對我來說分成幾個階段，一、不知道覺得好玩；二、證明自己；三、想要自在。」不過一路走來，陳柏霖並沒有特別回頭看自己，大多只有在電視轉台時偶爾稍微停下片刻看看過往的樣子，「我沒有回顧，不過一切是有趣的，覺得很幸福，過很多不一樣的生命，也留下一些什麼，未來可以跟孩子說：『欸老爸以前是這樣耶！』」

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Deconstructing the gradient of a Rainbow. Remodeling. 

Sometimes when I cannot enter into the character, I feel tired and confused. Only if you lose yourself, you will be in the character. In this process ,you do not know whether its “lose yourself or find yourself” . The deeper an actor dive into the homework of their character, outside of the camera, the more interpretation of the role cannot be traced. "But it's very ambiguous. There are no clear boundaries, like between black and white. It is more ike a rainbow-like gradation, and although there are seven colors, the colors are not distinguished clearly from each other. It's a gradual transition. Chen Bolin on this rainbow-like road , would then have the flexibility to explore, dismantle, reassemble himself. "I’m divided into 2 types, one belongs to my original self, a kind of extension, once I’m at work into my character, it is like a destruction of that and reconstruction into the character. While remodeling, I picked up certain original parts as well. "It is very abstract, but in fact very specific. For me, acting is divided into several stages, one - Don't know much,just want to have fun; Second, to prove myself ; Third, want to be free.” Along the way, Chen Bo Lin does not particularly look back at his old self, mostly only while switching TV stations, he would  occasionally stop for a moment to see how he was in the past. "I do not look back. but everything seems to be fun, I feel very happy to be able to live many different kinds of life. Also, some things can be retained so that I can say to my child, “Your father used to be like this!” 

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歸屬感

2002年出演的第一部作品《藍色大門》，讓我們看到最純粹、最貼近真實樣貌的陳柏霖，當同齡都還在摸索人生時即踏入戲劇圈，是從那時就知道自己喜歡演戲嗎？「不知道，但我喜歡在片場的感覺，在set的時候，有燈、有機台、有攝影機，我就有一種歸屬感。」

「不是我喜歡被拍，我去探別人班。甚至坐在車上看到別人在拍，也會好奇用了什麼機器、怎麼拍。」很早出道的陳柏霖，幸運參與膠片到數位的演變進化史，這令他著迷不已，不僅會follow機型變化，私下更會研究拍攝幕後的紀實花絮。陳柏霖興奮地生動敘述最近剛看到的超強behind the scene花絮，攝影師偽裝成座椅並巧妙穿梭在兩台行駛中的車李運鏡，「這常可以學到很Tricky的東西，沒看不會知道怎麼用的，但看完就覺得超聰明！」這也難怪陳柏霖似乎又比一般藝人更懂得靈活跟隨與catch攝影師的鏡位使情緒穿透鏡頭。

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A Sense of Belonging 

In 2002 through his debut in “Blue Gate Crossing” we get to see the purest, the role that is closest to the real Chen Bo Lin. You were at the age of  still exploring life in the drama circle, did you know you like to act then? "I do not know, but I like the feeling of being in the studio, in the set, there is light, stage , there are cameras, I have a sense of belonging. It’s not like I just like to be filmed. I went to explore other acting sets and even sitting in the car to see someone else in the film, I will be curious about what machine and the methods used to shoot the movie .” Since he debuted early, Chen Bolin was  lucky to witness the film evolution into the digital space, which fascinated him, not only he was able to follow the model as it changed, he can privately study the film behind the scenes.Chen Bolin vividly and excitedly revealed a behind the scene shot that was superb. The photographer became a  seat and cleverly became a connection between two moving vehicles. “Frequently I can learn very tricky things, if you did not see, you do not know it is, but after seeing it, I feel that it is super smart!" . It is no wonder Chen Bo Lin seems to know a bit more than the average actor in order to  catch what the photographer wants and follow the lens position so that his emotions can penetrate through the lens.

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危險羅曼史

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這份與生俱來的歸屬感加上語言天份，讓陳柏霖近年身處各國拍攝團隊中都相當自在。多部作品如上映至今年初的電影《追婚日記》是中國團隊，而另一部《再見，在也不見》更來自中國、新加坡、泰國三位導演執導。「電影儼然是一種共通的語言，是可以跨越語言與膚色的。我不說國界，我說膚色，甚至是文化，因為情感是不分界線的。因此我在每個環境下拍攝不會太陌生也不會太驚喜，都感受的到世界各處大家對電影的熱愛。」近期與何智苑搭檔的最新電影作品《危險羅曼史》更是陳柏霖的第一部韓國電影，神秘得讓人看不出究竟會遇到什麼樣的陳柏霖，「這是個神秘、浪漫、有驚喜的角色，而且都是英文台詞。」會六種語言的陳柏霖打破隔閡，更築起跨越文化的連結，「我與智苑私底下會互教中文跟韓文。她去年受到金馬獎邀請與張震一起擔任頒獎嘉賓，那段中文都是我教他的。」

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Dangerous Romance 

 

In this case, this 'sense of belonging' combined with Chen Bolin’s language talent has allowed him to be very comfortable when shooting with teams on the set of multiple countries this year. Many of these films released this year - “Du Lala 2" is with a Chinese team and  “Distance” was shot in China, Singapore, Thailand, directed by three directors. "Film is like a common language, it can cross the barrier of language and skin color .I did not mean cross borders, I meant skin color, or even culture, because emotion has no dividing line .Therefore when I shoot in each environment , it will not be too unfamiliar. It will not be too surprising to feel the love of films from people all over the world." The latest film with Ha Ji Won “Risking Life for Love", is Chen Bolin's first Korean film. It is a mysterious, romantic and surprising character , making us curious to what kind of Chen Bolin we will encounter and also it is using English script. And Chen Bolin, who speaks six languages, breaks barriers and builds a link across cultures. “She and I will teach each other Chinese and Korean in private, and when she was invited by the Golden Horse Awards last year, the Chinese script she used to converse with Zhang Chen was taught by me"

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虛．實之間

陳柏霖今年深耕韓國聯繫，前陣子剛播完的實境節目《我們相愛吧！》讓我們透過宋智孝看到陳柏霖戀愛的樣子，「跟智孝一起過好幾個月，很好玩、不太像在工作，沒有劇本，我想看會發生什麼事情，所以都是透過很本能的反應，呈現好玩浪漫的場景給觀眾看。」

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Virtual and Reality. 

Chen Bolin had deep connections with South Korea this year, he had recently completed his work with the reality program "We are in love” through Song Ji Hyo, we were able to see the Chen Bolin in love. "It was fun working with Ji Hyo these several months, it was very fun, not like being at work, there was no script, I want to see what will happen, and so it was an instinctive reaction to broadcast fun and romantic scenes to the audience."

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有了完整的時間為彼此創造驚喜，這或許跟真實中的愛情不太一樣，但我相信情感的渲染力是會觸動人心的，「這是被動者與主動者的互動，沒有一定。就像是看電影時你明明知道是假的，還是會投入真的情感去看。新聞都是真的嗎？有人讓假的看起來很真；也有人是完全真實的，卻看起來很假，其實都是觀眾自己的解讀。我就是把東西留下來給大家去感受。」

Having a complete time to create surprises for each other is perhaps how this differs with love in real life, but I believe that the emotions have the power to touch people, "This is the passive and active interaction, it is not fixed. It is when you watch a movie ,you know is false, but you will put real emotions to see the film. Is everything reported in the News true? Some people is fake but looks real, others are completely true but it looks very fake, in fact, I'm will leave it to the audience to  feel. "

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在虛虛實實間，陳柏霖看的很清楚，同時也想在裡頭突破自己。「我拍過了很多寫實的東西，現在很想嘗試在綠背景前演戲！我每次看behind the scene都覺得很厲害，什麼東西都沒有的要做出表演，才是超表演。這很考驗想像力，還要把它執行出來。」並不設限奇幻、科幻或是打鬥片，「我想看看我究竟會感受到什麼、遇見什麼。在綠背裡我沒有看到東西、但我可以遇見什麼東西呢？腦的東西、心理狀態才是比較辛苦與挑戰的。」

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In between virtual and reality, Chen Bo Lin sees very clearly, but also want to break the barrier within himself."I have filmed a lot of realistic things, and now want to try to how it is like shooting with a green screen! I always look behind the scene felt, it is  very powerful that you can use nothing to turn it into a performance, that is the superb. Although hate imagination, but also need to implement it. “I do not limit myself to try out fantasy, science fiction or fighting films. I want to see what I will feel when looking at nothing at the green screen, what will I face with?  The mental state of the brain is something hard and challenging."

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做自己的主人

走入他的思維，你不會說陳柏霖像誰，因為他就是像他自己。越來越男人的成熟邏輯，又有些無政府似的小叛逆勇於突破慣性框架、再交織點男孩的俏皮，他走出了自己的樣子，不論內外在、戲路甚至形象。「不能像誰！雖然像了也沒辦法。不過要有自己的魅力，不要是別人的影子。」

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Be your own master. 

Into his thinking, you will not say  Chen Bo Lin is similar to another person, because he is like himself. More and more with a mature man's logic , with a touch of  little rebellion , like having a rebellious courage to break through the frameworks, and then intertwined with a playful boy's character, he walked his own path, both inside and outside acting and even in his image. "You cannot be similar to  someone else, even if you are because you cannot help it,  you should still have your own charm and not be a shadow of others."

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「我們看太多東西、太多文章、厲害的書厲害的電影、認識太多人，很厲害，但這其實都是偷竊、抄襲與模仿別人說過的東西。你只是偷了一個雕刻大師雕塑剩下來的，把它撿起來放在自己身上，覺得自己也是大師。但其實不是，你只是偷別人的東西，You’re nothing！不用偷，可以學習，但你要換句話說。要消化它變自己的東西，要有自己的理解跟魅力，用自己的邏輯說出來。」而他認為，這一切其實都源自修辭學，「修辭學可以表現另外一種心理跟角色的樣子，以及想傳達的訊息狀態。」

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"We see too many things, read too many articles, powerful books and watched powerful movies, we know too many people who very great, therefore a lot is actually stealing, copying and imitating what others said. You are like stealing a master sculpture and using what has been left over, picking it up upon yourself, and feeling that you are a master. But it is not, you are just stealing someone else's stuff, You're nothing! You do not have to steal, you can learn from it, but you use it in your own words. To digest it , change it into your own, have your own understanding and with the charm and own logic , interprete it.And he believes that all this in fact derived from the art of persuasion. "The Art of Persuasion can bring out  another kind of mentality and role, as well as the state of the message.”

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轉換於故事間，陳柏霖吸收每個角色豐富了自己，建構出難以取代的箇中神髓，「最有魅力的，是與生俱來的直覺。直覺，你才可以變成自己。想太多就不是自己了。」陳柏霖正持續體現自己口中所說的－「做自己的主人」，並為自己紀錄另一個年的生命電影。

In between different stories, Chen Bo Lin absorbs each character to enrich himself, and constructs the essence that is difficult to replace. "The most attractive is your innate intuition. With intuition, you can become yourself. If you think too much, you will not become yourself.” Chen Bolin is continuing to reflect what he says - "to be his own master" and to record himself for another year in the life of film. 

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