理查德·吉尔（Richard Gere）在多年来的最佳角色中扮演一个无家可归的人，生活在纽约的无情街道上，《时光之路》（Time Out Of Mard），在纽约电影节上放映。
Gere plays George, a numbed out alcoholic brought low by booze and bad luck, who descends into invisibility and defeat. Hunched over on a park bench, a beer held tight in his fists and flashing a mindless grin, Gere radiates failure so fully you forget you are watching the iconic “American Gigolo” movie star, no small feat for an actor famous for more than four decades.
“The whole thing was predicated on that for a lot of this movie I would be on the streets and New York would be passing me by behaving as if I was who I was supposed to be,” Gere told journalists at a press conference following the NYFF screening, where he was joined with the director Oren Moverman (“The Messenger”).
这部电影对他来说是个人的。“无家可归是我深切关注的主题，这位演员说，他是纽约无家可归者联盟的长期支持者。
他想以电影中的熟悉方式将故事带到美国的意识中，但是尽管他十年前有一个剧本”it wasn’t there” Gere said. “I was looking for someone like Oren Moverman to do it but I thought he’ll never do it because he’s too busy.”
他们在一次学院活动中见面，不久之后，格雷给莫弗曼提供了该作品的初稿。他们发现他们在相同的波长Gere上指出，并补充说，莫弗曼去了无家可归的庇护所，以充实剧本。“Oren had this incredible sense of the process of being homeless, actually the process of living and going through bureaucracy is enough plot. You don’t need to pump it up anymore. Its life itself without any dramaturgy is enough so he was picking things literally, dialogue and situational stuff directly into the movie now from his first visits to the shelters.”
As for the film’s title, Gere explained about the state of homelessness: “That’s one of the intoxicating things, mesmerizing things, about this film is it’s definitely on its own time where time kind of doesn’t become a factor anymore. You’re just there with this guy。”
Gere补充说：“Oren has an original bizarre sense of time on film. He doesn’t feel rushed. He doesn’t care about cutting. It’s not what he does. He just wants us to be in the movie with these people, and he doesn’t want to manipulate it in any way whatsoever. And I’m quite aware of two hours in storytelling, and he kept telling me slow down. You don’t have to rush through this.”
Gere解释了导演的电影时间如何播放。“我（角色）把我的书包留在外面，因为我喝醉了，他们把我扔到了大楼里，我的东西被扔到了街上。我玩了场景，我得到了我的东西。我觉得这会很无聊，只是慢慢地捡起它。因此，我急于把它放回我的包里，奥伦说：‘花点时间。需要多长时间。’”
的玩家lm focuses on the sights and sound of the city. “这是关于听纽约的人。这是关于看纽约的。直到电影结束时，相机才能达到混乱或跟踪，因此这一切都是关于创建这些明信片或一系列照片，在这些照片或一系列照片中，城市专注于一个人，没有人注意到他。令人震惊的是，这个人，这个人是理查德·基尔（Richard Gere）。”
Gere补充说：“I keep telling people it’s actually worse than being in prison. It’s a black hole and everyone’s afraid to be sucked into it. You’re radiating failure. No one wants to be near you.”
盖尔（Gere）告诉记者，他担心在制作电影大约四十年后，他是否可以消失。事实证明，这不是他预期的问题。
“I’m out there the first time to see if this is gonna work. And I’m still making movies! I’m still active! I was really scared actually and anxious about one as a filmmaker but personally I would be that naked out there on the streets,“ 他说。“No one paid any attention. No one saw me.”
吉尔甚至手里拿着杯子，向人们求钱。“Not harassing them, but just approaching them. ‘Can you help me out? Spare change? Can you help me out? Spare Change’ No eye contact, even when someone gave me a $1 bill. No eye contact. That was the first time I’ve really felt inside what that is. And for me, look, I come here and you want to hear what I have to say. You’ve seen my movie. I’m iconic in some way.”
He sighed,“我是在街上的同一个人，没人愿意靠近。没有人想听到这个故事，所以对我来说，这是对一切相对的深刻经历。” His character wanted only two things, Gere noted, “戏剧睡觉和吃东西。”
耶拿·马龙（Jena Malone）是NYFF核心电影《保罗·托马斯·安德森（Paul Thomas Anderson）的“继承副主席），他在乔治（George）的疏远女儿玛格（Maggie）中也提供了一些乔治的背景故事。
然后是Kyra Sedgwick，Ben Vereen和Steve Buscemi的客串，它们为故事增添了质感和重量。
Sedgwick plays a homeless woman carting around empty cans; she’s unrecognizable in a knit cap and bad teeth. “她想玩这个女人,” Moverman explained. “She wanted to transform. And she went out and started to talk to people, she talked to homeless women.” She came back with a lot of notes and gave them to Moverman who incorporated them into the script. “She wanted to play that particular woman that she met and that became the role. I became excited about her enthusiasm and her ownership of that role.”
Ben Vereen had the script and just showed up in New York with a suitcase and told Moverman, “我需要制作这部电影，这就是为什么。’他有一种与他的角色相连的方式。”
The press conference ended with Gere musing on some of the things he learned while making the film.
“人们在街上与我交谈了两到三遍。曾经是一个女人，一个法国游客，她完全认为我是无家可归的。那是真的。另外两次是非洲裔美国人，他们只是通过了我，‘嘿，里奇！你好吗，伙计？’对我在那里做什么没有疑问。我会陷入困境。没有。”
“White guys were very much in our capsules. We get from here and we know where we’re going to and we see very little in between here and there. African Americans are more in the moment, they very much see the world around them for whatever reason. So that was a very interesting part of that process.”
