德·帕尔玛（2015）

我是说 那就是我
I mean, you know,that is me.
我为了我母亲跟踪我父亲
I was following around my father for my mother.
他因为自己母亲被害
He’s following around the murderer
而跟踪谋杀犯
because his mother got bumped off.
没错
Yeah!
等待是非常重要的
The waiting is very important.
它可以让你打好基础
You know, so you could ground yourself.
让观众更熟悉
So the audience gets very customed
场景的布置
to where everything is.
整个心理医生的想法
Well, I got the whole psychiatrist idea
来源于我第一次跟南茜约会的时候
because that was based on the psychiatrist I had
我去看的心理医生
when I was first going out with Nancy.
我跟南茜初识在《魔女嘉莉》
I met Nancy on Carrie
我们好像是我在拍《愤怒》时
and we started to go out together
开始约会的
while I was working on The Fury, I think.
我觉得她在《魔女嘉莉》里演得非常棒
I thought she was very good in Carrie
然后我就在《剃刀边缘》里为她设计了一个角色
and then I wrote the part for her in Dressed to Kill.
后来我觉得
The story was getting to the point
我和我妻子合作的电影够多了
where I thought I made enough movies with my wife
而这也成了我们之间的
and what was becoming kind of a strain
一种紧张关系
in our relationship.
但是约翰很喜欢跟她合作
But John loved working with her so much
所以当我们拍《凶线》的时候
that when we did Blow Out,
他就说 “找南茜来一起拍吧”
it was like,”Let’s do it with Nancy.”
凶线 (1981)
我们刚策划《凶线》的时候
The first idea for Blow Out,
是打算拍成小成本电影的
it was a very low-budget movie
突然间 约翰想来些变化
and suddenly,John wanted to do it,
然后整部电影就变了
then the whole movie changed.
从大概五六百万的预算
It went from like,a $5 or $6 million movie
一路飙升到接近两千万
to close to a $20 million movie.
不过摄影机稳定器是维尔莫斯的想法
Well, steadicam was Vilmos’s idea.
维尔莫斯知道有了一种新设备
I mean, Vilmos knew about this new camera
然后他说 “我们为什么不试试呢”
and he said,”Why don’t we try it out?”
以前的好多镜头都是手持拍摄的
I mean, we used to handhold those shots
但是我一点都不喜欢那种摇晃的影像
but I never liked that kind of shaky camera stuff.
一用上摄影机稳定器
Once the steadicam came in,
你就可以拍摄一些长镜头
you could work out these long kind of shots
这样你的角色就能
where you would take your characters
穿过各种场景
through environments
道具也能够与角色进行互动
and have things interacting with them.
当我在做《剃刀边缘》的合成时
As I was mixing Dressed to Kill,
音响师不得不出去
the sound guy had to go out
寻找不同的 我一直跟他说
and get different–I kept on saying to him,
“我受够了风吹树响的声音
“I’m tired of that sound of wind in the trees.
拜托能不能弄点更好的来”
Could you please get me something better?”
然后 他就会去后院
And then, he would go out in his backyard
给我录一些新的东西
and record new stuff for me.
所以 他录音的想法
So, that concept of him
然后又是把
recording sounds and then the idea
他录下来的声音作为刺杀候选人
that the sound he records is the key to the murder
谋杀案的关键
of the assassination of the candidate.
当然里面有一点
And it has, of course,it has that
查帕奎迪克事件的元素在里面
little Chappaquiddick in it.
车是州长开的吗
Was the governor driving the car?
他当时是清醒的吗 – 清醒
Was he in control? -Control?
之前不是说喝了酒吗 没说过吗
It went into the drink,didn’t it?
他一点都不清醒 – 他是一个人吗
He wasn’t in no control. -Was he alone?
车里只有他一个人吗 – 反正我没看见其他人
Was he alone in the car? -Well, I didn’t see anybody.
还有点《放大》的元素在里面
A little of Blow Up.
放大 (1966)
导演 米开朗基罗·安东尼奥尼
把你从泽普鲁德的电影里
Putting the pictures together
看到的画面放到一起
that you saw from the Zapruder film,
然后和声音合到一起
syncing it with the sound is what we do
这就是我们在剪辑室的工作
in the editing room.
我自己也剪辑过很多电影
Having sunk up so many movies myself,
所有这些元素组合到一起
all that stuff sort of came together
然后就有了在电影制♥作♥中
and the whole idea of using the techniques
运用电影制♥作♥技术的想法
of making the film in making the film.
关掉 – 我是一个
Kill it.-I was a big
刺杀爱好者 看过很多
assassination buff and I read all the books
关于刺杀的书
about the assassination.
肯尼迪刺杀事件最有趣的一点是
What’s interesting about he Kennedy assassination
这次调查非常认真细致
is it’s the most intense investigation ever done.
在犯罪史上从没有一次谋杀
No murder was ever investigated like this
被这样调查过
in the history of crime.
在《凶线》中的情节是
But Blow Out gets down
有人尽力去查出
to somebody trying to find out
到底发生了什么 而我的结论是
what actually happened,and my conclusion was
即便能够查出
even if they could figure out
绿色小山上的人到底是谁
who was on the grassy knoll,
也没有人关心了
no would care anymore.
关于这个360度的镜头
The thing about the 360 shot
我是想创造
was I wanted to create
一卷录像带转动的感觉
the sense of a reel of tape turning,
所以在所有录像带转动的时候
so I made the camera turn
我也让摄像机转动起来
as of all the reels of tape turning.
而每围着屋子绕一圈
And every time we made a revolution around the room,
就会有东西被去掉
more stuff was erased.
维尔莫斯和我盯着片场
Vilmos and I were peering over the set.
摄影师绕着圈
The camera operator was running around
360度转动摄影机
panning the camera 360 degrees.
电影制♥作♥完成前谁都没看过
Nobody saw the movie until it was finished
因为我在《剃刀边缘》得到的教训是
because I had a lot of power off of Dressed to Kill.
当人们看到结局的时候 这部电影就死了
When they saw that ending,h, it died.
我永远忘不了 当我们放给
I’ll never forget,we showed it
决策人员看时 他们都震惊了
to the executives,they just were like, appalled.
你也知道 我的好多电影
You know,many of my movies
都被称为当时大灾难
which were considered great disasters at the time.
但是没有哪一部
You know, there was no bigger disaster
比《凶线》更灾难
than Blow Out.
电影总是让人惊讶无比
It’s always surprising.
你总是认为他们会
You always think they’re gonna come–
会出门来看你的电影
Come out and see your movies
即便是最终他们也确实看了
even as odd as they ultimately wind up being.
当你加入一段非常动人 情绪饱满的经历
When you take in a– A very moving, emotional experience
比如一个因为你处于危险之中而死去的女孩
like the death of a girl he put into jeopardy,
然后你把她的哭声用在
and you use her cry in a, you know,
很俗的恐怖画面中
tawdry horror picture.
我想这个想法来自于
I guess I got the idea of that,
你在剪辑音轨的时候
you know, when you cut soundtracks
剪辑脚步声时 你在每个磁道之间
and you’re doing footsteps,you put all the fill
插入某些乐段
in-between each of the magnetic tracks.
有一次我选择了一个乐段
Well, when I picked up the fill once
听起来像是《阿♥拉♥伯的劳伦斯》里的
and it was like Lawrence of Arabia.
然后我说 “我的天哪 《阿♥拉♥伯的劳伦斯》
And I said,”My God, Lawrence of Arabia
居然被当做插入乐段”
is being used as fill.”
混♥蛋♥
Oh, jerk.
这才叫尖叫
Now, that’s a scream.
一条音轨 你懂的 – 但是
A track, you know. – But
所有那些痛苦都缩小到
all that suffering is just reduced to
一条音轨上的一声尖叫
a scream that’s put on a soundtrack.
太棒了
That’s wonderful.
约翰对这一幕的演绎
That moves me every time I see it.
我每一次看都很感动
The way John plays the scene.
“这个尖叫很棒 这个尖叫很棒”
“It’s a good scream.It’s a good scream.”
这个尖叫很棒
It’s a good scream.
这个尖叫很棒
It’s a good scream.
这个尖叫很棒
It’s a good scream.
跟我的小伙伴打个招呼吧
Say hello to my little friend!
我的大多数电影都关于自大狂