大家都筋疲力尽
And we still had all the wet, all the dirt, all the smoke, everything going on.
我们仍然还要满身湿透、满身尘土、满是烟雾地继续拍
And when we finally cut on the last shot, it was–
当我们终于拍完最后一个镜头时
From top to bottom, it was, “Let’s get out of here.”
大家都是：“我们赶紧离开这里吧”的样子
And everybody walked away.
大家都走了
For the first time in weeks my excellent Scottie dog and I drove home in daylight
好几个星期以来，我第一次和我的狗在白天开车回家
thinking the whole nightmare was over.
心想着整个恶梦终于结束了
But we were not aware of what was lurking in our mailboxes next day.
但是我们不知道隔天会有东西在我们的信箱里
Which was a communication from the lawyers
这是律师的讯息
representing Perenchio and Yorkin invoking their right
代表杰里·佩伦乔和巴德·约金行使他们的权利
since we were 10 percent over budget to discharge us from the picture.
因为我们超出预算 10%，所以要解雇我们
In fact, it was funny, I didn’t know why they did that.
事实上，这很好笑，我不知道他们为什么这么做
I know they had the right to, and I think it was done out of pique.
我知道他们有权利去做，我想这是因为他们很生气
I think Perenchio was so cross with us
我想佩伦乔对我们这么生气
because he’d had to pay up on his guarantee of completion–
是因为他担♥保♥完成
For which he was being paid a million and a half.
所以必须付钱，为此他已经花了一百五十万
–that he wanted to punish us.
他想处罚我们
We went over budget, needless to say.
我们重新查看预算
It was– Went quite a bit over budget.
不必说，是……超出预算蛮多的
And it was just one of those things that happens in motion pictures in particular.
这在拍电影时常常发生
And one that was as difficult as this was to make.
这部片子又很难制♥作♥
And a big part of that was the cost of special effects.
大部分是特效的花费
And also the fact that Ridley was taking– He’d do 30 takes of something.
雷德利也拍了……他会拍 30 个镜头之类的
When they wanted to remove Ridley from the film, I said:
当他们想将雷德利从这部电影中除掉时，我说
“Wait a minute. No. There’s no way.
“等一下，不，不可能
I mean, he’s gotta finish this film, because we bought a Ridley Scott film.
他得完成这部影片，因为我们买♥♥的是雷德利·斯科特电影
We’ll persevere and take down the budget as best we can.”
我们会坚持下去，并尽可能节省预算”
And we had meetings about special-effects shots did we need this one or that one?
我们开会讨论特效镜头，我们需要这个或那个吗？
And Ridley, quite frankly, didn’t get all the stuff that he wanted, you know?
坦白说，雷德利没得到所有他想要的东西
Quite honestly, what happened was we had the right to edit the film.
老实说，发生的事情是，我们有权剪辑电影
And there were things that I wanted to take out.
有东西我想拿掉
And not only me, but other people that were involved.
不只是我，还有其他参与的人
And the picture was running very long at that time.
当时影片非常长
And that became very difficult for us, because–
我们变得很难做，因为
I remember Jerry Perenchio coming in and saying:
我记得杰里·佩伦乔走进来说
“Now we can put this film exactly how we want it.”
“现在我们可以把这影片弄成我们想要的样子了”
And I said, “Well, that won’t be too easy
我说：“那不会太容易
because everything has been broken down because I’m working with the sound crews at the ti–”
一切都零零散散，因为当时我和音效人员还在作业……”
特里·罗林斯，剪辑监督
Which it hadn’t, but l’d– We’re trying to sort of tap-dance around this situation
但是其实没有，我们试着在拖延时间
because I knew that Ridley would come back.
因为我知道雷德利会回来
It’s just– You don’t fire a director unless he’s really done some horrible thing.
你不能解雇导演，除非他真的做了很可怕的事
Didn’t have the slightest effect.
一点影响都没有
I mean, the job continued to be done.
工作继续完成
So Ridley was on the picture all the way through and nobody went anywhere.
所以雷德利又回来了，没有人离开
There’s a lot of forgiveness in it all.
这其中有很多宽恕
And over a period of time, you just realize that
经过一段时间，你就了解
you are doing something that is so different, so special so unique.
你在做的事这么不同，这么特别，这么独一无二
You’ve done a man’s job, sir.
先生，你做了男子汉的工作
But are you sure you are a man?
但是你确定你是男子汉（人类）吗？
I think everyone who worked on that film
我想每个为那部片工作的人
when they realized what had been accomplished
当他们了解到完成什么样的成果时
was extremely proud that they were involved.
会很骄傲他们有参与
大卫·德赖尔，特效摄影总监
And all of those skirmishes that take place
所有那些发生的小冲突
to the point of making it better
是导向更好的一端
not just getting on people for ego’s sake.
而不是只为了自己着想
I don’t really think Ridley does that.
我其实不认为是雷德利的错
He doesn’t deal directly with you.
他不直接针对人
He deals with, what’s gonna be the best damn thing we can put on the screen?
他针对的是，我们怎样才能把最佳的东西放上银幕？
The fact of it is that in our going over budget
事实上我们重新察看预算时
at least it can be said that the money was– Is on the screen.
至少可以说钱都花在大银幕上
No doubt.
毫无疑问
It’s not the usual thing of just mis-planning.
这不是一般计划错误的事
It’s just that it’s up there.
它就是这样发生了
特殊视效
镜头之外
I look at Blade Runner as the last analog science-fiction movie made
我认为 银翼杀手 是最后一部非数字化的科幻片
大卫·L·斯奈德，美术指导
because we didn’t have the advantages people have now.
因为我们没有现在的优势
And l’ m glad we didn’t
我很高兴我们没有那些工具
because there’s nothing artificial about it.
因为电影里没有一点人工气息
There’s no computer-generated images in the film.
本片完全没有使用计算机绘图
The things that pervaded us during the whole production was
我们在制♥作♥本片时的想法是
道格拉斯·川柏，特效摄影总监
“How do we pull rabbits out of hats? Do more for less?”
“我们怎样才能事半功倍，从帽子里拉出兔子来？”
I always remember them coming off, going: “Wow.”
我记得他们说：“哇”
They nearly got me involved in special effects in a big way.
他们简直让我从头使用特效到尾
It was plain, old-fashioned filmmaking
那是普通的老式电影拍摄方法
大卫·德赖尔，特效摄影总监
with C-stands and gaffer’s tape
用脚架跟黑色胶带
and running the big 65 mm cameras.
及 65 毫米大型摄影机拍摄
In retrospect, this is probably one of the last great in-camera special-effects movies ever done.
回想起来，这或许是最后一部用摄影机拍摄特效的经典
史帝芬·戴恩，助理美术指导
In the late ’70s, there was kind of a resurgence.
在 70 年代后期，这股风潮再度兴起
As far as visual effects went, it was like a rebirth
就特效方面，这像是重生
because there was a large void the decade and a half before.
因为十五年来是一片空白
理查德·尤里西奇，特效摄影总监
There were effects in films but there wasn’t enough infrastructure to do
以前电影有特效，但基础结构不足以
a film like Star Wars or Close Encounters.
拍摄 星球大战 或 第三类接触
The ground was changing, you know.
情况变了
Suddenly, we had motion-control cameras
突然间我们有动作控制摄影机
and suddenly, computers had reared their head.
突然间计算机成了万能的工具
But as we were doing Blade Runner
但拍摄 银翼杀手 的时候
I did have personal connection with Dougie Trumbull and Richard Yuricich.
我个人跟道格拉斯·川柏及理查德·尤里西奇有私交
艾弗·鲍威尔，副制片人
And I know I had a part in persuading Richard, you know, to do the movie.
我知道我帮忙说服理查德参与本片拍摄工作
It was a very small film at the time.
当时那只是一部小成本电影
It was about $2 million, and it was about 50 or 56 shots.
预算约 200 万，有 50 到 56 场戏
They had based it on doing a like number of shots to Alien
他们以 异形 拍摄的镜头数目做为基础
which really wasn’t enough for this film.
那对本片来说是不够的
And the more Ridley got into it, the grander his vision, I think, expanded.
我想，雷德利越投入，他的野心越来越大
Once they saw what could be done
一旦他们了解到本片的潜力
and some of the demonstrations of the fine work that was there
发现他们拍出来的成绩不错
of course it would be any kid’s desire, or any good director’s desire
当然那是孩子们的梦想，或是好导演的梦想
罗科·焦弗雷，背景绘图师
to just do more of the same, to actually say:
为了要做到，为了要说
“Wow, if we can do this, then we can also do this.”
“如果我们能这么做，那么我们也能那么做”
So there was always the business part of it barking at our heels:
我们老是得考虑到商业利益
“Well, how much can we spend? How much time do we have?”
“我们花了多少钱？我们有多少时间？”
But little by little, we got onboard.
一点一滴的我们上了轨道
It’s not like, “Spend all the money you guys have
不是“你们要花多少钱都可以
and make it look as good as you can.”
尽量将电影拍好”
It was like, “Do more with very little money and very little time.”
而是：“用最少的时间跟金钱，多做一些事”
And that was kind of fun.
那真的很有趣
Part of what worked for Blade Runner was the fact that
银翼杀手 的成功
we were all stupid and didn’t know much
部分归对于我们有股傻劲，我们知道的事情不多
so we had to figure it out ourselves.
所以得自己摸索
Some of the choices we made then l would never make now
当时我们做的一些选择，现在我不会那么做
马克·斯泰特森，首席模型师
although they’re good choices.
虽然那是很棒的选择
The thing that made our work in Blade Runner fit the movie was that
银翼杀手 的成功
we worked to the concept.
在于我们一切都从概念出发
And you never design a visual-effects shot to have the audience go:
我们从不设计视效镜头只为了让观众说
“Oh, wow, what a neat visual-effects shot. What a great design.”
“好酷的视效镜头，好棒的设计”
It always has to tell the story.
每个镜头都要能说出故事
And fortunately, in the case of Blade Runner
还好在 银翼杀手 里
one of the protagonists was the city, was the environment.
主角之一是市容跟环境
People had to live in this very oppressive environment
人们得活在这个非常压抑的环境
and that is one of the key characters in the story.
那是故事的关键
The good thing is that there was pollution as part of the story.
好事是故事里提到了污染
Pollution’s not good
污染是件坏事
but there was gonna be lots of aerial perspective and haze
但会有很多的鸟瞰跟模糊的镜头
and that was all part of the scene.
那是戏里的重点
So the Hades landscape is what’s called a forced-perspective miniature.
地狱景观是所谓的强制透视模型
You have larger little miniature elements in the foreground
前景是比较大的模型
smaller ones, smaller ones and smaller ones going all the way to the horizon.
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