危险的日子：银翼杀手制作始末（2007）

你意识到：“喔，那不是人，只是个机器人”
You realized, “Oh, it’s not a person, it’s a robot.”
然后德卡拿走合金装置
And then Deckard takes this…
放进他穿的大衣外套里
…puts it into his trench coat that he was wearing at this point…
走出农舍，走过田野
…walks out of the farmhouse, across the field…
一只小狗跑出来对他狂吠
…a little dog shows up, starts yapping at his feet…
一直吠着直到德卡离开
…and is barking as Deckard takes off.
我们在前制期，现在参与的人变多了
We’re in preproduction, and it’s a big table now.
很多人
Huge. Many people.
然后他们说：“有床戏吗？”
And they’re saying, “What about the love scene?”
我说：“是有，不是非常露骨而已”
I said, “Well, the love scene’s there. It’s not explicit.”
“那搞露骨点怎么样？”
“What about getting explicit?”
“瞎搞，没门”
“That’s bullshit. No way.”
我记得我跟汉普顿最大的差别
I do remember one difference that Hampton and I had…
就在于商业性的考量点上
…which goes straight back to the issue of commerciality.
我想要有一个更露骨的做♥爱♥场景
I wanted to have a much more visible sex scene.
他们很沉着、很文明
They’re cool. They’re gentlemen.
我在会议桌上狂吼
You know, I’m, like, walking around the table fuming:
“你们到底要什么，伙计？你们到底要什么？”
“What is it you want, man? What do you want?”
汉普顿认为床戏实在太没品味
Hampton felt that was in rather bad taste at the very least…
他甚至表演给我看
…and he demonstrated it to me…
他以为这样就能说服我
…in a way he thought would convince me that it would be in bad taste.
他好像还亲了我
He may have probably kissed me at one point.
非常有说服力，不过那不是我想要的场景
And it was pretty convincing, but it wasn’t quite the scene I had in mind.
我想汉普顿对事情有点过于坚持
I think Hampton got a bit precious about doing things…
当我们想要改点东西的时候，他总是搞得很浮夸
…and it was always a bit of a drama when we wanted things changed.
我记得跟雷德利吵了一架
I remember having an argument with Ridley…
雷德利走进卧室坐在床上
…and Ridley went into the bedroom and sat down on a bed.
我跟着走进去说：“雷德利，我们不能这样拍。因为……”
I’m following him, I said, “Ridley, we can’t do that. Here’s what–”
他完全不跟我吵
And he wouldn’t argue with me, exactly.
我们闹到汉普顿完全累翻了
We got it up to a point where Hampton was just getting exhausted.
回到原始架构，又回到原始架构
Going back to the anvil, back to the anvil, back to the anvil.
我说：“不过如果这样，你就得那样”
I said, “Yeah, but if this, you’ve got that.”
问题是，我说得越多，我突然开始改变了
And the problem is, the more I talk, I suddenly start to evolve.
我很生气，走到游泳池边
I was angry, and I walked out by the pool…
还有艾弗，亲爱的艾弗走出来
…and lvor, lovely, wonderful lvor came out…
他试着告诉我
…and he tried to tell me.
然后
And…
不知怎么的，就很扎心
…it hurt somehow.
艾弗非常善解人意
Coming– This is the tenderness of lvor.
他没有直接讲明白
Saying– He didn’t come right out and say it.
他说：“如果你不这样做……”
He says, “You know, if you don’t do it…”
我记得他使用一种很俚语式的口气
And I remember he reverted to street talk, kind of.
他说：“我知道我的人”
He says, “l know me man.”
“他会出手的。他会做他想做的事，汉普顿”
You know, “He’ll do something. He’ll do what he wants to do, Hampton.”
我跟迈克尔坐下来谈：”我该怎么办？我还不到位“
I sat with Michael and said, “What should we do? I’m not there yet.”
迈克尔说：“那你想怎么办？”
And Michael said, “Well, what do you wanna do?”
我说：“我们应该让他选择。他想怎么办？让他
I said, “We should give him the choice. What does he wanna do? Let him–
给他两天假，我们谈谈，看看怎么办”
Give him two days off and let’s talk about it and see what to do.”
我总是希望能留住原始编剧
I always like to keep the writer on, the original writer.
对我来说非常困难
This was difficult in a way…
因为汉普顿从一开始就陪着我们
…because Hampton had been in it from the very start.
他的称号♥是执行制片
And he was credited as an executive producer…
当然他也依然是
…which he’d remain, of course.
不过在当时，他的日子已经结束了
But his days, for the time being, were over.
我接到一通电♥话♥
I get this call…
大卫·皮普尔斯，编剧
雷德利想和我谈谈关于 银翼杀手 这部片
…that Ridley would like to talk to me about Blade Runner or something.
通常我的反应是
And usually, I react to these things as:
“这行不通的。 这会是一个灾……”
“Oh, this isn’t gonna work. This is a disa–”
我记得我对迈克说
I remember saying to Mike:
他们请我飞到洛杉矶
So they flew me down to L.A…
让我住马蒙特城♥堡♥旅馆的高级客房♥
…and put me in the Chateau Marmont in this terrific suite…
请一位信差送来剧本
…and sent the script over by messenger, right?
我从来没有受过这样的待遇
Now, I’d never had any of these kind of things happen to me before.
我读了剧本
And I read the script–
坐在那里整整两小时
Two hours or something like that sitting there.
我完全无话可说，我认为剧本棒透了
–and I was knocked out. I thought it was a great script.
雷德利跟迈克尔在约定好的时间走进来
So Ridley and Michael came over at the appointed time or something…
然后他们说：“你觉得怎样？”
…and then they said, “Well, what’d you think?”
我说：“我觉得这剧本棒透了”
And I said, “l thought it was terrific.”
我说：“我没办法把这剧本改得更好了”
I said, “l can’t make this any better than it is or anything.”
结果他们开始发笑
Which– And they both sort of chuckled, right?
多年后我才知道我的答案有多天真
Like– And I realized years later what a naive answer that was…
因为谁在乎编剧怎么想的？
…because who gives a shit what the writer thinks?
把剧本改得更好不是我的责任，而是雷德利
It wasn’t the writer who was gonna make it better, it was Ridley…
而我只要听他的吩咐就行了
…and I was gonna do his bidding.
雷德利·斯科特的艺术作品
迈克尔用他的语气说：“雷德利有一些想法”
Michael said, “Oh, Ridley has a few ideas,” in that Michael way.
我就这样被雇用了
And I got hired.
我记得当时是圣诞夜晚餐，我被邀请到艾弗家吃饭
I remember there was a Christmas dinner I was invited to at lvor’s house.
然后
And…
我们坐下来
…we sat down…
他把剧本放在我面前的餐盘上
…he put the script in front of me on the plate.
我不知道那是什么。有时，有人会说
I didn’t know what it was. Sometimes, somebody would say:
“你要不要改写剧本什么的？”或者其他什么。我打开剧本
“Hey, you wanna rewrite something,” or whatever. And I opened the script…
上面写着……那是我们的电影
…and it said– It was our movie, you know.
我的电影。然后我打开了第一页，场景是在一个
My movie. And then I opened the first page, and it was in a…
其实开场还不赖。在一个废弃……
Actually, it wasn’t a bad scene. It was in a junk–
一种地下废弃场。废弃的仿生人叠在一起
You know, off-world junkyard. You know, androids being plowed under.
彷佛是我用这些堆积的尸体写出一个超现实场景
It was like I just wrote an off-world scene of all these bodies heaped up.
这些坏掉的复♥制♥人躺在那儿，堆在一起
Just the wrecked replicants just lying there, you know, in this heap.
忽然间有人从堆里站起来
And then gradually, somebody emerges from the heap…
那就是罗伊·巴蒂
…and it’s Roy Batty, right?
那就是我写的开场
And that was a beginning that I wrote.
然后我往下看了几页，因为我认出我的想法
Then I looked at a couple of pages, because I recognized the idea…
然后看到我的访谈场景，也就是电影的开场
…and then I saw my interview scene, you know, that opens the movie.
我看着他，他站在那里。我说：“这是什么？”
And I looked at him, and he was standing. And I said, “What’s this?”
他说：“这是新剧本。”我说：“什么新剧本？”
And he says, “This is the new script.” And I said, “What new script?”
他告诉我。他说：“这个大卫·皮普尔斯是……”
And he told me. He said, “This David Peoples is–”
我说：“那是谁？”
I said, “Who’s that?”
我真的，我什么也听不见了。我站着
I really– I couldn’t hear anything. I was standing–
我站起来是因为我要哭了。我就像，我的整个世界都分崩离析了
I stood up because I was gonna cry. I was like– My whole world fell apart.
大家会有什么感觉？肯定都很心疼
What’s anybody gonna be? lncredibly hurt.
因为他写得实在太好了
Because, you know, what he’d written was fantastic.
忽然有人跑进来拿走你的宝贝
And suddenly to have somebody else come in and take over your baby…
迈克尔·迪利处理人际关系很有一套
Michael Deeley’s so diplomatic.
我记得我几乎像是…恳求他：“这是不对的”
I remember kind of, like, beseeching him: “This is wrong.” You know.
“不管那家伙……不管这家伙是谁
“Whatever that guy– Whoever this guy is…
不管是谁写的，不”
…who’s writing this stuff, no.” It’s, like, “Me.
这是我的宝贝啊，你不明白吗？”我记得迈克尔说
Don’t you understand?” And I remember Michael saying:
“嗯……”非常圆滑
“Well–” Diplomacy.
他没有说：“嗯，汉普顿，是的，但你是个白♥痴♥，我们不能用你”
He didn’t say, “Well, Hampton, yeah, but you’re an idiot, so we can’t use you.”
而是说，“你的剧本很优雅
He said, you know, “Yes, your things are very elegant…
但是要拍电影就得这么做
…but this is what we need to do to make the movie.
现在我们要拍一部电影，汉普顿”
Now we’re making a movie, Hampton.”
皮普尔斯非常
Peoples, I think, is more–
我绝对没有贬低的意思
And I mean this in the best possible way.
他比较简单，汉普顿比较用脑力
Is simpler. Hampton’s more cerebral.
他的剧本读起来要用很多脑筋
And, for the most part, this was very cerebral.
我认为让皮普尔斯这样的人加入
And I thought actually bringing in something like Peoples…
能在大厅创造出一种流动的新鲜感
…would maybe create some fresh air in the corridors to make it move.
因为作为一个导演，我的危机在于倾向用脑
Because my danger as a director is I tend to get very cerebral…
过于专注在黑暗与细节上
…and get engaged with darkness and detail.
我想我的第一个故事会议是在马蒙特城♥堡♥的套房♥里
I think my first story meeting was at my suite at the Chateau Marmont.
我试着跟上当时剧情的进度
And I’m trying to follow where we’re going with this stuff.
我们走进塞巴斯蒂安的房♥间
We go into Sebastian’s place…
雷德利一直提起
…and Ridley starts talking about a mouse…
会突然冒出来，打领带的老鼠
…that’s gonna pop out with a bow tie.
雷德利开始巨细靡遗地描述它
And Ridley started describing it in all these details…
会议开始有点从故事情节
…and the meeting sort of had been derailed now…
脱轨到老鼠身上
…from the story to this mouse.