德·帕尔玛（2015）

当然 阿尔穿着
And of course, Al’s wearing this
这件非常厚重的皮衣
very heavy leather jacket.
大夏天的地铁
Now, it’s, you know, 110 degrees
得有43摄氏度
in the subway in the middle of the summer.
我在一列车上
And I’m in one train, you know,
尝试拍摄他
trying to get a shot of him
在另一列车上奔跑
racing through the other train
被一群男人追赶
being followed by these guys
当然 你得穿过一节节车厢
and of course, you’re going train to train
绕过所有的手扶杆
and then you’ve got all the posts.
然后你…你的车是不是走的够快
And do you…Is your train going fast enough
是不是能够把他恰好拍在镜头里 还是这样？
to just hold him in the shot or does it get like this?
我们真的是拍了一整晚
So, we literally tried to get this shot all night.
阿尔在车厢里跑前跑后
And Al is running up and down this train.
最后 差不多是在
And finally, it was about I don’t know,
凌晨四点的时候
4:00 in the morning and suddenly the train
阿尔所在的那列地铁
that’s Al in,
突然往前开
suddenly keeps going.
就这样消失了
Just disappears.
我对我助理导演克里斯说 “怎么回事”
And I said to my AD, Chris, I said, “What happened?”
他说 “阿尔把地铁开回家了
And he said,”Al took the train home.
他觉得你简直是疯了
And he thinks you’re crazy.
他不知道你在干什么”
He doesn’t know what you’re doing.”
我不得不回到我那列车上
So, I had to get in my train
回到阿尔的车所在的地方
and go back to where Al’s train was.
然后我走进阿尔的房♥车 他整个人都是红的
And I went up to Al’s trailer and he’s like, red
因为他穿着大衣
because he’s been sweating
一直在出汗出了几个小时
with his coat, you know, for hours.
他说”你在干什么”
And he says, “What are you doing?”
你必须得处理每天发生的事情
You have to deal with what happens on the day.
当然也要调整你的思路
And of course, adjust your vision
想出一些行之有效的
and come up with something that works
或者让效果更好的方法
and maybe something that’s better.
我准备了详尽的分镜
I had elaborate storyboards
来拍从世贸中心的自动扶梯
of this whole shoot-out on the escalators
下到地铁里的
that were in the World Trade Center
那场枪战戏
that went down to the subway.
我花了好几周时间来设计场景
I’d spent weeks and weeks photographing.
并且做了建筑模型模拟
And I had an architectural program
设计好了每一个人的位置
and I built everybody in all the positions.
然后就在我们要开始拍摄的前几天
And then about a couple of days before we were supposed to shoot it,
他们把它给炸了
they blew it up.
首次恐怖袭击
The first terrorist attack.
所以当时大家都在问 “我们接下来怎么办”
So then, everybody said, “What are we going to do?”
然后我说 “我们可以假设他去了中♥央♥车站
And I said, “Suppose he goes to Grand Central Station
然后搭上了一辆去佛罗里达的火车
and gets on a train to go to Florida.
所以我们就可以在中♥央♥车站拍了”
So, we’ll do it in Grand Central Station.”
我用了一个非常复杂的
And then I worked out that incredibly complicated
斯坦尼康镜头来拍摄阿尔
steadicam shot with Al.
嗨 文尼
Hey, Vinnie.
文尼 等一下
Vinnie, wait up.
在拍摄长镜头的时候
The thing you learn about the long take
你可以即时地在屏幕上记录下
is that you can document the emotion
情绪的变化
happening on the screen in real time.
而你一旦开始剪辑
And once you start cutting things up,
就会失去这种情绪的节奏
you lose the emotional rhythm of things.
他不在这里 我们去楼下吧
He ain’t up here, let’s go down.
走吧 – 这部电影中
Come on. – The whole way
把死亡场面用闪回的方式来做的想法
the movie is set up with the death
来源于我之前
being a flashback was an idea, you know,
阿 尔 · 帕 西 诺
看过的27000张黑白照片
from the 27,000 noire pictures I’d ever seen.
为了拍摄那个巧妙的开场
That extremely tricky opening shot
肖 恩 · 潘
肖 恩 · 潘
我们不得不
which we had to, you know,
为之设计一个特殊设备进行拍摄
design a piece of equipment to do.
我们曾经有可能完全走到错误的方向
You would wind up going the wrong direction once,
所以说这与我们平时的操作方法不太相同
so it’s not how you usually operate things.
佩 内 洛 普 · 安 · 米 勒
佩 内 洛 普 · 安 · 米 勒
我们尝试了许多次 才终于做对了
We had to do this many times to get it right.
我想在观众们没有意识到的情况下
I wanted to get back to the same scene
重新回到同样的场景
with the audience not realizing it.
我想要做成这样的效果
I wanted, you know, do a whole thing
当电影回到开始时的场景
where it comes all the way back
但是你却意识不到
to the beginning but you don’t realize
直到你已经
you’re in that scene until you’re like,
看了一半
halfway into it and you go,
然后你突然发现 “天呐 我前面看到过这个”
“Oh my God, I’ve been here before.
跟之前一样 这部电影的评价也很两极化
Again, it was getting kind of mixed review,
看腻了的警♥匪♥片
you know, tired genre gangsters.
我当时十分失望
You know, and I was kind of very disappointed
因为我从来没有
because I never…
后来我去柏林
When I went to Berlin
在柏林看了这部电影
and I was watching it in Berlin
这部电影之前在美国已经上映了
after it opened and did okay
而且反响还不错
in the United States,
我记得我在柏林看到这部电影的时候
I remember watching in Berlin
说过 “我没法
and said, “I can’t make…
没法拍出比这更好的电影了”
I can’t make a better picture than this.”
我又一次
Again, it’s a matter of being
碟中谍 (1996)
派 拉 蒙 影 业
在正确的时间出现在了正确地点
in the right place at the right time.
麦克·奥维茨打电♥话♥给我说
Mike Ovitz called me up and said,
注：麦克·奥维茨：投资人 迪斯尼前董事
“你想拍《碟中谍》吗
“You interested in doing Mission: Impossible
与汤姆·克鲁斯合作”
with Tom Cruise?”
我说 “你在开玩笑吗
I said, “Are you kidding?
当然想了”
Of course.”
因为当时我决心
Because I was…I was determined
要拍一部轰动的大♥片♥
to make a huge hit.
我说 “跟汤姆·克鲁斯合作?
I said, “With Tom Cruise?
《碟中谍》? 我已经准备好了”
Mission: Impossible? I’m ready.”
所以 当时的情况是
So, this was a situation
不管汤姆想拍什么 想在哪里拍
where whatever Tom wanted to do
他们都会尽力满足
they would make.
他们不在乎这些
They didn’t care.
他们只想让汤姆·克鲁斯
They just want to make Tom Cruise
出演《碟中谍》
in Mission: Impossible.
而对汤姆而言
Tom, on the other hand,
这是他参与制♥作♥的第一部电影
of course, his first picture
他想把一切都做到最好
he’s producing, wanted it to be exactly right.
于是 我找到了大卫·克普
So, I got a hold of David Koepp
克鲁斯 与 瓦格纳
制♥作♥
他是《情枭的黎明》的编剧
who wrote Carlito’s Way to do the script.
我们过了一遍大卫·克普的剧本
When we got through the David Koepp script
大卫·克普
大家都很喜欢这个剧本 汤姆当时
and they liked the script,Tom of course had…
觉得这个角色
He had things, character things,
有些问题 他并不是很满意
that were bothering him, he wasn’t happy with.
我跟他说 “汤姆 你必须跟我一起
I said,”Tom, you’ve got to walk
去莎莉的办公室
into Shari’s office with me
告诉她你确实想拍这部电影
and say you want to make this movie
不然我们就无路可走了”
or we’re going nowhere.”
然后他终于同意了
And I finally got him to say yes he’d make…
他表示愿意拍这个剧本
He would make this script.
然而第二天早上我接到的第一个电♥话♥
The next phone call I got the next morning
注：宝拉：《碟中谍》制片人
是宝拉打来的
was a call from Paula
宝拉·瓦格纳
制片人
她说 “好消息是我们可以开始拍摄了
and she said, “The good news is we’re go picture.
坏消息是我们要解雇大卫·克普
The bad news is we’re firing David Koepp
我们要启用罗伯特·唐尼
and we’re bringing on Robert Towne.