德·帕尔玛（2015）

导演 马丁·斯科塞斯
就是鲍比走进酒吧
The scene where Bobby comes into the bar
然后他和哈威在去密室里交谈的那场戏
and then he and Harvey talk in the back room.
你有多少钱 – 查理 我要付钱给他
How much you got? -Charlie, I’m going to pay him
钱我下个星期再给你
next week, I’m going to pay ya!
你去哪里 你什么都不要做
Where ya going, you don’t do nothing.
你在那里赢了多少钱 – 当时施拉德尔过来了
How much you got there? -Schrader came over
然后就开始玩牌
and began to play cards
施拉德尔输了很多钱
or Schrader lost a whole bunch of money.
然后我说 “没事儿 我会带你出去吃晚饭的”
And I said, “Come on,I’ll take you out to dinner.”
就在那时我们有了拍摄
And that’s when we got the idea
《迷情记》的想法
to do Obsession
因为我们两个人都看了《迷魂记》
because we both seen Vertigo.
他们最近会在洛杉矶博物馆
They’d recently shown it
进行展映
at the L.A. County Museum.
这是这部电影二十年以来的
The first time it had been shown
第一次展映
in 20 years or something.
我回家就写下了那个故事
I went home and wrote up the story
编剧
布莱恩·德·帕尔玛
保罗·施拉德尔
施拉德尔接手写了电影脚本
and then Schrader took it on and did the script.
《迷情记》的原始脚本
The original script of Obsession,
本来是叫《似曾相似》 总共三幕
which is called DEJA Vu, was in three acts.
未来还会有一幕
And there’s a whole act in the future.
所以 我去掉了第三幕
So, I got rid of the third act
因此施拉德尔一直对我不满
which Schrader always was very unhappy with me.
困难的是找到一个能使电影
Well, the tough one was getting an actor
获得赞助的演员
that could get it financed.
我们试着为这部电影
And we were trying to get
西北偏北 (1959)
导演 阿尔弗雷德·希区柯克
寻找一个希区柯克御用男主角式的演员
a kind of Hitchcockian leading man in this.
最后 我们成功得到了克里夫·罗伯逊
And finally, we managed to get Cliff Robertson,
他本来不是我的首选
which was not my first choice,
但是我们又没有更好的选择
but that’s like, the best guy we could get for the movie.
而且我觉得这部电影的槽点就是克里夫
And I think the weakness of the movie is Cliff,
亮点就是詹妮薇芙
and what the greatness of the movie is Genevieve.
我的意思是 她撑起了整部电影
I mean, she carries the movie.
克里夫很难合作
Cliff was very difficult to work with.
而且他做的事
And he did things
我都觉得很不可理喻
that I’d never thought were possible.
他应该能看出来詹妮薇芙正在接手这部电影
He could see that Genevieve was taking the movie over.
我的意思是 我们在拍摄某场戏时
I mean, we got to a part where
他们根本就没法合作
they could hardly work together
因为他一直在影响她的表演
because he was affecting her performance.
不仅仅是影响了她台词的发挥
Not only not feeding her lines well.
“我爱你 我强烈地感受到了这种爱意
“I love you, I feel very strongly about this.
你对我来说很重要” 我的意思是 他简直就
You mean more”– I mean, literally, you know,
没有让她能够发挥得更好
not giving her anything to work off of.
他就只会这样
He would just start doing this.
所以 她的目光就会看向这里
So, her eye line would be like over here.
威廉抓狂了
Well, Vilmos lost his temper.
维尔莫斯·齐格蒙德
摄影指导
因为 你们懂的 克里夫总是
Because, you know, Cliff always used
用那种褐色的东西
this kind of brown, you know,
他看起来就像是
he looked like– Well, this is a guy
他应该扮演一个因为妻子的不幸离世
that’s supposed to be haunted
而饱受折磨的人
by the unfortunate death of his wife.
他应该看起来是苍白的
He’s supposed to be pale.
但是他往自己的脸上抹了那种褐色的东西
He’s got this brown stuff on his face.
我记得威廉有一次抓住他
And I remembered Vilmos grabbing him once
把他压到红褐色的墙上
and literally backing him up into the mahogany wall
说 “你就和这墙
and saying, “You are the same color
一个颜色
as this wall.
让我怎么给你打光”
How can I light you?”
我花了很多时间隐瞒这件事
That took me many hours to paper that over.
你准备回到旧美国了吗 考特
You about ready to go back to old U.S. of A., Court?
对于这种发生在你眼前的
What is the technique
特殊戏剧性事件
that will work for this particular
有什么管用的解决方法吗
theatrical event happening in front of you?
《狄俄尼索斯》让我产生了全部使用分画面技术的想法
Dionysus gave me the whole split screen idea
然后又在这些分画面中
then I went on with the split diopter idea
进行层光分割
from those split screens.
我的意思是 我剪辑了《狄俄尼索斯》
I mean, I edited Dionysus
所以我会时常把两个画面
so I was constantly putting
放在一起比较
two images against each other.
然后我就想 “我怎么能这样拍一部
And I thought, “Well, how can I do this
常规电影呢”
in a regular movie?”
你在前景中放了
You’re putting something
某样很重要的东西
very big in the foreground
以此来与
juxtaposing it against
背景中的其他的信息
some other piece of information
进行对比
in the background.
我在《魔女嘉莉》中也使用了这种手法
I used it in Carrie too in the classroom
在教室里 当比利在读诗时
when Billy is reading his poem
你可以看见嘉莉在教室后面
and you see Carrie at the back of the class.
剪切造成的那种折射光
Then the diopter sort of cutting
就打在了比利的头发上
on Billy’s hair.
我那些很长的无声镜头需要配乐
I have long silent sequences that need to be scored,
所以我需要长篇的管弦乐谱
so I need big orchestral scores.
幸运的是 因为本尼太天才了
Fortunately, because Benny was such a genius
十分之九的乐谱已经完成了
9/10ths of it was there
并且几乎没有需要我改动的地方
and there was very little you had to change.
出租车司机 (1976)
导演 马丁·斯科塞斯
也就是在同一年
This was the same year that Benny
本尼和马丁合作了《出租车司机》
was working on Taxi Driver with Marty.
出租车司机
配乐
伯纳德·赫尔曼
他指导了电影配乐
He conducted the score,
然后回到酒店 去世了
went back to his hotel, and died.
我当时就在那里
I was there.
那时好像快到平安夜了
It was like almost Christmas Eve.
本尼是我第一个
Benny was my first–
他是最伟大的作曲家之一
One of the greatest composers ever.
所以 我第一位合作对象如此优秀
So, I started at a high point
现在我必须找到一个人
now I had to find somebody
来接替本尼的工作
to pick up the slack basically.
然后我很幸运地找到了皮诺
And I was fortunate enough to find Pino
因为我喜欢他为《威尼斯疑魂》做的配乐
because I liked his score to Don’t Look Now.
威尼斯疑魂 (1973)
导演 尼古拉斯·罗伊格
当我找到他时 他正住在威尼斯
When I discovered him,he lived in Venice.
皮诺·唐阿吉欧
我拉他入伙 他为我做的第一部电影配乐
And brought him in and the first score
就是《魔女嘉莉》
he did for me was Carrie.
在那之后我们又合作了
And then we did eight more films
魔女嘉莉(1976)
八部电影
after that.
《魔女嘉莉》和《迷情记》是同一年拍的
Carrie and Obsession’s the same year,
1976年是很重要的一年
’76 was a very big year.
除了《了解新手》
Apart from Get to Know Your Rabbit,
我早期的十部长片都是独♥立♥制♥作♥的
the first ten features I made were independently financed.
我有很多奥逊·威尔斯式的问题
I had the Orson Welles problems.
有很多伟大的想法
I had big ideas.
我需要很多那种东西
And I needed a lot of that stuff.
因此 我必须要回到体系里
So, I had to get back into the system.
只有依靠拍摄《魔女嘉莉》 才让我回到体系里
And I only managed to do it again with Carrie.
有了拍《魔女嘉莉》的想法是在第12大街上的
Carrie came to me in a steam room
一间蒸汽房♥里
over on 12th Street
在那里 我的一位作家朋友
where a writer friend of mine
向我推荐了这部史蒂芬·金的《魔女嘉莉》
suggested this book by Steven King called Carrie.
我发现它的版权属于联美影业
I discovered it was at United Artists.
迈克·麦德沃是制片厂的负责人
Mike Medavoy was head of the studio.
他认识我 并且喜欢我的电影
He knew who I was and liked my movies
我就是这样得到那份工作的