回忆录：异形起源故事（2019）

it’s curved like a spring of the Jack in the box.
弹簧般蜷曲的样子 就像弹跳玩偶盒那样
And from those sketches,
以丹的手绘草图为基础
he went ahead and did the paintings.
吉格尔着手设计并最终完成概念画
And that’s why the paintings say Dan O’Bannon’s Alien,
因为是丹私人付款约稿 吉格尔在其画作上
because Dan paid for them.
标注的是“丹·欧班农的异形”
Fox hierarchy come in to see some of the designs,
未曾想福克斯的高层过来看了几幅设计画后
and they fired him.
当即炒了吉格尔的鱿鱼
Gordon Carroll finally said, this guy is just sick.
戈登·卡罗尔最后表示 这家伙简直是有病
Get him off our lot.
不要让他出现在我们片场
Send him back to Switzerland.
把他送回瑞士去
We’re having none of it.
我们做的都白费了
So Giger was gone.
吉格尔黯然离开
Fox is full speed ahead with Brandywine.
福克斯和白兰地葡萄酒在全力推进项目
They’re in preproduction Walter Hill is going to direct the film,
时值项目前期筹备 沃特·希尔会是导演
and all of a sudden, the studio gets a call from Walter Hill,
但毫无征兆地 制片公♥司♥忽然接到沃尔特·希尔的电♥话♥
basically, where he says,
电♥话♥里他大概的意思是
yeah, I’m not going to…
对 我不打算…
I’m not going to make this movie.
我不打算拍这部电影了
I never really believed in it. I don’t think it’s that great,
我一直对这故事没感觉 没觉得拍出来会有多好
and I got another picture I’m going to do here.
而且我手头还有另外一部电影要拍
So good luck.
只有祝你们好运了
I’m out.
我撤了
And that other picture was “Southern Comfort.”
他说的要拍的另一部电影是《九怒汉》
Not a bad movie.
虽然也不差
Not “Alien.”
但绝比不上《异形》
I read the script, and I thought, well, this is
我看完剧本之后
very solid, very interesting.
觉得剧本挺扎实 很有意思
It’s not really an actor’s script.
但这并不是那种凸显演员演技的剧本
There was no one else attached,
当时还没有其他人确认出演
and they’re asking me to get involved in
他们问我是否想加入
what was then a budgeted film for $2 million.
这部当时仅有200万美元预算的电影
$2 million sounds like an Ed Wood movie.
200万的预算听上去只能拍出一部艾德·伍德式的烂片
So I turned it down.
于是我回绝了
Ridley and I had just finished off the do list.
雷德利和我当时刚忙完手头的工作
There was this thing between Ridley and I about sci-fi,
对于科幻 我和雷德利意见并不统一
and that I was the sci-fi fanatic.
我是科幻的狂热粉
And all the films that I used to show him,
我之前给他看过很多(科幻)电影
he would completely disparage and say,
但他都会彻底否定 然后说
no, that’s a pile of shit.
天啦 这就是一坨屎
He had the script through the door called the “Alien,”
有一天 他收到一个剧本 叫《异形》
and I tried to say, well, let me read it, et cetera,
我当时想说 让我先看看什么的
and for some reason or other,
那一次 不知什么原因
this time, he said, no, no, no, no, I’ll read it first.
他说 不不不不 我先看看吧
And so he was in the next door office where we made commercials,
他当时在隔壁 我们拍广♥告♥的办公室
and I remember him sitting there going, fuck me.
我记得他坐在那里(看剧本) 然后就听到他在那喊 卧♥槽♥
I got a call a few weeks later,
几周后我接到一个电♥话♥
and they said, well, the budget’s up to $10 million,
说预算已经提到了1000万美元
and a director named Ridley Scott is going to direct it.
会由一位叫雷德利·斯科特的导演执导
I said, sold.
我说 成交
I got a phone call from Ridley saying,
雷德利给我打了个电♥话♥
get your backside down to Shepperton now.
说你现在就赶紧收拾东西到谢泊尔顿影棚来
So I drove straight down there.
所以我直接开车过去了
When Brandywine brought Ridley on
当白兰地葡萄酒公♥司♥请雷德利来后
was when Dan really got an ally in a lot of
丹真正地找到了同盟
what he wanted for “Alien” to be.
来实现他对于《异形》的愿景
Very, very rare occurrence when the writer can have that amount of influence.
一个编剧能对电影有如此大的影响力 是非常非常少有的
We thought he was gonna be the wrong director for it,
我们觉得他可能不适合做这部电影的导演
and he turned out to be
但事实证明
the greatest visual stylist since Kubrick’s prime.
斯科特是自全盛时期的库布里克之后 最杰出的视觉大♥师♥
And he’s such a visual guy
他对视觉呈现非常敏感
that the first thing he did was kind of to break it down into storyboards,
他做的第一件事 就是将故事解构成故事板
draws his own storyboard, extraordinary artist,
他亲自作画 他算得上画功了得的艺术家
these fantastic images.
故事板画得棒极了
But what it doesn’t really have is a clear idea of the alien.
但当时对于异形的设计思路还不清晰
It’s not quite there.
只有些模糊的想法
O’Bannon says look, I’ve got this book.
欧班农说 你看看这本书
When Dan showed Ridley the “Necronomicon,”
当丹给雷德利看吉格尔的《死灵之书》时
Ridley instantly said,
雷德利马上说
yes, this is it.
行 就是这个了
I was shown the book, Necro…
我第一次看到那本《死灵…
Nomicom.
《死灵之书》
“Necronomicon,” OK, in Los Angeles, in fact, by O’Bannon.
对 《死灵之书》 是在洛杉矶时
He brought it in.
欧班农带来给我看的
And I nearly fell off the desk.
我惊喜得差点从桌子上掉下来
Said, that’s it.
连声说 就是这个感觉了
And why look further?
不用再瞎想了
And so that’s how I saw it.
我最初看到那本书的过程就是这样子的
It was as simple as that.
就是这么简单
I’ve never been so certain about anything in my life.
我长这么大都没有如此笃定过
There were many arguments at that stage.
当时有很多的争议
Fox were really quite troubled.
福克斯影业非常为难
But it was an early sign of how strong Scott was on that film
但这也凸显了斯科特在这部电影中的强势
that he won so many battles.
在许多分歧争议中他都坚守己见
And the most fundamental and important one
其中最根本 最重要的一项功劳
was he got Giger back on.
是他把吉格尔请了回来
And I just thought it was stunning,
我觉得(吉格尔的画作)很出色
and I just stuck to my guns saying, no. No, that’s it.
所以我一直坚持说 不行 就得用他
They said, let’s bring him in and talk some concepts.
片方说 我们可以请他回来聊聊设计概念
I said, no.
我说 不行
You can’t do that.
你不能这么做
That’s it.
就用他了
We want to be shooting by so and so.
我们就要这样这样拍
That’s it.
就这么定了
Just to get this right is gonna be incredibly difficult.
能把异形的设计做好 就是异常艰巨的任务
This is beautiful, not just threatening.
它虽然让人生畏 但有着异样的美感
And also has very sexual connotations.
而且还包含许多性暗示
So in everything, it’s like a rather beautiful
所以整体看来 它更像是一种美丽的
humanoid biomechanoid insect.
人形生物机械昆虫
Giger talks about intentionally drawing imagery from his own dreams,
吉格尔谈到他会特地画出梦中的图像
that means coming from a place where he didn’t have agency
这意味着 是他梦见的东西在启发他
over what came to him.
而他无法拒绝
When he painted,
当他作画时
he was in this sort of trance.
会进入某种入迷的状态
He was possessed, like a seer, a blind seer.
他像着了魔似的 如同失明却愈发有洞见的先知
Would go like that, and like in a Polaroid,
就那样中邪似地作画 又像是用宝丽来相机拍照一样
an image would appear and take shape.
图画就那样慢慢显现并最终成形
Giger’s images existed in a universe of their own in Switzerland.
在瑞士 吉格尔的画作仿佛来自另一宇宙
And they really found their place in space,
在太空背景里 在异形和太空骑师的设计上
the xenomorph and the space jockey.
那样的风格相得益彰
Giger’s images really found a home in “Alien.”
吉格尔的绘画仿佛是为《异形》而生
Part of what you’re seeing with the character of “Alien” is this gorgeous synchrony,
在观察异形这个角色时 你会注意到
this incredible synthesis of multiple mythological characters,
某种绝妙的一致性 它是对赛赫麦特 帕祖祖 迦梨等
Sekhmet, Pazuzu, Kali.
来自不同神话体系中邪恶角色的完美融合
You can see the medieval dragon,
你从异形身上能看出中世纪的龙
the Renaissance demons,
文艺复兴时期的恶魔
the work of Heironymous Bosch.
以及耶罗尼米斯·博斯画作的影子
And it’s a synthesis that wasn’t done consciously.
而这种融合并非刻意为之
It was a synthesis that happened in the cauldron of stories
而是所有神话故事
that was Giger’s imagination.
经由吉格尔想象与创造的自然融合
This is a character with which all three of these artists identified.
这样的设计是欧班农 斯科特和吉格尔三位艺术家都认可的
And because they all resonated with this pattern, they were drawn together,
正因为他们仨都对这一类设计有共鸣
this coming from a much deeper place.
这种创意的融合 会远比一般设计更为深刻
Such a brilliant choice that in the end,
这是一个非常了不起的创意抉择
you could say separates “Alien” from anything else
到最后 你可以说《异形》的独特之处
was you’ve got this extraordinary artist
在于首先有一位超凡的艺术家
with this sort of mind-blowing imagery,
他的设计突破想象极限
and you inject it straight into the film.
你把那种想象倾注到电影里
In the hands of perhaps an aficionados
如果由单纯的恐怖片迷
who loved horror movies and science fiction,
或科幻迷来拍
it might have turned out to be a completely different movie.
《异形》会变成一部完全不同的电影