回忆录：异形起源故事（2019）

this film was going to be virtually in slow motion.
这部电影就像是一部慢动作片
Everything was slow,
除了几处嗨点之外
except for these stabs that you’ve got at various points.
其他的一切都很慢
And you thought, how can I sort of push someone into a corner from the editing point of view,
然后你就会考虑 如何利用剪辑把角色♥逼♥入绝境
and how far do you go before the audience says enough’s enough?
以及要逼到怎样的程度让观众忍♥无可忍♥
There was a lot of, I think, studio concern
我想当时制片厂 颇为担忧
about the fact that it was 45 minutes before anything,in their opinion, happened.
在他们看来 影片前45分钟等于无所事事
Before the facehugger jumps out of the egg and…
直到抱脸虫从异形卵中弹出
and hits John Hurt on the… on the old visage.
趴到约翰·赫特的头盔上
But that was its strength.
但这才是该片的魅力所在
Indeed.
没错
That really was its strength,
这种在向观众作最终揭示前
to be able to hold it back that long
让他们长时间保持紧张的能力
before you really gave it to the audience.
正是该片的魅力所在
They all found it very hard to cope with that.
片厂大佬们有些难以消化这种风格
Dan O’Bannon had conceptualized very early on in his script
丹·欧班农很早就在剧本上写明
that they wouldn’t find the eggs in the derelict spacecraft.
他们不会在废弃的飞船上发现异形的卵
They would find the space jockey.
他们发现的是太空骑师
Extraordinary vision, and it came from Giger.
那真是非同一般的画面
It was a Giger picture.
源自吉格尔的概念设计
And it did something brilliant in the sense
太空骑师出现的意义
that it showed you that the universe was extraordinary.
在于它向你展示宇宙之妙 不可思议
It was haunting.
那样的画面过目难忘
It was almost certainly benign.
它给你一种几乎是亲近的感觉
You felt almost sort of a loss when you saw it.
一眼望去 你会觉得怅然若失
It was a kind of creature ossified to a chair.
它像是某种生物与座椅石化在一起
You never quite understood what was creature what was chair,
你无法清楚地将生物本体与座椅区分开来
and it was just brilliant.
这样的设计真是绝妙
It’s another thing that Scott had to fight for.
这个设计同样需要斯科特竭力争取
Because Fox just went, well,
因为福克斯高层们认为 怎么说呢
it doesn’t have any plot function, you know
它并没有任何剧情意义
They just go through the floor and find the eggs.
他们不该直接穿过地板去发现异形卵吗
Ridley said, you can’t just have a hole in the ground.
雷德利说 你不能直接表现地上有个洞
You’ve got to suggest something.
你得有某种(异形出没的)暗示
In the chest of what was then the space jockey,
太空骑师的胸口有个洞
which we now know to be the engineer, there’s a hole.
当然 现在我们知道他是工程师
Bones are bent outward,
骨头向外弯曲
like he exploded from inside.
好像从里面炸开一样
So you get an instance of what is a hint,
你马上会领略到某种暗示
a tiny little drop of maybe what these… these things do.
脑海中会形成“有什么东西要出来了”的念头
And they lower Kane in on like, a wench.
他们把凯恩慢慢放下
Can you see anything?
你能看到什么吗
I don’t… a cave.
还没有… 有个洞
A cave of some sort, but I…
像是一个装什么的洞穴 但我…
I don’t know, but it’s like the goddamn tropics in here.
我看不太明白 这儿温度高得像他妈在热带似的
And he sees in there this great sort of tableau
然后他看到一个非常宏大的场景
that Giger had actually painted.
吉格尔在做概念设计时 的确有画出该场景
When we got that onto that set and saw what they had done,
当我们到达他们搭建的那个布景时
I mean, it was just… it was mind-boggling.
我心想 这简直… 令人难以置信
Everything was actual size.
所有的东西都是按完整比例搭建的
There was no CGI.
当时也没有电脑特效
So you were inside of these big huge caverns
你处在这些巨大的洞穴中
that look like big vaginas, you know?
一眼看去 像是巨型阴♥道♥
I mean, everything had a sort of a very sexual orientation.
我的意思是 所有的东西都有强烈的性意味
So you’ve landed on the planet,
我们看到他们在行星上降落
and you’ve had this ethereal sequence.
在这一段空灵的场景里
Kane is almost guided via the signal,
凯恩似乎被某种讯号♥引导着
some voice is calling him onwards.
仿佛被某种声音召唤而前
And it’s kind of wonderful to think that there’s something there,
那种有某种事物在召唤的感受很奇妙
you know, that the alien spacecraft is calling him.
仿佛是那个异形飞船在召唤他
We get finally to the belly of the derelict,
最终我们来到废弃飞船的腹地
and we get the egg chamber.
一个相当于孵化室的地方
That’s the wake-up moment.
迎来惊悚一刻
That whole tactic of the beginning, the openness,
影片这般开场的技巧 不预设走向的开放性
and the kind of hauntingness,
以及这种幽灵附体般的诡异氛围
suddenly, it gets sucked inward.
突然之间向内倾塌
Up until that point,
在这一刻之前
the film has been a kind of strange hybrid
整部电影像是将库布里克式的
between a Kubrickian serious science fiction
严肃科幻作品与类童话氛围
and this almost kind of fairy tale-like atmosphere.
结合在一起的奇怪组合
It’s kind of strange sort of hauntingness.
有种梦游般不真实的感受
It’s not, strictly speaking, entirely realistic up
严格地说 之前的一切都显得不太真实
until the point they have dinner.
直到主角们用餐的场景
The chestburster changes the complexion of the film
那场异形幼体破胸而出的戏改变了电影的基调
from a kind of epic to a kind of horribly,
从一种太空史诗氛围转变成
horribly intimate and sort of claustrophobic and inward.
能引发幽闭恐惧症的内敛而绵密的恐惧
It’s kind of an inward movement,
即使画面表现的是异形从体内钻出
even though the creature comes out of him.
你仍然能感受到一种向内的压♥迫♥之力
Suddenly, everybody’s trapped.
突然之间 船员们都被困住了
Suddenly, the spaceship is small and confined,
飞船变成了狭小的困境 而在这之前
where before, it being this kind of fast vessel.
它感觉是如此巨大空旷
And what the film does is make that
通过这一风格跳跃性的转折
hyper leap jump into a primal survival story about
此后的剧情变为原始的求生挣扎
many more things than we realize.
其寓意远比我们认知的更为宽广
Ridley always says
雷德利总是说
that this… this was the scene that stood out that would make or break the film.
这个场景是全片关键所在 影片成败在此一场
It was just some craziness that came out of Ron Shusett and Dan O’Bannon’s mind.
这个场景是丹·欧班农和罗纳德·舒塞特的疯狂念头
When you read it in the script, there’s so many different ways to approach it.
当你读剧本的时候 你有很多种解读方法
And Ridley was so constrained with the scene.
雷德利对这一幕执念至深
It’s a very significant moment in film history.
这一幕在电影史上也意义非凡
The idea came from a painting from Francis Bacon.
其灵感来自于弗朗西斯·培根的一幅画
Ridley Scott told me that this painting,
雷德利·斯科特告诉我
it’s just a crucification, and one of the
这组画表现的是受难 其中有一个形象
member has just teeth and red flesh,
具有突出的牙齿与血红的身体
and he liked to have the chestburster like that.
他希望异形破胸虫就长那样
I’ve always been very moved by the movements of the mouth
我对画中角色的唇齿形状
and the shape of the mouth and the teeth.
以及它们运动的形态 很是着迷
And I like the, you may say,
可以这么说
the glitter and color that comes from the mouth.
我喜欢其嘴部闪烁的色彩
When I was first went to Paris, I found in an old bookshop
我第一次到巴黎时 在一家旧书店
a book on diseases of mouth.
发现一本描述口腔疾病的书
The plates were hand-colored,
当中的插页是手绘的
and that it had a tremendous effect on me.
那本书对我影响至深
The three studies for figures at the base of the crucifixion
以受难为题的这三张习作
is the real point of departure for Bacon.
是培根扬名立万之作
He thought of that picture as his first picture.
他认为这副三联画是他真正意义上的首部作品
He was 35, and that’s late, of course,
他当时已经35岁
for an artist to have a first work.
对于艺术家来说 这个年龄算是大器晚成了
This is his breakthrough work.
这可以说是他真正成熟的作品
And it’s full of contradictions, full of paradoxes.
画作充满着自我矛盾和悖论
How did suddenly this enormously challenging,
这种难以理解 难以言喻的恐怖 同时又丑陋的意象
unbelievably horrific and ugly imagery arise?
究竟是如何突然出现的呢
The imagery is Christian.
虽然这副作品的意象是基♥督♥受难
And Bacon, even by then, was a very violent atheist.
但即使在那个时候 培根仍是一个咄咄逼人的无神论者
You get the crucifixion in the title,
画的名字虽然叫“基♥督♥受难”
but it is a mixture of Greek myths and Christianity.
但它实质上是古希腊神话和基♥督♥教教义的混合体
The Greek influence was very deep,
古希腊的影响对培根来说是根深蒂固的
and I think he thought of himself as somebody hounded by furies.
我的理解是 他在创作时假定自己是复仇女神的猎物
And I think he felt their talons in his flesh.
我想他能在自己的身体里感受到女神暴怒的利爪
He said, oh, yes, the furies visit me very often.
他曾经说 “哦是的 复仇女神是我的常客”
The temple of Apollo at Delphi
德尔斐的阿波罗神庙
was one of the major sanctuaries of the Greek world.
是古希腊神圣庇护所之一
It is really important in the story of the furies.
在复仇女神的故事中占据着非常重要的位置
The furies in Greek mythology
在古希腊神话中的复仇女神
are avengers of crimes,
其复仇对象往往是孩童
usually committed by children against their parents.
为了他们对父母犯下的罪行
And they first appear in Aeschylus’ trilogy
她们初次出现是在埃斯库罗斯的三部曲中
when Orestes murders his mother, Clytemnestra,
当奥瑞斯提亚杀害了他的母亲克吕泰涅斯特拉
and her lover, Aegisthus.
和她的情夫艾奎斯托斯后
When Orestes finds refuge at the temple of Apollo at Delphi,
跑到德尔斐的阿波罗神庙避难