alan吧 关注：9,697贴子：270,223
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英文字幕先睹为快(其他还在努力中.....还在纠结３分１４秒AR 说了神马....)
有亲说,这个有过翻译了? 有的话,麻烦通知一下...咱就不练听力了....
Q: Well Alan let's start by talking about the final chapter of the story. What for you are the central themes in the Deathly Hallows part 2? Which is we know is finding its resolution and its termination of all the Harry Potter saga.
AR: Well...at the any end of the great story I suppose like that is got to move towards a happy ending, [laughs] in one sense. And growing up with Harry Potter, you know, you go from 12 years old to...well..the whole school career. I remember that, going school at 11 and leaving at 18. I suppose you get some hindsight.
Q: And courage perhaps? Is courage key to this final part?
AR: Sure! For everybody. Yes, and moral values and choices and right and wrong.
Q: How does the Dealthy Hallow part 2 feel in comparison to the rest of the series? In what ways have they done them as in the dangerous and the darkness perhaps increased?
AR: Um...It's a very gradual thing with the books and the stories...you know...there's no other way of putting it. You are watching.... if you are going to the central of the stories with those three kids, you are watching them become young adults. And so everything changes. That three little innocent faces only 3 foot off the ground at the beginning. And then by the end then meeting the adults, more or less, at eye level, and romances enter their lives. Start choosing big choices in life, they are becoming adults. It's incremental; it's not as if you can jump from one film right at the beginning to the film at the end and say: 'well, this is different.' From that in these ways, it's incremental piece of masterful story telling.
有亲说,这个有过翻译了? 有的话,麻烦通知一下...咱就不练听力了....
Q: Well Alan let's start by talking about the final chapter of the story. What for you are the central themes in the Deathly Hallows part 2? Which is we know is finding its resolution and its termination of all the Harry Potter saga.
AR: Well...at the any end of the great story I suppose like that is got to move towards a happy ending, [laughs] in one sense. And growing up with Harry Potter, you know, you go from 12 years old to...well..the whole school career. I remember that, going school at 11 and leaving at 18. I suppose you get some hindsight.
Q: And courage perhaps? Is courage key to this final part?
AR: Sure! For everybody. Yes, and moral values and choices and right and wrong.
Q: How does the Dealthy Hallow part 2 feel in comparison to the rest of the series? In what ways have they done them as in the dangerous and the darkness perhaps increased?
AR: Um...It's a very gradual thing with the books and the stories...you know...there's no other way of putting it. You are watching.... if you are going to the central of the stories with those three kids, you are watching them become young adults. And so everything changes. That three little innocent faces only 3 foot off the ground at the beginning. And then by the end then meeting the adults, more or less, at eye level, and romances enter their lives. Start choosing big choices in life, they are becoming adults. It's incremental; it's not as if you can jump from one film right at the beginning to the film at the end and say: 'well, this is different.' From that in these ways, it's incremental piece of masterful story telling.
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Here's what I've gathered .... 其他就等高人翻译和纠正....实在是好困....
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AR: Well...at the any end of the great story I suppose like that is got to move towards a happy ending, [laughs] in one sense. And growing up with Harry Potter, you know, you go from 12 years old to...well..the whole school career. I remember that, what was like going to school at 11 and leaving at 18. I suppose you get some hindsight.
Q: And courage perhaps? Is courage key to this final part?
AR: Sure! For everybody. Yes, and moral values, and choice,s and right and wrong.
Q: How does the Dealthy Hallow part 2 feel in comparison to the rest of the series? In what ways have they done them as in the dangerous and the darkness perhaps increased?
AR: Um...It's a very gradual thing with the books and the stories...you know...there's no other way of putting it. You are watching.... if you are going to the central of the stories with those three kids, you are watching them become young adults. And so everything changes. That three little innocent faces only 3 foot off the ground at the beginning. And then by the end then meeting the adults, more or less, at eye level, and romances enter their lives. Start choosing big choices in life, they are becoming adults. It's incremental; it's not as if you can jump from one film, the one at the beginning to the film at the end and say: 'well, this is different.' From that in these ways, it's incremental piece of masterful story telling.
Normal 0 false false false EN-AU ZH-CN X-NONE MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} Q: Well Alan let's start by talking about the final chapter of the story. What for you are the central themes in the Deathly Hallows part 2? Which is we know is finding its resolution and its termination of all the Harry Potter saga.
AR: Well...at the any end of the great story I suppose like that is got to move towards a happy ending, [laughs] in one sense. And growing up with Harry Potter, you know, you go from 12 years old to...well..the whole school career. I remember that, what was like going to school at 11 and leaving at 18. I suppose you get some hindsight.
Q: And courage perhaps? Is courage key to this final part?
AR: Sure! For everybody. Yes, and moral values, and choice,s and right and wrong.
Q: How does the Dealthy Hallow part 2 feel in comparison to the rest of the series? In what ways have they done them as in the dangerous and the darkness perhaps increased?
AR: Um...It's a very gradual thing with the books and the stories...you know...there's no other way of putting it. You are watching.... if you are going to the central of the stories with those three kids, you are watching them become young adults. And so everything changes. That three little innocent faces only 3 foot off the ground at the beginning. And then by the end then meeting the adults, more or less, at eye level, and romances enter their lives. Start choosing big choices in life, they are becoming adults. It's incremental; it's not as if you can jump from one film, the one at the beginning to the film at the end and say: 'well, this is different.' From that in these ways, it's incremental piece of masterful story telling.
Q: I know you don't want to give away too much about Snape, but I have found a rather interesting line, which is 'To burn with desire and to keep quiet about it, is the greatest punishment we can inflict on ourselves.' That’s the line that might be familiar to you, it's from Lorca's Blood Wedding, it's not actually from Harry Potter, in which you appeared several years ago. Without giving away too much, punish line like that, does it shine on Severus Snape in a way?
AR: Um....well, he's very focus [laughs]. Umm..you know, he lives within a very tight confines, emotionally, physically. You know, when you, when we finally got to play a scene in what appeared to be his...his house. You know, often one would wonder what that will look like. I remember walking on the set and saying: "Just ". Don't know if anybody would have all the pictures on the walls. The books I could understand, but in a sense you were absolutely right. This was the house that his parents built, and in a way all he does, he goes there; you can't believe that he'll go in that kitchen and cook any food; you wonder what he eats. Is there a take-away somewhere in Hogwarts that he occasionally orders in from? Because you can't imagine that there's any other agenda in his life then the one he set himself.
Q: You haven’t spoken much about this character over the years. How important is it to you or was it to you to maintain the integrity about that as things like rule items are revealed?
AR: Very important. Um… you know the world we live in right now is one where we live for ourselves all the time and we have to get introduce about things before people have seen them, so a lot of innocent is taken away from, not just children, but because grown-ups who have been enjoying this series of books. But of course, I come into contact with a lot of hopeful little faces, clutching whatever is their latest copy of the book. Being introduced, and we all have this experience on being pointed out to children in street or on red-carpet somewhere. Once they get over their confusion that I don’t have a load of black hair, then you can see a huge conversation going on with themselves and with this book that has opened up their imaginations. And I just never wanted to get in a way of that, cause it’s precious. And as I said, a kind of innocent that you cannot rip away from people.
Q: Snape and Dumbledore share some intense scenes, where does it rank amongst your favourite on-screen moment in the series?
AR: When I walked on to the set to it with Richard Harris. That’s iconic! Anything that I’m actually sitting in the make-up chair next to this guy I’ve grown up watching him. And then moving on to Michael, similarly you know when I was in drama school, an iconic figure to your actors. So there’s that level to it which is that you are just working with these people. And then there’s a human level too, which is you get to know them, Michael I knew a bit before anyway. But sitting in a make-up chair with Richard Harrison, and he’s
talking about back at Shakespeare, the entitlement Then
you go onto set with Michael Gambit, and you know, you are always only this far
away from him making you laugh, so you know you are proud that you’ve got a
take that he hasn’t cracked you up.
Q: Snape ________ said: “Turn to page 394.” To have any quicking and eye boots to the children at Hogwarts. To what degree is the voice—King, to this forbidden character?
AR: Well, if you’re playing somebody, you don’t judge them. So I don’t know about things like forbidding or scary or mysterious or any of that. You take the information you’ve got in the writing, and Jo Rowling is quite clear, she said that he never raises his voice.[Laughs] Well that’s helpful, [shrugs] okay, I’ll do that then.
Q: Well, Dan, Emma and Rupert did admit a while back to being a little bit scared of you and real letters, and yet anything I’ve seen from the film, from the i-tech, you’re laughing, you’re in good form. But did you keep a bit of a strand countenance for them for their sake of dramatic arch.
AR: I think there was nothing ever deliberate, but you know the nature filming is that there’s little or no rehearsal, you’re straight into it. That means, and you are starting with three 12 year olds and I walk onto the set with black lens in my eyes, and all black outfit and a black wig. And one thing I can say for sure is that as soon as you put that costume on, something happens. You can’t be someone else inside that outline. It has an effect on me. And also you don’t have time because you are looking for real concentration, and you’re trying to be as helpful to these three young people as possible; so it’s better that I’m focused and not mucking about. So I’m not surprised if they’ve got a bit alarmed. But it was just the nature of the beast.
Q: Your own background, the background of art and fine arts of attending Royal College of Arts. How important does the earlier aesthetic throughout the project, like Harry Potter, to you? The look, the design, the theatre, does that all hugely support the character of the work you do.
AR: Absolutely crucial and I suppose is the, in a way, the one shame of the advance of CGI. You know, we started this whole thing going off to locations, Oxford, Glouster and various Gothic corridors. And by the end, 10 years later, the technique is so sophisticated that you end the film on the palpable grass with the football stadium and the lights around, knowing they are going to fill in the background; so your imagination really has to work hard by the end of it. But the interiors, we’re completely blessed by having absolute genius in (____________). And there’s still a child in me that goes up to a pillar, that I’m this far away with it, and I know it’s made out of polystyrene because it’s so real. I don’t know; it’s crucial because your imagination is fed.
Q: Snape ________ said: “Turn to page 394.” To have any quicking and eye boots to the children at Hogwarts. To what degree is the voice—King, to this forbidden character?
AR: Well, if you’re playing somebody, you don’t judge them. So I don’t know about things like forbidding or scary or mysterious or any of that. You take the information you’ve got in the writing, and Jo Rowling is quite clear, she said that he never raises his voice.[Laughs] Well that’s helpful, [shrugs] okay, I’ll do that then.
Q: Well, Dan, Emma and Rupert did admit a while back to being a little bit scared of you and real letters, and yet anything I’ve seen from the film, from the i-tech, you’re laughing, you’re in good form. But did you keep a bit of a strand countenance for them for their sake of dramatic arch.
AR: I think there was nothing ever deliberate, but you know the nature filming is that there’s little or no rehearsal, you’re straight into it. That means, and you are starting with three 12 year olds and I walk onto the set with black lens in my eyes, and all black outfit and a black wig. And one thing I can say for sure is that as soon as you put that costume on, something happens. You can’t be someone else inside that outline. It has an effect on me. And also you don’t have time because you are looking for real concentration, and you’re trying to be as helpful to these three young people as possible; so it’s better that I’m focused and not mucking about. So I’m not surprised if they’ve got a bit alarmed. But it was just the nature of the beast.
Q: Your own background, the background of art and fine arts of attending Royal College of Arts. How important does the earlier aesthetic throughout the project, like Harry Potter, to you? The look, the design, the theatre, does that all hugely support the character of the work you do.
AR: Absolutely crucial and I suppose is the, in a way, the one shame of the advance of CGI. You know, we started this whole thing going off to locations, Oxford, Glouster and various Gothic corridors. And by the end, 10 years later, the technique is so sophisticated that you end the film on the palpable grass with the football stadium and the lights around, knowing they are going to fill in the background; so your imagination really has to work hard by the end of it. But the interiors, we’re completely blessed by having absolute genius in (____________). And there’s still a child in me that goes up to a pillar, that I’m this far away with it, and I know it’s made out of polystyrene because it’s so real. I don’t know; it’s crucial because your imagination is fed.
