☆KST★{翻译150703}AmU拍摄现场Collider采访翻译、KS+JE好搭档

[翻译在前吧、后附英文]
问：今天看你编舞挺棒的。这对你来说很不一样。
Jesse Eisenberg：当然。我从不做这些的。
与你的其它工作截然不同。
Eisenberg：是啊，我们训练一段时间了。
你喜欢吗，这所有的体力锻炼和打斗动作？
Eisenberg：嗯。我是几个月前开始的，因为我的角色需要得到训练而又忘记受到的培训，有点凭借本能似的。
你需要拥有这样的身体素质，可你显然又不应该增厚肌肉强化体格，因为你扮演的是名xi一声du二声(da四声ma二声)者，所以训练还是以编舞为主而非力量锻炼之类吧？
Eisenberg：对。我上个月在密西根工作，所以他们雇佣了些很棒的伙计们，我空闲的那些天都是和他们学习来着。他们教我东南亚式打斗。Rob Alonzo是特技协调员，他是菲律宾人，他知道——
我们刚与他聊过。
Eisenberg：哦你们和他谈啦，嗯。
你最初是如何得到这一项目的？是不是你读了剧本就觉得“哇！我想演这人物！”？
Eisenberg：对，这是个很棒的角色。我貌似就是在剧本完成的那周读的，然后就爱上这剧本了。

【Kristen Stewart加入一起接受采访】
Jesse正在和我们说他初读剧本的经历、这一切是如何发生的。你能也从你的角度讲讲吗？
Kristen Stewart：我是很直接地按照惯例读了剧本，因为代理人会把这些寄给演员嘛。它很新颖而奇特，我从未读过像它这样的，也迫不及待地想再与Jesse合作。我们几年前一起拍<Adventureland>非常愉快，然后我可以说是宣称过我们绝对每五年都得一起拍一部电影。所以我便保持与此一致，抓住这次机会啦。
Max [Landis]之前跟我们说，这个角色更为接近Kristen你的性格。他这么说到底准确吗？
Kristen Stewart：Phoebe是一位比较直接、亲切、谦和的女孩儿。我无需为她增添奇怪有趣的点缀，无需融入某些使她与我有多大不同的特点。我觉得就应该让自己沉浸在这极为超现实、离奇、深刻、独特的世界——不是不可思议，它是被完整地创造出来的，但简而言之就感觉，“怎么回事儿？”。它的设置绝对不是在我们熟悉的现实中，但它又特别真实，以一种奇怪的方式。因此我演这一角色的难点就在于，在保留她的真实感的同时又不过早地展现不应该透露的剧情要点，并保证前后一致、打动人心、有趣好笑。就像，我们总归会死去，我们无时不刻有着被杀害或需要杀人的可能，而这也是一部广泛意义上的的喜剧，所以保持这两者的平衡有难度。我实质上就是在演自己，假如我处于这种——
Eisenberg：非常奇怪的局面中。
Stewart：对完全准确。

谈一谈你们的两位角色的外表吧。我们知道你染了头发，你自己拥有了比较不同的样子。这其中有多少是剧本中所写，又有多少是对它的进一步完善？
Eisenberg：我本想就留长发戴假发的，因为演的是位几年都不会去理发的人物。他是那种会把自己沉浸在空虚之中的人，懒散着并享受着这懒散。于是我想，”他不会去理发的。他不会持续如一地打理自己”，而这为他需要保卫自己之时做了更好的铺垫、转折。这是个毫无准备的人。
Stewart：我们与Max有过交流。我觉得，在它真正被落实之前，基本思想是，如果你看着两位最不可能的人，比如俩渺小平凡的年轻人，Jesse Eisenberg和我，突然被卷入这场节奏极快、高度紧张、而又真实得让人措手不及的动作电影，结果会是有趣好笑的。并无熟悉的感觉，很令人震撼。为了达到更深刻有力的效果——这部电影的制作主题——我也看上去像是也许一年前染了头发但却没有刻意维持它的状态的样子，我的兴趣爱好也比较随意轻浮。我们漫无目的、没有方向。我们的外表也没有任何明确清晰的元素，一切都杂乱无章、舒适随意、仅是实际。我们本质上只是xi一声du二声者罢了。就是这样。

Jesse, Max Landis说过，你的角色在影片中的目标自始至终没有改变，你希望向她求婚、与她结婚。这叙述准确吗？
Eisenberg：嗯。在电影开头，他已备好戒指，计划向她求婚，然而接下来他生活中的一切都突然崩塌。整部影片中，他一直将戒指保存在口袋里，并一直寻找着美好合适的小瞬间，可总是有人试图杀害他，打断他付诸实施的想法。但这真的挺可爱。【笑】 而且他没有完备的策略，所以影片中从头到尾，他总是错误地选择了最糟糕的时间来求婚，所以他们被打断也是他的幸运。但这是个持续、甜蜜的笑料。

你提到了电影的基调。我很好奇，里面的喜剧元素是更多地来自情节设置，还是对话，还是说你们是故作正经的、而周围的一切才是笑点？
Eisenberg：我觉得我们是知道其中幽默何在的，但我们经历的场景都出乎意料地戏剧性。你读剧本时就会明白这些是非常跌宕起伏、激动人心的片段。人物们经历着被放大了的转折，但他们需要真实地去体会、处理。我总是这样想，也和Kris在排练时谈论过，认为这可能是我们在很长一段时间内所拍摄的最为触动感情的电影了，虽然对于观众来讲它大概是更搞笑的。但是作为演员，因为你处于这些高度紧张的情境之中，而我们俩可以说是没有在假装着表演，我们因此便感受着真切的情感。所以这几幕极为戏剧化的情节，由设置背景来看他们应该是好笑的，但这并不意味着笑料来自我们多么傻的滑稽表现。
Stewart：分清哪些玩笑比较合适是件有意思的工作，你知道吧，因为我在读剧本的过程中看到了些我很喜欢的玩笑，真的让我由衷地大笑，但是到了拍摄现场你又会想“可我们不能这样演啊！它会妨碍我们辛苦铺垫的一切”。
Eisenberg：它太傻了。
Stewart：对，就是这样。然后到了有些地方则是，“我没想到这儿会是个笑点，我以为这里应该正经严肃地演来着”，但是情景之荒谬实在不容忽视，所以我们俩人物中的一个可以说句好笑的傻话。他总是特别搞笑、令人捧腹，我觉得这部电影会是超级引人欢笑的。我每天都在哈哈大笑，即使是在性命攸关的时刻。

Nima Nourizadeh是如何安排策划这一切，使你们入戏的呢？当你们来到拍摄现场，说“这部分可能稍微有些傻过头了”时，他是如何与你们谈的呢？
Eisenberg：Nina的做法是正确的。作为演员，他会让我们首先去做情感上符合实际的。以我的经验，这种情况下的结果本来也会是更有趣的，因为你便不会迷失、丢掉连接现实的线索。他很棒，他强迫症似地注重细节，也许你之前已经看到了……我不知道你是否仔细观察来着，他力求精确到毫秒，把工作正确完成。所以这很棒，我觉得在演戏方面也是这样，他会要求我们。
我们总是讨论的方面之一就是这部影片中富有创意的打斗、动作，以及一些新颖的bao四声li四声和sha一声ren二声片段。我们看到了Jesse的角色显然在练习这方面。我们还不了解你这边呢，Kristen，你是否也有机会做些体力训练和这些有创意、有意思、新奇、杀害的事？
Stewart：我没有……我在想……我不杀任何……不，我其实会杀两个人，但用的是qiang一声，所以我猜这不算是特别有创意。事实上这是所有可能的杀人方式中最没创意的了。
Eisenberg：你大概就是在那儿等待着他们自己死去吧。
Stewart：确实，是啊，你说对了。不过那样来看我其实不是亲手杀他们的那个人……那么这其实是极有创意的。我就坐这儿等着了。
Eisenberg：【笑】是的，把门一锁。

我对你俩这次自<Adventureland>之后的首次合作很好奇，重聚的感觉如何？
Stewart：超棒。我觉得我和Jesse工作起来非常相似。我很难准确地描述，但我们处理事物的方式就是类似。我不知道，我觉得我们彩排起来是一样的，我们做准备工作很一致。我们都不太喜欢过分地推敲、斟酌，感觉那样对剧本本身是一种不尊重。你明白我的意思吗？就像你过分地做一件事，然后会有某些在一个房间里排练的奇怪记忆。我觉得我们俩都是就想真正地去用心感受，我们选择一个项目是因为我们对此感觉不错。我们的彩排仅仅是交流观点，达成共识，即使我们已经意见完全统一了，只需意识到这一致性。我和他在一起很舒适随意，我感觉安全，我可以做任何事。这很有趣。我也觉得在他身边挺好玩的，这使一切都是很好的经历。
Eisenberg：对，我怎样形容她都不够。她是位卓越的演员。我记得我们之前在一起工作，那时她十七八岁吧，拍完第一场戏我就去找到导演说“她真有趣！”，他回答道“是啊，我知道”，然后我说“不，不。她真的特别有趣！她实在是太好玩儿了！”。她是很低调的那种，风趣而不刻意招致人们注意。她幽默感特别棒，令其他演员受益。
Stewart：它不是很明显，但它似乎就是有时会个人地流露。
Eisenberg：不经意间地。
Stewart：是的。
Eisenberg：但她基本上是你所见过的最不虚荣的人了，而她又是挺漂亮的女性，所以——
Stewart：他则是整天都挺嘚瑟，而我会感叹，“天啊！”。他化着妆的时候比我多得多。
我还想说来着，他看上去更漂亮呢。
Stewart：对。[笑]
Eisenberg：所以，总之，她似乎像是在优先为故事、为其他演员服务，把自己排在后面，这是很美好的特质。
Stewart：他也一样。

Topher [Grace]之前在谈论他的人物的台词与独白。我对Max笔下的情侣间的斗嘴很是好奇。你们俩似乎有机会花时间把它演得特别到位。你们看剧本时是否注意到了某些尤为突出的对白呢？
Eisenberg：他的文笔实在太好了，把这些人物们写得具体而真实。他们不仅新奇，而且似乎正因这种真实而引发共鸣。我们有这样一段戏，我们去她朋友家参加派对，我有点被困在角落里了，但却告诉她没有关系，劝她应该玩得尽兴，然后她则来到我身边，可以说是救了我，把我从派对中救出。那天晚上晚些时候，我们坐在我们汽车的引擎盖上，看见前方有汽车撞到树上，司机通过挡风玻璃逃出。你看不清楚，但从我们所处的角度就是可以一直望到头。我开始跟她说，我感觉自己像是那棵被卡在车里的树，而她则是那辆汽车。停滞了太久的树，突然与行驶了太久的车相遇，就在这天夜里。那树挡下了这么美妙漂亮的事物，就是那辆动态的车。我就是那树啊。这很甜美可爱，你知道吗，他们吸着da四声ma二声，所以这是神志恍惚中飘飘然的一点思绪，但这实在美好，是对这段感情的甜蜜总结，他们对彼此的看法。对Kristen来说这很令人心碎，因为她实际上可以说是隐藏着可怕的负罪感。
Stewart：可怕的，让人难以置信的负罪感，这是你直到第多少页才知晓的啊……！
Eisenberg：是的。
Stewart：在电影开演超久之后！
Eisenberg：所以就是这类情节，一切都使人感觉那么具体而意味深长，因为Kristen在以两种不同形式体会着，而我则是体验着，呃一种方式，但却是一种很个人很触动内心的方式。他是位非常棒且特别的编剧。

【翻译结束】
嗯四千多字、读起来会有点长吧。
[好久没打这么多中文字了。都不记得上一次写大于100字是何时。]
本想在前面加个highlights section的、但是其中喜欢的地方实在多、
关于这部电影、K身上的闪光点、做事与为人、
[喜欢K这么多年 she just never ceases to amaze]
还有她与Jesse的默契和欢笑 [awesome搭档呀 *thumbs up*] etc.
好吧不废话了【英文版starts below】
Question: It was pretty awesome watching you do the choreography stuff today. That’s very different for you.
JESSE EISENBERG: Certainly, I never do that.
Very different from all your other stuff.
EISENBERG: Yeah, we’ve been training for a while.
Are you enjoying that, all the physical training and the action stuff?
EISENBERG: Yeah. I started a few months ago because my character has to be trained, but doesn’t remember that he was trained so it kind of comes to him instinctively.
You have to have this physicality, but you’re obviously not supposed to bulk up because you have to be the stoner guy, so has it been mostly about choreography rather than strength training and stuff like that?
EISENBERG: Yeah. I was in Michigan working last month, so they hired these great guys, and every day off I had was working with them. They were teaching me South-East Asian style fighting, and Rob Alonzo is the stunt coordinator, he’s Filipino and knows –
We were just talking to him.
EISENBERG: Oh you talked to him, yeah.
How did you first get the project? Was it that you read the script and you were like, “Wow! I wanna do this character!”?
EISENBERG: Yeah, it was a great role. The script was finished, I think, like the week I read it, and I just loved it.

[Kristen Stewart joins the interview]
Jesse was telling us how he first read the script and how it came about, can you tell us about you as well?
KRISTEN STEWART: I read the script in a very straight-forward and conventional way, as actors get sent these scripts from their agents. It’s a really original and strange script, I’ve really never read anything like it and I jumped at working with Jesse again. We really had a good time on Adventureland a couple of years ago, and I’ve sort of declared that we should definitely make a movie every five years. So in keeping with that, I jumped on this one.
Max [Landis] was saying to us that, Kristen, this is a role more toward your personality. Was he even accurate in saying that?
STEWART: Phoebe is a sort of straight-forward and sweet, fairly unassuming girl. I didn’t have to bring any quirks to her, I didn’t have to bring any certain things that make her very much different from myself. I think it was just about immersing myself in this extremely surreal, weird, heightened, unique, sort of – not unbelievable, it’s created in a very whole way, but in a slug line it’s like, “What?” It’s definitely not set in our reality, but it is also hyper-real in an odd way. So the character is kind of about – the difficulty for me has been about retaining her truths while still not revealing plot points I’m not supposed to in like the beginning. Then making sure that it’s consistent, and emotional, and also funny. It’s like, we’re always about to die, we’re constantly, constantly about to be like killed or having to kill somebody, and also it’s a broad comedy at the same time, so to balance that has been the difficulty. I am sort of essentially playing myself, if I was living in this -
EISENBERG: Very weird situation.
STEWART: Exactly.
Talk a little bit about the looks of your characters, we know you dyed your hair, you have a little bit of a different look yourself. How much was that in the script, how much was that working to develop it?
EISENBERG: I wanted just to wear longer hair and a wig, because the character is somebody who would not have gotten a haircut in several years. He’s somebody who has just immersed himself in nothing, in his own laziness and enjoying his own laziness. So I thought, “He would not have gotten a haircut. He wouldn’t groom himself in any kind of consistent way,” and it gives it a better turn for when he has to defend himself. So this is a guy who couldn’t be less prepared to do this.
STEWART: We had spoken to Max a bit. I think the basic idea before it was actually a real thing was that if you take the most unlikely people, like two dinky little stoner kids, Jesse Eisenberg and me, and then suddenly see them thrown into this really high-speed, and intense, and disarmingly realistic action movie, it’s funny. It doesn’t feel familiar, it’s a little bit shocking, and so in order to make that hard-hitting, which is the basis for wanting to make the movie. It’s like, I look like I also dyed my hair maybe a year ago, haven’t maintained it, my interests are fairly flippant. We’re very directionless. There’s nothing very defining about any of our looks, everything is very haphazard and comfortable and practical, and we’re just stoners, essentially. So that was all of this.
Can you guys talk a bit about the scene we’re seeing from today? I know it’s gonna take a couple of days. What you do is just kick ass and weird stuff at the supermarket. What’s your goal in the scene?
STEWART: In this scene?
Yes.
STEWART: It’s tough because I don’t know what I’m allowed to say. You know what I mean?
EISENBERG: Yeah, in an attempt to keep some, I don’t know…
They told us almost everything.
EISENBERG: Oh they told you everything.
STEWART: Everything? That sucks!
They told us I think a little more than you guys probably prefer for us to know, but this is gonna run as a separate interview so I don’t know what you should say.
STEWART: I mean, basically we’ve spent the entire movie – We start off at a point within our relationship where you could call it a little period of unrest, we’re not like too happy with each other in the beginning, and then as the movie goes on you see just how in love these two kids are. They’re really, truly obsessed with each other and it’s a very pure thing. It’s really true. Basically, him coming back to this scene to save me is kind of reconciling. When this whole thing, this really sweet, basic, simple love story [takes a turn], it’s really incredibly heart-breaking, so this whole thing is him coming back and assuming his…he becomes a man, and sort of redeems himself in every way. He really steps into the role that he should have with her, which is her fucking man, and then he gets her back, she gets him back, it’s a happy thing.

You were talking a bit about the tone, but I’m curious, does the comedy come more through the situations, or through the dialogue, or are you playing it straight and it’s just kind of everything around?
EISENBERG: I think we’re aware of the humor, but the scenes we’ve had have been surprisingly so dramatic. When you read the script, you can understand these are very dramatic scenes. The characters are experiencing something that’s very heightened, but they have to experience it in a real way. I always think this, and Kris and I were talking about this in rehearsal, but this will be the most emotional movie we’ll do for a while even though probably for an audience that’s more fun. But as an actor, because you’re in these heightened situations and the two of us don’t fake it, so to speak, we are experiencing real emotions and it’s kind of several histrionic scenes, but they should be funny based on the context, but it doesn’t necessarily rely on us to be like silly.
STEWART: It’s been interesting sort of figuring out which jokes should – you know, because reading the script there have been jokes that I love that really just make me laugh genuinely, and then you get to set and you’re like, “We can’t do that! It’s traipsing all over what we’ve built”.
EISENBERG: It’s too silly.
STEWART: Yeah, exactly. And then in some things you get there and it’s like, “I didn’t think this could be funny, I thought this was gonna have to be played completely straight,” but the ridiculousness of the situation is too much too ignore and so one of our characters can say something silly and funny. He’s really funny, hilarious, like constant, but I think the movie is gonna be hilarious. I laugh everyday even when we’re about to lose our lives.
How does Nima [Nourizadeh] kind of orchestrate all of that and kind of get you into that scene? When you come to the set and say, “This might be a little bit too silly.” how does he kind of talk to you?
EISENBERG: Nima is doing the right thing, as an actor, he will ask us to do what’s emotionally realistic before anything else. In my experience, things are usually funnier if that’s the case anyway because you don’t kind of lose the thread of reality. He’s great, he has like, an obsessive attention to detail, maybe you saw in that last…I don’t know if you were watching carefully, that he was trying to get kind of a millisecond of something correct. And so it’s great, I think that extends to the acting too, he asks us to do things.
One of the things we keep talking about is the creativity of the physicality in this movie and the creativity of some of the violence and the kills, and we saw your character obviously practicing that. We didn’t hear about you Kristen, did you get to do some of the physical stuff and some of the creative, fun, weird, kill stuff?
STEWART: I don’t…I’m trying to think…I don’t kill any – Well actually I kill two people but with a gun, so I guess that’s not very creative. That’s the least creative way you could possibly kill someone, actually.
EISENBERG: You’re probably just waiting around for them to die.
STEWART: Actually, yeah, you’re right. But then I wouldn’t really be the one killing them… and actually that’s extremely creative. I’m just gonna sit here and wait.
EISENBERG: [Laughs] Yeah, lock the door.

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Done. Enjoy! Because I certainly did. : ]

辛苦楼楼了