【采访】Adrien在《灵异村》（The Village)公映后接受的采访笔录【阿德里安·布罗迪吧】

挺长的，但挺不错的。
Academy Award-winning actor Adrien Brody co-stars as Noah Percy, a mentally challenged man, in M. Night Shyamalan's "The Village," which opened in theaters everywhere last weekend. Set in 1897, the film tells the story of an isolated village in the middle of the woods. But a dark and deadly secret keeps the inhabits of this village within the town boundaries, as it is believed that there are evil and deadly creatures lurking in the surrounding forrest. The humans believe that there is a simple understanding between them and the creatures: do not bother us and we will not bother you. But when a curious inhabitant, Lucius Hunt (Joaquin Phoenix), decides to curiously venture into the woods, members of Covington, Pennsylvannia begin to fear for their lives, as a frightening terror has been unleashed after a truce for hundreds of years has been broken.

Q: I hate to make this sound bad, but you make a pretty good village idiot…

ADRIEN: Oh yeah? Thank you. Does that sound bad? It’s a complimen,t I guess. I mean it doesn’t bother me, that’s why I took the job. I did a lot of research for that. It’s a complicated role and its more than just playing a guy who’s...I felt like there was a number of elements to that character and I couldn’t just attribute it to being, you know mentally retarded, I think there were a combination of things. So I researched a lot of characters that didn’t adapt to society well. And then, created my own within that.

Q: Describe your experiences of Night's 19th century boot camp.

ADRIEN: Well it was really, really a lot of fun. I did a real boot camp once with "The Thin Red Line" which was nothing but MRE’s and learning military exercises. And this was far less strenuous. It was kind of refreshing to spend a week or so without my cell phone. You know, I really had a blast. I mean, we were all thrown into the woods and you know, we didn’t have any of the modern conveniences that we take for granted. And learn how to survive without anything. No matches. And because of the rebellious nature of my character, any excuse I could find I would go and like get into trouble and go steal food from the kitchen and wine and go out camping in the middle of the woods. They have to send a search party out for me in the morning [*laughs*], but it was all appropriate.

Q: You said it was refreshing not to have the cell phone, but what was almost maddening not to have?

ADRIEN: The cell phone [*chuckles*]. Uh what was maddening not to have? It was tough, you’d be surprised how difficult it is to relinquish a cell phone. But I think we really take for granted how just our meals are prepared or to be able to go to the super market and grab something we wanted, whether you were craving caffeine. Or if you want to start a fire, you better get to work and keep it lit. And learn how to make rope with a certain kind of tree bark. You fray it and bray it. It was amazing.

Q: What was Night like working with actors. Does he give you a lot of freedom?

ADRIEN: Yeah, I think, Night manages to do a remarkable thing. He makes most of his actors feel comfortable and free and yet maintains his vision quite specifically. I mean, he storyboards a lot. And when you have things that are storyboarded, you generally know how things are set up for the day, and then you can stray from that, but basically, you have a good sense as an actor, how things are gonna play out. And the way certain scenes will be set up, which I think is really helpful. Night gave me in particular a lot of freedom. We tried to, you know, the advantages we had from this boot camp period, where we had this kind of opportunity to rehearse and for the cast to get to know one another really well, which I think is invaluable. And then I think, um, within the rehearsal period, I think Night saw my character in a different way than I did, and we kind of figured out a way to, um, I think he trusted me, and we were thinking along the terms of, “if you could imagine slightly odder portrayal, and perhaps a little darker.” And he let me go, and I felt emotionally free place and overly joyous and sensitive.

Q: What do you think life would be like if there was no money, no greed, if we lived like this utopian society?

ADRIEN: Well, its hard to imagine. I don’t think that that’s the only downfall of society – money and greed. I think life in general is way too complex to be harmonious at all times. I think even on a cellular level, I mean, for one part of a the body or for one organism to survive, another has to lose. There’s always turmoil. I think that makes life interesting, but I think life would be great if things were simpler, on a lot of levels for a lot of people.

Q: But do you feel like um, are you one to believe that we just over-romanticize the part or are you someone that belong in different places at times?

ADRIEN: Do I belong in different place? No I’m happy that I’m here now. I think its easy to look at another time or another lifestyle and see uh, you know, a prettier picture than it really is because we don’t know it well. I mean, I can tell you that people see me and have a whole bunch of expectations or feelings that my life must be run, and I may even have those feelings until I experience them firsthand. And so you know, the grass is always greener. But I think we live in a pretty amazing time right now, in modern medicine and technology and it may be hectic, but its pretty phenomenal.

Q: Night’s movies are so shrouded in secrecy, what kind of security measures were there surrounding the script? And how difficult was it to keep it a secret?

ADRIEN: Well, they, Night swore me to secrecy first of all. And I think Night even hesitated at me seeing the script if I wasn’t going to do the movie. And Night made me promise not to show the script to anyone, including my representatives, so my agents didn’t even read the script. I been loyal to that, none of my friends, my family, no ones seen it. I haven’t really discussed much of even my character or the research I done. I did lot of that on my own.

Q: How difficult was it?

ADRIEN: Its difficult when you’re doing the press. Because I’m really about the work and I want to talk about the process and I want to talk about all the interesting people I met along the way and how it shaped me. And I think there’s been a little concern about that and they asked me to be very general and vague. And I don’t like to answer questions in a vague way. I like to respond honestly, especially when it comes to what I do, which is I work at creating a character and that’s what its about. And if even discussions of my character become difficult to do, it makes it difficult. In general, its kind of fun to keep a secret, its not, you know, as long as no one is getting hurt, its fun. And I think, people go to the movies and they know too much about the movie before they go into it, whether it’s the advertising or they’re reading too many stories about it, and they don’t know, I mean, they know the essential elements of the story before even going into it and I think that sabotages a thriller.

Q: Its an interesting comment to make because you’re involved now in revisiting a character, or at least re-imagining a character that’s sort of iconic in Hollywood history, in the Jack Driskel "King Kong" story. How do you approach that?

ADRIEN: Well, its interesting. I guess it takes on the life of its own when you do a project like that. I mean, I couldn’t see myself revealing that actor’s interpretation in the 30’s. I think there’s a lot to be improved upon. I also feel like stylistically it was really fantastic and there are elements of that behavior that I would incorporate but not necessarily that character’s interpretation. And I think that character will change to some degree. And, there’s a lot of room for change with a movie like that. You know, you have the same problem, I think more so with playing a real life character, like in "The Pianist," I think I have more of a responsibility to be true to characteristics to Szpilman than I would to another actor’s interpretation in a movie that may be recreated.

Q: Do you feel like "The Village" deals with issues of today?

ADRIEN: Part of what attracted me to The Village was that it had a lot of parallels with contemporary issues, like fear and the way fear controls us in a way governments or the governing body of a village or a town or a nation controls us through fear. They might even mean well by it, but we are conditioned to be afraid of things. Fear of the unknown, fear of terrorism, and its unfortunate. Realistically, there are things to be afraid of in this world, but I kind of, I was attracted to those parallels, I as attracted to a film that on one level that will, I think make a large audience excited and feel the ride of the thriller. But there’s a little deeper commentary about what’s going today in today’s world, even though its taking place in a different time.

Q: Can you tell us a little something about "The Jacket"?

ADRIEN: The Jacket, what can I tell you about The Jacket. The Jacket’s a story about a soldier who survives the Gulf War but is injured and has a memory problem and implicated in a murder. And he’s sentenced to a mental institution. And in the mental institution, he’s experiencing some pretty intense treatment, so to speak, and kind of has outer-body experiences. It’s a very complicated story, but along the way there’s a love story in there with Keira Knightley. I think it’s a fantastic role for me, and it was a dramatic piece and that too had elements of a thriller.

Q: How has your life changed after winning the Oscar?

ADRIEN: My life is similar, but just a little more visible. I don’t feel like I’ve changed all that much. I still do what I like to do. And I had the same goals and I try to be the same kind of person and grow. Just a little more visible.

Q: Now that Halle Berry is single, will you be….

ADRIEN: [*laughs*] I don’t know, I’ve been asked that actually.

消息来源：http://www.cinecon.com/news.php?id=0408026

这么长还让我翻译，我岂不成打字员了？
还有，楼上的筒子，请先登陆再发言�

我挖的坑，还是我来填吧。不过今天我只能翻译一部分——马上要吃饭了，民以食为天——以后有空再继续。（这样岂不是还能凑帖子数？）

奥斯卡奖得主Adrien Brody在M. Night Shyamalan导演的《灵异村》中出演Noah Percy，一位精神病患者。该片已于上周末在各地影院公映。（这是老早以前的采访了，所以“上周末”不是指现在的“上周末”——译者注）故事发生在1987年，讲的是一个森林深处与世隔绝的村庄。但一个黑暗而致命的秘密使得村民们不出村庄半步，因为人们认为在村庄周围的森林里潜伏着邪恶而致命的生物。人们认为在人类和这些生物之间有一个心照不宣的协定：你不犯我，则我不犯你。但是当一个好奇的村民——Lucius Hunt (Joaquin Phoenix饰)决定去森林中探险时，宾西法尼亚州Covington村的居民们开始为自己的生命担心，因为一种让人毛骨悚然的恐惧，正被释放出来——在一个数百年来的禁忌被打破之后。

记者(下称“记”）：我不想让这话听着难听，但你的确像个不错的乡村白痴。
Adrien(下称“A”）：是吗？谢谢你。这话难听吗？我倒觉得这是在夸我。我是说这并不让我介怀，这就是为什么我接受了这个角色。我做了很多调研。这是个复杂的角色，不仅仅是演一个......那个角色有很多元素，而我不能仅仅把它们归结于......你知道，精神不正常，我认为那是很多因素的综合。于是我调查了很多与社会不大相容的人物，然后在此基础上创造出了我自己的角色。

接上文：
记：请描述一下你在导演Night的安排下进行的十九世纪式的野营的经历。
A:唔，那真的，真得非常好玩。我曾经在拍摄The Red Thin Line时野营过一次，但那一次就只是野外生存和军事训练。这一回远没有那一次那么艰苦。在没有手机的情况下度过一周的时间，有种焕然一新的感觉。你知道，我真的面对着大转变。我是说，我们一下子被扔进森林里，你知道，我们平时习以为常的那些现代化的方便条件全都没有了，还要学习如何在一无所有的条件下生存。没有火柴。而由于我性格当中叛逆的一面，只要一有机会，我就回去找麻烦，从厨房里偷食物和酒，然后到树林深处自己扎营。到了早晨他们不得不派出一队人去找我，（大笑）但这都无伤大雅。

加精了！看来我需要更勤奋的填坑才能对得起吧主的厚爱。
接上文：
记：你说没有了手机是让你焕然一新了，那么什么东西没有了，然让你觉得令你发疯呢？
A: 手机。（咯咯地笑）唔，不是问没有了什么让我觉得发疯吗？很困难，你会对放弃手机有多么困难感到惊讶的。我想我们真的已经对许多东西习以为常了，比如平时如何准备饭菜，如何去超级市场，需要什么就拿，或者非常渴望合咖啡。而（在野外）你要想生火，最好自己动手，还得不让火熄灭。还有要学习用一种树皮做绳子。你要磨碎它，捣烂它。说来真让人震惊。

记：Night作为导演与演员的合作如何？他给你很多自由吗？
A:是的，我想Night的确能作出不同凡响的事情。他能让大多数演员感到既舒适又自由，同时又保有自己独到的视角。我是说，他善于规划。而当你把事情都规划好了之后，你就大体上知道一天的事情是如何安排的，然后你就可以稍微偏离一些，但是，基本上，你有很好的演员的直觉，所以你会知道最终事情会是什么样的，以及某些场景将如何安排，这些我认为都很有帮助。Night给了我特别多的自由。我们试图，你知道的，......我们那段野营经历的优势在于，我们有了一种为拍摄彩排的机会，并且彼此熟识了解，这些的价值是无法估量的。而且我觉得，在彩排期间，Night用一种不同的方式看待我的性格，这种方式与我自己对自己的看待有所不同。我们当时正沿着这样一条思路：也许能用一种有点古怪的方式来表现，或许更加黑暗一点的。而他放手让我去做，于是我觉得情感上很自由，超常地快乐和敏感。

记：你认为，如果没有金钱，没有贪婪，就像片中那样的乌托邦式的社会，生活会是什么样？
A: 嗯，这个很难想象。我不认为金钱和贪婪是唯一的社会堕落的根源。我认为，总的说来，生活是如此复杂，以至于根本不可能永远和谐。（所以党中央才要努力建设和谐社会嘛！——译者注）我想即使是在微观的层面上，我是说，为了一个个体的某一部分或某一器官的存活，另一个（部分或器官）就要受损。永远都会有纷争。我想那使得生活饶有趣味，但我想如果事情更简单的话，生活会很棒，从许多层面上对许多人来说（都是这样）。

记：你是否感觉，唔，你是否相信我们是把那个角色过分浪漫化了，还是你是一个有时候属于另一个地方的人呢？
A：我属于另一个地方？不，我很高兴我现在在这里。我想我们很容易把另一个时代，或者另一种生活方式看得比它的实际情况更美好，因为我们并不了解它。我是说，我可以告诉你，人们看着我，对我的生活有着一大堆的期望和感受，而我本人可能从未体会过他们所预期的那种感受——除非我真的有那样的经历。正所谓“这山望着那山高”。但我认为我们现在生活的时代是很让人震撼的，有现代的医疗和科技，当然可能有些狂热，但这都是表象上的。

记：Night的电影总是如此神秘。都采取了哪些措施来保证剧本的保密呢？要保密又有多困难呢？
A：唔，他们......Night第一件事就是让我发誓保密。而且我觉得要不是我决定演这部戏，他可能都会由于要不要给我看剧本。而且Night又让我保证不把剧本给人和其他人看，包括我的代理人。所以我的代理人也没看过剧本。我忠于我的承诺，所以我的朋友，家人都没看过。我甚至没怎么跟人说起过我要演的人物和我所作的调查。大部分都是我自己单干。
记：那有多难？
A:尤其在面对媒体的时候特别难。因为我真的投入了工作，所以我想谈论这个过程，想谈论我见过的有趣的人以及他们如何塑造了我。然而他们有要求我让我说得尽量笼统而模糊。我不喜欢模糊地回答问题。我喜欢诚实的回答问题，特别是有关我做什么，而我所作的不过就是塑造一个人物而已。如果谈论我扮演的角色都有了困难（怕泄密），那事情就难办了。总的来说，保密还是挺有趣的。只要不伤害到别人，就挺有趣的。而且我觉得，如果人们看电影之前就知道了太多关于电影的内容，不管是从广告上还是从什么地方读到的许多相关故事，我是说，在他们真的看到电影之前就已经知道了电影所有的关键桥段，那可真是毁一部惊悚片。

记：你的评论很有趣，因为事实上你现在要重返一个角色，或者说重新构想一个已经在好莱坞有点定了型的人物——《金刚》里的Jack Driskel. 你如何做到这一点呢？
A：这很有意思。我觉得要完成这样一个项目，需要给人物注入自己的生命。我是说，我不能让自己仅仅是重现三十年代版的那位演员的演绎。我想有很多需要改进的地方。我也觉得从风格上说，那表演是非常精彩的，有很多元素我可以融入到自己的表演中，但对于人物的诠释却不尽相同。我还觉得那个角色应该在某种程度上有所改变。事实上对于这样一部电影来说，改变的空间很大。你知道，如果是演一个真实的人物，比如《钢琴家》，改变会有一些问题——甚至问题更多，因为我觉得我更应该对斯皮尔曼性格特征的真实性负责，而不必恪守一部即将被重拍的电影中另一位演员对角色的诠释。

记：你认为《灵异村》涉及当代社会的问题了吗?
A：《灵异村》之所以吸引我的一部分原因就是它对当代的某些问题的比喻，比如恐惧，以及恐惧控制我们的方式——政府或者一个村庄、城镇乃至国家通过恐惧来控制我们。也许他们是好意，但是我们却因为对事物的恐惧而被局限了。（比如）对于未知的恐惧，对于对于恐怖主义的恐惧，而这是不幸的。现实一点说，世上的确有值得恐惧的东西，但是我从某种意义上，这种比喻对我的吸引，和这部影片将使观众激动并感受到惊悚片的魅力对我的吸引程度时等同的。片子对于今世今日所发生的事情有着深层次的评论，尽管故事时发生在另一个时代。

记：能告诉我一点关于The Jacket的事情吗？
A: The Jacket.关于The Jacket 的事情。The Jacket讲的是一个在海湾战争中幸存下来的士兵，但他受了伤，记忆受损，并被指控谋杀。他被判处呆在精神病院。在精神病院里他接受了一些比较激烈的治疗。这么说吧，他经历了某种灵肉分离的经历。（outer-body experience是这个意思吧？谁看过The Jacket, 要是翻译的不对，赶紧纠正哈！——译者注）。这是个十分复杂的故事，但随着情节的发展还有一段爱情，是跟Keria Knightley.我觉得对我来说，这是个棒极了的角色。是部戏剧性很强的作品，也有惊悚片的元素。
记：你在赢得奥斯卡之后，生活有了怎样的变化？
A: 我的生活还是那样，只是更加透明了。我并不觉得我有多大的变化。我依然做着我喜欢做的事。我的目标一如既往，我还想做相同的我，并不断成长。仅仅是透明度更高了。
记：现在Halle Berry单身了，你会不会......
A: （大笑）我不知道。事实上以前也有人问过我。

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【采访】Adrien在《灵异村》（The Village)公映后接受的采访笔录

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