【译自《帝国杂志》】导演曼高德告诉我们有关《罗根》的11件事
作者：John Nugent
翻译：诅咒假面的微笑
源：http://www.empireonline.com/movies/features/logan-11-revelations-director-james-mangold/
译者水平有限，请多包涵，欢迎捉虫。只为分享交流，请勿盗用转载及用于营利性目的，侵权删。
翻译：诅咒假面的微笑
源：http://www.empireonline.com/movies/features/logan-11-revelations-director-james-mangold/
译者水平有限，请多包涵，欢迎捉虫。只为分享交流，请勿盗用转载及用于营利性目的，侵权删。
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1、克里斯蒂安·贝尔的膝伤促成了《罗根》
“挺怪的，我完成《金刚狼2》后，本要拍克里斯蒂安·贝尔做主角的侦探片《深蓝告别》（The Deep Blue Good-By ），我耗了两年时间拍摄漫威电影《金刚狼2》，很想完成后去拍其他电影。可就在《深蓝告别》开机前14天，贝尔的膝伤复发，无法拍片，电影拍摄计划取消了，那是一部深入黑暗旅程的电影，我为此伤透了心，因此将《深蓝告别》的创作野心转移到了《罗根》。”
“For my sake, it was an odd journey. After I finished The Wolverine, I was going to make a detective film called The Deep Blue Good-By with Christian Bale. I had spent the previous two years in Marvel mode and I was really looking forward to escape. Fourteen days before we started shooting, Christian tore the ACL in his knee and could not perform, so the movie got cancelled. That was a dark film and a journey into the abyss. I was broken-hearted over that film not happening, and I think I brought a lot of that inward ambition from that movie to this.”
“挺怪的，我完成《金刚狼2》后，本要拍克里斯蒂安·贝尔做主角的侦探片《深蓝告别》（The Deep Blue Good-By ），我耗了两年时间拍摄漫威电影《金刚狼2》，很想完成后去拍其他电影。可就在《深蓝告别》开机前14天，贝尔的膝伤复发，无法拍片，电影拍摄计划取消了，那是一部深入黑暗旅程的电影，我为此伤透了心，因此将《深蓝告别》的创作野心转移到了《罗根》。”
“For my sake, it was an odd journey. After I finished The Wolverine, I was going to make a detective film called The Deep Blue Good-By with Christian Bale. I had spent the previous two years in Marvel mode and I was really looking forward to escape. Fourteen days before we started shooting, Christian tore the ACL in his knee and could not perform, so the movie got cancelled. That was a dark film and a journey into the abyss. I was broken-hearted over that film not happening, and I think I brought a lot of that inward ambition from that movie to this.”
2、黑白电影版《罗根》依旧可能实现
■电影宣传照一向是黑白照，这点燃了于黑白版电影的想法，就像《疯狂的麦克斯4》
“我还没和福斯商谈过这事，但我被大家要求过很多次，这挺有趣的，谁说的准呢？我挺惊讶已经有彩色电视机了，人们为什么需要黑白电影版本。”
“I have not discussed this with anyone at Fox yet. But I do get asked a lot. It could be interesting - who knows? There is one level where I am always thunderstruck why people need a version in black-and-white when they do have a colour button on their television...”
■电影宣传照一向是黑白照，这点燃了于黑白版电影的想法，就像《疯狂的麦克斯4》
“我还没和福斯商谈过这事，但我被大家要求过很多次，这挺有趣的，谁说的准呢？我挺惊讶已经有彩色电视机了，人们为什么需要黑白电影版本。”
“I have not discussed this with anyone at Fox yet. But I do get asked a lot. It could be interesting - who knows? There is one level where I am always thunderstruck why people need a version in black-and-white when they do have a colour button on their television...”
3、主要角色的死亡止步在剧本
■没想结束，就不要设定结局
“原始剧本出现了他们，我感觉如果没想结束的话，那就不要设定结局，至于金刚狼，这家伙已经活了很长时间了，疲惫是这个角色的内因之一。一定程度讲，我感觉时机到了，死亡实际上对于他是终于可以休息了，终于可以从这个肮脏的世界中抽身离去。不是锤子砸脑袋上死掉了那么简单，对于等待许久的观众来说，这是一种转化仪式。”
“They were all in the original outline. I felt there was no end if you didn’t end [like that]. In the case of Wolverine, the guy has been alive for a long time, and I felt that exhaustion is one of the character’s attributes. In some way I felt I had a chance, if I got the alchemy right, for his death to actually be a rest: a release of some kind from this most soiled of worlds, and that it might not play as just a hammer to the head, for the audience but as something slightly more transformational.”
■没想结束，就不要设定结局“原始剧本出现了他们，我感觉如果没想结束的话，那就不要设定结局，至于金刚狼，这家伙已经活了很长时间了，疲惫是这个角色的内因之一。一定程度讲，我感觉时机到了，死亡实际上对于他是终于可以休息了，终于可以从这个肮脏的世界中抽身离去。不是锤子砸脑袋上死掉了那么简单，对于等待许久的观众来说，这是一种转化仪式。”
“They were all in the original outline. I felt there was no end if you didn’t end [like that]. In the case of Wolverine, the guy has been alive for a long time, and I felt that exhaustion is one of the character’s attributes. In some way I felt I had a chance, if I got the alchemy right, for his death to actually be a rest: a release of some kind from this most soiled of worlds, and that it might not play as just a hammer to the head, for the audience but as something slightly more transformational.”
4、最后镜头灵感来自1980年代的漫画封面
■《非凡X战警》第251期漫画封面
“最后这个镜头源自一个很经典的老《X战警》漫画封面，金刚狼像耶稣一样被钉在X形状的十字架上，脚下是一堆瘆人的骷髅。我不想用十字架的基督隐喻，作为电影创作者，我希望会有不同的含义，如果你注意到了这个镜头为此一颤，那就是我们想做的。”
“There’s a fabulous piece of artwork on the cover of an old X-Men comic with Wolverine pinned almost like Christ to an X aboard a mound of green skulls. So I can’t take credit for conflating the crucifix and the cross. I’m a filmmaker, so I want it to not be words. You’re looking for this gesture to exit, and we’ve done enough words at this point, and that’s as much as I can tell you where it came from.”
■《非凡X战警》第251期漫画封面“最后这个镜头源自一个很经典的老《X战警》漫画封面，金刚狼像耶稣一样被钉在X形状的十字架上，脚下是一堆瘆人的骷髅。我不想用十字架的基督隐喻，作为电影创作者，我希望会有不同的含义，如果你注意到了这个镜头为此一颤，那就是我们想做的。”
“There’s a fabulous piece of artwork on the cover of an old X-Men comic with Wolverine pinned almost like Christ to an X aboard a mound of green skulls. So I can’t take credit for conflating the crucifix and the cross. I’m a filmmaker, so I want it to not be words. You’re looking for this gesture to exit, and we’ve done enough words at this point, and that’s as much as I can tell you where it came from.”
6、罗根最大的恐惧是爱
■大多数人奶中了首款预告此画面埋葬了X教授
“当剧本处于空白页，我坐下来创作考虑的首要问题就是，罗根最大的恐惧是什么？因为罗根的恐惧显然不是反派，显然不是世界末日、显然不是死亡，所以它会是什么？我觉得他最大的恐惧是爱，所以他会远离一切纯粹的爱的形式，包括家人。”
“When I first sat down with a blank page, the first question that struck me was that, what is Logan frightened of? Because it clearly isn’t a villain, and it clearly isn’t the end of the world, and it isn’t death, so what could it be? It struck me that what he’s most frightened of is love. So it makes sense to me that he will be pushing away love in its purest form: in a family sense.”
■大多数人奶中了首款预告此画面埋葬了X教授
“当剧本处于空白页，我坐下来创作考虑的首要问题就是，罗根最大的恐惧是什么？因为罗根的恐惧显然不是反派，显然不是世界末日、显然不是死亡，所以它会是什么？我觉得他最大的恐惧是爱，所以他会远离一切纯粹的爱的形式，包括家人。”
“When I first sat down with a blank page, the first question that struck me was that, what is Logan frightened of? Because it clearly isn’t a villain, and it clearly isn’t the end of the world, and it isn’t death, so what could it be? It struck me that what he’s most frightened of is love. So it makes sense to me that he will be pushing away love in its purest form: in a family sense.”
7、晚餐差点提及琴·格雷
■《逆转未来》新史X教授读取过罗根旧史杀死琴这段记忆
“晚餐那场戏有几个不同的版本，其中一版走向有些黑暗。 Munson夫人问罗根是否结婚了，查尔斯接话说罗根结婚了，但罗根杀了她。当然了，结婚这事是假的，这只不过是查尔斯对罗根杀死琴·格雷这件事的润色，这是个很酷的时刻，休和帕德里克都觉得这场戏太神了。但这是中场唯一能喘口气的戏，之后会发生令人震惊的巨浪，事情会变得相当的糟。即使对我来说，这个黑暗时刻口味也有点太重了，所以没用这个版本。删除场景应该会放在蓝光花絮里。”
“I sketched out different conversations for that dinner scene and one of them went to a much darker place. Mrs Munson asks Logan if he’s married, and Charles says he was – but he killed her. Of course, he wasn’t really married, but what that then spawns is Charles waxing poetic about Jean Grey, and it’s a really cool moment. Both Hugh and Patrick were amazing. The problem was, it created an incredibly powerful lead brick in the middle of the only moment in the movie where there was a breather. Even I, with my taste for the dark, felt that it was one too many. Things go pretty shitty within seconds after that. I think [the deleted scene] will make it to the Blu-ray.”
■《逆转未来》新史X教授读取过罗根旧史杀死琴这段记忆
“晚餐那场戏有几个不同的版本，其中一版走向有些黑暗。 Munson夫人问罗根是否结婚了，查尔斯接话说罗根结婚了，但罗根杀了她。当然了，结婚这事是假的，这只不过是查尔斯对罗根杀死琴·格雷这件事的润色，这是个很酷的时刻，休和帕德里克都觉得这场戏太神了。但这是中场唯一能喘口气的戏，之后会发生令人震惊的巨浪，事情会变得相当的糟。即使对我来说，这个黑暗时刻口味也有点太重了，所以没用这个版本。删除场景应该会放在蓝光花絮里。”
“I sketched out different conversations for that dinner scene and one of them went to a much darker place. Mrs Munson asks Logan if he’s married, and Charles says he was – but he killed her. Of course, he wasn’t really married, but what that then spawns is Charles waxing poetic about Jean Grey, and it’s a really cool moment. Both Hugh and Patrick were amazing. The problem was, it created an incredibly powerful lead brick in the middle of the only moment in the movie where there was a breather. Even I, with my taste for the dark, felt that it was one too many. Things go pretty shitty within seconds after that. I think [the deleted scene] will make it to the Blu-ray.”
8、漫画规则不是真理
■影迷想看雄心勃勃的电影
“我没有说漫画规则不好，我不需要遵循它。有些粉丝冲动的认为漫画有什么，电影得原封不动照搬。我尊重有这种想法的粉丝，但这个梦想缺乏实用性。首先，漫画是自相矛盾的，无论是漫威还是DC，漫画作者一次又一次的重建漫画宇宙：镜像地球、再度降临、新一代，他们把这个狗屎梗重复了一遍又一遍。其次，即使他们没这么干，新的艺术家加入进来，也只是让他们想创造的角色凌驾于其他角色之上，其他角色只是处于主角的阴影之中，甚至遗忘掉这些角色的存在。影迷想看到好电影，他们想看雄心勃勃的电影，他们不喜欢植入式广告的电影，或者这部电影只是为了卖周边，或只为好卖下一部电影。如果你指望那些质量不一的漫画改编成保证电影质量的电影，你应该给电影创作者多点创作空间。如果电影创作者不能像漫画作者那样坚持自己的主见，那我们这些电影创作者充其量就只是照谱子来的指挥家，我们只是其他作品的代理。电影如此丰富，应该以电影媒介属性来呈现艺术的共同性。”
“I had no priority in contradicting the canon. I had no priority in being slavish to it. There is an impulse from fans to have the comic books writ large in movie form with an unerring devotion to what was in the comic books. I say this with tremendous respect for those who feel this way, but there’s just a slight lack of practicality within that dream. First of all, the comic books contradict themselves. The comic book authors rebuilt the universes in each of these Marvel and DC universes several times: mirror earths, second comings, new generations, they reset this shit over and over again. Second of all, even when they didn’t, new artists came in and just shaded characters and forgot about others.I think fans want great films, they want ambitious films, they want films that don’t feel like product placement or that they’re here to sell merchandise or to sell the next movie. If you’re upset by the quality of the comic book quote-unquote movies you see, then you should give the filmmakers a little more latitude. If the filmmaker can’t assert themselves in the same way the comic book authors do, then you’re basically just saying we’re a conductor of a piece in repertoire, we’re just doing a kind of rep company version, putting it on for historical purposes. Film is too rich and artistic a medium to do something generic with it.”
■影迷想看雄心勃勃的电影
“我没有说漫画规则不好，我不需要遵循它。有些粉丝冲动的认为漫画有什么，电影得原封不动照搬。我尊重有这种想法的粉丝，但这个梦想缺乏实用性。首先，漫画是自相矛盾的，无论是漫威还是DC，漫画作者一次又一次的重建漫画宇宙：镜像地球、再度降临、新一代，他们把这个狗屎梗重复了一遍又一遍。其次，即使他们没这么干，新的艺术家加入进来，也只是让他们想创造的角色凌驾于其他角色之上，其他角色只是处于主角的阴影之中，甚至遗忘掉这些角色的存在。影迷想看到好电影，他们想看雄心勃勃的电影，他们不喜欢植入式广告的电影，或者这部电影只是为了卖周边，或只为好卖下一部电影。如果你指望那些质量不一的漫画改编成保证电影质量的电影，你应该给电影创作者多点创作空间。如果电影创作者不能像漫画作者那样坚持自己的主见，那我们这些电影创作者充其量就只是照谱子来的指挥家，我们只是其他作品的代理。电影如此丰富，应该以电影媒介属性来呈现艺术的共同性。”
“I had no priority in contradicting the canon. I had no priority in being slavish to it. There is an impulse from fans to have the comic books writ large in movie form with an unerring devotion to what was in the comic books. I say this with tremendous respect for those who feel this way, but there’s just a slight lack of practicality within that dream. First of all, the comic books contradict themselves. The comic book authors rebuilt the universes in each of these Marvel and DC universes several times: mirror earths, second comings, new generations, they reset this shit over and over again. Second of all, even when they didn’t, new artists came in and just shaded characters and forgot about others.I think fans want great films, they want ambitious films, they want films that don’t feel like product placement or that they’re here to sell merchandise or to sell the next movie. If you’re upset by the quality of the comic book quote-unquote movies you see, then you should give the filmmakers a little more latitude. If the filmmaker can’t assert themselves in the same way the comic book authors do, then you’re basically just saying we’re a conductor of a piece in repertoire, we’re just doing a kind of rep company version, putting it on for historical purposes. Film is too rich and artistic a medium to do something generic with it.”
9、超人临凡是接触点
“我认为尼尔·盖曼打造最初始的《睡魔》太出色了，他们算是神，但也会有兄弟之间的争吵，就像神仙般的《汉娜姐妹》，这是人性化的力量。理查德·唐纳导演的《超人》就非常人性化，与《罗根》的调子不同，但到目前为止仍有深远意义。罗伯特·本顿编剧的超人与露易丝·莱恩那些漂亮的如在阳台上的场景，这些朴素的场景透着美丽的人性，空气中嗅到的喜悦，一位神也会对凡人产生迷恋，对我来说这是美丽的矛盾戏剧点。”
“I think it’s something Neil Gaiman played with so beautifully in the original Sandman: these are literally gods but they’re having fraternal squabbles. It’s like Hannah And Her Sisters, but with gods. I think that's humanising. Richard Donner’s Superman was extremely human to me – a different tone to Logan by far, but still. Those beautifully-written scenes by Robert Benton between him and Lois Lane on the terrace, the beautiful humanity and simplicity of those scenes, and the lyrical joy of being swept in the air by a god who also happens to have a crush on [her], the contradictions in all of that are beautiful to me.”
“我认为尼尔·盖曼打造最初始的《睡魔》太出色了，他们算是神，但也会有兄弟之间的争吵，就像神仙般的《汉娜姐妹》，这是人性化的力量。理查德·唐纳导演的《超人》就非常人性化，与《罗根》的调子不同，但到目前为止仍有深远意义。罗伯特·本顿编剧的超人与露易丝·莱恩那些漂亮的如在阳台上的场景，这些朴素的场景透着美丽的人性，空气中嗅到的喜悦，一位神也会对凡人产生迷恋，对我来说这是美丽的矛盾戏剧点。”
“I think it’s something Neil Gaiman played with so beautifully in the original Sandman: these are literally gods but they’re having fraternal squabbles. It’s like Hannah And Her Sisters, but with gods. I think that's humanising. Richard Donner’s Superman was extremely human to me – a different tone to Logan by far, but still. Those beautifully-written scenes by Robert Benton between him and Lois Lane on the terrace, the beautiful humanity and simplicity of those scenes, and the lyrical joy of being swept in the air by a god who also happens to have a crush on [her], the contradictions in all of that are beautiful to me.”
10、约翰尼·卡什（Johnny Cash）与罗根有相似之处
■不仅是首款预告配乐约翰尼·卡什版“Hurt”，曼高德还导演过约翰尼·卡什的传记片
“我觉得你能感觉到罗根和约翰尼·卡什有惊人的相似之处，约翰尼·卡什去世前几周，我问他他喜欢的电影是什么，他回答是詹姆斯·怀勒的《弗兰肯斯坦》（1931年的电影《科学怪人》），他看这部电影时是9岁，每个人都被这个怪物吓坏了，但9岁的约翰却奇怪的认同他，9岁的约翰感觉坏的东西组成创造了科学怪人。我想罗根也有一种与之相似身为某种怪物的感觉，一个温柔的男人被囚禁在被诅咒的躯体中。”
“I think you could find tremendous similarity between Logan and Johnny Cash in terms of the nihilism. A couple of weeks before he died, I asked Johnny Cash what his favourite film was and he told me Frankenstein, the James Whale Frankenstein. He saw it as a 9-year-old boy. Everyone in the theatre was terrified of this monster, but he had the odd sensation of identifying with him. I remember when John told this to me, it was very moving: that feeling as a boy that like Frankenstein, he was made up of bad parts. I think Logan lives with a similar feeling of being some kind of monster... a tender man living in a cursed body.”
■不仅是首款预告配乐约翰尼·卡什版“Hurt”，曼高德还导演过约翰尼·卡什的传记片
“我觉得你能感觉到罗根和约翰尼·卡什有惊人的相似之处，约翰尼·卡什去世前几周，我问他他喜欢的电影是什么，他回答是詹姆斯·怀勒的《弗兰肯斯坦》（1931年的电影《科学怪人》），他看这部电影时是9岁，每个人都被这个怪物吓坏了，但9岁的约翰却奇怪的认同他，9岁的约翰感觉坏的东西组成创造了科学怪人。我想罗根也有一种与之相似身为某种怪物的感觉，一个温柔的男人被囚禁在被诅咒的躯体中。”
“I think you could find tremendous similarity between Logan and Johnny Cash in terms of the nihilism. A couple of weeks before he died, I asked Johnny Cash what his favourite film was and he told me Frankenstein, the James Whale Frankenstein. He saw it as a 9-year-old boy. Everyone in the theatre was terrified of this monster, but he had the odd sensation of identifying with him. I remember when John told this to me, it was very moving: that feeling as a boy that like Frankenstein, he was made up of bad parts. I think Logan lives with a similar feeling of being some kind of monster... a tender man living in a cursed body.”
11、X战警未来的命运是开放式的
■导演曼高德一向不记得准确年份是2023年，此篇又说错了电影，所以翻译时校对改正
“我给了他们很多逃生机会，我们这部发生在2029年，而《X战警：逆转未来》发生在2023年，这两部中间有6年的空白期，有足够的开放空间讲述很多事情。如果你不愿意那么想，那我个人提倡的，你可以想象我这部电影是不同的世界，全新的电影，你就不需要去思考与其他电影的关系了。”
“I gave them many escape valves. We take place in 2029, and X-Men Apocalypse ends in 2024. There’s five blank years there that are wide open to seeing how things got from here to there. Or else you could do what I would advocate, which is imagine a different world and create a new movie, and you don’t need the permission of the other movies.”
■导演曼高德一向不记得准确年份是2023年，此篇又说错了电影，所以翻译时校对改正
“我给了他们很多逃生机会，我们这部发生在2029年，而《X战警：逆转未来》发生在2023年，这两部中间有6年的空白期，有足够的开放空间讲述很多事情。如果你不愿意那么想，那我个人提倡的，你可以想象我这部电影是不同的世界，全新的电影，你就不需要去思考与其他电影的关系了。”
“I gave them many escape valves. We take place in 2029, and X-Men Apocalypse ends in 2024. There’s five blank years there that are wide open to seeing how things got from here to there. Or else you could do what I would advocate, which is imagine a different world and create a new movie, and you don’t need the permission of the other movies.”