*这是来自于Good Will Hunting 这本剧本前面导演写的简介
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“A lot of good will was written on suchcross - country road trips. We tell each otherstories while in a particular character, usually to make each other laugh or tomake sure that Ben doesn’t fall asleep at the wheel.”
“The stories have to be good or I start tonod off.”
“So it sort of ups the ante as far as storyquality goes. When we get into an improv that we both like, that we both thinkis going well and dialogue we are relatively excited by, I will open up theglove compartment where I keep my notebook and write down a few notes that wewill use later to recall the entire improvisation , " Matt says.
“When we do finally stop the car I’ll unpacka laptop computer and we’ll write down the new pages by reinventing it, “Bensays
“We also write by fax, “Matt says
“Fax?” I ask them
“We were often apart because of actingcommitments, so when I was filming in Alpine, Texas, and spending a lot of timeindoors trying to get out of the Texas heat I would write pages and send themoff to Ben by fax. Ben was doing his film in Leadville, Colorado, and he wouldpick up the fax I sent to his production office, and work on the new pages andthen send them back to me in Alpine.”
“And let it be said, “Ben adds,” that whenwe are doing this, most of the time we are trying to make ourselveslaugh. We are going for a shared reaction. We’re going for a good time.”
"Or cry. Wemight make ourselves cry, too, “Matt says.
“Yes, and also a lot of the time we’ll have afew beers while we are writing. We’re just hanging out with each other tryingto entertain ourselves.”
"When we happen to be staying in the samehotel we'll write on the weekends or on our days off. Part of the reason weworked on this script so much was that we often had huge amounts of time off instrange cities and there was absolutely no choice but to keep yourself occupiedor go crazy from boredom, so we would write together to keep from going insane,”Matt says.
I was witness to one of their many hotel room rewrites. Therewas a good deal of procrastination when during myparticular visit. This could have been because they had been through so manyrewrites before that they were tired of rewriting. There have been about tenrewrites in all. The first writing meeting that I had with them, we took asight-seeing trip around West Memphis, Arkansas. Days later when things reallygot down to the wire and it seemed that we were just goofing off and hangingout and watching the hotel movies and really not getting anything done at all,that's when Ben and Matt would fly into action and create something almostspontaneously with Matt standing in the middle of the hotel roomdemonstratively gesturing and editing ideas by drawing dotted lines in the air with his hands, with Benwriting down dialogue on his laptop computer. Ben not only does the driving buthe also does the typing.
Two best friends driving across deserts,faxing each other between remote locations , and hanging out in hotels tryingto make each other laugh and cry over a three - year period is how they managedto put this amazing screenplay together.
There are no finely drawn heroes or villainsin the script. There is no right or wrong particularly -- there is somethingmore like honor and dishonor within each character. In this screenplay it isokay to be wrong if you are honorable; the story is set in South Boston andthis strikes me as a particularly South Boston viewpoint.
Good Will’s central character, Will, is hidingfrom something - he doesn’t know it but he is hiding his “good will" (whichthe character Sean hunts for) , trading it to stay in a safe South Bostondrinking establishment where he has a group of friends who protect him physicallyand emotionally. He has been hurt before and doesn’t want to get hurt again byjeopardizing his safe surroundings and friends with change. Change has becomefor him a dire eventuality that he is doing his best to avoid as he growscloser to twenty - one years old.
“It is the story of a kid who doesn’t want toget off his butt because it terrifies him, “Matt says
Will has extraordinary mathematical abilities which he keeps a secret. These abilities are something that all theother characters in the story either want a part of, or want to know more about,or want him to do something with. This story device is our Hitchcockian "maguffin”--- the thing that all the characters in our story care desperately about butwe as an audience don’t particularly care about, at least not directly. Whatinterests us as viewers is watching and listening to the characters discuss andfight over Will’s good will.
The ideas of success, failure, and honorplague him while he struggles with whether it is safer to work an honest blue -collar job, which would allow him to continue to hide, or try for something more inline with the materialistic American dream. This supports Good Will Hunting'spronounced academic class division.
In almost every scene, there is theconstruction or observation of an educational class structure. The young South Bostonkids are the uneducated, poor, scrappy lower - class laborers with bleakprospects for a scholastic future while the Cambridge teachers and studentsplay in a privileged upper class. There is a particularly East Coastorientation to these distinctions of class and also an exaggeration betweenthese differences. The lower class is the hero, the upper class the antihero.Although will is emotionally uneducated, as a self - educated hero he is madeout to be smarter than the most decorated MIT professor. It seems thateducation is suspect, but "smarts" are celebrated. Again, this strikesme as an Irish working - class drinking man’s barside viewpoint, and is theemotional center for the storytellers.
Will’s girlfriend, Skylar, is an English upper- class Harvard intellectual, producing a nice contrast to Wills Irish - Americanlower - class anti – intellectual.
In the center of the story is the character ofSean, a teacher who is rooted on both sides of this class system - an MIT -educated South Bostonian psychology professor who has chosen to teach at theworking - class Bunker Hill Community College.
Sean is atraditionally educated teacher for the people who also has “smarts,” and heprecipitates the well - constructed conflict in the story.
At first the screenplay seemed perhaps alittle wordy. As Matt joked on the set when we shot the movie, the Good Willstaging was usually two people sitting in chairs across from each other and talking.Only the backgrounds and the characters changed, and usually only one of thecharacters changed since Will is in virtually every scene. We wondered if thismight become tiring, but as we forged ahead and began to shoot the film itbecame captivating, just as it was on the page.
The story of shooting the movie Good WillHunting is a happy and somewhatuneventful one. It was made in Boston over the winter and spring of 1997. RobinWilliams played Sean, Stellan Skarsgard played Lambeau and Minnie Driver playedSkylar. All three of these actors had a wonderful talent for bringing out thebest of what we had to work with. At this writing, the movie has only beenshown once to a preview audience, but if we can judge by that one screening itwill have a great effect on Matt and Ben’s careers.
Gus Van Sant