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【本马达】Gus Van Sant写于GWH剧本前的简介(翻译)(下)

*这是来自于Good Will Hunting 这本剧本前面导演写的简介

*有非常多的梗(狗粮),心疼导演一下下

*无授权翻译(我要是可以联系的上导演的话我就……)

*翻译部分欢迎批评指正

*如需转载,请注明作者(Gus Van Sant)和译者 @随便去个地方 就好

*准备好深夜狗粮了吗?

 


“心灵捕手的很大一部分是在这些穿越国家的旅途中写的。我们以某个特定的角色来给彼此讲故事,经常听得哈哈大笑,或者只是为了让本不要在开车的时候睡着。”

“那些故事必须够好,不然我得打瞌睡了。”

“所以这在某种程度上也尽可能地提升了故事的质量。当我们进行了一段即兴表演以后,如果我们都喜欢,故事也能流畅地接下去,对话又让我们有点小兴奋的话,我就会从储物格里拿出我的笔记本,写下点笔记,来帮我们到时候回忆整段表演。”马特说。 

“等我们停车以后,我会拿出笔记本打几页剧本,同时修改一下。”本说。

“我们也用传真写。”马特说。

“传真?”我问他们。

“因为拍戏,我们经常不在一块儿,所以当我在德克萨斯的高山市拍戏,为了躲日头只好待在房间里,我就会写几页然后发传真给本。本那时在科罗拉多的莱德维尔,他会在办公室里收到传真,然后再写几页,再传送给在高山市的我。”

“这么说吧,”本补充道,“我们做这个的时候就是试着让对方开心,让对方感同身受,度过一段美好时光。”

“或者哭。我们也让自己掉眼泪。”马特说。

“是的,而且我们常常在写剧本的时候喝点啤酒。我们就是一起出去玩,让我们自己开心。”

“当我们刚好住在同一家酒店,我们就会在周末的时候或者其他休息的时候写。我们这么努力地写剧本,有些是因为在陌生的城市我们有大把的时间,除了让自己忙起来或者闲得要命,其他的别无选择,所以我们用一起写剧本来让我们保持冷静。”马特说。

我亲眼看过他们在酒店房间里弄得修改作品。在我拜访期间看这个,可花了我老长时间。你要愿意的话还可以一直看下去,因为在他们厌烦修改之前,已经重写了太多遍了。大约总共有十次修改的版本。我们的第一个剧本研讨会是在阿肯色州的西孟菲斯,顺便在那里参观游览了一番。几天之后,真的到了工作的紧要关头,似乎我们就只是逛来逛去,看看酒店的电影,真的什么都没做。就是这时候,本和马特马上进入工作状态,自然而然地创作出东西:马特站在酒店房间中间,拿手就在空气里比比划划,试图用手势来表达他的想法;本则在他的笔记本电脑里写着对话。本不仅得开车,还得打字。

在三年里,两位密友开车穿越沙漠,异地传传真,在酒店里闲逛,让彼此哭与笑,而这些就是他们怎么创造出这部剧本的。

这个剧本里没有被详细描写的英雄或反派。也没有界限分明的对与错,只有每个角色里有的一些特质,更多的是像荣辱观的东西。在这个剧本里,如果你是可敬的,那犯点错没问题。故事发生南波士顿,这让我从南波士顿的视角来思考它。

心灵捕手的主角威尔想要把一些东西藏起来,他不知道这个,但他其实是在隐藏他的“善意”(这也是肖恩这个角色所寻找的),他用他的善意换来了在南波士顿的可以喝酒的偏安一隅,这里有愿意为了保护他而两肋插刀的兄弟,身体和心灵都是。他以前被人伤害过,不想因为有人危及了他的安全区,改变了他的朋友而再被人伤害一次。对即将21岁的他来说,改变是一件可怕的事,一件他极力避免的事。

“这个故事是关于一个孩子,他不想要改变他的一切,因为这改变让他觉得害怕。”马特说。

威尔有着卓越的数学能力,他瞒着不说。其他所有故事里的人物要么想要这种能力,要么想对这种能力有更深入的了解,或者想利用这种能力来做事情。这种故事手法就是希区柯克式的“兴奋点”---故事里的人物渴求的某种东西对于我们观众来说却无所谓,至少没什么关系。作为观众,我们感兴趣的是听着所有的人物讨论威尔,看着他们为了威尔的善意而斗争。

他被成功、失败和荣誉这些想法折磨着,他挣扎着,想是当个诚实劳动的蓝领工人,能够让他继续隐藏自己更安全,还是为实现一些与物质上的美国梦所一致的事尝试一下。这些让心灵捕手成为学术级别的作品。

几乎所有的场景都有着对教育方面的阶级结构的构建和观察。年轻的南波士顿孩子,没有接受良好的教育,穷困潦倒,无事生非,做着底层工人阶级的工作,对上学不抱任何希望,而剑桥区的师生们则很明显是有着优先选择权的上流社会。这是美国东海岸式的阶级分层,也有些夸大了彼此间的不同。底层人民是英雄,而上流社会是反英雄。虽然威尔没有人给过他关于情感方面的指导,但作为一个自学成才的英雄,他比麻省理工最有名望的教授还要聪明。传统教育似乎不再可信,而“头脑”才是值得添加声名的东西。再一次,这让我想起了一个爱尔兰工人阶级的酒鬼在酒吧旁边的样子,这也是故事叙述者们的情感中心。

威尔的女朋友,斯凯拉,是一个出身于英国上流社会,就读于哈佛的知识分子,很好地与像威尔那样的爱尔兰裔美国底层人民反知识分子形成对比。

故事的核心是肖恩这个角色,他是个出身于这两个阶级体系的老师,作为一个来自南波士顿,麻省理工出身的心理学教授,他却选择去工人阶级的邦克山社区学院教书。

肖恩是一个受过传统教育的老师,但他又有“头脑”,他促成了故事里构建精妙的冲突。

剧本一开始好像有点冗长。就像我们拍戏时马特在片场开玩笑时说的,每次演心灵捕手的时候,通常是两个人面对面坐着交谈。只有背景和角色变化了,经常只有一个角色变了,因为,实际上,每场戏都有威尔。我们想这会不会变得无聊,但当我们取得进展,开始拍摄电影时,这就变得魅力十足,就像在纸张上一样。

心灵捕手的拍摄很是愉快,某种程度上也很风平浪静,跨越了1997年的冬与春。罗宾·威廉姆斯扮演肖恩,斯卡·斯加德扮演蓝波,明妮·德瑞弗扮演斯凯拉。这三位都有着绝好的天赋,为我们带来了我们所需的最好的表演。在我写下这些文字时,电影只做了一次试映,但如果我们可以从这一次放映中判断,这一次放映对马特和本的职业生涯意味深长。

格斯·范·桑特



“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



导演:从未觉得拍摄如此幸福

译者:从未觉得翻译如此好玩

祝他俩百年好合,早生贵子,子又生孙,孙又生子……


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