跟我一起读教父评论轨（四）

作　者：foxhidden
GOMOVIE畅谈

这次所用材料，完全是在吃老本，几个月前就已经听写出来了。趁着今天有空，写了贴上来，下一次不知道要什么时候……
截图如有字幕，上为HL，下为FH

44.In the scene like this I have benefit these wonderful actors who really enjoy working with each other, you know, in the important dialogs scene, you know, kind of have great turning point that AL, suddenly from being a adobe kid brother, starts to strike an  ideas and offer solution to their predicament and I remembered I felt it’s very important turning point for him and ask he begin to lay out his idea, how he who himself go and killed Sollozzo as well as corrupt police caption.
这个场景是本片的一个转折点，迈克从一个天真烂漫的大学生变成了一个阴险的策划者，而这一切全拜那位腐败警察的拳头所赐。联想到前些天的“馒头”事件，我要奉劝各位：一定要注意下一代的心理问题，“阴影”的力量是可怕的……
这场可以算是三大巨星同场飚戏，再联想到中国影坛刻意的汇聚某某“巨星”同台演出，我只想说一句：看看人家是怎么演戏的，好好学着吧。

45.As the moment happened, I remembered I wanna the camera to move close to him. Generally it’s not something that Gordon like to do, I said Gordon was really purist. He like, you know, kind of deal with rock standing shoots, not tricky business, no funny business, but you know, once in a while I could make the case that what emphasize was going on. It was touching-go relationship with Gordon on the first picture, I don’t think he had lots of, he didn’t know who I was, I was some kids, he was very firm idea about structure and how thing should be done. And on the second picture, second godfather picture I think we’re much more naturally harmonious and respectful...
在迈克谈论他的计划的时候，科波拉想让摄像机慢慢推进，给麦克一个特写。但摄影师高登是个纯粹主义者，喜欢用固定机位来拍摄，不喜欢玩什么花样。高登比科波拉大了八岁，估计是想摆摆老资格，科波拉当时又毫无名气，要指挥资历、年龄都比他大的高登实在不是一件容易的事。但科波拉说他总能想到办法让拍摄按照他的计划来进行，这个场景如同科波拉说的那样：镜头慢慢拉近。而当到了拍第二部教父，他们之间的合作就融洽多了。
purist这里FH译成“纯化论者”，这个译法我见过，但很少见也不好懂。还是HL的“纯粹主义者”更好一些。可我估计没几个人能说明白什么人该被称作“纯粹主义者”。“纯粹主义者”用在文学和艺术上比较多，比如那些喜欢咬文嚼字的，排斥新兴词语的就算是“纯粹主义者”，这里应该是说高登是个很传统、老派的摄影师，按现在的话说，也太不“与时俱进”了。
说到镜头的移动，如果你仔细观察的话，会发现教父里面很少有移动镜头，大多数镜头都是固定的。而联想到现在的电影，镜头里充斥着推、拉、摇：先从太阳系往地球上推，推到某人脸上，定格特写，再拉到中景旋个360度，旋到另一个场景，摇到建筑物一侧，故事开始……看完这些，我脑子里只有一个“酷”字，剧情我是记不得了，这个拍法倒是印在了我的脑海里。现在的电影都是以拍摄手法、特技挂帅了，像教父纯粹靠剧情来主打的电影是越来越少了……（写到这里我发觉我自己也成了个“纯粹主义者”）
46.but you know on the first film I was like not really the crew didn’t kind of understand what I was doing there, why I was chosen to be the director and you know the crew kind of New Yorker, someone know-it-alls guys made me feel like jogger in college something, so I thought very much like an outsider, you know tendered take more the part if the actor being in the more of the actor. I remembered once I was sitting in the bathroom of the stage where we were shooting, I was hidden in the toilet. Two guys walked in, I could hearing them saying “what do you think this director?” “Boy, he didn’t know anything, you know, what an asshole he is.” I felt so embarrassed; I almost wanna lift shoes up, so they couldn’t tell who was in there, who was in there talking about me.
当时科波拉不仅要说服摄影师，还要面对其他剧组人员的挑战，他们大多数是纽约人，自以为是，感觉自己什么都懂。面对个毫无名气、资历的菜鸟导演，当然是百般刁难。逼得科波拉只好整天和演员们泡在一起。他这里还举了一个具体例子：一天他在片厂的厕所里便便（大的），这时两个工作人员走进来（估计也是便便，貌似小的）说他什么都不懂，是个混球。当时科波拉就觉得很尴尬，他把脚抬起来，避免那两个人发现他也在厕所里。（注意：此动作十分危险，非专业人士请不要模仿，特别是屁屁过小的同学更要注意。由于模仿而造成的一切后果，本人概不负责，特此声明）
47.I was very unhappy during the Godfather, I have been told by everyone my idea was so bad and you know I didn’t have a lot of confidences myself, I was only about 30 years old, so, and you know I just hang it on my wits and my… I don’t know what. But I had known the indication that this nightmare is gonna turn to successful film much less film become classic, so I always feel for young people working, you know, to remember that those time when you feel your idea aint good or people’re putting down your the ideas or you’re getting fired. Those of same ideas you gotta be celebrated for 30 years later, so you know, you almost have had the courage.
科波拉说了，他当时是多么的困难，多么的没信心，但却拍出了一部经典之作。他告诫年轻人，要有信心，说不定你现在手上在做的就是一件伟大的事。当然从另一方面看，科波拉作为成功人士，当然说什么、怎么自摸都行。但我宁愿相信这是他的真情实感，所以大家一定要努力，不要放弃希望。

48.I think we shot this really in a basement, I don’t think it was set, think we just kind of did some basement, so we gotta be convinced, we wouldn’t lose time, have to go some other place.
克里曼沙教麦克用枪这场戏，是在一个地下室拍的，而不是摄影棚中。

49.This scene was particular memorized my family, my father like Chinese food and I always remember what it look like in really white containers, not the one today have red pagodas on them. It’s funny how you become emphasis in little detail, especially when you feel little things unsecured that detail having right Chinese containers and right take-out coffee cup which was just not like polystyrene cup of today. All most those detail, something you can launch on to feel, at least authentic when you in secure about what big picture is that doing.
这一个场景有让科波拉想起了他的家庭，他的父亲很喜欢吃中餐。这里的中餐纸盒和杯子都是严格还原当年的样式，这里足以看出科波拉认真的态度，按他自己的说法是因为不自信，而这些细节可以让他自信一些。前面说了这么多，教父其实已经很有烂片的潜力了：拍摄时间短、剧组不配合、制片人不支持。但教父却成功了，我想这应该归功于科波拉严谨、认真的态度。
科波拉说当时的中餐纸盒和现在的不一样，那时的没有宝塔图案，我这里截一个现在纸盒的样子给大家看看。


50.I think the actors works so well together, because we rehearsed period we had before the movie started, I remember I’m big believer all my films I always tried to have couples of weeks, get out cast together and very often it’s first time the actors worked together, they do so in improvisation, specially sensual in improvisation, eating together or preparing food together or doing some activity that you touch and making something together and for the Godfather what I did in Patsy’s restaurant, uptown, they had backroom, before the cast knew each other, I arranged a family style table, put that in backroom, all Italian food made....
科波拉认为演员演的很融洽，这要归功于他在开演之前让演员坐在一起吃饭，感觉家庭的气氛。他记得白兰度坐在首座，他的右边是阿尔，左边是凯恩，凯恩左边是杜瓦尔，而她的妹妹则像一般家庭的女孩子一样，帮着上菜（这里FH译成“吃饭时喜欢听音乐”，莫名其妙，见上图），科波拉还让他们聊些家常，如说些“把香肠递给我”之类的话（FH这里译成了“香肠有点焦”）。所有的这些，让演员放松下来，从而在戏中表现的像一家人一样。
下面这张图来自教父2

这里还提到，因为当时马龙·白兰度已经是超级巨星，而其它一些演员还没什么名气，所以他们想尽办法要引起白兰度的注意。这种事大家应该明白，不管在哪里都是一样的，要是一个圈子里有位大人物或权威的话，其他们总是想引起他的注意……
51.They’re also really lots of fun, they’re always joking. Marlon is a big joker, he were always doing practical joke, in this movie, they were like kids, always merry each other, outdoing each other with jokes and even in some of the scene as I said that, you know Marlon had a big sign on his forehead when Lenny Montana was trying to do the scene, the scene coming up, I’ll tell you practical joke that Marlon posed.
几位演员非常融洽，在一起总是像孩子一样开玩笑。白兰度更是玩笑高手，科波拉说后面具体场景中他会说明。

52.The scene in the car, this move we all shot we call “poor-man‘s-process” in other words, there really in just car in empty stage and couple of lights on screen very often behind them to look like headlights of another car, but in fact it’s nothing but car been shaken and just illusion, being the car when sit them in still car in empty stage. Gordon was very good that. Its quite good illusion. Of course once I say what it is no one will spoil it.
车里的镜头其实是在一个空的摄影棚里拍的，后面只有几盏灯在移动，然后摇动车身给人造成错觉。虽然简单，但效果很好，不说的话没人会看出来。
说到关于车子的特技，我在反恐24小时第四季的DVD里截了两张图，左边这张你能看出是在摄影棚里拍的吗，右边这张是对“poor-man‘s-process” 的解释。左边这张图和上面的对比，说明了科学技术的进步给电影特技带来的变化，右边的图表明，有些特技手法直到现在仍被人们所运用。


53. Sterling Hayden was very unusual man, I can’t say I got know him at all, well, he, uh, he was very mysteries to me. But he certainly play this character well .
扮演腐败警察的Sterling Hayden，科波拉说他很特别，虽然和他不是很熟并且感觉他还有点神秘，但Sterling Hayden演的非常好。
Sterling Hayden  1916年3月26日-1986年5月23日
1941年，派拉蒙影业称他为“电影中最美的男子”
与Betty Ann de Noon结了三次婚，又离了三次婚
（未完待续）
本次完整讲评稿
In the scene like this I have benefit these wonderful actors who really enjoy working with each other, you know, in the important dialogs scene, you know, kind of have great turning point that AL, suddenly from being a adobe kid brother, starts to strike an                                                                                                                                                                                                                                                                                                                                                                                                                                                ideas and offer solution to their predicament and I remembered I felt it’s very important turning point for him and ask he begin to lay out his idea, how he who himself go and killed Sollozzo as well as corrupt police caption. As the moment happened, I remembered I wanna the camera to move close to him. Generally it’s not something that Gordon like to do, I said Gordon was really purist. He like, you know, kind of deal with rock standing shoots, not tricky business, no funny business, but you know, once in a while I could make the case that what emphasize was going on. It was touching-go relationship with Gordon on the first picture, I don’t think he had lots of, he didn’t know who I was, I was some kids, he was very firm idea about structure and how thing should be done. And on the second picture, second godfather picture I think we’re much more naturally harmonious and respectful, but you know on the first film I was like not really the crew didn’t kind of understand what I was doing there, why I was chosen to be the director and you know the crew kind of New Yorker, someone know-it-alls guys made me feel like jogger in college something, so I thought very much like an outsider, you know tendered take more the part if the actor being in the more of the actor. I remembered once I was sitting in the bathroom of the stage where we were shooting, I was hidden in the toilet. Two guys walked in, I could hearing them saying “what do you think this director?” “Boy, he didn’t know anything, you know, what an asshole he is.” I felt so embarrassed; I almost wanna lift shoes up, so they couldn’t tell who was in there, who was in there talking about me, I was very unhappy during the Godfather, I have been told by everyone my idea was so bad and you know I didn’t have a lot of confidences myself, I was only about 30 years old, so, and you know I just hang it on my wits and my… I don’t know what. But I had known the indication that this nightmare is gonna turn to successful film much less film become classic, so I always feel for young people working, you know, to remember that those time when you feel your idea aint good or people’re putting down your the ideas or you’re getting fired. Those of same ideas you gotta be celebrated for 30 years later, so you know, you almost have had the courage.
I think we shot this really in a basement, I don’t think it was set, think we just kind of did some basement, so we gotta be convinced, we wouldn’t lose time, have to go some other place.
This scene was particular memorized my family, my father like Chinese food and I always remember what it look like in really white containers, not the one today have red pagodas on them. It’s funny how you become emphasis in little detail, especially when you feel little things unsecured that detail having right Chinese containers and right take-out coffee cup which was just not like polystyrene cup of today. All most those detail, something you can launch on to feel, at least authentic when you in secure about what big picture is that doing.
I think the actors works so well together, because we rehearsed period we had before the movie started, I remember I’m big believer all my films I always tried to have couples of weeks, get out cast together and very often it’s first time the actors worked together, they do so in improvisation, specially sensual in improvisation, eating together or preparing food together or doing some activity that you touch and making something together and for the Godfather what I did in Patsy’s restaurant, uptown, they had backroom, before the cast knew each other, I arranged a family style table, put that in backroom, all Italian food made. I remembered Marlon sitting the head of table, to his right was Al and to his left was Jimmy, Jimmy’s left was Bobby Duvall, my sister Talia as the girl in the family often, was, bring plates of food. I just told them, you know have improvisation in the family, just talk widely, “pass me the sausage” what have you. I very much believe that in the first proposition to establish them to be a family and of course the young actors have Mario such sting that in the own way they all try either to show of him, Jimmy was impress Malon with his moody as Al was, Bobby Duval was constantly doing Marlon imitations, every time Marlon looked the way. Tali was through to be part of group as a little sister and I always have felt that improvising, other things we did afterwards, apparently that really give them something fundamental, that help them through out everything was to come, made believable, that they’re really brothers, father and son or all relationships that the story of the family was to be.
They’re also really lots of fun, they’re always joking. Marlon is a big joker, he were always doing practical joke, in this movie, they were like kids, always merry each other, outdoing each other with jokes and even in some of the scene as I said that, you know Marlon had a big sign on his forehead when Lenny Montana was trying to do the scene, the scene coming up, I’ll tell you practical joke that Marlon posed.
The scene in the car, this move we all shot we call “poor-man’s-process” in other words, there really in just car in empty stage and couple of lights on screen very often behind them to look like headlights of another car, but in fact it’s nothing but car been shaken and just illusion, being the car when sit them in still car in empty stage. Gordon was very good that. Its quite good illusion. Of course once I say what it is no one will spoil it.
Sterling Hayden was very unusual man, I can’t say I got know him at all, well, he, uh, he was very mysteries to me. But he certainly play this character well
_xyz