【TNABO】昆汀的花花公子访谈《江戈》【北美票房榜吧】_百度贴吧
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【TNABO】昆汀的花花公子访谈《江戈》收藏
大家好像对花花公子很有误解啊。这个老资历的刊物时常有很高档的文章，也很有声望。这个杂志的订户不少，又偏男性读者，高教育，高收入，所以高档广告一向不少卖。所以得到这个杂志的专题访谈，不是一般无名小卒拿得到的。昆汀2003年杀死比尔那时很火，就被花花公子访谈过。这次也是同一个记者再次访谈他。这个记者不久前访谈过靓汤。文章在花花公子的网站上就有。英文不错的可以自己看看去。我中文没那么好，讲个大概意思给自己看不了的。
记者是去他家访谈他的。PLAYBOY: Is that the real Pussy Wagon in the driveway, the one the Bride drives in Kill Bill?
[院里]那个是真的“新娘”在杀死比尔里开的Pussy Wagon？ TARANTINO: Oh, yeah.
PLAYBOY: Do you actually drive it?
你真开它？TARANTINO: I haven’t in a little bit. It was kind of
****ed-up because it just sat there for a long time while I was off
filming. We just got it looking nice again.
有段时间没开它了。。。。PLAYBOY: It’s probably not the best car for Quentin Tarantino to be driving if discretion is the goal.
低调出门的昆汀，开它不是好主意。TARANTINO: No, but it’s fun to do the opposite
sometimes, to cruise with the windows down. You take the big, long
Malibu drive and everybody is like, “Hey, it’s Quentin.” That’s fun.反过来就是好玩主意了。在Malibu大路上把车窗放下来溜车，所有人都说：看昆汀。好爽。
PLAYBOY: You killed Hitler in Inglourious Basterds, with Jewish soldiers scalping Nazis. In Django Unchained you have a liberated slave turned bounty hunter who takes on the slave masters who turned his wife into a prostitute. Hollywood is recycling fairy tales, from Alice in Wonderland to The Wizard of Oz. Are you doing a more creative version by crafting revisionist-history fables that allow victims of loathsome events to rise up and have their day?[提到混蛋，提到江戈的主线剧情，提到爱丽丝和奥兹巫师]你有没有新的篡改历史的童话新编，里面苦难的受害者崛起胜利的？TARANTINO: It’s in the eye of the beholder to say if it’s more creative or not, but that is what I’m doing, partly because I would just like to see it. You turn on a movie and know how things are going to go in most films. Every once in a while films don’t play by the rules. It’s liberating when you don’t know what’s happening next. Most of the movies that have done that did it accidentally, like they punched into a contraband area they hadn’t quite thought all the way through. But for that moment in the film, it is liberating. I thought, What about telling these kinds of stories my way—rough and tough but gratifying at the end?一般电影你知道故事怎么发展。偶尔，电影不按法则来，感到被解放了，因为不知道会发生什么。大多数这样的电影是意外产生的。。。我的想法是，如果我这么讲故事，虽然苦难，结果很爽，怎么样。PLAYBOY: What movie sparked this idea?哪些电影给了你灵感？TARANTINO: When it came to Inglourious Basterds, there was a movie done in 1942, Hitler—Dead or Alive. It was just as America had entered the war. A rich guy offers a million-dollar bounty on Hitler’s life. Three gangsters come up with a plan to kill Hitler. They parachute into Berlin and work their way to where Hitler is. It’s a wacky movie that goes from being serious to very funny. The gangsters get Hitler, and when they start beating the **** out of him, it is just so enjoyable. They shave his mustache off, cut off that lock of hair and take his shit off so he looks like a regular guy. The Nazis show up, and Hitler, who doesn’t look like Hitler anymore, is like, “Hey, it’s me!” And they beat the shit out of him. I thought, Wow, this is ****ing hysterical.[讲混蛋]
PLAYBOY: When viewers get to the end of Inglourious Basterds, the common reaction is, Wait, is Tarantino allowed to change history like this?混蛋看到结尾，一般观众的反应是：昆汀许这么改历史？TARANTINO: That wasn’t the jumping-off point for the film—it didn’t come to me till just a little bit before I wrote it. I’d written all day and was meditating about what the next day’s work was going to be. I was listening to music, pacing around, and finally I just grabbed a pen, went over to a piece of paper and wrote, “Just ****ing kill him.” I put it near my bedside table so I would see it when I woke up the next morning and could decide after a night’s sleep if it was still a good idea. I saw it, paced around awhile and said, “Yeah, that’s a good idea.” I went out on the balcony and started writing. And I just ****ing killed him. [laughs]那不是我开头就想好的。[细讲他是怎么写出杀了希特勒的。]PLAYBOY: You’ve also mixed history with fiction in Django Unchained. Did you study films or history to capture pre–Civil War life in the Deep South?在江戈里你也混进历史来。你是怎么研究电影和史实来展现内战前的南方？TARANTINO: You could make a case for watching World War II movies, if only to learn the clichés that help storytelling by giving the audience what they’re used to. There are only a handful of real slave movies. To me this is a Western but set in the Deep South. What I was interested in as far as slavery was the business aspect: Humans as chattel—how did that work? How much did they cost? How many slaves did an average person in Mississippi have? How did auction houses work? What were the social strata inside a plantation?。。。真的黑奴电影很少。我的电影是西部片，但是是在南方。我感兴趣的是：人被当牲畜。怎么做的？什么价钱？密西西比人均多少奴隶？拍卖怎么搞的？庄园内的社会结构。
PLAYBOY: What do you mean?什么意思？TARANTINO: In the case of Django Unchained, Leonardo DiCaprio’s character, Calvin Candie, is a plantation owner who has 65 square miles of land. He’s like Bonanza’s Ben Cartwright but in the South, one of a handful of cotton families in Mississippi. Anybody in that position is like a king in their own kingdom. All the poor whites who work for them and all the slaves are their subjects. They own everything as far as they can see, and the plantation is completely self-contained as a moneymaking entity. Candie is born into this, which means he doesn’t have to give a **** about
it takes care of itself. It’s a weird perversion of European aristocracy. That was a fascinating perspective to use with the whole story and with how Candie chooses to spend his time.小李的人物，凯文·坎蒂是个庄园领主，地有65平方英里。就像。。。但是在南方，密西西比少数的种棉家庭。任何人在这种地位就是一地之王。所有穷白人受雇于他，所有黑人是他们的财产。他们拥有看到的一切，庄园就是个独立的生财体系。坎蒂就是生在这环境里，管理自动运转，他对生意也就不上心了。像欧洲贵族的一个变异版。这是个迷人的角度用在整个故事上和用来展示坎蒂怎么消磨时光的。
插一句：小李的角色好像个无良的富二代啊。。。。这角有多亮啊？
PLAYBOY: In the movie, slaves are raped and men fight against each other like pit bulls. When you made Jackie Brown and Pulp Fiction, you were criticized for liberal use of the N word. There’s plenty of that here. Are you sitting on a powder keg?电影里，奴隶被强J，男的像斗牛样死斗。你过去的电影被批用了太多N字眼，这里也是。你是不是坐在火药桶上？TARANTINO: Now I’m picturing myself sitting on a keg of TNT like a Looney Tunes cartoon. It remains to be seen, I guess. If we are, it’s not because I’m trying to be inflammatory. I’m just telling my story the way I’m telling it. I’m putting it in a spaghetti Western framework and highlighting the surreal qualities inherent in the material. I’m highlighting them mythically and operatically, and in terms of violence and gruesomeness, with pitch-black humor. That’s all part of the spaghetti Western genre, but I’m doing it about a section of history that couldn’t be more surreal, bizarre, cruel or perversely comedic when looked at from a certain view. They go hand in hand.看吧。如果挨批，也不是我们故意煽火。我故事这么讲，是意式西部片的类型片，强调源于素材的非真实性，神秘，史歌。 暴力和血腥，黑色幽默。意式西部片的类型片就这样，只是我的故事在一个历史时段，不能再荒诞，残酷，和变态喜剧化。PLAYBOY: But the idea of portraying these slave women as prostitutes—可是你把黑人妇女刻画成J女？TARANTINO: Well, they’re not 100 percent prostitutes. The Cleopatra Club in the film is not a brothel. It’s a gentlemen’s club, a bring-your-own-bottle kind of place. There it’s bring your own pony, and you can have dinner with her.不是100%。电影里的Cleopatra俱乐部不是J院，是个成（和谐）人（和谐）俱乐部，自带酒那种地方。这里是自带马驹，一起吃饭。PLAYBOY: Pony is the term for an attractive slave woman?马驹就是漂亮的黑奴妇女？TARANTINO: Yeah.
赛赛有心了。。
PLAYBOY: And that really existed?真有这个吗？TARANTINO: Oh yeah, absolutely. I think it’s the cornerstone of slavery, or one of the things that made it work. Aside from the labor force, it was the sex on demand. The minute people own other people, we all know that’s definitely part of it. Did they do that back then? Yes. They do that right now—go to Bangkok. The thing about the Cleopatra Club is, if you like your slave girl you can take her there. You can have dinner. You can socialize. If you are a guy who wants to take your pony and just **** her for a night on the town, okay, you can do that. But maybe you actually love your girl and she’s kind of your de facto wife. This is a way to take her out and show her a good time.绝对的。我想这是奴隶制的一个基石，或说使奴隶制行得通。除了劳动力，还有就是随意的性使用。一旦一个人拥有了另一个人，性使用就是其中一部分。那时有没有？当然。现在不是一样--去曼谷看看去。Cleopatra俱乐部就是，如果你喜欢你的**，你可以带她去，吃饭社交。如果你只想城里一夜fvcking你的马驹，也可以。不过也许你真爱你的姑娘，她可以当一夜妻子，这也是带她出去娱乐寻欢。
插一句：他电影真有这剧情？这不是比R-级要高么？Pony这个词可是SM故事里常用的，我还不知道有这么个历史出处。汗颜。昆汀也真敢。到底是花花公子杂志，这些话别的杂志也不会登出来。
PLAYBOY: You originally wanted Will Smith to play Django. How close did you come to getting him?你最初想要威尔·史密斯演江戈。你差多少就得到他了。TARANTINO: We spent quite a few hours together over a weekend when he was in New York doing Men in Black 3. We went over the script and talked it out. I had a good time—he’s a smart, cool guy. I think half the process was an excuse for us to hang out and spend time with one another. I had just finished the script. It was cool to talk to someone who wasn’t guarded about what he was saying.在他拍黑衣人3时，一个周末我们在一起几个小时。我们一起聊剧本。[等等]PLAYBOY: What did he have to say?他说了什么？TARANTINO: That’s private stuff between us, but nothing negative.我们私下的话，反正没负面的话。PLAYBOY: He has to evaluate material partly based on his status as arguably the world’s biggest star and certainly its biggest African American star.[说威尔婚姻的事]TARANTINO: Yeah, I know. But he didn’t walk away from it because he was scared of the material.他没接这个，不是因为他不敢演。PLAYBOY: He has to evaluate material partly based on his status as arguably the world’s biggest star and certainly its biggest African American star.[说威尔婚姻的事]TARANTINO: Yeah, I know. But he didn’t walk away from it because he was scared of the material.他没接这个，不是因为他不敢演。PLAYBOY: Why then?那为什么？TARANTINO: It just wasn’t 100 percent right, and we didn’t have time to try to make it that way. We left with me saying, “Look, I’m going to see other people.” He said, “Let me just see how I feel, and if you don’t find anybody, let’s talk again.” And then I found my guy.角色不是100%合适他，我们也没时间改。[等等]PLAYBOY: Why Jamie Foxx?为什么Foxx？ TARANTINO: There are a lot of reasons I could say, but the gigantic one is that he was the cowboy. I met six different actors and had extensive meetings with all of them, and I went in-depth on all their work.我可以说很多理由，巨大的一个是他就是个牛仔。我见了六个可能的演员都谈得很深，看了他们的作品。PLAYBOY: Who?都有谁？TARANTINO: Idris Elba. I got together with Chris Tucker, Terrence Howard, M.K. Williams.[注：这可是当今最火的黑人演员们啊！] PLAYBOY: Williams, from The Wire and Boardwalk Empire?TARANTINO: Yes. I talked with Tyrese. They all appreciated the material, and I was going to put them through the paces, make them go off against one another and kind of put up an obstacle course. And then I met Jamie and realized I didn’t need to do that. Jamie understood the material. But mostly he was the cowboy. Forget the fact that he has his own horse—and that is actually his horse in the movie. He’s from T he understands. We sat there talking, and I realized, Wow, if this were the 1960s and I was casting a Django Western TV show and they had black guys as stars of those in the 1960s, I could see Jamie on one of those. And that’s what I was looking for, a Clint Eastwood.。。。我能想象Jamie在60年代的西部片里，这就是我找的，依斯武德。
这个有人看吗？要我继续下去不？
continue plz~~~~me gusta
之前确实以为是黄。色。杂。志
实话说，看到昆汀讲“马驹”，真是担心电影不合主流观众口味啊。
PLAYBOY: When Playboy interviewed Foxx several years
ago, he talked about growing up in Texas. Even though he was the
football team’s star quarterback, he was regularly called racist names
and treated badly. How did that inform his performance? TARANTINO: He understood what it’s like to be
thought of as an “other.” Even though he’s on the football team, one of
the stars, when he goes out with the pretty white girl in the school,
everyone loses their minds. He understood what it’s like to be hired as a
piano player in a big white Texas home. When you’re the black piano
player at a cocktail party, you’re furniture. You don’t talk to nobody.
No one talks to you. They’re not supposed to even think about you. They
should be able to say anything they want to say because you are
furniture.
PLAYBOY: So they can say something racist if they want.
TARANTINO: And they did.
PLAYBOY: And you’re invisible.
TARANTINO: That’s exactly it. He told me many
stories like that, how the lady of the house is paying him, saying,
“Look, I’m sorry about the things that some of the guests and my husband
said. They didn’t mean anything by it. Here’s some cash.” He told me
that once he showed up and they said, “Whoa, whoa, you need a jacket to
come in here.” He said, “Oh, well, I would’ve brought one, but nobody
told me.” And they said, “That’s okay. We got an extra jacket up there.
I’ll get it for you.” They give him a jacket, he does his thing, and
he’s getting ready to leave. “Okay, here’s your jacket.” They’re like,
“Whoa, hey, that’s your jacket now, buddy. I don’t want that jacket.”
They said that to his face.[讲Foxx在德州的受种族歧视经历]
犹记得无耻混蛋当年上映前和上映后的口碑反差，。。
PLAYBOY: How are you when actors ask you to change material?拍电影时演员要你改剧本你怎么办？TARANTINO: Well, somebody can actually have a good idea and come up with a neat “Hey, well, what if this happens?” Sometimes it’s “Oh, wow, that’s a good idea. Let me think about it.” People have given me good ideas. But it’s not like I hand in a script and get notes back. I’ll get notes back on the cut of the movie, but if people have a problem with the script, we’re probably not making the movie together. The studios that made Django also did Inglourious Basterds, and they were all happy. It was never an issue with all the subtitles in that film. Nobody said, “Can we try it in English?” They just knew it wasn’t the deal. The way it has worked with me since the beginning is, it’s all in the script. I might change something, but if you read and liked the script, you’ll probably like the movie.有时有人真要好主意，我会考虑。。。。不过如果有人真对剧本不满，我们也不会一起拍片了。这个工作室也是制作《混蛋》的工作室，那时他们很高兴。那时没人对电影里的外语又意见，没人说该试试用英语。所以基本是按原剧本来拍的。如果你读了剧本喜欢，你也会喜欢电影。PLAYBOY: When you shoot a slave movie in the Deep South, how does the community react?你在南部拍黑奴电影，本地社区怎么反应？TARANTINO: Sociologically one of the most interesting things went down when we were on the Don Johnson character’s plantation, Bennet Manor. He has cotton fields there, and he has cotton pickers—girls, men, children, old people. But he also has ponies, and he’s the one who sells pretty girls. That’s his big stock: He is a plantation pimp, and people come from far and wide to his plantation to buy one of his pretty girls. We had a bunch of extras from the community, St. John the Baptist Parish. It was cool, re-creating this history with black Southern extras whose families have lived there forever. They knew what went on back then. Then there was a social-dividing issue between the extras that mirrored the ones between their slave characters in the movie. The ponies were pretty, and they looked down on the extras playing cotton-picker slaves. They thought they were better than them. And the people playing the house servants looked down on the people playing the cotton pickers. And the cotton pickers thought the people playing the house servants and the ponies were stuck-up bitches. Then there was a fourth breakdown, between the darker skinned and the lighter skinned. Obviously not for everybody, and it wasn’t a gigantic problem, but it was something you noticed. They started mirroring the social situations of their characters, being on this plantation for a few weeks.从社会学角度看，最有趣的是拍Don Johnson演的那人物的庄园。这个角色也是个棉花庄园主，有好多“马驹”。各处人来买他的漂亮**。我们用很多当地人做临时演员。这些南方黑人是本地好多代的人，他们知道当年的事。结果演漂亮的马驹的临时演员看不起演摘棉花的农工临时演员。演棉花工的觉得演仆人和马驹的是bitches。还有个肤色深浅的分界。当然不是所有人都介入，也不是大问题，不过是很明显的。恰好反射了当年他们演的人物的社会状况。PLAYBOY: What about the local whites? Were they resentful?那白人呢？有很反感吗？TARANTINO: Well, frankly, there weren’t that many whites in the area on our set. We had local crew for sure, but there was no reason for whites in the area to be hanging around.我们拍电影那地方没什么白人。我们剧组的不算，本地白人没必要。
感觉昆汀是要反叛到底了反正他对学院奖这种东西也没有很在意把
PLAYBOY: Leonardo DiCaprio was initially mentioned for the Hans Landa role that won Christoph Waltz an Academy Award in Inglourious Basterds. DiCaprio’s your new villain now.TARANTINO: Leo and I never actually got together and talked about Inglourious Basterds. He was curious about playing the role, but I knew I needed somebody with all those linguistic skills. Leo can actually speak good German, but Landa spoke French in the movie more than German. So it was never in the cards. But Leo and I have hung out over the course of 15 years, and he likes my writing and makes sure he gets a copy of scripts I finish to see if there’s anything that might float his boat. He got this one and really liked Calvin Candie.[讲《混蛋》和小李。]我需要各种会外语的。小李讲很好的德语，但我需要也会法语的。[讲他和小李的交情。] 小李看到这剧本，很想演坎蒂。PLAYBOY: He called you?他主动打电话给你的？TARANTINO: Yeah.是。PLAYBOY: When you wrote Candie, did you have anyone in mind?你写剧本时，心里有想好的演员吗？TARANTINO: I did, but I don’t want to say who, simply because when I finished the script I realized they were a little older than I wanted the character to be. That’s a problem I have. I’ll be thinking about somebody and not take into account that I’m thinking of them from 20 years ago. Leo was younger than I had initially written, but I read it again and could see no reason why the character couldn’t be younger. And since I’m hitting hard this notion of the American South re-creating European aristocracy in this amateur make-it-up-as-you-go-along fashion, the notion of him as the boy emperor was cool. His daddy was a cotton man, his daddy’s daddy was a cotton man and so was his father before him. So Candie doesn’t have to do anything. It’s all set up, and he can be the petulant ruler with other interests. His passion is not cotton. It’s Mandingo fighting.有。不过我不想说是谁，因为写完了我才认识到这些人比我想要的年纪大了些。我想的是他们20年以前的人。小李比我原来写的人物要年轻。我重读了剧本，觉得人物没理由不能年轻些。因为我的观点是南部山寨欧洲贵族社会，他演个小皇帝很酷。他爸他爷爷他再上几代，都是棉花王，所以坎蒂什么也不用做。他兴趣另有地方。PLAYBOY: Is he a classic Tarantino villain?他是不是典型Taratino坏人？TARANTINO: He’s the first villain I’ve ever written that I didn’t like. I hated Candie, and I normally like my villains no matter how bad they are. I see their point of view. I could see his point of view, but I hated it so much. For the first time as a writer, I just ****ing hated this guy.他是我第一个我写的，但不喜欢的坏人。我恨坎蒂，虽然我一般写的坏蛋再坏我也喜欢。。。我对坎蒂恨之入骨。
PLAYBOY: Why?为什么？TARANTINO: He is master of the institution of slavery, and my despising that is why I wrote this whole thing. He’s the bedrock of it all. So I thought, Wow, I got Leo, and he doesn’t know that it’s a lot of smoke and mirrors and not as good as some of these other parts. But working with Leo, we ended up making it as good as all those other parts. The whole petulant boy emperor idea solidified as opposed to the older plantation big-daddy fellow. Leo formed a new character, and he was direct about what he wanted to do. Just as I have an agenda about history that I want to get across in this movie, so does he, and he brought all this research into his character. Leo had a nice monologue, talking about being a boy and his father doing this and being surrounded by black faces growing up. How could he ever be anything other than what he is? He was born into this. Is a prince going to deny the throne, his kingdom? I still blame him, but what chance did he have?他是奴隶体制的头子，我鄙视他们所以才写这个。所以我想，我有了小李演这个，他不知道这是虚幻的，其实没有别的角色讨好。结果和他一起搞，我们还是把这个人物搞得和别的角色一样好了。小皇帝而不是老老板，他是再创造了他想要的角色。他有一个很棒的独白，讲小男孩和父亲，成长时周围都是黑面孔。。。。PLAYBOY: You write terrific villains. Who set the bar highest for bad guys for you?你的坏蛋都写得好。谁是创作坏蛋的最高标准？TARANTINO: Lee Van Cleef is one of my favorite actors. I love him in The Good, the Bad and the Ugly.PLAYBOY: What makes a good bad guy?什么是好的坏蛋？TARANTINO: You can point at a movie like Schindler’s List and there’s Ralph Fiennes. And there’s No Country for Old Men and Javier Bardem, and Inglourious Basterds and Christoph Waltz. The last time I watched a regular genre movie and the bad guy showed up and blew me away was Alan Rickman in Die Hard. It was the way he took over the film. It’s definitely fun to write characters like that. But what I’m always trying to do, even in the case of Reservoir Dogs, is get you to kind of like these guys, despite on-screen evidence that you shouldn’t. Despite the things they do and say and despite their agenda. I also like making people laugh at ****ed-up shit.比如Schindler's List里的拉叔。No Country for Old Men里的巴登，混蛋里的沃尔兹。Die Hard里的Alan Richman。
插一句：也许小李的角色真没有太好？怎么觉得昆汀的话勉强啊，有点道歉说这角色不够好给小李演。
PLAYBOY: The last time you did a Playboy Interview you described being propositioned by women mailing you photos and things. What does the mail look like now?上次花花公子访谈时，你讲了有女粉丝给你寄照片东西。现在还有吗？TARANTINO: If I’m at a film festival, out and about in town or in a bar, I can chat a gal up and it’s still all good. I don’t keep up with mail anymore. When I went to the Venice Film Festival and was the head of the jury, I couldn’t do anything because everyone knew I was there. You go down to the bar, where it was always cool to drink with some of the other jury members, but it was a constant bum’s rush.如果我去电影节或是去酒吧，我还可以轻易的chat a gal up(谈上个女孩）。我不再回粉丝信。我当威尼斯影展主评判时，我什么也不能做，去酒吧就只能和其他的评审喝酒聊天。PLAYBOY: You took ecstasy at the Great Wall to let off steam while you were making Kill Bill. When you shoot a tense slave drama in the Deep South, how do you let loose?拍杀死比尔时，在长城你为了放松用了ecstasy。你拍这个高度紧张的黑奴电影，你是怎么放松的？ TARANTINO: This movie was so hard. I thought about it in terms of Kill Bill, and I was like, Okay, I am not partying like I did on that one. We had the weekends off, and sometimes I found myself sleeping all Saturday and maybe every once in a while going out to dinner.这电影好难拍。不过没想杀死比尔时party。周六睡觉，偶尔出去吃饭。PLAYBOY: You told Howard Stern that Brad Pitt cut you a hunk from a hash brick while you were talking about Inglourious Basterds. What kind of trouble did you get in from Brad, or from Angelina Jolie?你告诉Howard Stern， 拍混蛋时，皮特从他的大麻砖上切了一块给你。皮特和安吉还给过你什么麻烦？TARANTINO: Oh no, that time I was okay. Brad ****ing started it. He mentioned it at a ****ing press conference. I’d mentioned it earlier, but he made it official. Maybe he doesn’t realize he’s the one who officially started it, but he did. But it was all good. It got picked up on a zillion sites: “Quentin gets Brad high to say yes to Basterds.” And then 996 related articles. [laughs]那次不是我，是皮特在新闻发布会上说的。我有先提到，他是公开承认的。。。。
插一句：你们知道这事吧？
太晚了，下面还有好多，明天再接着。
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