-
1979年5月25日 希腊 德尔斐 阿波罗神庙
-
醒来吧 我的愤怒女神 伟大地球女神们
噩梦在召唤
克吕泰涅斯特拉在召唤你们
人血的腥臭
向我狞笑
回忆录:异形起源故事
每一部电影都是时代的产物 Every film is a product of its time.
每一部成功的电影 或多或少都会体现它诞生的时代 And every successful film tells you something about the time it was made.
其成功是因为展现了在那些特定时间点上 It's successful because it resonates with stories and images
人们想看到的故事和画面 that people need to see at that particular point.
《异形》
《异形》是科幻类型的一个巨大突破 "Alien" is a radical break with science fiction.
《第三类接触》
它并不像是我们在《第三类接触》等电影里 This is not the notion of the alien that we were building toward
所塑造的外星人形象 in something like "Close Encounters."
《星球大战》的诞生 "Star Wars" comes out,
带给我们一段有趣的宇宙冒险 we have a fun space adventure.
随后《异形》上映 受到了人们的欢迎 And then "Alien" comes out, and people embrace it.
《怪形》(1982)
《E.T. 外星人》(1982)
两三年后 当《E.T.外星人》 And then just a couple of years later, "E.T."
以及约翰·卡朋特的《怪形》上映时 and John Carpenter's "The Thing" come out,
观众对其中的外星人形象却“接受无能” and audiences resoundingly are like, no, thank you.
克拉克·沃尔夫
《和沃尔夫一起》播客主播
我们想看可爱的 软萌的 We want our aliens to be nice and squishy
吃着糖果的 酷酷的外星人 and cool and eat candy.
我认为有些电影会展现出一种特质 I think there's a special status that comes to some films
尼古拉斯·J·卡尔
南加州大学安纳伯格传媒学院教授
恰好能满足观众的某些集体想象 that lodge in the audience's collective imagination,
《异形》无疑就是那种电影 and I think "Alien" is certainly one of those films.
托尔金提过“大杂烩故事”的概念 Tolkien talked about the cauldron of stories,
《异形》就是这样一个例子 and certainly, "Alien" is an example of
它从世界各地的神话传奇里汲取了灵感 a story drawing from a real global set of myths.
如果你观察声音振动实验 If you look at a cymatics experiment,
你会发现沙粒会因为振动而构成特定形状 what you're going to see is sand that vibrates in a shape,
而那个形状会根据不同的振动频率而变化 and the shape changes based on the different vibrations.
神话就像是人们内心深处产生的 一种不可见的共振 A myth is like something that vibrated from something deeper that you can't see.
异形的邪恶形象 像是一个诅咒 You see a major curse in the form of the alien,
它代表我们对某种失衡的愤怒回应 who is very much a fury, responding to an imbalance.
《异形》是这样一部电影 We're looking at a story
其中一件重要道具(指异形设计) where there is a piece of material prop
如今已成为我们想象中不可磨灭的鲜活形象 that is now completely alive in our imaginations.
它活在我们的梦里 It lives in our dreams.
活在我们的文化语境里 It lives in our cultural conversation.
它是我们编织的最大的文化梦境之一 It's one of the biggest cultural dreams we've ever had.
我是在南加州大学时认识了丹(《异形》编剧) I met Dan at USC.
他很出众 He was a real standout.
你没法不注意到他 You couldn't miss him.
他当时狂野不羁 He was a wild man,
不受常规束缚 unbounded by conventional reality.
他不能算是一个偶像破坏者 You couldn't call him an iconoclast,
因为他并压根就不信任何偶像 because he didn't have icons to break.
他很有攻击性 而且经常故意表现出来 He could be very offensive, and was frequently offensive on purpose.
他脾气很火爆 He was hot, you know, emotionally hot,
黛安·欧班农
丹·欧班农的妻子
情绪不稳定 容易生气 emotionally responsive, very angry.
他在密苏里的乡下出生长大 He was born and raised in rural Missouri
没有电视可以看 and had no television.
十岁之前 家里连电话都没有 They didn't even have a telephone till he was 10.
他们家那占地24公顷的农庄 四周荒无人烟 They lived in the middle of nowhere on 24 acres.
可他什么都懂 And yet he knew all these things.
他家的镇子上甚至没有图书馆 They didn't even have a library in the town.
他的母亲常会给他邮购成箱的书 His mother used to send off for boxes of books,
书寄到后 他会很快读完 然后再寄回去 and they would come, and he would read them, and then they'd send them back.
丹经常偷偷地读科幻小说 Dan was always sneaking science fiction.
他母亲则希望他能多读一些好的文学作品 His mother always wanted him to read good literature.
他母亲常会质问 And his mother would always say,
你背包里没有装那些科幻小说吧 you haven't got any of that science fiction in your backpack, have you?
不许把科幻小说带到学校去 You're not taking that science fiction to school.
他父亲开了一家名叫“古怪之地”的怪趣玩意店 His father owned a curio shop, it was called Odd Acres.
店里有一间倾斜屋 There was a sort of screwy Louie room,
里面一切像是失去了平衡 you know, where things were sort of off kilter,
所有东西看上去都是倾斜的 and everything looks like it's leaning.
他就在那样的环境长大 That was growing up in Odd Acres.
有一次丹帮他父亲伪造了一次飞碟降落事件 One time his father faked a UFO landing.
并且找来媒体报道 你能想象吗 And Dan helped him, and then he had the press out there, you know?
《X放射线》
根据美国总统的指示 By direction of the President of the United States,
待在家里 stay in your homes.
重复一遍 待在家里 I repeat, stay in your homes.
因为在这历史性暴戾的一刹那 Because in one moment of history-making violence,
世界变得疯狂 摧毁万物 nature, mad, rampant, roared its most awesome creation.
他住的地方有很多虫子 There's a lot of bugs there.
《致命螳螂》
他常常被各种 And he was always very frightened,
《末日降临》
《地狱绿魔》
突然出现的虫子吓一跳 in a way, by the sudden appearance of bugs,
《黑蝎》
像是竹节虫或蝉 like a stick insect and cicadas, massive invasions
《末日降临》
在密苏里南部 有时会有成千上万的 in southern Missouri, they would have hundreds of thousands of them
虫子从地里涌出来 遮天蔽日 come out of the ground and swarm over everything
然后又忽然消失 最终死去 and then vanish and die.
这些虫子的景象让他很抓狂 So these things really gave him the creeps.
他也由此想去吓别人 And he wanted to creep everybody else out too.
他是一个很棒的艺术家 But he was quite an artist.
当他幻想那些怪物时 And when he was thinking of his monsters,
他会把它们画出来 he would sketch them out.
在《异形》之前 丹写过一个剧本 Before "Alien," Dan had written a screenplay called
《吞噬》 "They Bite."
它是比“异形”更早的“异形” It was "Alien" before "Alien."
它讲述了一种类似于蝉的怪物 And it involved a cicada-like creature,
在地底下隐匿了数百万年 but instead of being 13 years underground,
而不是像蝉那般短短的十三年 it was several million years underground,
然后开始作怪 把附近野营的人逐一杀掉 and gradually picks off the people in the encampment one by one.
它是一个进化中的外星生物 It's a version of an alien creature evolving,
需要此种进化 needing an evolution,
并在此过程中变得充满破坏性的故事 and being destructive in that evolution.
欧班农曾说过 O'Bannon has this great line, says,
“我不是借鉴某一个具体的原创” "I didn't steal from anybody.
“我借鉴所有值得借鉴的” I stole from everybody."
其中一部他乐于承认借鉴的 And one of the places that he happily admitted that
本·曼凯维奇
特纳经典电影频道主持人
是1951年EC漫画出版的 he stole from was a 1951 EC Comic
《木星之种》 called "Seeds of Jupiter."
只有短短八页内容 There's just eight pages.
故事发生在一艘航空母舰上 It starts on an aircraft carrier,
一个球状物坠落在航空母舰上 碎裂开来 and this orb crashes onto the aircraft carrier, breaks apart,
在那小小的球体内部大概有50颗种子 small orb, and it's got like, 50 seeds.
船上的三个海军士兵发现了 And there are three Navy guys on the ship,
他们很好奇这是什么东西 and they're wondering what it is.
其中有一个人外号“桃核” One of them's called Peach Pit,
因为他喜欢把桃核含在嘴里 and he likes to put peach pits in his mouth,
于是另外两个人就整蛊他 and the other two guys sort of trick him
骗他把那些(外星球体内的)种子放进嘴里 into putting one of these seeds into his mouth.
他们猛拍了一下“桃核”的背 And then they slap the guy on the back,
他就把种子给咽了下去 it's all good fun and he swallows.
他开始病得非常严重 全身脱水 He gets terribly sick. He's dehydrated.
不得不进行紧急手术 It's emergency surgery.
但依然无法避免死亡 He's going die.
海军的外科医生用手术刀切开他的胸口时 The Navy surgeon takes a scalpel, cuts open his chest,
所有人都吓坏了 everybody shocked,
里面蹦出来一只丑恶的长满鳞片的小章鱼 and out pops this hideous, scaly, disgusting mini octopus.
它快速地爬过甲板 And then it literally scamper across the deck
跳进了海里 and plunges into the sea.
所有人松了一口气 意味不会再见到它了 And they go, well, we're never going to see that again.
他们当然会再见到它 Guaranteeing that they'll be seeing that again.
漫画《垂死挣扎》创作于明尼苏达的一个农场里 The origin of "Death Rattle" was in a farmhouse in Minnesota.
故事讲述了一个宇航员 The story itself is some sort of astronaut
偶然发现了一个不明物体 coming across an object.
它看上去像一个在古代文明的神庙里 It's the kind of statuary that you might see in a temple
可以见到的那种雕塑 in some ancient civilization.
在运回这个东西的途中 In the process of sending it back,
宇航员不小心把它给摔坏了 从里面释放出来的东西 he drops it, he breaks it, and he releases something
以非常可怕的方式夺去了他的生命 that's about to change his life in a very horrible way.
那个不明物体发动攻击 以一种等同于强暴的方式 He is attacked by this thing that gets into his body.
进入了他的身体 He is effectively raped.
他的眼珠被挖了出来 脑袋里进了一些怪东西 His eyes are gouged out and something goes into his head.
从那一刻开始 And from that point on,
他就相当于一个被侵占的容器 he becomes a receptacle for something that's taking him over.
更不幸的是 他慢慢被转化成了 Something is transforming a person into something very, very different,
非正常人的怪物 very unfortunate, shall we say.
作为一个在五六十年代美国中西部长大的健康小孩 As a healthy young kid growing up in the Midwest in the 1950s and '60s,
世界上发生的很多事情 there were things going on in the world
蒂姆·博塞尔
漫画《揭秘》作者
让他有些费解 that didn't quite make sense.
电视上的内容都是经过筛选而无害的 Television was very safe and cleaned up,
因此我非常痴迷于那些 so I clamored for things that
我的文化知识无法阐释的东西 I wasn't getting from my civilization, from my culture.
丹·欧班农把他在中西部成长的经历 Dan O'Bannon drew upon his experiences as a person from the Midwest,
还有我们都有的在杂货店里看漫画的经历 reading comic books at the drug store, like I did,
所形成的感悟以及对这个世界的展望 and brought that kind of sensibility
写进了他这部科幻史上的恐怖经典里 and that outlook on the world to this major science fiction horror epic.
美国中西部可能看起来是安静而文明的社会 The Midwest may seem tranquil and civilized and so forth,
但事实上你可能并不知道你的邻居是谁 but the fact is, you never know who's next door.
你不会知道那些开到镇子上停下的车里 You never know who's going to roll into town, you know,
走下来的会是谁 when the wheels are going to come off.
我们距离世界性的灾难 似乎只有一声咳嗽 It's like we're all, you know, one cough,
一个亲吻 那样一瞬的距离 one kiss, one scratch away from global disaster.
(美国恐怖与奇幻小说作家 克苏鲁神话系列小说作者)
洛夫克拉夫特对丹的影响是巨大的 The influence of Lovecraft on Dan was considerable.
在小行星上休眠的巨卵 和他早期作品里出现的 The eggs lying dormant on the planetoid
需要休眠百万年的蝉类怪物很相似 不是吗 is comparable to the cicada's million year life cycle, isn't it?
沉睡数百万年的怪物 突然从地底冒出 Creatures coming out of the ground after being dormant for millions of years
这完完全全是洛夫克拉夫特风格 is superbly Lovecraftian, completely.
我认为他们两人有很明显的共通之处 I think that's a pretty straight line between the two.
S.T.乔希的录音
文学评论家 洛夫克拉夫特研究专家
洛夫克拉夫特在他的时代 Lovecraft, in his own day,
是科幻小说的先锋 was a pioneer of science fiction.
他那独具特色的恐怖小说 More specifically, his brand of horror fiction,
更确切地说 他自己称之为“怪奇小说” which he called weird fiction.
他认为恐怖的精髓在于未知 He felt that the essence of horror is the unknown,
而最深刻的未知 and what is most unknown,
是宇宙深处到底有什么 it is what is out there in the depths of space,
以及远古的历史中到底发生过什么 and what has happened in the far distant past.
《异形》中很多元素 Many of the features of "Alien"
与洛夫克拉夫特的小说《疯狂山脉》有共通之处 have a lot to do with Lovecraft's short novel, "At the Mountains of Madness."
《疯狂山脉》成书于1931年 This is a novel he wrote in 1931.
这部小说洛夫克拉夫特构思了很久 And it's something that he'd wanted to write for a long time,
因为他从小就对南极非常痴迷 because he had been fascinated with the Antarctic since he was a boy.
故事讲述了一个马萨诸塞州的探险队 An expedition from Massachusetts goes down there,
在那发现了外星文明留下的化石遗迹 and come upon fossilized remains of alien entities,
探险队把那个文明称为“古族” which this expedition labels The Old Ones.
这些外星人都已死去经年 It's been dead a long time.
已完全石化 Fossilized.
在后来的故事里 它们开始“解冻”并苏醒 In the course of this novel, they become unfrozen and come to life.
它们无法按正常人类 乃至地球生物学认知来定义 They cannot be defined by normal human or terrestrial biology.
我已确认他的表皮含有蛋白质和多糖类物质 I have confirmed that he's got an outer layer of protein polysaccharides.
他能够将死细胞脱落 然后用有机硅聚合物代替 Has funny habit of shedding his cells and replacing them with polarized silicon.
探险者们在南极发现了一个数百万年前 In fact, the explorers find this immense city
由“古族”修建的巨大城市 that The Old Ones built hundreds of millions of years ago in the Antarctic,
其中充斥着各种怪异的建筑 full of very bizarre architecture.
内有一些外星生物 There are these alien creatures
它们几乎不可能被摧毁 that are virtually indestructible.
堪称“打不死的小强” They simply cannot die.
我们应该怎么才能杀死它 阿什 How do we kill it, Ash?
一定有方法能够杀死它 但是怎么做 There's gotta be a way of killing it. How?
我们怎么才能杀死它 How do we do it?
没有办法 You can't.
传统科学是基于万物皆有生灭这个常识 Classical science is based on the idea that matter is dead and inert.
威廉·林恩
约瑟夫·坎贝尔作家协会作家
从普罗米修斯到潘多拉 再到亚当和夏娃的 And this is true throughout Western consciousness,
整个西方意识形态中 这都是真理 from Prometheus and Pandora to Adam and Eve.
宇宙空空如也 且寂静如初 Space is empty and quiet.
果真是这样吗 Is it?
那不过是我们人类的视点 That's a perspective that we have.
我认为对这种视点而言《异形》简直就是一场噩梦 And I think "Alien" is very much the nightmare to that perspective.
你可以看见它在类科普特人瓦罐中像幽灵一样移动 And you see this in the Coptic jars where they move.
就算你走到宇宙深处 And you see this when you get out into the depths of space
原本应该是一片死寂的地方 where it's supposed to be quiet and dead,
你仍然能看到这个幽灵 and instead, you find the boogeyman.
我找不出其他任何一部电影 I cannot think of a film out there
比《异形》更好地抓住了洛氏恐怖氛围的精髓 that comes anywhere close to "Alien" capturing that overall Lovecraftian atmosphere.
片中飞船降落的那颗小行星 That planetoid where the ship lands
是一个典型的洛夫克拉夫特式的未知恐惧之地 is a prototypical instance of what Lovecraft called the fear of the unknown.
那是一个人类从未踏足的地方 It is a place completely uncharted by human expeditions.
没有一个大片厂愿意投入大笔资金 No big budget studio wanted to put a lot of money
《怪形》(1982)
来拍一部纯粹洛氏风格的电影 into making a pure Lovecraft film,
因此像丹·欧班农和约翰·卡朋特等人 and so people like O'Bannon and John Carpenter and others
只能偷偷运用洛氏风格元素 had to sort of use Lovecraftian elements
只能在一些并非直白洛氏风格的故事里 covertly to infuse Lovecraftian themes into works
悄悄注入洛氏恐怖精髓 that were not explicitly based on any of the stories.
就创意而言 《异形》并非空穴来风 "Alien" didn't come out of a creative vacuum.
它从整个美国科幻历史中获取灵感 It drew on a whole heritage of American science fiction.
你可以辩称《异形》 You could make the argument that "Alien"
借鉴了1958年的电影《外星恶客》 certainly borrows from "It, The Terror from Beyond Space" from 1958.
后者讲述了一个十人小队前往火星 A crew of 10 goes to Mars
《外星恶客》
营救前一次探险的唯一幸存者 to recover the lone survivor of a previous expedition.
那一队中其他队员都已经死了 The rest of his crew has been wiped out.
今天 在全体船员中 Today, of all my crew,
我 美国太空司令部 爱德华·卡洛瑟斯上校 I, Colonel Edward Carothers of the United States Space Command,
是唯一的生还者 am the only one alive.
搜救队想当然认为是幸存者杀了其他船员 They obviously think he did it.
而他则否认 声称是外星人干的 He says, no, an alien did it.
你在想什么 What are you thinking about?
想你留在那儿的九具尸体 Those nine bodies you left down there?
是的 Yes.
但他们不是我杀的 But I didn't kill them.
剧透警告: 是外星人干的 Spoiler, it was an alien.
外星人藏在飞船里 The alien stows away on the ship
开始一个接一个的屠戮船员 and starts picking the crew off one by one.
它藏在通风管道里 It's hiding in the air ducts.
子弹 手榴弹 都不能阻止它 Bullets, grenades, nothing stops it.
我们该怎么办 What do we do now?
结果它被一道气闸给杀死了 And it's killed by an air lock.
《怪人》
1951年的电影《怪人》 "The Thing" from 1951
很生动地呈现了这样一种怪物 is very present with the idea of this creature
它会以卵形孵化 还会仿形 that kind of hatches, that mimics,
故事同样发生在一个工业劳作的环境当中 that is in a working environment.
《吸血鬼星球》(1965)
60年代也有类似的电影 如《吸血鬼星球》 You can go to the 60s and look at "Planet of the Vampires,"
片中的角色们找到了一具巨大的外星人尸体 where they find this giant alien corpse.
这和我以前见过的太空船都不一样 Doesn't look like any ship I've ever seen.
它会不会是东方人建的 Do you think it belongs to the Orients?
应该不是 I doubt it.
我不认为东方人建过任何太空船 I doubt if the Orients ever built any spaceships.
如果他们... 我们可能已经... If they... we would have...
马克你看 Look, Mark.
(罗杰·科曼：美国导演、制片人、演员，有B级片之王的美誉)
《异形》借鉴颇多的 是一部由罗杰·科曼 One of the films that "Alien" draws quite heavily from is a 1966 film
1966年制作的电影《血腥皇后》 produced by Roger Corman called "Queen of Blood."
《血腥皇后》
你听 Listen.
我们已经连续三天接收到这样的信号了 We've been picking up these signals now for three days.
从地球上收到一段外星生物发射的求救信号 An alien distress signal is received by Earth.
宇航员出发去寻找信号来源 Astronauts go out to find the source of the signal.
他们降落在一颗小行星上 They land on a planetoid.
那里有很奇怪的沙尘暴 There's this strange sandstorm.
他们进入到外星人飞船内 They go into an alien vessel.
发现一个外星人死在了座椅上 They find a dead alien sitting in a chair,
还碰到了另外一个外星人 决定把她带回地球 encounter an alien who they're bringing back to Earth,
但这个外星人开始一个接一个地攻击飞船成员 and the alien begins individually attacking members of the crew.
影片最后 只见人类角色们 And at the end of the film, the humans are left quite literally
举着一盘外星生物的卵 holding a tray of her eggs.
这会是人类灭亡的开端吗 Is this the beginning of the end for humanity?
约翰·卡朋特邀请丹·欧班农 John Carpenter roped in Dan O'Bannon
帮他制作了一部科幻电影习作 to helping him make the student science fiction film
名叫《黑星球》 called "Dark Star."
它讲的是一群太空船员... And it was about the crew of a spaceship...
伊恩·内森
《异形秘档：电影幕后故事》作者
是不是听起来很耳熟... this might sound familiar...
被躲在太空船里的外星生物袭击 who then is assailed by an alien who sort of stows away on the ship.
《黑星球》(1974)
《黑星球》 "Dark Star,"
相当于是喜剧版的《异形》 that's the comic version of "Alien."
一部让你捧腹 One makes you laugh,
另一部则会将你生吞活剥 and the other one's going to eat you alive.
卡朋特想要单独署名为导演 Carpenter wanted sole directing credit,
欧班农认为他贡献之多 足以署名为联合编剧 and O'Bannon felt he'd done enough to get cowriting credit.
结果他们大吵了一架 So they had this kind of big falling out.
那之后欧班农的第一个想法是 And O'Bannon's first thought
我可以自己拍一部啊 is that, well, I can go and do this on my own.
我会写一个故事 一个科幻故事 I will write a story, a science fiction story
可以碾压《黑星球》那种 that will beat "Dark Star."
你能考虑采取另一种做法吗 Wouldn't you consider another course of action?
《黑星球》
比如呆在那儿别动 好让我们解除你的武器 For example, just waiting around a while so we can disarm you?
不行 No.
因为我不想拍喜剧 Because I'm not going to do a comedy,
我要拍成一部恐怖电影 I'm going to do it as a horror movie.
这艘船会在五分钟之后自行摧毁 The ship will automatically destruct in T-minus five minutes.
混蛋 You bitch!
《黑星球》有很多东西我并不喜欢 A lot of things bother me about "Dark Star."
里面的外星人看起来就像一个沙滩球 We had an alien in it, which was a beach ball.
丹·欧班农
《异形》编剧
那是我们做的第二版外星人 It was our second try on that alien.
拍完《黑星球》 I went away from "Dark Star"
我特想做一个看上去很真实的外星生物 really wanting to do an alien that looked real.
佐杜洛夫斯基看了《黑星球》 Jodorowsky saw "Dark Star,"
知道了丹·欧班农这号人物 which is how he found out about Dan O'Bannon.
好莱坞没人看好佐杜洛夫斯基 Nobody in Hollywood was impressed with Jodorowsky.
于是他说 “好吧 去你们的” So he said, well, to hell with you.
他找到了丹说 So he found Dan and said,
“咱一起拍《沙丘》吧” come work on "Dune" with me.
如果想看触动《异形》的最初魔法 If you want to look to the first magic,
我认为你应该看看佐杜洛夫斯基的电影 I think you have to go back to Jodorowsky.
佐杜洛夫斯基是丹·欧班农的精神导师 Jodorowsky was his guru.
他很崇拜佐杜洛夫斯基 He adored him.
我从没见过佐杜洛夫斯基 但我也很崇拜他 I've never met him and I adore him.
《沙丘》和《异形》之间不仅有很多共通的地方 Not only is there a synchronicity that connects "Dune" and "Alien,"
同时也有某种架构上微妙平衡 there's almost an archetypal counterbalance between the two.
如果说《沙丘》试图建造一座巴别塔 If "Dune" is the Tower of Babel,
那《异形》就是摧毁那座塔的力量 "Alien" is exactly what brings down that tower.
如同《异形》是对普罗米修斯 In the same way that "Alien" is the response to Prometheus
试图盗天火到人间的回应 trying to steal fire from the heavens,
《异形》同样也是 从精神上 架构上 the movie "Alien" is also a response, energetically, archetypally,
对《沙丘》所代表的“巴别塔”式叙事的回应 to the Tower of Babel project that was "Dune."
当《沙丘》项目在巴黎彻底失败以后 When "Dune" collapsed in Paris,
丹回到美国 蜗居在我当时和别人合租房子的沙发上 Dan came back and actually crashed on the couch in the house I was living in with a bunch of people
因为他没别的地方可去 because he didn't have anywhere to go.
并且他... And it... he...
很一蹶不振 he was completely at a loss.
最后我们不得不让他离开 Eventually, he... we said, you got to go.
结果他不知怎的就混到了罗恩·舒塞特家的沙发上 So somehow, he wound up on Ron Shusett's couch.
我回到储存室 取出了我的打字机 I went back to storage, got my typewriter out,
把它带到了罗恩·舒塞特家的客厅 took it over to Ronnie Shusett's living room,
接下来的的三个月 and over the days and nights of the next three months,
罗恩用热狗养活了我 Ron keeping me alive by feeding me hot dogs.
我们当时都忍饥挨饿 We were both starving.
罗纳德·舒塞特
《异形》执行制片人 故事创意
我妻子一直支持我们 My wife was supporting us.
我们除了两间空房外什么都没有 We had two rooms, that's all we had.
他设计了一个桌游 叫“大穷鬼” He made up a board game called Poverty,
跟“大富翁”正好相反 sort ofthe opposite of Monopoly.
你必须占领足够土地以便支付房租 You've got to land on enough spaces to pay the rent.
如果你没法儿付钱就会被扫地出门 You're out on the street if you can't afford to stay.
那绝对是一个令人拍案惊奇的杰作 It's absolutely a scream.
到了1971年 丹写了一个故事 叫《记忆》 In 1971, Dan was working on a story he called "Memory."
它几乎就是《异形》的前三十页 It's basically the first 30 pages of "Alien."
我构思了这样一个开头 I had this opening.
但我不知道它接下来会如何发展 I didn't know where it was gonna go.
我想写一个发生在只有少数船员的太空船上的惊悚故事 I wanted to do a scary movie on a spaceship with a small number of astronauts.
他们收到了一个用外星语言发出的信号 They're receiving a signal in an alien language.
于是他们前去调查 They go down to investigate.
然后太空船出故障了 Their ship breaks down.
丹给这个故事起名叫《记忆》 Dan called it "Memory,"
由于那个星球的某些影响 角色们逐渐失去了记忆 because some influence in the planet gradually made them lose their memory.
不过当时的故事到此就结束了 But that's where this story ends.
他说 我给你看看 He says, OK, I'm going to give you
我写的这部恐怖电影的第一幕情节 the first act I've got to this original horror movie I wrote.
写到29页我就写不下去了 I can't get past page 29.
或许你可以帮帮我 Maybe you can help me do that.
于是我读了 So I read it.
这29页内容几乎就是你在《异形》电影里所看到的那样 29 pages was almost exactly like you saw in the final finished product of the "Alien" movie.
非常棒的东西 It was fantastic.
丹说整个故事有一个很关键的问题 Dan said, there's a key to everything.
就是外星生物是怎么到太空船上的 The key is how does the alien get on board?
他一直的构思 都是它会从你的肚子里钻出来 His concept was always it would come out of your stomach.
丹有很严重的克隆氏症(一种发炎性肠道疾病) Dan had a very bad case of Crohn's disease, which
基本上在他拍《黑星球》的时候就开始出现那种症状 basically appeared while he was filming "Dark Star."
那时候他才24 25岁的样子吧 So he was, what, 24, 25?
他最后还是死于此症 And it eventually killed him.
我觉得正是这个肠道疾病 But it was an intestinal disorder that
有时让他觉得自己正被吞噬 sometimes felt like it was devouring him, I think.
有时候他痛得很厉害 Linda and I would sometimes have to take him to the emergency center
琳达和我不得不半夜带着他去急症室 in the middle of the night when the pain was so great.
也就在差不多同一个时期 And at the same time,
他开始和罗恩·舒塞特讨论 he'd been having conversations with Ron Shusett about
黄蜂如何通过把卵注入其他昆虫体内以便于繁殖 wasps that procreate by planting that eggs into other insects.
所有这些想法慢慢出现 It was kind of all these things sort of come together
最终融合到了《异形》的剧本里面 and were being sown into the script.
罗恩一直沉迷于人类作为 Ron in a way was really fascinated with the idea
加里·谢尔曼
《生肉》《盖棺了结》导演
胚胎宿主的想法 of human beings being a host for... for an embryo,
作为宿主的人类 提供胚胎所需的养分 that human beings were the nutrition for an embryo.
丹最开始的剧本压根没有那个桥段 He didn't have it in the script at all
关于异形把东西注入到宿主肚子里 并且在那里生长的桥段 that it would implant something in his stomach and it would grow there.
那天我迷迷糊糊地去睡觉 So I went to sleep.
突然清楚地意识到 我不是在做梦 And I'm aware... it wasn't dreaming.
而是另外一种状态 是潜意识极度活跃的状态 It was something else. It was when your mind is in the subconscious.
我在睡眠中还在一直琢磨这个想法 I was wrestling with a property in my sleep.
我直接冲到他的房间 摇醒他说 我想出来了 I woke him up, I went right into his studio and I said, I have it.
我想出来了 I have it.
他说 什么 He said, what?
你想到答案了 You have the answer?
我说 我知道该怎么写了 I said, I have the answer.
外星生物把人类宿主给操了 The alien fucks.
他说 你说什么 He said, what?
你都胡说些什么 What are you talking about?
我说 一个小怪物 I said, jumps on his face,
像小鱿鱼一样 it's a little creature then,
它会跳到宿主的脸上 little baby squid-like,
将一根管子插入他的喉咙 sticks a tube down his throat,
在保持宿主呼吸通畅的同时 starts feeding him air,
完成其生殖细胞的植入 but he's implanting his seed.
接下来那颗种子就在他体内生长 And it's going to grow inside him
然后在影片过半时 直接破膛而出 and burst out of his chest in the middle of the movie.
这个世界上大概有超过一百万种寄生的蜂类 There are over a million species of parasitic wasps.
卡尔·季默 录音
纽约时报专栏作家 《寄生虫》作者
这意味着在所有动物之中 That means that of all the animals in the animal kingdom,
寄生蜂是第一大物种 the number one form of animal is a parasitic wasp.
有很多蜂类喜欢把毛毛虫当做宿主 There are wasps that like to make caterpillars their host.
它们还能释放一些化学物质 They can also release chemicals
来控制宿主的行动 that control the behavior of their host.
宿主吃的所有东西都变成 And everything it eats is going to feed
其体内幼虫的食物 these larvae that are growing inside of its body cavity.
但从外表看它们一切正常 On the outside, they look completely normal.
当片中约翰·赫特的角色吃早饭时 So John Hurt having breakfast,
其实就像是体内充满蜂卵的毛毛虫宿主 that's a caterpillar with wasps inside of it.
一旦那些蜂卵发育成熟 And then once those wasps are ready,
它们就会从宿主体内爆体而出 they just blast their way out of their host.
如果宿主因此丧命 无所谓 And if that's lethal to the host, fine.
管他呢 It doesn't matter.
雷德利·斯科特喜欢给剧组成员播放 Ridley Scott liked to show film footage of one species of wasp
一个特别蜂种的资料 in particular to his crew,
那是树蜂 and this is something known as the wood wasp.
这种蜂通常会设法 These wasps have to basically
把卵产于树木深处的甲虫幼虫体内 find a way to stick their wasp bags inside of beetle larvae that can be deep inside of wood.
其实 我们身边很多寄生虫的习性 和异形一样 So there are all these alien things that parasites are doing all around us,
科学家们对昆虫寄生现象的探究 and scientists are trying to make sense of that
也和诺斯都罗莫号成员探究异形一般无异 in the way that the crew Nostromo was trying to make sense of it with the alien.
这太神奇了 That's amazing.
你发现了什么 What is it?
怎么说呢 Why, yes, it is.
我还没有确切地了解 Um, I don't know yet.
侵入别的物种体内 从内部吞噬宿主 Getting inside something else and feeding on it from within
的确不失为一种生存和繁育的好方法 is a really great way to survive and evolve.
异形的生物习性不过是刚好符合这种 The alien is just fitting into this fundamental basic pattern
应该是地球上最为成功的基本生殖模式 that you find on life, probably the most successful way to be alive on Earth.
吉格尔的加入是多亏了丹·欧班农 Giger really came from Dan O'Bannon.
罗杰·克里斯蒂安
丹异想天开地提议他来设计 Dan suggested him on a stroke of genius.
《异形》美术指导
吉格尔将全世界所有神话中的 Giger consolidates every monster
亨利·詹金斯
南加州大学电影艺术与教育学院 传媒学资深教授
所有怪物融合为这一种新生物 from every mythology around the world into a single creature.
它代表了最典型的神话异类 He embodies the mythic other.
佐杜洛夫斯基在巴黎时 去看了吉格尔一些作品的首展 Jodorowsky rescue went to an opening of some of Giger's artwork in Paris
H.R.吉格尔 《死灵之书》
并把画册带了回来 and brought the book back.
丹看完后为那些作品深深折服 Dan looked at it and was just knocked dead by the artwork.
那些作品集幻想 性喻意 机械体 They were fantastic,sexual, mechanical,
与生物性于一体 是一种完全的创新 biological amalgamation that was completely new.
吉格尔的作品又展现了其对洛夫克拉夫特的崇敬 It does express Giger's own admiration
在创作远超人类想象的生物方面 for Lovecraft as a pioneer in envisioning creatures
洛夫克拉夫特堪称开山鼻祖 far beyond human conception.
我觉得丹和吉格尔的合作 达到了洛夫克拉夫特那样高等级的恐惧 I think Dan and Giger met at the Lovecraft level,
那种既毛骨悚然又难以解释的感觉 that sort of creeping horror and unnamed horror that
只有看过的观众才有切身体会 you are free yourself to define.
丹和吉格尔都对《死灵之书》很感兴趣 Dan and Giger both had similar interests in the "Necronomicon."
《死灵之书》
当吉格尔以此为主题作画时 While Giger was doing paintings on that theme,
丹也在撰写自己版本的《死灵之书》 Dan was also writing his version of the "Necronomicon,"
我现在还留着 从未发表过 which I still have. Its unpublished.
我们印了出来 It's a... a printed work.
吉格尔是位神秘主义者 Giger was a mystic.
他对神话学和宇宙学有自己的一套见解 He had his own mythology, his own cosmology.
他像蜜蜂一样 从不同的花中采集养分 He took like a bee from different flowers
毕扬·阿拉姆
供养灵感 进而酿造出自己的成果 to feed his own imagination and make his own honey with it.
H.R.吉格尔友人 画廊负责人及法国经纪人
他创作了神话般的未来 He's the mythology of the future.
当然《异形》中也有不少埃及元素 Of course, there is an Egyptian touch to "Alien."
卡门·吉格尔
汉斯·鲁道夫·吉格尔的妻子
在所有古文明中 吉格尔最为钟情埃及 Hans, his favorite culture was Egypt.
他五岁时 When he was five years old,
与姐姐一起去逛博物馆 he went with his sister to the museum.
当时窖中陈列着一具木乃伊 In the cellar, there was this mummy,
是来自埃及的木乃伊 吉格尔虽然内心恐惧 an Egyptian mummy, and Hans,he was quite afraid of it.
但同时也被那黝黑的骨头和干皮所深深吸引 He was so deeply impressed by the black bones and the black skin.
从那时起 他几乎每周日都去看 From then on, he went almost every Sunday.
他还极度痴迷金字塔 He was absolutely fascinated by the pyramids.
在最初的故事板中 In early storyboards,
你看到的外星飞船遗址 根本就是金字塔的形状 you can actually see that the derelict was a pyramid.
再往后 雷德利·斯科特把这里 And then later, Ridley Scott envisions
设想成了一处有祭祀意味的废墟 this kind of ritual area of ruins.
这艘飞船是一种象征 This ship is an emblem,
是一个失落在时间长河中的 is a remnant of a formerly great culture,
伟大古文明的遗迹 an ancient civilization that's been long lost to time.
提醒着我们应该把这艘废弃的飞船想象成一座神庙 That tells us that we should think of the spaceship, the derelict, as a temple.
我认为这个飞船废墟像新月一样 I think the derelict is a crescent moon,
本质上可视为一种死亡的象征 and ultimately, a symbol of death.
整个故事充满了新月的意象 You see crescents all throughout the story.
在原剧本中 In the original screenplay,
降落舱停靠在一座叫神庙的金字塔形建筑内 the pods were in a kind of pyramid structure called the temple.
这在后来的制作中 That was removed
出于预算考虑被替换了 because of budget considerations in the production.
你们所知的异形三个阶段 Three stages of the alien, you know,
有一个洞贯穿金字塔 而在最上方是努特 where the hole was put into a pyramid, and on top of it all, is Nut,
是埃及神话中的夜神 她的腹部是由布满星辰的天空构成的 the Egyptiangoddess of the night sky with stars in her belly.
我觉得那真的很美 And I think that was really beautiful.
异形由她 由上天 孕育而出 You see being born from her the heavens.
从很多角度来看 And in many ways,this becomes an image of
这象征着这个异形产下的物种 the alien giving birth to this species
有可能会吞噬上天 that could devour the heavens.
努特象征着死神本尊 死灵之地 Nut represents the duad itself, the realm of the dead,
暗夜之地 星辰之地 the realm of night,the realm of the stars.
代表着太阳消失于黑夜的地方 This is where the Sun goes every night.
是魂灵徘徊于生死之间的地方 This is where the soul goes between life and death.
在故事中 我们始终身处异形领地 We are in the aliens domain in this whole story.
我第一次看《异形》剧本时 还是很早期的版本 The first I saw of the "Alien" script was an early version.
罗杰·科曼
“通俗电影教皇”
是丹·欧班农给我看的 Dan O'Bannon brought it to me.
我记得最初的标题叫《星际怪兽》 And as I recall, the original title was "Star Beast."
我很喜欢那个剧本 也想拍出来 但我对丹说 I liked the script, and I wanted to make it, but I said to Dan,
这项目真的需要更大的预算 this really requires a bigger budget
超出了我的投资范围 than what I'm able to spend.
你不如再去问问别人的兴趣 Why don't you shop it around
看能否拿到更多的投资 and see if you can get a big budget.
如果你弄不到大制作 再回来找我 If you can't get the big budget, come back to me
我会买下剧本 把它拍成电影 and I will buy the script and make the picture.
一个叫马克·海格的人 And a guy called Mark Hager
设法把剧本递到了沃特·希尔那里 got this script into the pile at Walter Hill's office.
沃尔特·希尔那天应该不是很忙 And it must have been a day when Walter Hill was at a loose end.
才有空翻开《星际怪兽》的剧本 He happened upon "Star Beast."
结果他觉得《星际怪兽》 Now, he thought "Star beast"
是他读过的最烂的剧本之一 was one of the worst scripts he'd ever read.
他认为写得实在太烂了 He just thought it was awful.
但他在看了30页左右 就止不住想 But he stopped, page whatever, 30, whatever it was, and went,
这是什么东西 what the hell?
当白兰地葡萄酒(电影制作公司)表示出兴趣 When Brandywine showed interest
并预付了《异形》的改编费用时 and optioned "Alien,"
丹自然非常坚决地要他们 Dan was, of course, being a pest and insistent that
请吉格尔来设计电影中的怪物 they use Giger for the creature.
这是一封丹在1977年7月1日写给吉格尔的信 This is the letter to Geiger from Dan dated July 1, 1977.
“亲爱的吉格尔 我这周搬进了” "Dear Giger, this week I've moved into offices
“白兰地葡萄酒制片公司的办公室” of Brandywine Productions
“我们会在这里对电影的设计方面作出决定” where we are beginning to make the design decisions for our film.
“制片人戈登·卡罗尔 大卫·盖勒” The producers, Gordon Carroll and David Giler,
“以及导演沃特·希尔” and the director, Walter Hill,
“都对可能请你来” are as excited as I am about the possibilities of
“贡献你的独特才华而和我一样激动” your lending your unique talents to our picture.
“随信请见我们对于所需生物设计的描述” Look over the enclosed description of the designs we need,
“然后请告诉我们你为设计作画所需的费用” then let us know how much you would ask for the paintings involved.
“如果我们认可 会先开1000美元支票作为预付款” When we agree, we send you a check for $1,000
“后期薪酬另算” as an advance against future payments.
其实白兰地葡萄酒公司并不想付这1000美元 Yeah, well, Brandywine didn't want to pay the $1,000,
是丹自掏腰包承担的 so Dan sent him a personal check for $1,000.
我为丹·欧班农作的第一个设计 是抱脸虫 The face hugger, that was my first thing I did for Dan O'Bannon.
他给我详细解释那是什么并提供了手绘草图 He gave me explanation and drawings,
汉斯·鲁道夫·吉格尔
艺术家
他说这虫子是从一颗巨大的虫卵里跳出来 and he said that he's jumping on a big egg,
这颗卵有这么大 this egg is about that, so.
我觉得这个怪物应该挺大的 And I thought that must be quite a big monster,
因此我设计了一个巨大的抱脸虫 so I did an enormous facehugger.
因为它需要弹出来 And then he wasjumping,
我觉得可以将它的尾巴设计成 I thought he could jump when his tail is like,
弹簧般蜷曲的样子 就像弹跳玩偶盒那样 it's curved like a spring of the Jack in the box.
以丹的手绘草图为基础 And from those sketches,
吉格尔着手设计并最终完成概念画 he went ahead and did the paintings.
因为是丹私人付款约稿 吉格尔在其画作上 And that's why the paintings say Dan O'Bannon's Alien,
标注的是“丹·欧班农的异形” because Dan paid for them.
未曾想福克斯的高层过来看了几幅设计画后 Fox hierarchy come in to see some of the designs,
当即炒了吉格尔的鱿鱼 and they fired him.
戈登·卡罗尔最后表示 这家伙简直是有病 Gordon Carroll finally said, this guy is just sick.
不要让他出现在我们片场 Get him off our lot.
把他送回瑞士去 Send him back to Switzerland.
我们做的都白费了 We're having none of it.
吉格尔黯然离开 So Giger was gone.
福克斯和白兰地葡萄酒在全力推进项目 Fox is full speed ahead with Brandywine.
时值项目前期筹备 沃特·希尔会是导演 They're in preproduction Walter Hill is going to direct the film,
但毫无征兆地 制片公司忽然接到沃尔特·希尔的电话 and all of a sudden, the studio gets a call from Walter Hill,
电话里他大概的意思是 basically, where he says,
对 我不打算... yeah, I'm not going to...
我不打算拍这部电影了 I'm not going to make this movie.
我一直对这故事没感觉 没觉得拍出来会有多好 I never really believed in it. I don't think it's that great,
而且我手头还有另外一部电影要拍 and I got another picture I'm going to do here.
只有祝你们好运了 So good luck.
我撤了 I'm out.
他说的要拍的另一部电影是《九怒汉》 And that other picture was "Southern Comfort."
虽然也不差 Not a bad movie.
但绝比不上《异形》 Not "Alien."
我看完剧本之后 I read the script, and I thought, well, this is
汤姆·斯凯里特
《异形》中饰演达拉斯舰长
觉得剧本挺扎实 很有意思 very solid, very interesting.
但这并不是那种凸显演员演技的剧本 It's not really an actor's script.
当时还没有其他人确认出演 There was no one else attached,
他们问我是否想加入 and they're asking me to get involved in
这部当时仅有200万美元预算的电影 what was then a budgeted film for $2 million.
200万的预算听上去只能拍出一部艾德·伍德式的烂片 $2 million sounds like an Ed Wood movie.
于是我回绝了 So I turned it down.
雷德利和我当时刚忙完手头的工作 Ridley and I had just finished off the do list.
对于科幻 我和雷德利意见并不统一 There was this thing between Ridley and I about sci-fi,
我是科幻的狂热粉 and that I was the sci-fi fanatic.
我之前给他看过很多(科幻)电影 And all the films that I used to show him,
宜瓦尔·鲍威尔
特里·罗林斯
《异形》执行制片人
《异形》剪辑师
但他都会彻底否定 然后说 he would completely disparage and say,
天啦 这就是一坨屎 no, that's a pile of shit.
有一天 他收到一个剧本 叫《异形》 He had the script through the door called the "Alien,"
我当时想说 让我先看看什么的 and I tried to say, well, let me read it, et cetera,
那一次 不知什么原因 and for some reason or other,
他说 不不不不 我先看看吧 this time, he said, no, no, no, no, I'll read it first.
他当时在隔壁 我们拍广告的办公室 And so he was in the next door office where we made commercials,
我记得他坐在那里(看剧本) 然后就听到他在那喊 卧槽 and I remember him sitting there going, fuck me.
几周后我接到一个电话 I got a call a few weeks later,
说预算已经提到了1000万美元 and they said, well, the budget's up to $10 million,
会由一位叫雷德利·斯科特的导演执导 and a director named Ridley Scott is going to direct it.
我说 成交 I said, sold.
雷德利给我打了个电话 I got a phone call from Ridley saying,
说你现在就赶紧收拾东西到谢泊尔顿影棚来 get your backside down to Shepperton now.
所以我直接开车过去了 So I drove straight down there.
当白兰地葡萄酒公司请雷德利来后 When Brandywine brought Ridley on
丹真正地找到了同盟 was when Dan really got an ally in a lot of
来实现他对于《异形》的愿景 what he wanted for "Alien" to be.
一个编剧能对电影有如此大的影响力 是非常非常少有的 Very, very rare occurrence when the writer can have that amount of influence.
我们觉得他可能不适合做这部电影的导演 We thought he was gonna be the wrong director for it,
但事实证明 and he turned out to be
斯科特是自全盛时期的库布里克之后 最杰出的视觉大师 the greatest visual stylist since Kubrick's prime.
他对视觉呈现非常敏感 And he's such a visual guy
他做的第一件事 就是将故事解构成故事板 that the first thing he did was kind of to break it down into storyboards,
他亲自作画 他算得上画功了得的艺术家 draws his own storyboard, extraordinary artist,
故事板画得棒极了 these fantastic images.
但当时对于异形的设计思路还不清晰 But what it doesn't really have is a clear idea of the alien.
只有些模糊的想法 It's not quite there.
欧班农说 你看看这本书 O'Bannon says look, I've got this book.
当丹给雷德利看吉格尔的《死灵之书》时 When Dan showed Ridley the "Necronomicon,"
死灵 IV
雷德利马上说 Ridley instantly said,
行 就是这个了 yes, this is it.
我第一次看到那本《死灵... I was shown the book, Necro...
雷德利·斯科特
《异形》导演
《死灵之书》 Nomicom.
对 《死灵之书》 是在洛杉矶时 "Necronomicon," OK, in Los Angeles, in fact, by O'Bannon.
欧班农带来给我看的 He brought it in.
我惊喜得差点从桌子上掉下来 And I nearly fell off the desk.
连声说 就是这个感觉了 Said, that's it.
不用再瞎想了 And why look further?
我最初看到那本书的过程就是这样子的 And so that's how I saw it.
就是这么简单 It was as simple as that.
我长这么大都没有如此笃定过 I've never been so certain about anything in my life.
当时有很多的争议 There were many arguments at that stage.
福克斯影业非常为难 Fox were really quite troubled.
但这也凸显了斯科特在这部电影中的强势 But it was an early sign of how strong Scott was on that film
在许多分歧争议中他都坚守己见 that he won so many battles.
其中最根本 最重要的一项功劳 And the most fundamental and important one
是他把吉格尔请了回来 was he got Giger back on.
我觉得(吉格尔的画作)很出色 And I just thought it was stunning,
所以我一直坚持说 不行 就得用他 and I just stuck to my guns saying, no. No, that's it.
片方说 我们可以请他回来聊聊设计概念 They said, let's bring him in and talk some concepts.
我说 不行 I said, no.
你不能这么做 You can't do that.
就用他了 That's it.
我们就要这样这样拍 We want to be shooting by so and so.
就这么定了 That's it.
能把异形的设计做好 就是异常艰巨的任务 Just to get this right is gonna be incredibly difficult.
它虽然让人生畏 但有着异样的美感 This is beautiful, not just threatening.
而且还包含许多性暗示 And also has very sexual connotations.
所以整体看来 它更像是一种美丽的 So in everything, it's like a rather beautiful
人形生物机械昆虫 humanoid biomechanoid insect.
吉格尔谈到他会特地画出梦中的图像 Giger talks about intentionally drawing imagery from his own dreams,
这意味着 是他梦见的东西在启发他 that means coming from a place where he didn't have agency
而他无法拒绝 over what came to him.
当他作画时 When he painted,
会进入某种入迷的状态 he was in this sort of trance.
他像着了魔似的 如同失明却愈发有洞见的先知 He was possessed, like a seer, a blind seer.
就那样中邪似地作画 又像是用宝丽来相机拍照一样 Would go like that, and like in a Polaroid,
图画就那样慢慢显现并最终成形 an image would appear and take shape.
在瑞士 吉格尔的画作仿佛来自另一宇宙 Giger's images existed in a universe of their own in Switzerland.
在太空背景里 在异形和太空骑师的设计上 And they really found their place in space,
那样的风格相得益彰 the xenomorph and the space jockey.
吉格尔的绘画仿佛是为《异形》而生 Giger's images really found a home in "Alien."
在观察异形这个角色时 你会注意到 Part of what you're seeing with the character of "Alien" is this gorgeous synchrony,
某种绝妙的一致性 它是对赛赫麦特 帕祖祖 迦梨等 this incredible synthesis of multiple mythological characters,
来自不同神话体系中邪恶角色的完美融合 Sekhmet, Pazuzu, Kali.
你从异形身上能看出中世纪的龙 You can see the medieval dragon,
文艺复兴时期的恶魔 the Renaissance demons,
以及耶罗尼米斯·博斯画作的影子 the work of Heironymous Bosch.
而这种融合并非刻意为之 And it's a synthesis that wasn't done consciously.
而是所有神话故事 It was a synthesis that happened in the cauldron of stories
经由吉格尔想象与创造的自然融合 that was Giger's imagination.
这样的设计是欧班农 斯科特和吉格尔三位艺术家都认可的 This is a character with which all three of these artists identified.
正因为他们仨都对这一类设计有共鸣 And because they all resonated with this pattern, they were drawn together,
这种创意的融合 会远比一般设计更为深刻 this coming from a much deeper place.
这是一个非常了不起的创意抉择 Such a brilliant choice that in the end,
到最后 你可以说《异形》的独特之处 you could say separates "Alien" from anything else
在于首先有一位超凡的艺术家 was you've got this extraordinary artist
他的设计突破想象极限 with this sort of mind-blowing imagery,
你把那种想象倾注到电影里 and you inject it straight into the film.
如果由单纯的恐怖片迷 In the hands of perhaps an aficionados
或科幻迷来拍 who loved horror movies and science fiction,
《异形》会变成一部完全不同的电影 it might have turned out to be a completely different movie.
丹·欧班农 雷德利·斯科特 汉斯·鲁迪·吉格尔 The triptych of Dan O'Bannon Ridley Scott, and Hans Rudi Giger
这三位一体的组合 堪称天作之合 was the gift from the gods.
他们有着共同的语言 They were on the same wavelength.
并且他们都认为这不仅是 And they were all thinking about this is
一个深入未来的科幻探险故事 more than a science fiction adventure into the future.
这同时也是一次对 由异形所代表的 This was just as much an exploration of the ancient past, of the repressed
被压制 遗忘的远古神话的探索 and forgotten that the alien represents.
如果一个故事由多人共同创作 When a story comes from multiple people,
但又超出单一创作者的掌控时 and beyond the agency of multiple people,
它就会具备一种难得的特质 it has a special existence.
那是一种共生效应 It is a symbiosis.
《异形》是由几位具有同款艺术敏感的人 "Alien" is a symbiosis of a few people
创造出的共生作品 who had that sensibility.
如果当时是欧班农单独把控创作 If Dan had gone off and been in charge,
《黑星球》
《异形》也会变成一部不同的电影 it would have been a different film.
会变得更像《黑星球》 It would have had more of the "Dark Star."
朗·柯布的设计风格比较纯科幻 各种完美 Ron Cobb would have been pure sci-fi, all perfectly done,
某种程度上更像是《星际迷航》或是《2001太空漫游》 more Star Trekky in a way, or "2001."
我加入后 将一切设计得邋遢而真实 I came on board and made everything look grungy and real
就像一辆磨损厉害的星际卡车 可以想象吧 and like a space truck, you know?
《异形》嘛 我觉得场景这块感觉很对 "Alien", I would say we got the sets right.
观众们从未质疑 The audience didn't ever question
我们是否真就找了一艘旧飞船 that we just found some old space craft
然后在里面将本片拍出来 and gone in and filmed in it.
这和之前科幻作品中的世界观设定很不一样 That was different to the world that had gone before.
《禁忌星球》(1956)
比如《机器人罗比》 《太空英雌芭芭丽娜》那些 There was "Robby the Robot," there was "Barbarella."
《太空英雌芭芭丽娜》(1968)
《异形》让人同时感受到 It's both very tangible,
阿克塞拉·卡罗琳
一个似乎触手可及 但截然不同的世界 and a completely different world at the same time.
《万圣节传说》导演 《新千禧年的恐怖电影》作者
它给人一种似曾相识但又极为久远的感觉 There's something almost perennial about the way that
片中这些飞船内外的环境 yes, those ships are a completely different environment from what
与我们现在熟悉的 以及我们一千年以前所想象的都不同 we're used to now and what we would have seen 1,000 years ago,
但人类从未改变 but human beings haven't changed,
他们的行为始终如一 and they still behave in the same way.
我将主控权交给雷德利 I place the hub of the wheel at Ridley,
因为他有前瞻性 知道要怎么拍 because he's a visionary, and he knew what to do with this film
知道如何在《异形》中统领各项元素 and how to marshal all these different elements into "Alien."
他亲自操作摄影机 He was running the camera,
参与很多场景布光设计 during a lot of the lighting,
很多事情在片场同时发生 everything was going on at once,
他却能指挥得非常漂亮 and he was just conducting it so splendidly.
影片八成以上的摄影工作都是雷德利自己完成的 Ridley shot, yeah, a good 80% of the film,
那是一台潘那维申摄影机 那分量可不轻 and it was a panel vision camera. I mean, these aren't light.
他特别追求变形宽银幕镜头的效果 He wanted... he wanted anamorphic on purpose.
我们被困在飞船内 用广角镜头 We were contained in a space, and that wide-angle lens
会让逼仄的空间仿佛会引发幽闭恐惧症 made it seem much more claustrophobic.
和雷德利一起工作的服装设计师 The costume designer who worked with Ridley
曾经对我说过 你知道吗 said to me once, you know,
雷德利的脑海中就有一台摄影机 Ridley's got a camera for a head.
他想都不用想就知道机位设置 He knows where to put the camera automatically.
如果用手持摄影机 你会感觉和演员同呼吸 When your hand-held, your breathing with the actors,
你会与摄影对象融为一体 you're just part of what you're filming
而不是孤立于影像之外 You're not distanced.
这是我看过的镜头操控得最棒的电影之一 I think that's one of the best operated films ever seen.
它不是那种急剧晃动的摄影 It's not wobbly cam.
其构图异常优美 It was very beautifully photographed.
在那个著名的开幕场景中 There's a great opening sequences where
镜头仿佛在空荡的诺斯都罗莫号内部飘移 the camera drifts through the empty Nostromo,
画面中自有一种绝妙的运动感 and he had this wonderful sense of movement in the frame.
虽然全体船员都在低温休眠仓内 Even though they're all in their cryo chambers,
船舱里仍然有一种诡异的生命迹象 there's a strange sense of life about the vessel.
一切都在预示着即将发生的事情 It's all kind of presaging what's coming.
而画面自然传递出诡异惊悚的氛围 But it's a haunted quality that flutter in the frame.
他多次提到 从不会让镜头静止 And he talks a lot about the fact that he never let the camera sit still,
它需要一直移动 that it has to keep moving,
因为他想让观众一直坐立不安 because you want the audience on edge the whole time.
不能让电影有一刻安稳 You never let the film settle down.
即使在那些船员们 And even around the scenes where they're kind of just having these kind of
日常拌嘴争吵的对话场景中 rather sort of squabbling sequences between the crew, just normal ship stuff,
电影的画面构图以及运镜都呈现出一丝不安的感觉 this there's slight air of agitation about how he frames and how he moves the camera.
他掌控着这部电影的心跳 那种越来越强的搏动 He's getting the heartbeat of the film, this kind of growing throb that it has.
他将舰内空间设计成一条通道 The reason he wanted the ship in one path
是因为他想在开场拍出像玛丽·西莱斯特号幽灵船那般的感觉 was he wanted to film like the Mary Celeste at the opening.
镜头在舱内游走 He was tracking around the ship,
不时会出现一些让人毛骨悚然的小东西 and there were eerie little things going on,
比如我给雷德利放在那里的一对啄石鸟玩具 the pecking birds that I put in there for Ridley,
大家都说不能这么干 and everyone said, you can't do that.
但我觉得是个非常棒的主意 I thought it's a great idea.
那个令人不安的东西 那就是雷德利式的写实 The annoying thing, yeah, that was a Ridley realism,
那个点头的... 点头的小玩意儿 the little nodding... the little nodding things.
从小时候开始 他对那种东西就有某种执念 He had a thing about that for whatever reason back from childhood.
我太喜欢了 I loved it.
它们曾经遍布全英国的汽车里 They were in all the cars in England.
每辆车里都有这么一个点头的流行玩意儿 Everyone had these blooming things that were nodding.
那时有个笑话 And they always was a joke.
说美国人车里挂的是骰子 You know, America had dice hanging and stuff,
英国佬就爱放这些点头鸟 but England had these nodding birds.
它们不知疲倦地动着 It's perpetual motion.
试问你该如何解释 在没人动它们的情况下 How do you illustrate that this thing is just carrying on,
为什么这些东西还一直动 and there's no human beings on it?
(这些设定)能一下让我明白那种感觉 It just worked to me.
那种在船舱中游荡的画面 And that quite kind of going around the ship
及其传递的诡异惊悚氛围 对于我来说 是无声胜有声的境界 and the eeriness of it, to me, said a lot.
还有纸张翻动的沙沙声 The little papers rustling.
完全不符合逻辑 It's all illogical.
是什么在翻动书页 What would make these pages flit around?
风又从哪里来 Where's the wind coming from?
类似这样的细节 All that stuff.
是的 Yeah.
貌似不合逻辑 却让氛围烘托更有效 It didn't make sense, but it did.
没错 Yeah.
这就是雷德利的想象力 You know, it was like Ridley's vision.
他的艺术构思凌驾于... His eye prevails over...
他应该会原谅我这么说 科学逻辑之上 perhaps he'll forgive me saying... the scientific logic of something,
这也是为什么在布雷特那个角色 which is hence why we had rain pissing down
被害的场景里 那间吊着铁链的房间下着雨 when Brett gets killed in that sort of chain hanging room.
我们对此有过多次讨论 And I had several discussions.
我在做《2001》时 一切都要求精确又真实 Having worked on "2001," where everything was meticulous and real,
但到了这部片 太空飘雨是几个意思 but rain in space?
你要知道 雨从何来呢 You know, where... where's it coming from?
他说 我不管 好看就行 He said, I don't care. It looks great.
确实好看 It does.
那就这么着 That was it.
本·伯特设计出了一种 A thing that we got from Ben Burtt,
类似这样的声音 we got this sort of
基本上贯穿整部电影 that kept going throughout the film.
就像是呼吸声 It was almost like a breathing,
像是异形的呼吸 a sort of an alien breath,
吸入 呼出 breathing in, exhaling and inhaling.
我觉得这模拟出了一种 And I think it gave a kind of,
有人一直在你后脖颈处吹气的感觉 just a kind of feeling that something was breathing down your neck all the time.
像是飞船本身也有了生命特征 Kind of gave you an organic feel to the ship.
然后宇航服头盔面罩反射出的 电脑文字显现的滴滴声 And then the computer chatter that comes on in the helmet,
让你不禁想问 it makes you think,
这里到底发生了什么 what's going on here?
雷德利在整部电影中做的 Everything that Ridley built up
是逐渐积累起一种对于不可知 对于坏事即将发生的恐惧感 was building on this fear of the unknown, of something happening.
到某个阶段 观众可能会期待发生什么事 Everybody's now waiting for something to happen,
这种期望又一次次落空 but it doesn't.
当我开始参与制作这部电影的时候 When I started working on the film,
我才意识到 I just realized that this...
这部电影就像是一部慢动作片 this film was going to be virtually in slow motion.
除了几处嗨点之外 Everything was slow,
其他的一切都很慢 except for these stabs that you've got at various points.
然后你就会考虑 如何利用剪辑把角色逼入绝境 And you thought, how can I sort of push someone into a corner from the editing point of view,
以及要逼到怎样的程度让观众忍无可忍 and how far do you go before the audience says enough's enough?
我想当时制片厂 颇为担忧 There was a lot of, I think, studio concern
在他们看来 影片前45分钟等于无所事事 about the fact that it was 45 minutes before anything,in their opinion, happened.
直到抱脸虫从异形卵中弹出 Before the facehugger jumps out of the egg and...
趴到约翰·赫特的头盔上 and hits John Hurt on the... on the old visage.
但这才是该片的魅力所在 But that was its strength.
没错 Indeed.
这种在向观众作最终揭示前 That really was its strength,
让他们长时间保持紧张的能力 to be able to hold it back that long
正是该片的魅力所在 before you really gave it to the audience.
片厂大佬们有些难以消化这种风格 They all found it very hard to cope with that.
丹·欧班农很早就在剧本上写明 Dan O'Bannon had conceptualized very early on in his script
他们不会在废弃的飞船上发现异形的卵 that they wouldn't find the eggs in the derelict spacecraft.
他们发现的是太空骑师 They would find the space jockey.
那真是非同一般的画面 Extraordinary vision, and it came from Giger.
源自吉格尔的概念设计 It was a Giger picture.
太空骑师出现的意义 And it did something brilliant in the sense
在于它向你展示宇宙之妙 不可思议 that it showed you that the universe was extraordinary.
那样的画面过目难忘 It was haunting.
它给你一种几乎是亲近的感觉 It was almost certainly benign.
一眼望去 你会觉得怅然若失 You felt almost sort of a loss when you saw it.
它像是某种生物与座椅石化在一起 It was a kind of creature ossified to a chair.
你无法清楚地将生物本体与座椅区分开来 You never quite understood what was creature what was chair,
这样的设计真是绝妙 and it was just brilliant.
这个设计同样需要斯科特竭力争取 It's another thing that Scott had to fight for.
因为福克斯高层们认为 怎么说呢 Because Fox just went, well,
它并没有任何剧情意义 it doesn't have any plot function, you know
他们不该直接穿过地板去发现异形卵吗 They just go through the floor and find the eggs.
雷德利说 你不能直接表现地上有个洞 Ridley said, you can't just have a hole in the ground.
伊恩·内森
《异形秘档：电影幕后故事》作者
你得有某种(异形出没的)暗示 You've got to suggest something.
太空骑师的胸口有个洞 In the chest of what was then the space jockey,
当然 现在我们知道他是工程师 which we now know to be the engineer, there's a hole.
骨头向外弯曲 Bones are bent outward,
好像从里面炸开一样 like he exploded from inside.
你马上会领略到某种暗示 So you get an instance of what is a hint,
脑海中会形成“有什么东西要出来了”的念头 a tiny little drop of maybe what these... these things do.
他们把凯恩慢慢放下 And they lower Kane in on like, a wench.
你能看到什么吗 Can you see anything?
还没有... 有个洞 I don't... a cave.
像是一个装什么的洞穴 但我... A cave of some sort, but I...
我看不太明白 这儿温度高得像他妈在热带似的 I don't know, but it's like the goddamn tropics in here.
然后他看到一个非常宏大的场景 And he sees in there this great sort of tableau
吉格尔在做概念设计时 的确有画出该场景 that Giger had actually painted.
当我们到达他们搭建的那个布景时 When we got that onto that set and saw what they had done,
维罗尼卡·卡维特
《异形》中饰演兰伯特
我心想 这简直... 令人难以置信 I mean, it was just... it was mind-boggling.
所有的东西都是按完整比例搭建的 Everything was actual size.
当时也没有电脑特效 There was no CGI.
你处在这些巨大的洞穴中 So you were inside of these big huge caverns
一眼看去 像是巨型阴道 that look like big vaginas, you know?
我的意思是 所有的东西都有强烈的性意味 I mean, everything had a sort of a very sexual orientation.
我们看到他们在行星上降落 So you've landed on the planet,
在这一段空灵的场景里 and you've had this ethereal sequence.
凯恩似乎被某种讯号引导着 Kane is almost guided via the signal,
仿佛被某种声音召唤而前 some voice is calling him onwards.
那种有某种事物在召唤的感受很奇妙 And it's kind of wonderful to think that there's something there,
仿佛是那个异形飞船在召唤他 you know, that the alien spacecraft is calling him.
最终我们来到废弃飞船的腹地 We get finally to the belly of the derelict,
一个相当于孵化室的地方 and we get the egg chamber.
迎来惊悚一刻 That's the wake-up moment.
影片这般开场的技巧 不预设走向的开放性 That whole tactic of the beginning, the openness,
以及这种幽灵附体般的诡异氛围 and the kind of hauntingness,
突然之间向内倾塌 suddenly, it gets sucked inward.
在这一刻之前 Up until that point,
整部电影像是将库布里克式的 the film has been a kind of strange hybrid
严肃科幻作品与类童话氛围 between a Kubrickian serious science fiction
结合在一起的奇怪组合 and this almost kind of fairy tale-like atmosphere.
有种梦游般不真实的感受 It's kind of strange sort of hauntingness.
严格地说 之前的一切都显得不太真实 It's not, strictly speaking, entirely realistic up
直到主角们用餐的场景 until the point they have dinner.
那场异形幼体破胸而出的戏改变了电影的基调 The chestburster changes the complexion of the film
从一种太空史诗氛围转变成 from a kind of epic to a kind of horribly,
能引发幽闭恐惧症的内敛而绵密的恐惧 horribly intimate and sort of claustrophobic and inward.
即使画面表现的是异形从体内钻出 It's kind of an inward movement,
你仍然能感受到一种向内的压迫之力 even though the creature comes out of him.
突然之间 船员们都被困住了 Suddenly, everybody's trapped.
飞船变成了狭小的困境 而在这之前 Suddenly, the spaceship is small and confined,
它感觉是如此巨大空旷 where before, it being this kind of fast vessel.
通过这一风格跳跃性的转折 And what the film does is make that
此后的剧情变为原始的求生挣扎 hyper leap jump into a primal survival story about
其寓意远比我们认知的更为宽广 many more things than we realize.
雷德利总是说 Ridley always says
罗杰·克里斯蒂安
《异形》美术指导
这个场景是全片关键所在 影片成败在此一场 that this... this was the scene that stood out that would make or break the film.
这个场景是丹·欧班农和罗纳德·舒塞特的疯狂念头 It was just some craziness that came out of Ron Shusett and Dan O'Bannon's mind.
加里·谢尔曼
《生肉》《盖棺了结》导演
当你读剧本的时候 你有很多种解读方法 When you read it in the script, there's so many different ways to approach it.
雷德利对这一幕执念至深 And Ridley was so constrained with the scene.
这一幕在电影史上也意义非凡 It's a very significant moment in film history.
其灵感来自于弗朗西斯·培根的一幅画 The idea came from a painting from Francis Bacon.
雷德利·斯科特告诉我 Ridley Scott told me that this painting,
这组画表现的是受难 其中有一个形象 it's just a crucification, and one of the
具有突出的牙齿与血红的身体 member has just teeth and red flesh,
他希望异形破胸虫就长那样 and he liked to have the chestburster like that.
我对画中角色的唇齿形状 I've always been very moved by the movements of the mouth
以及它们运动的形态 很是着迷 and the shape of the mouth and the teeth.
可以这么说 And I like the, you may say,
我喜欢其嘴部闪烁的色彩 the glitter and color that comes from the mouth.
我第一次到巴黎时 在一家旧书店 When I was first went to Paris, I found in an old bookshop
弗朗西斯·培根
艺术家
发现一本描述口腔疾病的书 a book on diseases of mouth.
当中的插页是手绘的 The plates were hand-colored,
那本书对我影响至深 and that it had a tremendous effect on me.
以受难为题的这三张习作 The three studies for figures at the base of the crucifixion
是培根扬名立万之作 is the real point of departure for Bacon.
他认为这副三联画是他真正意义上的首部作品 He thought of that picture as his first picture.
他当时已经35岁 He was 35, and that's late, of course,
对于艺术家来说 这个年龄算是大器晚成了 for an artist to have a first work.
这可以说是他真正成熟的作品 This is his breakthrough work.
画作充满着自我矛盾和悖论 And it's full of contradictions, full of paradoxes.
这种难以理解 难以言喻的恐怖 同时又丑陋的意象 How did suddenly this enormously challenging,
究竟是如何突然出现的呢 unbelievably horrific and ugly imagery arise?
虽然这副作品的意象是基督受难 The imagery is Christian.
但即使在那个时候 培根仍是一个咄咄逼人的无神论者 And Bacon, even by then, was a very violent atheist.
画的名字虽然叫“基督受难” You get the crucifixion in the title,
但它实质上是古希腊神话和基督教教义的混合体 but it is a mixture of Greek myths and Christianity.
古希腊的影响对培根来说是根深蒂固的 The Greek influence was very deep,
我的理解是 他在创作时假定自己是复仇女神的猎物 and I think he thought of himself as somebody hounded by furies.
我想他能在自己的身体里感受到女神暴怒的利爪 And I think he felt their talons in his flesh.
他曾经说 “哦是的 复仇女神是我的常客” He said, oh, yes, the furies visit me very often.
德尔斐的阿波罗神庙 The temple of Apollo at Delphi
是古希腊神圣庇护所之一 was one of the major sanctuaries of the Greek world.
在复仇女神的故事中占据着非常重要的位置 It is really important in the story of the furies.
在古希腊神话中的复仇女神 The furies in Greek mythology
其复仇对象往往是孩童 are avengers of crimes,
丹妮斯·迪米特里奥
加州大学圣地亚哥分校希腊研究中心主任
为了他们对父母犯下的罪行 usually committed by children against their parents.
她们初次出现是在埃斯库罗斯的三部曲中 And they first appear in Aeschylus' trilogy
当奥瑞斯提亚杀害了他的母亲克吕泰涅斯特拉 when Orestes murders his mother, Clytemnestra,
和她的情夫艾奎斯托斯后 and her lover, Aegisthus.
跑到德尔斐的阿波罗神庙避难 When Orestes finds refuge at the temple of Apollo at Delphi,
克吕泰涅斯特拉的鬼魂试图唤醒 the ghost of Clytemnestra tries to wake them up
并激怒复仇女神 好让她们尽其所能 and rouse them so that they can fulfill their purpose,
来追杀奥瑞斯提亚 which is to hound down Orestes
从而为被杀的克吕泰涅斯特拉复仇 and take revenge for Clytemnestra's murder.
埃斯库罗斯作品中的暴力 The violence of Aeschylus brings up the...
激发了我作品的灵感 the... the images.
我是说 如果你记得他那句名言 I mean, if you remember that wonderful translation of one of his lines,
“人血的腥臭 向我狞笑” "the reek of human blood smiles out at me."
还有比这更奇妙的吗 Well, what could be more amazing than that?
那样的描绘立刻让我脑海中浮现出最神奇的画面 That immediately brings up the most astonishing images.
《复仇女神》
对创造者来说 复仇心理是一种时刻伴随的折磨 The furies are a common torment to a creator,
这是为什么呢 and here's why.
因为创作本质上是对被创造的反叛 To create is inherently a rebellion against creation.
受埃斯库罗斯的《奥瑞斯提亚》启发的三联画
当培根的父亲发现他是同性恋后 The fact that his father kicked him out of the house
把他赶出了家门 when he discovered he was homosexual
这件事成为培根永远的伤痛 was a lasting wound in Bacon.
我认为复仇女神 从某种意义上来说 I think the furies, to some extent,
其实是他父亲的化身 are actually his father,
他描绘的正是他的父亲 在追赶着他 his father pursuing him, chasing him out of the family home
把他从家庭中驱逐 使他成为局外人 and branding him as an outsider.
整个受难三联画 完全脱胎于培根的想象 This image came fully formed out of Bacon's imagination.
麦克·帕皮艾提
《你血液中流淌的弗朗西斯·培根》作者
就像长成人形的雅典娜从宙斯的脑袋里蹦出一样 It's like Athena springing fully formed from the head of Zeus.
在我看来 它表现的是培根的心魔 I see it as the monster coming out of Bacon,
也代表这个世界上可能孕育的魔鬼 and the monster coming out of the world.
神话一般被认为是神谕 Myths are thought to be messages from the divine.
当雷德利·斯科特把培根的画作 When Ridley Scott puts this image of Bacon
交给吉格尔再创作时 into Giger's hands,
就产生了有趣的一致性 that's an odd synchronicity.
当你了解到这段情节的重要性 And when you see the importance of the story,
威廉·林恩
约瑟夫·坎贝尔作家协会作家
特别是当你用故事本身传递出的那种能量和魅力 and you're looking back on it with the power and magnitude with
来重新审视本片时 which that story landed,
你会体会到 让影片独具魅力的那种一致性 all the synchronicities that brought it to that point seem
会越发关键 越发惊人 all the more important and stunning.
这些场景 怎么说呢 我不太想用这个词 It's crazy that these scenes that are... a word I hate using,
本·曼凯维奇
特纳经典电影频道主持人
但它们是如此具有标志性 but they are so iconic.
你可能会寻思这段剧本显然... It seems like that page should be...
得像宪法那般措辞精细严整 对吧 you know, obviously, there should be like the Constitution, right?
让我们看看《公民凯恩》的结尾 I mean, at some point at the end of "Citizen Kane,"
剧本上会写着 镜头移动 聚焦到雪橇上 it says, and the camera turns and focuses and the...
接“玫瑰花蕾”字样的特写镜头 it's a sled, Rosebud.
画面转暗至全黑 Fade to black.
这个不像是那种... 就是那种 It's not like, you know, you know, you think and you go,
刻意强化效果 ta-da!
对吧 Right?
异形幼虫破胸那一幕 剧本里其实只有一页描绘 But the chest buster scene is just a one-page description.
布鲁萨德的脸扭曲成一张痛苦的面具 Broussard's face is screwed up into a mask of agony,
他从头到脚剧烈地颤抖 and he's trembling violently from head to foot.
布鲁萨德发出支离破碎的尖叫 “我的天啊" There's an incoherent shriek from Broussard, oh my god!
一块红色血渍在其外衣胸部位置浸染开来 A red smear of blood blossoms on the chest of Broussard's tunic.
他们的目光都集中到布鲁萨德的胸口 Their eyes are all riveted to Broussard's chest
他的外衣突然撕裂开来 as the fabric of his tunic is ripped open,
一个人类拳头般大小的丑恶脑袋从破洞中拱了出来 and a horrible, nasty little head the size of a man's fist pushes out.
大家尖叫着从桌边跳开 Everybody screams and leaps back from the table.
那只猫也一下蹿开 The cat spits and bolts.
那个恶心的小脑袋挣出身子 The disgusting little head lunges,
从布鲁萨德的胸中猛然冲出 comes spurting out of Broussard's chest,
拖着像蠕虫一般的长尾巴 trailing a thick worm-like tail,
一路泼洒着鲜血和不明液体 splattering fluids and blood.
它落到桌上一堆食物和餐具中准备逃匿 Lands in the middle of the dishes and food on the table and screws away
而船员们则慌乱地四散奔逃 while the men are stampeding for safe ground.
当他们重新镇定下来的时候 怪物已不见踪影 When they finally regain control of themselves, it has escaped.
布鲁萨德瘫倒在椅子上 Broussard lies slumped in his chair,
胸口有个大洞 血流喷涌 a huge hole in his chest spouting blood.
餐具散落四处 The dishes are scattered
食物都溅着血浆和粘液 and the food is covered with blood and slime.
这样的电影谁不想拍呢 I'd make that movie.
我都手痒 Yeah.
罗纳德·舒塞特
破胸一幕使一切皆有可能 The chestburster made everything possible for us.
《异形》执行制片人 故事创意
没有那个场景 It wouldn't have been the magic
整部电影吸引力会大打折扣 it was without the chestburster scene.
可以说 整部电影从头到尾都取决于那一幕 Everything rested on that scene from beginning to end,
亨利·詹金斯
南加州大学电影艺术与教育学院传媒学资深教授
从成功启动这个项目到观众如何反馈 from getting the film made, to how the audience responds,
再到至今依然活跃在我们想象中的异形形象 to whether those monsters continue to live in our imagination today.
正是有了破胸的场景 我们终于能够明确 It's that moment we finally assert
科幻作品从此不必再局限于表现奇思幻想 that science fiction isn't only about minds,
同样也可以现诸于肢体语言 It's about our bodies.
近十来年恐怖电影的 It's continuous with the directions
《毛骨悚然》
发展趋势不正是如此吗 horror was taking over the preceding decade, right?
恐怖电影正热衷于表现肢体恐怖 Horror is moving toward body horror,
《夺命凶灵》
比如大卫·柯南伯格就是这股潮流中的佼佼者 through David Cronenberg in particular.
对我来说《异形》影片所体现的质感 It's part of the texture of a film that to me,
是具有最真实触感的电影之一 is one of the most tactile movies ever made.
你能从中感受到油腻和污垢 The sense of goo and grime,
各种扑面而来的东西 还有闷热潮湿以及汗味弥漫 of things spurting at us, the sense of heat and steam and sweat.
观众一般只是从单个场景 There is a tendency to think about the chestburster sequence
或时刻的维度来审视破胸这一幕 as a scene or even a moment.
但在那一刻之前 电影花了足够时间来做出很多铺垫 But it really takes a while to build up to it.
外景 太空 (场景 120)
诺斯特罗莫号飞入镜头 The Nostromo moving in.
艾伦·琼斯
如今你看科幻片中的外太空镜头 It's funny, isn't it, how all these, you know,
《恐怖电影粗略指南》作者 影评人
非常有趣的一点是 outer space shots now have a certain sort of like,
它们看起来都大同小异 you know, generalization about them.
当年《2001太空漫游》的太空场景是何等惊艳 You know, when you think about "2001," how gob-smacking that was at the time,
《2001太空漫游》
《星球大战IV：新希望》
如今我们却习以为常 and now we just take it completely for granted.
为什么飞船取名为诺斯特罗莫号 Why is it called the Nostromo?
穿梭机叫水仙号 The shuttle craft is called the Narcissus.
诺斯特罗莫和水仙号 Narcissus and Nostromo
都取自于约瑟夫·康拉德的小说名 are both words that are used in book titles by Joseph Conrad,
他的作品主要探讨帝国主义的邪恶性 who wrote about the evils of imperialism.
通过对康拉德作品的指涉 By allusion to the works of Conrad,
当人类向星际扩张时 there's a strand within "Alien"
在那暗黑无垠的太空究竟会发现什么 which is about a concern as to what humanity might find
这是《异形》探索的主题之一 as it ventures into the dark places.
就康拉德作品而言 In the case of Conrad,
其描绘的是黑暗之心 he's thinking about the heart of darkness,
帝国主义的肮脏黑暗 the dark places of empire.
在雷德利拍摄《异形》的同时期 At the same moment that Ridley Scott is making "Alien,"
《现代启示录》(1979)
弗朗西斯·福特·科波拉正将康拉德的小说 you have Francis Ford Coppola adapting
《黑暗之心》改编成《现代启示录》 "Heart of Darkness" to be "Apocalypse Now,"
片中明确指出越战和书中表现的 and explicitly commenting on parallels between
英国比利时帝国的邪恶存在相似性 the Vietnam War and the encounter with evil in the British and Belgian empire.
《异形》向我们指出 或者说提醒我们 "Alien" directs our attention or reminds us
帝国主义以及殖民征服的危险性 of the dangers of imperialism and conquest of other places,
鬼知道我们在未知之地会发现什么 what we might find in these uncharted regions,
尤其是当我们是去进行搜刮和剥削时 especially if we attempt to exploit those regions.
我不想提这事儿 I hate to bring this up,
但我们是艘商用飞船 不是救援船 but this is a commercial ship, not a rescue ship.
没错 Right.
我合同上可不包括这样的任务 It's not in my contract to do this kind of duty.
上世纪七十年代正处于经济衰退时期 The 1970s was a time of economic downturn,
人们面临各种威胁 尤其是一些不熟悉的威胁 of threat, threat coming from new places.
阿什 你看到了吗 Ash, can you see this?
是的 我看到了 Yes, I can.
我从没见过这样的东西 I've never seen anything like it.
尤其是恐怖主义的萌芽 Particularly the first stirrings of terrorism.
坏人就在我们身边 There were enemies within.
有政治腐败 There was political corruption.
人们各种疑惑 感觉孤立无助 People had doubts, were feeling isolated,
理想幻灭 were feeling disillusioned.
我提议弃船 I say that we abandon this ship.
我们搭穿梭机 离开这鬼地方 We get the shuttle and just get the hell out of here.
我们赌一把 只希望谁... We take our chances and just hope that somebody...
兰波特 Lambert.
能来救我们 picks us up.
这是水门事件的后果 This is a consequence of Watergate.
这是越南战争的影响 This is a consequence of the Vietnam War.
这是对欧洲政治腐败的反映 This is a consequence of the political corruption in Europe.
我认为这种对一切的不确定性 And I think that that uncertainty
在那个时期所有电影中都有所体现 plays out in all kinds of movies from that period.
回顾1978年 连环杀手泰德·邦迪那年被捕 If you look at '78, you get Ted Bundy's captured,
约翰·韦恩·盖西(小丑杀手)被捕 John Wayne Gacy's captured,
洛杉矶山腰绞杀手仍不知所踪... the Hillside Strangler's out there.
我们面临一种新事物 So there's this kind of new phenomenon out there,
德鲁·莫顿 博士
德州农工大学 特克萨卡纳分校 大众传媒系副教授
那就是连环杀手 right, the serial killer,
这意味着什么呢 and what does that mean?
人们逐渐意识到 绝对的邪恶 There's this kind of idea that there's something out there
无理性及恐怖 是确实存在的 that can be completely evil and illogical and horrible.
你无法用理性的眼光看待 And there's no reasoning with it,
你对他们的肆虐也往往束手无策 and there's nothing you can do to really stop it.
在《异形》电影中 At no point in the "Alien" movies,
阿克塞拉·卡罗琳
《万圣节传说》导演 《新千禧年的恐怖电影》作者
至少在第一部中 and definitely not in the first one,
你无法感受到 是人性的特质 do you feel like what makes us human
让我们能打败这个怪物 is the thing that allows us to beat this creature.
我崇拜它的纯粹 I admire its purity,
那种不择手段的求生欲 a survivor,
不受良知和忏悔 unclouded by conscience, remorse,
以及虚幻的道德所左右 or delusions of morality.
有评论认为 在当前这世道 There is a commentary in there about the way that things are going right now,
我们人类的所作所为 and about what we're doing as human beings,
那些人类特有的力量 and how we're taking those strengths,
情感及其他人性元素 and those emotions, those things that make us human,
都在被我们自己抛弃 and we're turning our backs on them.
《克莱默夫妇》
从七十年代的电影中 You have in these, in the 1970s,
可以见证对于当时美国家庭关系变化的巨大恐惧 tremendous fear over what's happening to the American family.
我不再爱你了 And I don't love you anymore.
你要去哪儿 Where you going?
我不知道 I don't know.
对于离婚的恐慌 Panic about divorce,
对于家庭分崩离析的恐慌 panic about family breakdowns.
《曼哈顿》
我搞不明白 Here's what I don't understand,
这段时间你人在哪 在忙什么 all the time... where are you... where are you running?
每次我来这儿 我搞不懂 All the times I come over here, I can't understand
你怎能将她置于我之前 how you can prefer her to me.
你真不懂 You can't understand that?
是的 对我而言是个迷 No. It's a mystery.
你娶我的时候 就知道我的过去 Well, you knew my history when you married me.
是 Yeah.
我想你能看出 I think you can see
船员之间的互动 他们就像一个家庭 that the crew of the space ship operate like a kind of family,
彼此之间也有类似于家庭成员间的张力 and there are sort of family-type tensions between them.
我们着陆之前 Before we dock,
我觉得我们应该先讨论一下奖金分配的问题 I think we oughta discuss the bonus situation.
好的 好的 Right, right.
是该... We think we ought...
总的来说《异形》让我印象深刻的一点是 One of the things that that strikes me about this movie in general is
它对即将到来的八十年代电影 the way that it's connecting what's gonna happen with 80s movies
亚当·埃及·莫提默
《假日》《复仇之灵》导演
及之前七十年代电影 有承前启后的作用 and what has happened in 70s movies.
因为从对话场景来看 Because sonically,
它像是一部罗伯特·奥特曼的电影 it feels like a Robert Altman movie.
内景 驾驶台 (场景 121)
片中有一幕 在凯恩苏醒之前 You have this scene of all of these characters sitting around talking
其他船员围坐在一起谈论 before they find out that Kane is OK.
来点坏消息怎么样 How about a little something to lower your spirits?
说吧 什么事 Thrill me, will you, please?
该场景中演员的走位很有意思 The way that it's blocked and staged,
画面中五六个人同时做着各自的事情 five or six people in the frame who are all doing something.
简短地说 Just give me the short version.
人们各自以同样的音量说着话 People talking on top of each other at once at equal volumes,
让你不得不认真掂量 where you have to sort of decide
到底要听哪一个 who you want to listen to,
他们都以一种非常家常的方式唠叨着 and they're all mumbling and talking extremely naturalistically.
《陆军野战医院》(1970)
这就是七十年代美国电影的关注点 It's doing the thing that cinema in America
他们试图聚焦那个年代 was doing in the 70s, which was to try to point the lens
属于美国工人阶级的 at a more naturalistic
更真实自然的生活状况 working class reality of America.
《猎鹿人》(1978)
对蓝领工人阶层未来的探讨 The future of blue collar workers
在当时是极具革命性的 is something that's wholly revolutionary.
《五支歌》(1970)
某种程度上说 《异形》也融入了这种潮流 And the movie, in a way, is about that.
它展示了大型公司制度对蓝领阶层的剥削 It's about the exploitation of these blue collar workers by the corporation.
蕾普莉 问你个问题 Hey, Ripley, I wanna ask you a question.
如果他们在那儿找到了想找的东西 If they find what they're looking for out there,
我们是不是能拿全额的份儿 does that mean we get full shares?
别担心 帕克 Don't worry, Parker.
该你的份儿不会少了你的 Yeah, you'll get whatever's coming to you.
不把这事说清楚 Look, I'm not gonna do any more work
我可不干了啊 till we get this straightened out.
对我来说 《异形》如果出现在74 75或76年 "Alien," to me, makes more sense if it were made in 1974,
在《星球大战》之前 可能更合理些 '75, '76 than after "Star Wars."
因为《异形》相对而言是部小制作 "Alien" is a smaller movie.
真不敢相信我竟然这么说 "Alien"... I can't believe I'm saying this...
《异形》是一部现实主义电影 is a realistic movie.
部分原因是 整个60年代和大部分70年代的科幻片 Part of it was just getting away from that sanitized view of space
《星际旅行1：无限太空》
场景设定大多很整洁卫生 that had dominated science fiction
《逃离地下天堂》
这与《异形》的设计则背道而驰 from the 60s and much of the 70s,
它的空间美学偏向于真实居住的环境 and coming to something that felt like a real lived-in environment.
这种美学使银幕内外的空间 有一种连贯性 It was continuous with the world we knew outside the movie theater.
哈利·戴恩·斯坦通和亚非特·科托扮演的角色 Harry Dean Stanton and Yaphet Kotto
是船员中蓝领工人特质最为突出的两位 are the two most working class guys on the ship.
他们也许是无意识 And they, unwittingly maybe,
或者说凭直觉就认为 只要把凯恩冷冻起来 but maybe intuitively, know that if they just freeze Kane,
一切就会安然无恙 everything's going to be OK.
他们为什么不把他冻起来 How come they don't freeze him?
你们干嘛不把他冻起来 How come you guys don't freeze him?
我觉得我们就该把他冻起来 What I think we should do is just freeze him.
我是说 谁知道他得了什么病 I mean, he's got a disease.
我们应该阻止它继续传播 Why don't we stop it where it is?
只要我们安全回家 总能给他找医生解决 He can always get to a doctor when we get back home.
没错 Right.
他们其实说的是大实话 They're speaking the truth
简直像希腊神殿吟唱般颇有预见力 in this kind of almost Greek chorus kind of prophet way,
但没人愿意听他们说的 but nobody really wants to listen to them,
其他人只是在嘲笑他们 and they're just making fun of them.
不论他说什么 Whenever he says anything,
你都说“没错” 布雷特你心里有点数吗 you say right, Brett, you know that?
没错 Right.
他们嘲笑那俩 What they're making fun of them for is that
是因为哈利·戴恩·斯坦通的角色一直在说“没错 没错 没错” Harry Dean Stanton keeps saying right, right, right,
但事实证明 他们说的真是对的 but it's because they are right.
在这个场景的调度上 And in the staging of this scene,
船长达拉斯坐得离我们最近 Dallas, the ship captain, is sitting closest to us,
这两个工人把船长 and there's this wall of the two working class guys between him
与女科学家和女事务官给隔开了 and the two women, who are scientists and flight officers.
他因为手下那两个老油条工人的某种轻视 And when he gets frustrated with this sense that,
感到有点挫败 even jokingly, his authority is being undermined
即使只是在开玩笑 但还是有损他的权威 by these two guys, who are his employees,
他起身走到镜头空间的那一端 he crosses to the far depth of the shot
去跟兰伯特说话 to talk to Lambert,
而兰伯特开腔则立马是精英化的语气和词汇 who immediately starts talking this sort of elevated, educated way.
根据我的计算基于从该星球往返所需时间 Well, according to my calculations, based on time spent getting to and from the planet...
简单点说 Just give me the short version.
到地球要多久 How far to Earth?
10个月 10 months.
你能真切地看到 And you can really see visually
飞船上不同阶层之间 in this incredibly subtle way
有这种微妙的对抗性互动 that there really is this war about the movement between the classes on the ship
以及谁才有发言权 and who has the right to be heard.
没错 Right.
我们现在知道 1970年代的好莱坞 We now know that Hollywood in the 1970s
对女性而言是非常压迫的地方 was a very oppressive place for women.
你怎么看待这个... Do you find, in fact, that this,
海伦·米伦爵士
(帕金森脱口秀 1975)
这个可以说是你得天独厚的优势 what could be best described as your equipment,
可能也是你演艺事业的阻碍 in fact, hinders you perhaps?
那个拍出这部电影的好莱坞体系 You think about the sexism, the misogyny
其中就隐含不少性别歧视和厌女情结 that was implicit within the industry that made this film.
你是说我的手指吗 You mean my fingers?
不 我指你的... No, I meant your...
得了 直说吧 Come on, spit it out.
我指你的... I meant your...
你的身材 your figure.
我的身材 My figure?
观看《异形》时会无法忽视 And there's no way of looking at "Alien"
它其实表现的是某种男性幻想 without seeing it as a male fantasy
幻想着历史上逐渐加诸于女性身上的压迫 of the kind of oppression that have been being handed out to women
这种愧疚感是七十年代男子汉气概的一部分 over the centuries, a guilt that was part of masculinity in the 1970s,
也应该体现在如今的绅士风度中 and should be part of masculinity now.
《异形》中暗含着男性的诸多负罪幻想 如男性受孕 "Alien" has within it fantasies of male pregnancy,
男性被强奸 fantasies of male rape,
男性被强力插入等等 fantasies of male penetration.
这些都集中表现在那个令人惊异的破胸场景之中 And it's all tied up with that amazing chest buster scene.
我不知道当时他们是否清楚地意识到 I don't know how explicitly
自己在做的事情 they realized what they were doing.
我无法想象任何制作公司会这样说 I can't imagine that any studio would be like,
“你要拍一部发生在太空中的的男性被性侵的电影” yes, you're making a male rape movie in space.
“当然是真的 我们开拍吧” For sure, let's go for it.
神奇的是 潜意识可以有如此多的神秘运作方式 It's wonderful that the unconscious works in so many mysterious ways.
破胸的场景感觉像是一种召唤 It feels like a summoning in a major way,
像是无意中唤醒某种被压抑的神灵 an accidental awakening of some repressed spirit.
复仇女神无疑代表的就是被压迫的女性 The furies certainly speak for the repressed feminine.
异形则代表着这种压迫下 女性的反噬 And "Alien" certainly represents the repressed feminine's retribution.
《异形》触到了很多人的神经 "Alien" touched a nerve with a lot of people
因为它探讨的那些主题 because it was talking about something,
克拉克·沃尔夫
《和沃尔夫一起》播客主播
甚至到了2019年 that even in 2019,
我们仍无法坦然面对 we're still not comfortable addressing.
这种觉得《异形》是 The idea that "Alien" is addressing the guilt
探讨父权社会罪行的观点 that a patriarchal society feels
我觉得很对 makes perfect sense to me.
我们两人一组 We'll move in pairs.
我们一步步来 We'll go step by step
隔断每一个舱壁和排气口 and cut off every bulkhead and every vent
直到困住它 然后把这该死的喷到太空里 until we have it cornered, and then we'll blow it the fuck out into space.
你们觉得可以吗 Is that acceptable to you?
蕾普莉这个角色诞生于1979年 Ripley was created in 1979,
之后并没有出现很多出彩的女性角色 这简直不可思议 and it's insane that we don't have that many great female characters since.
特别是在恐怖电影类型中 And especially in a genre like horror,
这么多年里有那么多女性角色 that's given so many female characters throughout time,
却没有一个但像蕾普莉那样 and yet, there's not one that strikes us as being
既丰满复杂而又有意思 给我们留下深刻印象的女性角色 as developed and as complex and as interesting as Ripley was.
而讽刺的是 如此出色的女性角色 And isn't it ironic that she ends up being that way
*所有船员没有指定性别 所有角色男性女性皆可*
其最初的设定却是个男性 because she was written to be a man?
在一众各有特色的船员中 蕾普莉是唯一具有母性色彩的 Ripley is the only maternal character within her Promethean crew.
她的成长给予我们启示 Her transformation gives us direction
指引我们需在文化方面做出改变 来避免自我毁灭 for the transformation that we need to take as a culture to avoid self-destruction.
她在这方面是个全新模范 She's a new example.
室内 医务室 (第123幕)
当我们开拍凯恩这场戏的时候 When we start off this sequence with Kane,
这个低角度的镜头有点古怪 this very strange shot that's low angle,
他位于画面的一侧 and he's all the way to the side...
这样的构图也许是在提示观众 And maybe at that point, for want of a better term,
凯恩的身体里藏着什么东西 there's kind of this something's being buried inside you,
观众的脑子里被悄悄植入了某个念头 something's been planted in your brain,
但你当时无从知晓 and you're not sure what.
你感觉如何 How you doing?
凯恩看起来好像没事了 他甚至面带微笑 Kane seems all right. He's even smiling a bit.
尽管他状态欠佳 看起来有点憔悴 He's not at his best, but he's... he's looking a bit peaky,
接着他开始咳嗽 but he's starting to kind of cough.
在真正意识到发生什么之前 Before you realize what really happens,
你脑海里可能已经有个念头开始运作 your brain is already ahead of you.
你的潜意识告诉你有什么东西在他体内 Your brain is going, it's in him,
而且它就要出来了 and it's coming out.
雷德利在处理这一幕时 很好地利用了 One thing that he's certainly taking advantage of is
变形镜头画幅超乎寻常的宽度 the incredible width of the anamorphic frame.
镜头内容纳了所有船员 The entire cast is in this one wide shot.
在恐怖电影里 What could be safer
有什么能比所有角色都在一个明亮白色的房间里更安全 tham every single cast member in a brightly lit white room in a horror movie?
飞船其他地方都很暗 Everything in that ship is so dark.
某些镜头中雷德利·斯科特的用光 就真的只是火把发出的光 I mean, the light Ridley Scott uses is literally the light from the torches.
没有别的人工布光 对吧 That's it, right?
但那场戏 你都可以在那么亮的地方做手术了 But that scene, oh my god, you could operate in that scene.
你还真需要在那个场景里做手术 And you needed to operate in that scene,
却没人能救得了病人 but they couldn't save the patient.
你们注意一下阿什的反应 You go to Ash's reaction.
我觉得把握这场紧张氛围的关键 是关注阿什的作为 I think that really, the key to the tension here is tracking Ash,
因为他的反应总是与别人不同 because he's always in opposition to everybody else.
这个镜头时间很短 你初看都不一定会注意到 It's a very short shot, and you wouldn't notice it the first time,
但当你回去重看时 你会意识到 but when you go back and rewatch it you realize,
阿什知道接下来会发生什么 he knows that this is going to happen.
电影里有许多他的单人镜头 There's so many more single one shots of him
其构图往往刁钻古怪 in this very strange off-kilter framing
实际暗示他就是一个邪恶的监视者 that really gives him this sinister surveillance kind of vibe,
而其他船员基本都是结伴出现 whereas most of the other characters, you're seeing them in groups,
因为他们(人类)都是一伙的 because they're all on the same team.
你可能觉得他这么做是因为相比其他人 You believe that this is because he has a better intuition
他对于危险程度的直觉更敏感 than the rest of them about how dangerous it is
他的所作所为都是为了保护他们 and he's tryingto protect them,
但事实上 他不过是在保护那个异形幼体 but in fact, he's trying to protect this baby monster
他要把它带到这个世界 that he's allowed to come into the world.
这鬼东西大得很 This son of a bitch is huge.
像个人一样 I mean, it's like a man.
大得很 It's big.
凯恩的孩子 Kane's son.
阿什是个大混蛋 Ash is such a dick.
阿什 你看到或听到了什么吗 Ash, you hear or see anything?
你仔细想想 他并不是一个真正的人 When you think about it, he's not an authentic being.
所以得有人类给他编程 So someone, a human person had to program him,
教他东西 educate him.
他不仅得长得像人 Not only is he supposed to look like a person,
各种行为方式也得让其他人看不出来 he's supposed to pass as a person,
因为船员显然不清楚他真正身份 because the crew didn't know.
这种设置让他成为了更险恶的存在 And that's what makes him the worse.
他对女性的厌恶是与生俱来的 That misogyny was built-in.
搞不好会要了他的命 Could kill him.
阿什看向达拉斯 Ash looks at Dallas,
像是要问 你要怎么办 like, what do you think?
我愿意冒这个险 现在就把它从他身上切下来 I'm willing to take that chance. Just cut it off of him.
出了事你负责吗 You take responsibility?
我负责 赶紧把那玩意从他身上弄下来 Yes, yes, I'll take responsibility. Now get it off of him.
与阿什的反应不同 蕾普莉会说 Ripley, on the other hand, is saying,
我来做这个决定 I am making this call.
做出这样的决定是我的职责所在 It's my job to make this call.
蕾普莉 我命令你 Ripley, this is an order.
你听到了吗 You hear me?
我收到了 但我不接受 Yes. I read you. The answer is negative.
内舱门打开 Inner hatch opened.
阿什想的则是 我偏不按你说的办 And he says, nope, that's not gonna happen.
我否决你的指令 I override you.
他把东西强行塞进她的嘴巴的想法源自哪里 Where does he get the idea to penetrate this woman forcibly?
对于一个人工智能的人造人来说 You know, but it doesn't logically make sense
这样的行为是不合逻辑的 for an artificial life form to do that.
他就是要让她窒息 He would choke her.
让她停止呼吸 He would suffocate her.
他最终决定 The final choice that he makes
要让这个女人不再碍事 is to just put this woman in her place.
这样的程序设计 The programming...
如果我们好好思考一下 think, if we think about that,
好好分析一下 if we really unpack that,
结果会很令人懊恼 it's so frustrating.
我恨死他了 I hate him.
《厨师、大盗、他的太太和她的情人》
我想到的另一个方面是 Another thing that I think about is
用餐时总有好戏看的文艺传统 the tradition of dramatizations that happen over dinners,
《权力的游戏》
从契科夫到易普生 再追溯到莎士比亚 which you can see in anything from Chekov, to Ibsen,
这在很多作品里都有展现 going back to Shakespeare.
我还不自觉地想到了《猜猜谁来吃晚餐》 And I can't help but think of "Guess Who's Coming to Dinner."
《麦克白》
而在《异形》中 是外星生物来就餐了 And in this case, it's the alien who's coming to dinner
将餐桌上的社会结构撕成了碎片 and shreds the social fabric of the dinner table.
室内 餐厅 (第124幕)
但这里的台词以及潜台词都和食物相关 是吧 But the text and the subtext is totally about food, right?
我回到地球的第一件事 就是吃点像样的食物 The first thing that I'm gonna do when I get back is to get some decent food.
英雄所见略同 老兄 I can dig it, man.
我就这么说吧 这还不是我吃过最难吃的... I'm telling you I've eaten worse food...
当我们说到... 这段有个隔桌拍的镜头 Even when it comes to... there's this shot across the table,
你能看到背景里虚化的猫 and you can see the cat in the background, soft focus,
它也在吃东西 it's eating dinner too.
你应该知道它是什么做的 You should know. You know what it's made of.
不 伙计 我可不想讨论它的食材 No, man, I don't want to talk about what it's made of.
知道了反而吃不下 I'm eating...
那么食材到底是什么 What's the food made of?
就他妈是你的内脏啊 It's made out of your fucking insides of your body.
大伙说话的声音叠加在一起 听起来模糊不清 And there's just this cluster of noise.
就好像是从破胸虫的角度听到的声音 And it's almost like you're hearing it from the point of view of the chestburster.
仿佛还在凯恩身体里的它 It's inside of Kane.
已经完全苏醒了 It's fully conscious.
马上要穿破它的宿主了 It's about to come through him.
它对这宇宙的第一缕认知 Its first impressions of the universe
便是来自那几个船员的模糊对话 are hearing these indistinct voices of all of these human beings.
它仿佛置身于一个声波子宫里 It's like you're in this sort of sonic womb.
突然 就在大伙的玩笑声中 Now, from the laughter,
我们看到事情不妙的第一个迹象 comes of first sign that something is wrong.
约翰精湛地演出了 That is John brilliantly
体内异形虫开始发作的巨痛 portraying the beginning of the pain within him.
其他人的反应是如此精准 如此到位 The reaction of everybody is so precise, so right.
就在他开始不对劲的时候 As soon as this guy gets sick,
他换上手持镜头 对准了凯恩的背部 and he flips hand-held behind his head,
你会觉得电影的整个氛围为之一变 you feel like you're in this completely different world.
我感觉 雷德利在这里是致敬库布里克 To me, Ridley's really pulling a Kubrick here.
《发条橙》里有这样的场景 You see this in "Clockwork Orange,"
《巴里·林登》里也有这样的场景 you see this in "Barry Lyndon."
在这些电影中 In all of these movies,
《巴里·林登》(1975)
《发条橙》(1971)
库布里克总体上会以一种 you have Kubrick approaching sets
方正而刻板的风格处理布景和角色 and characters with a very squared off and rigid formal style.
但当暴力开始时 But when violence happens,
库布里克则会彻底改变画面的视觉风格 Kubrick will drastically change the kind of visual vocabulary of the scene.
在凯恩正经历极度痛苦时 故意不正面表现其表情 It's this amazing choice to not see Kane's face at the very moment
可谓是神来之笔 that he's going through the most agony.
这样出来的效果令人极度不安 It's incredibly unnerving,
似乎在给你提个醒 and it's sort of a taste of what's about to happen
25秒之后 25 seconds later
你将目睹影史最血腥的场景之一 when it becomes one of the messiest scenes in film history.
准备好罗杰 停 顶出来 Hello, Roger, and cut, push out.
我们对这场戏都有点担心 It was kind of looming at us this scene, you know?
大家都在担心会拍不好 Everyone was a bit worried about it for sure,
因为头一条 此前没人这么拍过 because A, it'd never been done before,
我们前期围绕这场戏做了大量的准备 and there was so much preparation around it.
工作量不输于那海量的美术设计 Like much of the design work for the film,
耗费了很多时间精力才准备好开拍 it had taken a long while to get to where they were.
我不知道雷德利是否完全满意 And I don't know how fully satisfied Ridley was.
异形卵和抱脸虫的设计他都很喜欢 I think the egg and the facehugger worked very clearly for him.
抱脸虫触手的设计 有些类似女巫手指的感觉 You'd have the kind of witch's fingers element of the facehugger,
同时又有一点点昆虫的影子 it's slightly kind of sort of insectile nature of it.
然而破胸虫的设计过程很艰难 But the chestburster was difficult,
因为它得看起来像新生的 because it had to appear childlike.
它得能做一些基本的动作 It had to at least kind of function.
它得能确确实实破胸而出 It had to be able to come out of his chest,
还得与成年异形有视觉上的关联 it had to suggest the creature to come.
在我看来 破胸虫的造型设计 So in a way, the design of the chestburster was governed most,
主要源于这几方面的考虑 一是其功能和实用性 I think, by function and practicality,
二是那场戏的需要 三是吉格尔设计的惊艳效果 the need the sequence as much by the flamboyance of Giger's work
当然还有斯科特对不凡创作孜孜不倦的追求 and then Scott's desire to create something extraordinary.
他们无法决定破胸虫的造型 They couldn't solve the look of it.
吉格尔尝试设计了一番 Giger had a go at the chestburster,
但他认为没设计好 and he says he never got it right.
就是不行 It wasn't working.
我设计了一个像鸡的造型 I did some design they looked like chicken,
像是没有羽毛的鸡 something like... like chicken without feathers.
但我并不满意 But I was not happy with.
后来我又做了一个模型 像一个小恐龙 And then build up the thing, and it looked like a small dinosaur.
还有过类似被拔了毛的火鸡的设计 It had versions that kind of looked like a turkey that had been sort of plucked.
这些设计出来的效果都有点好笑 Just were laughable.
他们无法设计出一个真正令人恐惧的形象 They couldn't come up with something that was genuinely terrifying in its own right.
罗杰·迪肯跳出原有思路 单枪匹马搞了自己的设计 Roger Dicken went away and developed it on his own.
他的设计成功了 He was able to make it work.
他们做了个小线偶 They had made this little puppet.
说实话 它就像长了利齿的阴茎 Frankly, it looked like a penis and... with teeth.
他们说 它会这个这个样子 And they had, like, they said,
然后它会破胸而出 and we're going to have it so that it'll just blow up,
露出这些牙齿 and then these teeth will come out.
他们就这样比划那个场景 They were like, describing this.
就是那样一个东西 It's just a thing.
我们也听不大明白 只好说行吧 We were going, oh, OK.
我告诉你 那些控偶师他们都激动坏了 I mean, they were so excited, these puppeteer people.
他们那样子简直有些歇斯底里了 They were... it was just hysterical.
破胸那场戏最关键的戏码在于 The fundamental math of the chestburster sequence is
演员们并不知情 that the cast didn't know.
但当然 那并不完全正确 Course, this isn't quite true.
我们其实都知道会有破胸的戏 We knew that there was going to be a chestburster scene,
我们只是不知道它会如何实现 we just didn't know how it was going to be done.
约翰·赫特显然清楚内幕 John Hurt obviously knew,
剧组不停地给他递烟倒酒 so they just kept him plied with red wine and cigarettes all day long.
因为他们清楚那场戏需要他的耐力 They knew they were relying on his patience
在道具组忙乎的时候 to stay in that position
他得一直保持那个姿势 while everything was set up.
那天早上的片场 The atmosphere on the set had a certain frisson,
约翰·赫特
《异形》中饰演凯恩
弥漫着一种兴奋不安的氛围 you know, in the morning,
因为大家都知道要拍一场很重要的戏 because everybody knew that this was filmically, a sort of major scene.
我觉得大家当时都没想到 I don't think anybody had any idea that
那一幕会成为影史经典 it would become a kind of film classic.
罗杰·迪肯用袋子装着 把破胸虫模型运到了片场 Roger Dicken brought the chestburster to the set in a carrier bag.
血浆也准备好了 Blood was being loaded.
剧组所有工作人员都披好了雨衣 All the crew was sort of donning these rain jackets
因为他们知道接下来会发生什么 because they kind of knew what was coming.
早上的时候雷德利说 In the morning, Ridley said,
我们得放点软骨组织什么的进去 let's put some bits of gristle and stuff.
所以我派了一个人去屠宰场 So I sent the buyer down to the abattoir
买了一堆动物内脏 腥臭不堪 to buy a load of offal, which stank terrible.
道具组将内脏放在了福尔马林里 And they put it in formaldehyde for you,
结果反而更糟 but it was worse.
我们把内脏在四周摆好 But we packed it round.
雷德利也在忙着摆放 And Ridley was doing it himself, too.
我们把那些东西都塞到下面 We were sticking it all around underneath.
我们都在谢伯顿片厂的换衣间等着 We're all up in our dressing rooms at Shepperton Studios.
哈利·迪恩·斯坦顿在走廊里弹着吉他唱歌 Harry Dean Stanton is sitting in the hall singing and playing guitar.
我们在那等了几个小时 We're up there for hours.
我们都在奇怪 他们到底在准备什么 We kept wondering, what the... what was going on?
后来在某个时间 But at a certain point in time,
一个助理去叫演员们到片场 some assistant is sent to bring them to set.
最先扑面而来的不是画面 And what greets them isn't a vision,
而是臭味 it's a smell.
因为在这几个小时的时间里 Because over these hours,
那些内脏都被炙热的灯光加热了 this kind of offal and produce has just been cooking under the lights.
毫不夸张地说 你走进片场时会忍不住干呕 Literally, you gagged when you walked onto the set.
那味道实在太恶心了 It was so disgusting.
雷德利当时也不确定要怎么拍 Ridley wasn't certain how that was going to happen,
要怎么表现破胸而出 how... how... how's that gonna manifest?
看着那些牛血啊 内脏什么的 All this... this innards of a cow and the blood,
心想 老天啊 and thinking, my.
演员进来看到的是约翰·赫特躺在桌子上 What they saw was John Hurt spread out on this table
身上插着好多管子 with all of these hoses.
剧组的人都穿好了雨衣 Everybody is covered up in suits.
演员们走进来 看到这一阵仗 The actors walk in, and they see that waiting for them.
我注意到 他们都惊呆了 And I saw them, their faces all sort of dropped.
他们当时就像这个样子 They all sort of went like this,
眼睛瞪得特别大 好奇地四处打量 and their eyes got big and roamed around all over this stuff.
当我们开始拍这场戏时 We started to shoot the scene,
我被告知会有血溅到我身上 and I was told I'd get a little blood on me.
然后我们就开拍了 So we start to roll.
接下来的一幕非常精彩 And then what happens is brilliant.
就是这啪嗒的一下 There's just this splat,
他仿佛被子弹击中似的 almost like a bullet has hit him.
所有肢体动作暂停了一下 He puts a pause in.
观众得有时间来弄明白刚刚发生了什么 You've got to kind of give the audience a chance to realize what's happened.
这场戏的完成依赖于剪辑的技巧 The whole thing was really a trick in the cut.
这里镜头切到了餐桌的另一边 And there was a cut to the other side of the table
那时候我的身体已由复制模型替代 where by which time I had been replaced by a replica body.
我们把原本他的T恤紧套在模型假体上 His t-shirt pulled you know, tightly on it,
好几支喷血管线都连接着高压泵 and then there's gonna be blood lines on high pressure pumps.
它们会造成鲜血四溅的效果 They're going to blow blood everywhere.
我们刚启动摄影机开拍 So we start to roll,
雷德利突然喊停 and then all of a sudden, Ridley shouts, cut.
停 Cut.
第一条拍摄没过 It didn't work on the first take.
破胸虫压根就没“破”出来 There wasn't much of a chestburster.
它没能穿破那件该死的T恤 It couldn't get through the damn t-shirt.
我们都伸着头去看究竟出了什么意外 Well, we found ourselves leaning in to see what the hell was going on.
拍摄第二条时 居然还是没穿破 Second time, it still didn't go through,
但它有像这样拱起来 but it came up like that,
不过又缩了回去 一圈全是血 and then went down and covered in blood.
所有演员都有点懵圈了 想知道发生了什么 And the actors were all kind of looking like that and curious.
这种出错也算是神来之笔 So it was a stroke of genius that it went wrong.
因为他们还是不知道接下来会是怎样情景 They still didn't know what was coming.
剧组又重新准备好 And it reset again.
雷德利对尼克·艾德和罗杰·迪肯(两人均为特效师)说 Ridley just said to Nick Allder and to Roger Dicken,
这回无论如何得让它出来 just get it through this time.
他们加了更多的血和管线 And they added more blood, more pipelines.
那东西终于破胸而出 砰 And this thing goes up through, splat.
所有的血泵也一起开喷 They fire all the pumps.
当它破胸而出时 When it went through,
血真是溅得哪儿都是 I mean, that blood just went everywhere.
那正是斯科特想要的效果 It was just exactly what Scott wanted.
他得到了演员最即时的真实反应 It was just this absolutely immediate visceral response.
当那一幕发生时 When it happened, of course,
你当然会被吓傻了 it stills you.
破胸而出就是那般展示的 So that's how it manifests, huh?
天啊 God!
继续 尼克 继续 And again, Nick, and again!
我当时离一个血液喷射点很近 I had leaned into a blood jet.
血直接喷了我一脸 That little blood shot me square in the face.
我被吓得连连后退 一边惊叫着 And that's when I jumped back and I went,
我的天啊 oh my god.
然后我的膝盖碰着了后面的凳子 And my knees hit the back of those banquette
早前我们还都坐在那 where we were all sitting,
于是我就结结实实摔了一跤 and it flipped me upside down.
当时我心里说 天啊 拍摄还没喊停 And I said, oh my gosh, we're still shooting.
所以我又翻身 爬了起来 So I rolled over and I got back up,
赶紧跑过去 重新回到镜头里 and I ran around and got back into the scene.
大家的反应 其实都不太一样 So there were different... there were different reactions to it.
开拍 And action.
喷血 Blood.
够了够了 Enough.
把它顶出来 Push it out.
开启喷血管 Pump it.
罗杰·迪肯还给凯恩的假体做了可以蠕动的肺 Roger Dicken had built little lungs in as well.
桌子下面有人在进行各种操作 It was a lot of stuff going on under the table
使得这一幕看起来特别真实 to make it look so real,
破胸虫身上还粘着各种内脏碎片什么的 hung bits of stuff all over it
让它看起来真的像穿破了内脏和血肉似的 so that it looked like it broke through the flesh and heart and muscles.
雷德利想要这段戏真实到没有一点瑕疵 That's part of Ridley wanting this to be unquestionably real.
破胸虫的这声嘶叫 是对培根画作的呼应 And I think that scream, when it screams, there's a Bacon shot.
培根那些画作的确有其怪异之处 There's something really strange in those paintings
呼应着我们时至今日仍怀有的恐惧 that connects to the phobias that we carry with us to this day,
这种恐惧自古有之 and they come from our ancient past.
(瑞士画家亨利·福塞利1781年的作品)
特别是《噩梦》画中的梦淫妖 So I think, you know, particularly the "Incubus" is one that
是我在阅读剧本时一直想到的画面 was struck me when I read the script.
因为破胸虫出来后 就待在那里并发出嘶叫 Because that chestburster it comes out and sits there for a moment and screams,
你觉得那正像是梦淫妖会做的 and that's just as you imagine an incubus would do.
它会从噩梦中出来 待在那 冲你嘶叫 It would come out, sit, and scream at you.
我特别钟爱那个镜头 I loved that image so much,
我从中看到的是一个想要获得生命的物体 and what I see in it is something that's like a material object trying to come to life.
那其实也是《异形》的主题 And that's what "Alien" is.
慢点转 Slow.
慢点 Slow.
好的 头往后仰 OK, and the head back.
放慢点 冲 Slow, Go!
槽糕 Shit.
棒极了 Great.
停 Cut it.
省点血 Save the blood.
当我观看诺史莫号飞船上破胸一幕时 When I'm watching the chestburster scene on the Nostromo,
总是忍不住赞叹其卓越的场面调度 and I'm thinking about how brilliantly staged it is
因为那一幕不是发生在漆黑的过道里 because it doesn't take place in a dark corridor
也不是只有宿主一人 with a guy all by himself.
几十年后 And then decades later,
《普罗米修斯》
雷德利·斯科特又拍了一版破胸虫的戏 Ridley Scott restages a chestburster scene
不过效果上更具象征意义 and does it exactly in that way that's so much more tropey.
黑暗中 邪恶的大卫紧盯着其牺牲对象 In the dark, a guy alone being watched over only by the malevolent David,
烟雾弥漫中 背光照射着牺牲品 and with this smoke and lights behind him,
这几乎就是《异形》中那一幕未被采用的原初版本 it's almost like it's the first draft of the original scene that was rejected
基于某种理由 这一幕在《普罗米修斯》里再次展现 and then for some reason, revisited later.
另一方面仔细想想的话 这其中也蛮好玩的 But on the other hand, there is something really delightful if you give into it.
比起一遍遍重返其个人能力和创造力巅峰时刻 I feel like Ridley Scott can't find a better way to talk about his own mortality
我觉得雷德利·斯科特尚未找到 than by going back over and over
其他更好的讲述自己生命感悟的方式 to the origin side of the height of his powers and the height of his creativity.
《普罗米修斯》
如果你审视一下雷德利·斯科特目前引领《异形》系列的方向 If you look at where Ridley Scott is currently taking the "Alien" cycle,
他在用它毫不隐晦地探讨生命的起源 he's using it explicitly to explore questions of where did life come from?
人类的本质是什么 What does it mean to be human?
他似乎沉迷于一系列 He seems fascinated by the idea
《银翼杀手》
相互关联的主题 比如弑父弑母 that the child would destroy the parent
比如被创造者终结创造者 that the created would destroy the creator,
《普罗米修斯》
比如我们制造的东西会转头干掉我们 that things we make come back and destroy us,
我猜想这些其实都是弗兰肯斯坦故事的变体 which I suppose are variations on the Frankenstein story.
但这个主题在他的作品中的反复出现 But the repeated recurrence of this in his work suggests,
我个人认为 说明他真的有一种创作上的痴迷 I think, a major artistic obsession, actually.
人们总是说好莱坞是造梦工厂 People often talk of Hollywood as the dream factory
但我认为好莱坞在大银幕上编织的梦境 but I think the dreams that Hollywood puts on the screens
并非主创者个体的梦 are not just the dream of one person,
而是一种集体性的织梦 they're collective dreams.
电影是窥探集体潜意识的一扇窗户 Cinema is a window on our collective unconscious.
以此论之我认为 And in that way, I think
《异形》便是把握上世纪七十年代 that "Alien" is an incredibly important
集体心理的一扇尤其重要的窗户 window on what people were thinking about as of the late 1970s.
40年之后再看《异形》你会发现 When you look back at "Alien" 40 years later,
它预言了我们走过的路 it seems prophetic of where we've gone.
我们也还在沿着它预言的方向前进 We're still going in the same direction that it seemed to be indicating at the time,
这也使《异形》的世界观 which makes the world of "Alien,"
不管它看起来多不现实 if not probable, at least, you know
但至少比《星球大战》在某种程度上更有可能发生 looking like a possibility in the way that "Star Wars" could never be.
《异形》的结尾 是讲述逃脱自毁的命运 The last act of "Alien" is escaping self-destruction.
这是我们这个时代的谜题 That's the myth of our times.
《异形》影响力如此之巨大的原因之一 Part of what makes "Alien" so powerful is it's
就它在于远不止是寓言 so much more than an allegory.
它探讨了一系列深层次的模式 It taps into a deep set of patterns
寓意十分广泛 that can mean many, many, many things.
我不觉得我们能彻底理解《异形》 I don't think we can get to the bottom of "Alien."
就像为了触及更深层次的领悟 Like a piece of sand vibrating in a somatic experiment,
而处于声波实验中振动的沙砾 in touch with something deeper,
丹·欧班农与这个谜题 在这同一频率上获得共鸣 Dan O'Bannon must have been on the frequency for this myth.
他相当于一曲深奥之歌的记录者 He seems to have been a stenograph for a larger song.
我丈夫不属于他自己的时代 My husband was out of time, in a way,
甚至可以说 他不属于任何特定的时代 you know, out of specific time.
但他注定永被铭记 But he lives on.
在他临终之时 我就是这样告慰他的 And when he was dying, that's what I said to him.
那时他已经神志不清了 He was not conscious.
我对他说 你改变了世界 I said, you moved the world.
你做到了 You did it.
你改变了世界 You moved the world.
他真的做到了 And he did.
我觉得丹·欧班农某种意义上并未真的离去 In a way, I don't think Dan O'Bannon is finished yet.
当他去世时 我有种奇怪的感觉 When he died, I had a strange feeling
那就是他回到了未来 他所来的地方 that he'd gone back to the future from whence he'd come.
他的很多想法依旧不断体现在新生事物上 And there's still things there that are emerging from him and things that I have
我手头保留的很多他的遗物 如今越来越有现实意义 that are just now becoming relevant today.
但还有很多未被发掘的 And there's more there.
还有很多 There's more there.
别问我为什么他能够预言未来 连接过去 Don't ask me why he had this connection to the past and the future,
他就是如此神奇 but he sure did.
他来自一个连电视和电话都没有的小地方 He came from a place that had no telephone or television
最后却徜徉在星辰大海 and went to the stars.
回归宇宙 Went to the stars.
真是不可思议 It's inexplicable.
-
献 给 母 亲
-
纪 念 Volker Mahnert Irene Matyas Roy