伍迪之道——《洛杉矶周刊》对他的采访

2009-06-13 16:22:50 来自: 6 + 3 = 9(闷葫芦)

http://www.laweekly.com/2009-06-11/film-tv/woody-works/

Whatever Works for Woody
为伍之道

Allen on life, actors, younger women and his 40th film
艾伦谈人生、演员、年轻女人和他的第40部影片
(小心有剧透，慎读！剧透警告【！！！】)

By Scott Foundas

Published on June 10, 2009 at 6:21pm

The new Woody Allen film, Whatever Works — his 40th for those keeping count — signals a return for the filmmaker in more ways than one. For starters, it is his first film to shoot on location in New York since Melinda and Melinda in 2004, interrupting a half-decade European vacation during which the 73-year-old Allen has directed three films in London and one in Spain. It also marks the realization of a project he first conceived in the 1970s as a vehicle for Zero Mostel, then set aside following the actor’s untimely death. The result is a light comic burlesque — a minor key but eminently pleasurable Allen confection — starring Seinfeld and Curb Your Enthusiasm mastermind Larry David as Boris Yellnikoff, an atheistic, egotistical, misanthropic physics professor whose contempt for the entire human race is lessened by his chance meeting with (and eventual marriage to) the ditzy Southern belle (Evan Rachel Wood) he finds squatting underneath his backstairs.
伍迪·艾伦的新影片《管用就行/只要能行/能行就中：）》——据爱数数的甜菜同学统计这是他的第40部【http://www.douban.com/group/topic/6908722/】——从多个角度来看，都标志着这位电影人的回归。首先，这是自2004年拍摄《双生美莲达》以来，他在纽约取景的第一部电影，打断了他连续五年的欧洲假期，于此期间，73岁的艾伦已经执导了在伦敦的三部影片和在西班牙的一部影片。同时，这也标志着他实现了最初构思于1970年代的一个拍摄计划，那是为泽罗·莫斯泰尔量身定制的，但由于这位演员的过早辞世，这一计划也随之搁浅。现在的结果是这样一部轻松诙谐的滑稽剧——一件小品，但有着显著的艾伦所特有的令人愉悦的奇思妙想——由主创过《宋飞正传》和《抑制热情》的拉里·大卫领衔主演鲍里斯·叶尔尼科夫，一个不信神的、自我为中心的、厌恶人类的物理学教授，他对整个人类的蔑视，【！！！】因为偶然结识了（并最终与其结婚）一位古灵精怪的南方美人（埃文·蕾切尔·伍德）而有所缓解，他是在他的后门发现她的，她当时蹲坐在楼道口。【！！！】
Allen is running late on the sunny May afternoon, when I show up at his Upper East Side editing room, tucked away inconspicuously behind a door labeled “Manhattan Film Center” on the ground floor of an otherwise residential building. It’s here that Allen cuts all his films, screens them (and others) in a soundproof, green velour screening room, auditions actors for his upcoming projects (and there is always an upcoming project), and otherwise holds court. On the two previous occasions I have come here to interview him, the results have never been less than surprising, Allen holding forth with unexpected candor and ease about his films and about the cosmic matters that weigh heavy on his soul. And today is no exception, as Allen enters in his signature attire of pastel button-down, khaki trousers and well-worn brown lace-ups, apologizes for his lateness, and proceeds to talk at length about the meaning of life (or lack thereof), the trouble with actors, and the allure of younger women.
五月的一个阳光明媚的下午，我来到了艾伦位于纽约上东区的剪辑室，而他因为晚到而赶得匆忙。剪辑室很不起眼地隐匿于一幢普通的住宅建筑的第一层，门口镶着“曼哈顿电影中心”的牌子。正是在这里，艾伦剪辑出了他所有的电影，在一间隔音的、有着绿色天鹅绒的放映室内试映他拍的电影（还有其他电影）。在这里，他还为他即将进行的拍摄计划（他手头总是有计划）挑选演员，要么就接待崇拜他的影迷。我以前有过两次机会，来这里采访他，每次的结果无不让人感到惊奇，艾伦会以你意想不到的坦白和放松滔滔不绝地谈论他的电影，以及对世间万物的看法，那在他的心灵中占据着很重的分量。今天也不例外，当艾伦穿着他那标志性的服饰——浅色衬衫、卡其长裤、和棕色系带旧皮鞋——进来时，他一边为他的迟到道歉，一边就开始了他的长篇大论，关于人生的意义（或人生意义的缺失）、关于与演员们的麻烦、和年轻女人的诱惑。


L.A. WEEKLY: The title Whatever Works suggests a philosophy of life but also a work ethic. In other words, if you make a film a year, as you do, you can’t afford to sit around waiting for the muses to descend.
洛杉矶周刊：《管用就行》这个片名所蕴含的不仅是一种人生哲学，而且是一种职业操守。换句话说，如果你每年拍一部电影，就像你一直在做的那样，那么你根本就耗不起，在那儿坐等艺术女神从天而降。

WOODY ALLEN: I’ve never been someone who’s waited for the muses, because my background is in television. When I came up, we used to write shows, and if you were writing for Gary Moore or Sid Caesar — whoever it was — you had to have a show. It was live. When you came in on a Monday morning, you had to think of something. You couldn’t wait for inspiration; you just had to do it. So I got used to that, and I can do it to this day. I can go into a room and — it doesn’t always come out good — but I can produce something. I do think it’s an ethic. It keeps you out of mischief. If you work, it keeps you distracted. It keeps you from thinking about yourself too much, about how terrible you are, about how great you are. It’s certainly humbling.
伍迪·艾伦：我从来都不是那样的人，坐等艺术女神的眷顾，因为我的背景是做电视出身。在我出道时，我们经常要为节目写作，如果你要为加里·摩尔【吉他手、歌手？】或西德·凯撒【喜剧演员】写作——不管是谁，那么你就必须得有东西，而且都是实况节目。当你星期一一早来到电视台，你脑子里必须有些货色。你不可能等着灵感降临，你必须努力去做。所以我习惯了那种方式，而且直到今天，我都能那样做。我可以走入一个房间——当然最后的结果不一定总是很好——但是我可以写出东西。我的确认为这是一种职业操守，这会使你不至于因无所事事而去胡闹。如果你有事情做，那就可以使你分心，那就可以使你不会过多地考虑你自己，老是惦记着你有多糟，或你有多好，那样的话一定会让你垂头丧气的。
I’ve often used this comparison: With mental patients in an institution, they give them basket weaving, finger painting and things like that to do, because the very act of working with your hands is healthful and therapeutic. It’s the same thing with making a film, which is a handmade product. You have to write it, you have to go out and shoot it, then we come here and we put the film together and put the music in. For a period of time, you get two rewards: You get the reward of distraction — you don’t think about the outside world, and you’re faced with solvable problems, and if they’re not solvable, you don’t die because of it. And then, if it’s the right film, you get to live in a fake reality for a number of months. So if I’m making a picture like The Purple Rose of Cairo or Bullets Over Broadway or Everyone Says I Love You, for several months, I get to live with very beautiful women and very witty men and they have costumes, and the sets are beautiful. It’s a very pleasant way to waste your life.
我经常作这样的比较：将我们同精神病院里的病人进行比较，他们会弄些篮子编织、手指作画、以及诸如此类的活儿让病人们去干，因为利用你的双手来劳作的活动，是非常有益于健康和治疗的。这和制作一部电影是一回事，因为电影也是一件手工制品：你得把它写出来，你得跑到外面把它拍出来，然后我们再回到这里把胶片接在一起并配入音乐。有那么一段时间，你获得了两项回报：第一项回报是让你分了心——你不用再考虑外面的世界，你面对的是可以解决的问题，即使有些问题解决不了，你也不会因此而死。然后是第二项回报，要是影片拍得好，你得以在虚幻的现实里活上几个月。因此，如果我是在制作一部像《开罗紫玫瑰》、或《子弹横飞的百老汇》、或《人人都说我爱你》这样的影片，那么我就可以和众多非常美丽的女性和非常风趣的男性生活在一起，他们身着华彩的戏装，穿梭于美妙的置景当中。这是一种非常愉快的浪费你生命的方式。


L.A. WEEKLY: It’s funny that you mention those three films in particular because, like them, Whatever Works seems like a fantasy. The characters and the story all have a heightened, exaggerated feel.
周刊：真有意思，你特别提到了那三部电影，因为跟它们一样，《管用就行》似乎也是一出幻想剧，里面的人物和故事都给人以一种增强了的夸张的感觉。

WOODY ALLEN: Right, it’s a cartoon tale. The mother, the father — everyone in the movie is cartoonlike.
伍迪：是的，这是一个卡通式的故事，那位母亲、那位父亲——电影里的每个人物都是卡通式的。


L.A. WEEKLY: I was also reminded of two of your more recent films, Match Point and Cassandra’s Dream, both of which also concern luck, chance and the randomness of life, even though Whatever Works is actually a script you wrote more than 30 years ago. When we spoke at the time of the release of Match Point, you said, “You’re always searching for control, and in the end, you’re at the mercy of the hoisted piano not falling on your head.” And here there is a scene in which a person falls from a window onto another person’s head!
周刊：这也让我想起了你最近的两部影片，《赛末点》和《卡桑德拉之梦》，这两部涉及的都是运气、机会、和生命的无序，尽管《管用就行》实际上是你在30多年以前就已经写就了的剧本。在发布《赛末点》的时候我们交谈过，你说：“人们总是在寻找控制，可到最后，你只能寄希望于那架高高升起的钢琴不会正好落到你的头上。”而在现在这部片子里，【！！！】有一幕讲的就是一个人从一扇窗户里落下，砸到了另一个人的头上！【！！！】

WOODY ALLEN: The same obsessions I had when I first started, I have now. I’ve been in psychoanalysis, I’ve been successful, I’ve had ups, I’ve had downs. I’ve had some hit movies, movies that failed. But with everything that’s happened to me, all of my experiences, I’ve never been able to solve the real problems of life that have plagued every playwright since Euripides and Aristophanes. No progress has been made on the existential themes and the subject of interpersonal relations, which are still brutal and painful and fragile and very hard to make work, and which cause everybody an enormous amount of suffering and grief. Why are we here? What is the point of it all?
伍迪：从我一开始写作时，类似的困扰就一直伴随着我，到现在我仍然有。我作过心理分析，我取得过成功，我经历过人生的高峰，也陷入过低谷。我拍出过几部很热门的电影，也有电影是失败的。然而无论在我身上发生过什么，无论我有过怎样的经历，我却从来没有能够解决生命中真正的难题，这些难题自欧里庇得斯和阿里斯托芬以来，就一直折磨着每一位剧作家。在有关存在的意义以及人与人之间关系的主题方面，没有取得任何的进步，人与人之间依旧是残忍的、痛苦的、脆弱的，很难相处得好，这也导致了每个人遭受巨大的苦难和不幸。我们为什么存在？这一切的意义何在？
Take Camus’ question [in The Myth of Sisyphus] of whether or not to commit suicide. Now, even the most grim people come to rationalizations where, in Camus’ case, he feels that pushing the rock up the hill, the doing of it, is worth it and you don’t have to succeed. But I feel — in answer to the question of why should we not kill ourselves given a meaningless, godless existence — that it’s a pre-intellectual question, and that your body answers it for you. Your mind will never be able to give you a convincing justification for living your life, because from a logical point of view, if your life is indeed meaningless — which it is — and there’s nothing out there, what is the point of it? Well, the point of it is only that you’re too scared to terminate it because you’re hard-wired, it’s in your blood, to live and to want to live and to want to protect yourself. So, while I’m home babbling about how meaningless life is and how cruel and brutal and without any purpose, if there’s a fire in my house, I’ll go to extreme measures to save my life. And then when I’ve saved my life, I’ll say to myself, “Why did you bother to do that?”
就拿加缪的问题来说吧，在他的《西西弗斯的神话》一书中，他提出了人是否应该自杀的问题。你看，即使是最阴郁的人都能够说服自己，在加缪的例子中，他觉得把巨石推上山顶的这一行为本身，是值得去做的，你不一定非得要取得成功。但是在我看来——为了回答既然人生是一个毫无意义的、没有上帝的存在，那么为什么我们不应该去自杀这个问题——这是一个不需要用智力来解答的问题，因为你的身体已经替你作出了回答。你的心智永远也不可能给你一个让你信服的活下去的理由，因为从逻辑的观点来看，如果你的生命确实毫无意义——事实也的确如此——而且也不存在上帝，那么这一切的意义何在？好吧，这一切的意义仅在于你太害怕了，不会去了结你的生命，因为这是你的本能，它融入了你的血液，想要活着，渴望活着，渴望保护你自己。因此，当我一边在家中喋喋不休生命多么的没有意义、多么的悲惨和残酷、没有任何的目的，可是如果我的房子着了火，我会尽一切手段保住我的性命。可然后呢？当我已经挽回了我的生命，我会对自己说：“你又何必劳神这么做呢？”


L.A. WEEKLY: Even by the standards of some of the antisocial, unlikable characters you’ve written in the past, including the ones you yourself played in Anything Else and Deconstructing Harry, Boris seems a step beyond.
周刊：即使以你过去创作的一些厌恶社会的、不受人欢迎的角色的标准来看，包括你自己在《泰然处之【http://www.douban.com/group/topic/4089784/】/奇招尽出/情关难过【http://www.douban.com/group/topic/5117596/】》和《解构哈里【http://www.douban.com/group/topic/5074948/】》里出演的，鲍里斯也显得更加的出格。

WOODY ALLEN: You know, at one point I was going to call this film, when I first wrote it for Zero, The Worst Man in the World. I thought it would be a funny character — a guy who is the quintessence of misanthropy and who can’t fit in, doesn’t want to fit in, rejects everything, just isn’t someone who can deal with life or wants to deal with it. He doesn’t accept it: He finds the fact that he’s mortal to be unacceptable. He cannot agree to the rules of life. The characters I’ve played in those other movies were certainly in that direction but not as extreme as I wanted to make the character of Boris.
伍迪：你知道，在我最初为泽罗写这部戏时，有那么一阵子，我曾打算给这部电影取名叫《世上最烂的人》。我认为这会是个有趣的人物——一个厌恶人类的集大成者，这家伙无法适应社会，也不愿去适应社会，拒绝一切事物，他是这样的一个人，根本不可能处理好生活，也不愿去处理。他不接受生活：他觉得他活着就是为了给人添堵。他不能适应生活的准则。我在一些电影里所扮演的角色确实也有这样的味道，但是没有我想塑造的鲍里斯的这个角色那么极端。


L.A. WEEKLY: Did you, at any point in the past three decades, consider playing the role yourself?
周刊：在过去的三十年里，你有没有在某个时候考虑过由你自己来出演这个角色？

WOODY ALLEN: No, because when I thought of it for Zero, I thought of it as a part for a fat man. I thought of him as a big, aggressive physicist, a Russian chess genius who had no time for “microbes” and “earthworms.” And I can’t do that. My source of comedy is more victim — I find myself frightened when I hear the noise in the other room, that sort of thing. This guy was grandiose. It was hard to think of people who could play him now, and then [casting director] Juliet Taylor mentioned Larry, whom I had worked with very briefly before and whom I knew from Curb Your Enthusiasm. But it seemed to me that he could do it, because on his television show he’s very authentic. He’s not an overacter or a fake posturer. Of course, he told me up and down the line how he couldn’t do it, how he’s not an actor and this and that, and then I knew he’d be great. Because it’s the ones like Diane Keaton, who tell you how bad they are, who always come through. It’s the ones who tell you how great they are who never come through.
伍迪：没有，因为当时我为泽罗考虑这个人物时，我想到的是让一个肥胖的男人来扮演。我把他设想成一个魁梧的、好斗的物理学家，一个俄裔的象棋奇才，他对他眼中的“细菌”和“蚯蚓”根本不屑一顾。我演不了这个人物。我演的喜剧角色通常更像是个倒霉蛋——我发现自己会很害怕，要是我听到在隔壁的房间里有什么动静等等的。可这家伙大气磅礴。当时，我想不起有什么人可以扮演他，可是之后，负责选角的导演朱丽叶·泰勒提到了拉里，我以前和拉里有过简短的合作，而且从《抑制热情》里也让我了解了他。在我看来，他似乎能够担当这个角色，因为在他的电视节目里，他显得非常真实。他表演起来一点也不夸张过火、矫揉造作。当然，在读剧本时，他时不时地告诉我他演不了这个、演不了那个，他自己不是个演员之类的话，但是我马上就认识到他会演得很好。因为他与戴安·基顿属于同一类人，他们会对你说他们的表演实在糟糕，可到最后总是能完成得很好。而与之相反，有些人会对你说他们有多棒，可到头来什么都做不好。
People who can act are naturals. Over the years, I’ve met and worked with people who studied all over the place, and if they had natural talent, it was great. If they didn’t, the fact that they had studied didn’t mean anything. I’ve gotten guys off the street — literally off the street — who come in here and, when they speak, they’re un–self-conscious and authentic. Whereas, with a lot of professional actors, they come in to meet for a part and we’ll be chatting like we’re chatting now, and they’re just fine. Then, they read the part and they go into their acting mode, and everything about them suddenly becomes inauthentic. They feel they have to do something to the material or they’re not justifying their paycheck. So they start acting it, and you don’t want them to act it; you want them to just say it. If they’re supposed to be a salesman, you want them to be a salesman like you’d experience a salesman. But they don’t. They start playing a salesman.
会表演的人都是天生的。这么多年了，我遇见过也合作过一些人，他们四处学习表演，如果他们本来就具有天赋，那就很好。可如果他们没有，那么即使他们学过表演，也没多大用处。我从大街上招来过人——实实在在地从大街上——他们走进这里，当他们开口说话，完全没有觉得自己是在表演，非常的真实。而许多专业演员，他们为某个角色过来试镜，我们会作些交谈，就像你我现在这样，他们都还可以。可是之后，他们开始念角色的台词，他们就进入了他们的表演模式，转眼之间，他们的举手投足，都失去了真实感。他们觉得一定要在材料里加点什么东西才行，不然的话就会对不住付给他们的薪水。因此他们就表演开了，可你并不希望他们这样表演；你只希望他们很自然地说出来就行。如果他们演的是一个售货员，你希望他们就是个售货员，就像你碰到的售货员一样。但是他们不这样，他们开始扮演起售货员来了。


L.A. WEEKLY: The real revelation in the film, I think, is Evan Rachel Wood, who has been very strong in a number of movies but who hasn’t had an opportunity to play this sort of 1930s screwball ingénue.
周刊：这部电影的真正发现我认为是埃文·蕾切尔·伍德，她在以往的几部影片中已经有过很出彩的表现，但是她还没有机会去演这样一个像是30年代过来的有点怪怪的天真少女。

WOODY ALLEN: I had never heard of her, and my wife said you should look at this girl Evan Rachel Wood, because I saw her in one or two movies and she’s just great. Then a few days after that, [production designer] Santo Loquasto was talking to me and he said the exact same thing. So I checked her out and saw that she was a remarkable actress — complicated and dark, really exceptional. I didn’t know if she could do comedy or not. I thought she could, and she agreed to do it, so I assumed she wouldn’t agree to do it if she didn’t think she could. And so she did it and she was incredibly good. I said to her, “It’s a Southern girl, you’re going to have to do a Southern accent,” and she wouldn’t do it for me, wouldn’t show me her Southern accent until we shot. Now, I can empathize with that. It’s risky, because if she couldn’t do it, I would have been in very serious trouble. But she did it, and she just did it great.
伍迪：我以前从没听说过她，我妻子说你应该留意一下这个叫埃文·蕾切尔·伍德的女孩，我以前看过她的一两部电影，感觉她还行。接着几天之后，影片设计桑托·罗夸斯托找我谈话，他说了一模一样的话。于是我就仔细研究了一下她的电影，发现她是个非常出色的女演员——复杂而又阴暗，真的非常少见。我不知道她能否演好喜剧。我认为她能行，而且她也同意出演，于是我就想既然她已经答应出演，那么她一定自认为能够演好。于是她就演了，而且演得出乎意料的好。我对她说：“这是个南方姑娘，你必须讲南方口音。”可她不愿意对我说，她不愿意当着我面表演她的南方口音，直到我们开拍。现在，我可以强调一下，这很冒险的，因为要是她根本不会说，那我的麻烦就大了。但是她说了，而且说得非常完美。
On the other hand, Ed Begley Jr. [who plays Wood’s father] had no idea he was going to be required to do a Southern accent. He came to New York, got into costume, came to the set. The first shot we shot in the movie was with him, and he had no idea. I said, “You know you’re going to have to play this with a Southern accent. You do do a Southern accent, right?” He said, “Well, I think I can.” I said, “Okay, because I assumed you knew that when you read it.” But he didn’t, and he just simply did it. So much for all this meticulous preparing.
另一件事也是，小埃德·比格雷（演的是伍德的父亲）不知道让他演的人物需要用南方腔说话。他来到纽约，穿好戏装，走进片场。我们电影中拍的第一景就是他的戏，他还一无所知。我说：“你知道你演的这个角色得用南方口音说话。你会用南方口音说，对吗？”他说：“唔，我想我会。”我说：“很好，因为我想你读剧本时应该知道这个。”但实际上他事先并不知道，可他就能轻而易举地说好。压根就没必要做什么细致的准备。


L.A. WEEKLY: So much for The Method.
周刊：也不用什么“方法演技”【http://en.wikipedia.org/wiki/Method_acting】。

WOODY ALLEN: I was with a Japanese lady yesterday, who was in town doing interviews because Vicky Cristina Barcelona is opening in Japan. She asked me what pictures I’ve liked [recently] and I mentioned Rachel Getting Married, which was a picture I liked very much. She said she had interviewed Jonathan Demme and he had said it was the first time he shot a picture without rehearsals, and of course everyone in it was great and it was a wonderful picture. I, on the other hand, have never done rehearsals. I just don’t think they’re necessary. And yet, there are directors — great directors, like Ingmar Bergman — who would rehearse and rehearse. I wouldn’t know what to do at a rehearsal. When I was in Paul Mazursky’s Scenes From a Mall, he did extensive rehearsing, and he’s a wonderful guy and a wonderful director, but I thought it was nuts at the time. I thought, “How do you have the patience for this?” But that’s how he works. I just never put a minute’s thought into it beforehand, to the point where an actor will come to the set not even knowing he’s got to do a Southern accent. And yes, I could have been very traumatized if he had said, “Oh, I can’t do a Southern accent. I just can’t do one. If you need British, fine, but I can’t do Southern.” So I’ve been lucky that way, that I haven’t run into a catastrophe. It’s the same thing if there’s a scene with a lot of physical action. I work it out with the cameraman and bring in the actor with no rehearsal and say, “Start over here and go over there and pick up a cigarette and then come over here,” and 99 percent of the time that’s exactly what they do and it looks fine. Once in a great while, someone will say, “I don’t know what I’m doing over there. I’d feel better walking over to the window.” And I always say, “So, walk to the window.”
伍迪：昨天我和一位日本来的女士在一起，她来本市采访，因为《午夜巴塞罗那》要在日本公映了。她问我喜欢最近的哪些电影，我提到了《蕾切尔的婚礼》，这是我很喜欢的一部电影。她说她采访过该片的导演乔纳森·德姆，他说这是他第一部没有排演就直接开拍的影片，当然，里面的每个人都很棒，这是部很棒的电影。可对我来说，我从不做排演。我认为完全没必要排演。当然，有些导演——有些伟大的导演，比如英格玛·伯格曼——他们愿意一而再再而三地排演。让我来排演的话我会不知道该做些什么。在我参加保罗·马祖尔斯基的影片《婚外物语/爱情外一章【http://www.douban.com/group/topic/4941940/】》的拍摄时，他总是排了又排，他是个很不错的家伙，一个优秀的导演，可是我当时想，这简直疯了。我在想：“你怎么会有耐心干这个？”可那就是他工作的方式。我在影片开拍前连一分钟都不愿去想，以至于演员来到片场后，甚至都不知道要用南方口音。是的，要是他说：“噢，我不会说南方口音，真的不会说。如果你需要我说英国口音，那没问题，但是我不会南方口音。”那我就彻底完蛋了。所以说我还是够幸运的，没有碰到这样的灾难。在拍摄有许多肢体动作的戏份时，情况也差不多。我和摄影师先商量好，然后让演员入场，没有排演，直接说：“从这里开始，走到那里，拿起一根香烟，再走到这里。”一百次里有99次，他们都会严格地按我说的去做，而且结果看起来很不错。偶尔有个把次，某位会说：“我不知道我去那儿干嘛。我觉得走到窗子那边去感觉更好。”那我就说：“那就走到窗子那边去好了。”


L.A. WEEKLY: The film suggests that Boris is redeemed, humanized in a way by his encounter with this much younger woman, and you yourself have said that you’ve found a happiness with your wife, Soon-Yi, that you never imagined you would find with a younger Korean woman who has no connection to the film industry.
周刊：这部电影让人觉得鲍里斯因为遇见了这位比他年轻得多的女人而获得了救赎，变得通情达理，而你本人说过，你因为你妻子宋宜而找到了幸福，你从没想到你会在一个年轻得多的朝鲜女人身上找到幸福，何况她还与电影界没有任何关系。

WOODY ALLEN: In fiction, that was even a theme as far back as Manhattan, that in this presumably more innocent, younger person — before they get spoiled by the world — that one can find a certain happiness. Mine was very good luck, personally, that way, but that has always been an idea of mine going back quite far. Even Annie Hall, when you think of it, was kind of a naive girl from Chippewa Falls, who was young and came to New York and knew nothing and was a real hick, a rube, with all her colloquial expressions but with the thought that she would become a mature woman. At that time, she represented for me the same kind of freshness.
伍迪：在电影中，这个主题甚至可以远远地回溯到《曼哈顿》，在那个看起来更加天真、更加年轻的女孩身上——在她没有被这个世界玷污之前——人们可以找到某种幸福。就我个人而言，在这一点上我真的非常幸运，但那一直是我的一个信念，可以追溯到很久以前。甚至是《安妮·霍尔》，你回想一下，她就是那种很天真的姑娘，来自齐佩瓦瀑布市，她年纪轻轻就来到纽约，什么都不懂，像个真正的乡巴佬、土包子，满嘴都是那些口头语，认为自己会变成个成熟的女人。在那个时候，我是通过她来代表同样的清新的品质。


L.A. WEEKLY: When we spoke last year, you were just about to come to Los Angeles to direct your first opera, Puccini’s Gianni Schicchi, and you joked that you were going to skip town quickly before anyone had the chance to tar and feather you for it.
周刊：我们去年谈话时，你正准备去洛杉矶执导你的第一部歌剧，普契尼的《贾尼·斯基基》，你开玩笑说你打算乘着没人注意之前就赶紧离开那城市，免得到时候因为这部戏而被骂得狗血淋头。

WOODY ALLEN: It turned out in the end to be quite a pleasant experience, because I was surrounded by gifted people. The cast was wonderful; I didn’t cast them, they gave me the cast. The conductor was wonderful. It was just a pleasure. And, of course, I was working with a piece of material that’s great. It was the first time I directed anything that wasn’t mine, and so I could devote myself strictly to directing. I didn’t have to write and constantly patch up bad writing. This is what I’m doing all the time in my own films. They’re always an original script, and they’re all full of mistakes. It’s not like it’s a Broadway show, where I take it out of town and iron the kinks out. With a movie, this is it, so I’m rewriting all the time and fixing and helping and adjusting. Here, Puccini has a little masterpiece both musically and in terms of the story, so all I had to do was mount it. Now, it’s a short opera, and I don’t think I could do Aida with the elephants.
伍迪：其实到最后这变成了一次相当愉快的经历，因为我周围都是些很有才华的人。剧组成员都非常棒；不是我挑选的，是他们给我选好了。乐队指挥也很棒。真的非常愉快。当然，我执导的素材本身就是一件杰作。这是我第一次执导不是我自己的作品，因此我可以全身心地投入到导演中去。我自己不用写作，不用时不时地补救写得不好的部分。我在拍我自己的电影时，这可是家常便饭。因为它们都是原创剧本，它们总是充满各式各样的差错。这和我的百老汇戏剧不同，排戏前我会把戏带回家里，熨烫服帖所有的疙瘩。而拍电影时，我做不到，所以我总是一直在那儿改个不停，修修补补、帮这帮那、协调来协调去。现在，普契尼提供了一件小小的精品，无论从音乐还是故事情节上来说。因此，我所要做的，只是将它拼装起来就行了。好在这是一部短歌剧，我不认为我能够弄得动《阿依达》，因为里面要用到好多大象。


L.A. WEEKLY: Is there anything you can say about the film you are preparing to shoot this summer, other than that it takes place in London again and stars Naomi Watts?
周刊：你能不能透露点今年夏天你准备摄制的影片的情况，除了它将再次在伦敦拍摄以及由娜奥米·沃茨主演？

WOODY ALLEN: You know the full cast, right? Anthony Hopkins, Frida Pinto, Josh Brolin, Antonio Banderas. The cast is great. It’s a comedy-drama, I can tell you that. It’s a comic film but comic in the way that either Vicky Cristina or Hannah and Her Sisters was. It’s not comic like Bananas. This is real, with a serious side to it but hopefully a reasonable amount of laughs. Hopefully.
伍迪：你已经知道了整个演员表，对吗？还有安东尼·霍普金斯、弗丽达·品托、乔什·布洛林、安东尼奥·班德拉斯。剧组很棒。我可以告诉你，这是一部喜剧-剧情片。这是一部喜剧电影，但它的喜剧方式既不同于《午夜巴塞罗那》，也不同于《汉娜和她的姐妹们》。它和《香蕉》里的搞笑也不一样。这是一部真实的电影，有严肃的成分在里面，但我也希望不乏合理的笑料。希望如此吧。


（俺编译的，凑合看吧）
（初稿勿转，弄错坍台）