楼主:城市大夫 时间:2017年10月24日 19:25:37 点击:0 回复:0
ON SOME DAYS this summer, the robots would rise, get into their cars and pull onto Sunset Boulevard or Melrose Avenue-streets that, with their sun-sloshed vistas and waving palms, seem engineered windows-down, volume-up music listening. Yet no matter what radio station they turned to, the robots were greeted by the same song, one they recognized right away. There was the supple, shoulder-lifting guitar lick; that sturdy, urging drumbeat; and the aerial chorus that functions as a brag, a mission statement or both: Were up all night to get lucky. And though Thomas Bangalter and Guy-Manuel de Homem-Christo -the two French musicians better known as the robo-attired duo Daft Punk -usually make a point of never listening to their past creations, theyd always let the music play. Despite having lived with the song more than a year, even they werent sick of Get Lucky.今年夏天的某些日子里,两位“机器人”起床,上车,开上日落大道(Sunset Boulevard)或梅尔罗斯大街(Melrose Avenue)街道的两旁,是沐浴着阳光的景色,和摇曳多姿的棕榈树,好像就是为了要让人们摇下车窗、调高音量听歌然而不管调到哪个电台,两位“机器人”听到的都是同一首歌,他们马上就能辨认出来的那首有那轻快的、让人不由得耸起肩膀的吉他过门,有那厚实的、急切的鼓点,还有那空灵的副歌──是一种炫耀,或者说是一句使命宣言,或两者兼有:我们整夜不睡,为了成为彼此的幸运儿(Were up all night to get lucky)托马斯?本高特(Thomas Bangalter)和盖-马努尔?德霍曼-克里斯托(Guy-Manuel de Homem-Christo)这两位法国籍音乐家──即机器人打扮的二人组合“傻朋克”(Daft Punk)──通常特意不去听他们过去的作品,但碰到这首歌的时候,他们总是让它播放下去《走运(Get Lucky)已经问世一年有余,然而他们自己也都没觉得厌烦It an unexpected, simple, very cool surprise, says de Homem-Christo. eeing the next car is listening to it, and people are nodding. Or the other day, at a restaurant, seeing kids and mothers having a birthday party, and theyre all dancing. I know it can be annoying, having it everywhere like that, but it seems to have sp.德霍曼-克里斯托说:“此曲是一场始料未及的、简单的、非常出色的意外看到旁边车上的人在听,在点头,或者是另一天在某家餐厅,看到孩子们和母亲们在开生日派对,大家都在起舞我知道到处这样可能很烦,但它好像已经传开了”It a midsummer afternoon, and Bangalter and de Homem-Christo are sitting in a control room at Conway Recording Studios in Los Angeles, the city that serves as their stateside headquarters. The space is dominated by a gargantuan console teeming with hundreds of buttons and knobs. It looks like the kind of device that, were you to flip the wrong switch, would accidentally launch a drone strike on Palm Springs.那是一个仲夏的下午,在两人的美国大本营洛杉矶,本高特和德霍曼-克里斯托坐在洛杉矶康韦录音室(Conway Recording Studios)的一个控制室里房间里矗立着一台布满了几百个钮和旋钮的巨大控制台,那架势好像一弄错开关,就会不小心对棕榈泉(Palm Springs)发起一场无人机打击一样A little over a year ago, the two men were working out of this room, overseeing the final mixes of not only Get Lucky-a song so huge, it would sire endless remixes and remakes-but also much of Random Access Memories, their fourth studio album. Bangalter and de Homem-Christo describe their creative process as research and development, and Random, they worked without deadlines or budgetary constraints, with the hope of capturing the scope and sound of mammoth studio-crafted records from the 70s and early 80s-a time when cost was not a key consideration, and when a hit album had the same reach and life span of a hit movie.一年多一点时间之前,两个人就是在这个房间里忙碌,监督《走运以及他们第四张录音室专辑《超时空记忆(Random Access Memories)里很大一部分作品的最后混音工作《走运成为大热门,衍生了很多重混和翻唱作品本高特和德霍曼-克里斯托将其创作过程称为“研发”,对于《超时空记忆,他们没有限制时间也没有限制预算,希望呈现出70年代末80年代初大录音室专辑的那种广度与音质在那个年代,成本不是关键的考量因素,一张热门专辑的走红范围和时间不亚于一部热门电影As they were finishing up, Bangalter says, We had a very strong sense of happiness. It was like a weird fantasy: Let make a record like it the 70s. But we were very puzzled by the way it would clash with today world.本高特说,收尾的时候“我们有一种强烈的幸福感就像是一场奇异的幻想:让我们像70年代那样来录一张专辑吧但后来它与当今世界的碰撞方式让我们感到非常不解”This is understandable, given that, on paper at least, the album would seem like a potential disaster-a record that found the duo turning away from the type of sound that made Daft Punk one of the most memorable and unpredictable acts of the last years. Ever since their 1997 debut, Homework, Daft Punk been at the vanguard of electronic music, creating one sample-jacking, endorphin-morphing hit after another. And the group ultrarare, mega-elaborate live shows helped set the standard today lucrative, spectacle-driven electronic-dance music festivals.这种不解是可以理解的,因为至少从表面上看,这张专辑似乎将要败得一塌糊涂让傻朋克成为过去年最难忘、最变化莫测搭档之一的那种声音,在这张唱片里已经消失不见自从1997年发行第一张专辑《家庭作业(Homework)以来,傻朋克一直走在电子音乐的前列,一首接一首地推出让同行抄袭、让听众或痛或喜的热门歌曲这个组合极其少见而又超级精妙的现场演出,又从一个方面为今天利润丰厚、以盛大场景为追求的电子舞曲演出设定了标准On Random, though, Bangalter and de Homem-Christo moved toward live instrumentation and a big studio sound. And, after years of working largely on their own, they brought in a raft of collaborators that ranged from strikingly of-the-moment ( Pharrell Williams ) to blatantly anachronistic ( Paul Williams, the mer Muppets collaborator and writer of such Nixon-era classics as the Carpenters Weve Only Just Begun).但在《超时空记忆里面,本高特和德霍曼-克里斯托转向了现场器乐与大录音室音质在基本上独自运作多年之后,他们请来了一系列的合作者,既有红得发紫的如法瑞尔?威廉姆斯(Pharrell Williams),又有完全过气的如保罗?威廉姆斯(Paul Williams)后者参与了《大青蛙布偶电影(Muppets)的音乐创作,也是卡朋特乐队(Carpenters)《我们才刚刚开始(Weve Only Just Begun)等尼克松时代经典作品的词作者The resulting album features not only the lushly produced disco of Get Lucky, but also a career-recapping spoken-word history lesson from 73-year-old Italian producer Giorgio Moroder ; an eight-minute power-ballad featuring Paul Williams, a choir and a 65-person orchestra; and a handful of downer synth ballads that sound like theyre being permed by a GPS device that gone off its Wellbutrin. Sonically and culturally, Random resembles nothing else produced in .由此形成的专辑中不仅有《走运这首华美的迪斯科,还有73岁的意大利制作人乔吉奥?莫罗德尔(Giorgio Moroder)概括其从艺生涯的一段口述史,一段有保罗?威廉姆斯参与的八分钟动力民谣,一段搭配65人管弦乐团的合唱,以及一些沉郁的合成民谣(像一台安非他酮抗抑郁药吃完了的GPS导航仪在演奏一)不管是从声学角度来是从文化角度来看,它都不同于年的其他任何专辑Yet it turned out to be the biggest album of the group -year career, aided by a past-ward marketing campaign and, of course, the inescapable Get Lucky. At a time when audiences everything in the mass-culture continuum-from summer blockbusters to top TV shows-have fractured and dwindled, Get Lucky proves that, every once in a while, a song can transcend being merely an affable sing-along hit and become an omnipotent ce across all ages and genders. It like Hey Ya! or Crazy in Love-a song well pretty much be hearing until we die.然而借助于一轮贯通过去与未来的营销,当然还有走到哪里都能听到的《走运,《超时空记忆成了傻朋克年从艺生涯当中最火爆的专辑在各种大众文化类型──从暑期大片到前大电视节目──的观众都已瓦解、萎缩之际,《走运明,每隔一段时间都能够有那么一首歌,超越脍炙人口的热门歌的范畴,成为一种跨越年龄、跨越性别的全能力量它就像“Hey Ya!”、《疯狂的爱(Crazy in Love)一样,是一首我们差不多会一直听到老死的歌曲This was, in some ways, Daft Punk hope all along. Ever since the early 90s, when they were teens in Paris, Bangalter and de Homem-Christo have rarely settled on living in one era at a time, instead interrogating the past, the present and the future all at once. When we first met, says Bangalter, we were aly listening to music that was , 30 years older, or watching movies that were 50 or 60 years older. I think that what we tried to do with Random. The only objective was to create something that could have a certain kind of timelessness.从某种意义上讲,这正是傻朋克一直以来的希望自从90年代还是巴黎的毛头小伙时,本高特和德霍曼-克里斯托就很少一次停留在一个时代,而是同时拷问过去、现在与将来本高特说:“第一次见面的时候,我们已经在听二三十年前的歌,或者是看五六十年前的电影我想这也是我们希望在《超时空记忆里面实现的唯一的目标,是打造出某种可能拥有一定永恒性的东西”BECAUSE THEYVE TAKEN great pains to obscure their identities over the last two decades-with goofy masks or elaborately opaque robot helmets-a somewhat tenuous mystique surrounds the duo. Earlier this year, a photo of the two men, taken during what appeared to have been a booze-pong party at Columbia Records headquarters, found its way onto Gawker and the Huffington Post. The incident appears to have only mildly irked Daft Punk, but not the reasons youd expect. We didnt play beer pong, Bangalter says, laughing. I dont even know what beer pong is.怪怪的面具,精心设计成不透明的机器人头盔──傻朋克在过去年里不遗余力地掩盖自己的身份,他们身上笼罩了一层淡淡的神秘感今年早些时候,两人的一张照片出现在新闻网站Gawker和《赫芬顿邮报(Huffington Post)上,拍摄场合似乎是哥伦比亚唱片公司(Columbia Records)总部的一场“booze pong”(扔乒乓球喝酒游戏,又称beer pong)活动这一事件好像只给傻朋克造成了一点小小的烦恼,但并不是因为你所以为的原因本高特笑着说:“我们没有玩beer pong,我都不知道beer pong是什么东西”As anyone who saw that photo knows, the members of Daft Punk pretty much look like dudes who would listen to Daft Punk. Bangalter, 38, is tall and lean, with a light beard and an easy smile; on the day we meet, he dressed in a gray H sker D T-shirt, light gray jeans and slip-on sneakers, his hair hidden beneath a blue-and-red Patagonia hat. De Homem-Christo, 39, has shoulder-length hair and heavier scruff and is wearing white sneakers, tight black pants, a dark T-shirt that says Bad Attitude and a wishbone pendant around his neck. He has a reputation barely talking in interviews, but after initially appearing to doze off on the sofa, he becomes nearly as talkative as his longtime friend and partner.看过照片的人都知道,傻朋克成员的相貌跟傻朋克的普通听众没有什么两样38岁的本高特又高又瘦,留着短茬络腮胡,带着从容的笑意我们见面的那一天,他穿着一件印有Husker Du乐队图案的灰色T恤、浅灰色牛仔裤和一脚蹬帆布鞋,头发则隐藏在一顶红蓝相间的Patagonia牌帽子下面39岁的德霍曼-克里斯托长发齐肩,颈背较厚,穿着白色运动鞋、黑色紧身裤、印有“Bad Attitude”(态度差)字样的深色T恤,脖子上挂着一件Y型吊坠很多人都知道他很少在接受采访的时候说话,这次采访开始的时候他好像还在沙发上打起了瞌睡,但过后他就差不多跟他的老友兼搭档一样地健谈了The two first met in 1987, as eighth-grade art kids at Paris Lyc e Carnot, where they were surrounded by aspiring bankers (both come from creative backgrounds: de Homem-Christo parents ran an ad agency, while Bangalter father was a successful songwriter). It didnt take long them to find one another. [The school] was a factory making businessmen, says Bangalter. Anybody who had a certain aspiration something creative, whether it movies or music or design, would stand out. They struck up a conversation about film-The Lost Boys being the first of many movies theyd watch and discuss together. Later, theyd produce their own fanzine, Banane M canique (Clockwork Banana), the first issue of which featured a mash-up of the poster A Clockwork Orange and the cover of the album The Velvet Underground amp; Nico.两人第一次相见,是1987年在巴黎Lycee Carnot学校,彼时他们都是八年级的艺术生在这所学校,他们周围都是渴望进入业工作的同学,而两人都来自从事创意行业的家庭:德霍曼-克里斯托的父母开了一家广告公司,本高特的父亲则是一位颇有建树的词曲作家两人不久便发现了彼此本高特说:“(那所学校)像是一家制造商人的工厂,任何人只要怀揣从事某种创意行业的理想,不管是电影、音乐还是设计,都会引人注目”他们开始谈起电影,《捉鬼小精灵(The Lost Boys)成为他们一起观看并讨论的众多影片中的第一部后来他们出版了自己的同好杂志《发条香蕉(Banane Mecanique),其中第一期是把电影《发条橙(A Clockwork Orange)的海报和专辑《地下丝绒乐队与妮可(The Velvet Underground amp; Nico)的封面糅在了一起And though Bangalter and de Homem-Christo both obsessed over vintage acts such as the Doors and Jimi Hendrix -and would spend hours at the library, looking at microfiche of old rock magazines-it would take years them to make music together. Their first song was a short loop of drum machine and bass, recorded at Bangalter home. We were ripping off this bass line, thinking we were doing something extraordinary, says de Homem-Christo now, smiling at the memory.虽然本高特和德霍曼-克里斯托都痴迷于《大门(The Doors)和《吉米?亨德里克斯(Jimi Hendrix)这样的经典影片,并且会在图书馆连坐数小时观看旧摇滚杂志的缩微胶片,但多年之后他们才开始一起做音乐第一首作品是鼓机与贝斯的循环短曲,是在本高特的家里录制的忆起往昔,德霍曼-克里斯托脸上露出微笑,说:“我们是在压榨这条贝斯声线,觉得是在做一件非同寻常的事情”Later, theyd m a ramshackle guitar band, Darlin, bee immersing themselves in the growing rave movement, regrouping as Daft Punk and releasing a series of singles, finally culminating in Homework, which was recorded in Bangalter bedroom. It a buoyant, grabby debut, anchored by the underwater thump of Around the World and the prowling, glitchy bass of Da Funk. The album was a critical hit, even in the states, and established Daft Punk as madcap dance-floor alchemists.后来他们组建了一松散的吉他乐队,名叫“Darlin’”,然后又全身心投入到当时正在壮大的“rave”运动,重组为“傻朋克”乐队,发布了一系列的单曲,最后有了《家庭作业这样的巅峰之作他们这首张专辑在本高特的卧室里录制而成,风格轻快而撩人,以《周游世界(Around the World)的水下敲击声和“Da Funk”低沉而吵哑的贝斯声压阵它是一张至关重要的热门唱片,即便在美国也是如此,并且奠定了傻朋克舞曲界的狂妄炼金术士的地位It also earned them a reputation as reluctant semi-stars. When theyd play gigs, de Homem-Christo would hide behind equipment or turn his back, Miles Davis -style, to the audience. I was too shy to be confronted by any kind of audience, he says. Going to the blackboard at school was the worst torture. To promote Homework, they wore goofy animal masks, kept a safe distance from the press and didnt appear in s, preferring surreal clips directed by the likes of Spike Jonze and Michel Gondry.这张专辑还为他们赢得了一种不愿抛头露面的名声要做现场表演的时候,德霍曼-克里斯托就会躲在乐器后面,或者是像迈尔斯?戴维斯(Miles Davis)那样转过身去背对观众他说:“我太怕羞了,不管哪种观众都不敢直接面对在学校上黑板是最痛苦的折磨”为了推销《家庭作业,他们戴上怪怪的动物面具,跟媒体保持着安全距离,并且不在视频中亮相,也更喜欢斯派克?琼斯(Spike Jonze)和米歇尔?冈瑞(Michel Gondry)等人导演的超现实镜头 01 Discovery, Daft Punk introduced a new look, in the m of impenetrably sleek robot getups. They also debuted a new sound: a mix of soft-rock haze, guitar-shredding rock and meticulously coordinated goofiness. The record yielded Daft Punk then-longest-charting hit, One More Time, a new millennium ode to unyielding good times that, considering how the rest of the decade turned out, now sounds equal parts ebullient and poignant.为录制01年的《发现(Discovery),傻朋克推出了一副新的装扮:光滑?亮而又密不透风的机器人装他们还推出了一种新的音质:慢摇滚的迷茫、撕裂吉他的震撼和精心设计的痴颠混合在一起这张专辑有傻朋克当时在音乐排行榜上盘踞时间最长的歌曲《再一次(One More Time)它是对即将呈现的好时代的又一次千年赞颂考虑到后来年发生的情况,现在它听起来既热情奔放,又五味杂陈Daft Punk music would continue to mutate over the coming years and albums, from the aggro Human After All () to the swelling, orchestra-aided Tron: Legacy soundtrack (). With each new release, the robot masks would undergo some new iteration. Bangalter and de Homem-Christo, the masks function as a way to ensure privacy: They like being able to go out without being harassed, and they strive to keep their personal lives as undocumented as possible (neither cares to discuss his family, though both have children, and Bangalter is married to French actress élodie Bouchez ).在接下来的年头和专辑里面,从年激愤的《毕竟还是人类(Human After All)到年澎湃、有管弦乐辅助的《创:战记(Tron: Legacy)配乐,傻朋克的音乐在继续变异每发一张新专辑,机器人面具都会有一些新的演变在本高特和德霍曼-克里斯托看来,面具起到一种保护隐私的作用:他们喜欢出门的时候能够不被人骚扰,而且都尽量保持私生活“无据可查”的状态(两个人都不喜欢谈论自己的家人,不过他们都有孩子,本高特的妻子是法国演员艾洛迪?布歇(Elodie Bouchez))In later years, as the duo got more famous-their legendary - tour found them playing gargantuan arenas-the helmets let them avoid all the insincere glad-handling that comes with being recognized, especially in the music industry. You feel it not real when people are, like, petting your back all the time, says de Homem-Christo. But, perhaps most importantly, being cloaked in head-to-toe suits-the most striking iteration of which was designed, with glittery sleekness, by Saint Laurent Hedi Slimane -and voice-altering electronics grants the members of Daft Punk the ability to disappear from even themselves. It allows you to get what youve done and what you are, says Bangalter. us, the idea of always starting from scratch is really interesting.在之后的年头里,随着傻朋克的名气越来越高(年到年的传奇巡演期间,他们已经在超大的演出场地演出),头盔让他们逃掉了被认出来之后不得不面对的各种虚情假意,特别是在音乐行业德霍曼-克里斯托说:“比如说别人一直在抚摸你脊背的时候,你会感觉不真实”但最重要的恐怕还在于,躲藏在从头到脚的戏装(最惹人眼球的版本是 罗兰(Saint Laurent)的赫迪?苏莱曼(Hedi Slimane)设计的一套闪闪发光的装)和改变音色的电子乐里面,使得傻朋克的两位成员隐遁于人前,甚至是隐遁于自己本高特说:“它使你能够忘掉自己做过什么,忘掉自己是谁在我们看来,总是从零开始这一点真的非常有趣”It an ethos that goes all the way back to their early days, right after they came up with Da Funk. The track was such a crowd-pleaser that Bangalter and de Homem-Christo set out to make a soundalike sequel. It would have been an easy hit, but the song was such an obvious unsatisfying self-homage, they decided not to release it. That was a big change of direction, de Homem-Christo says. We said, Let try something totally opposite, and from that day, we never did the same thing.这种气质发端于傻朋克的早期,即他们推出“Da Funk”之后由于这首曲子非常迎合大众口味,本高特和德霍曼-克里斯托决定推出一首相似的续篇如果面世的话,它将很容易走红,但这首歌是一种明显的自我崇拜,他们很不满意,所以决定不予发布德霍曼-克里斯托说:“那是一次很大的转向我们说,‘来做点完全相反的事情吧’,从那天开始,我们从未做过同样的事情”BANGALTER, QUICK AND SPRINGY, is leading me around the room at Conway, where they worked not only on Random, but also on several tracks Kanye West Yeezus album. He shows me a gorgeous Steinway piano in one corner, and a booth where they oversaw the Gary Glitter-gone-tribal drumbeats of West hit Black Skinhead. In their early years, Bangalter and de Homem-Christo preferred to do much of their work at home studios, but Random opened them up to tuff we couldnt really do at home, says Bangalter, gesturing around a large recording area. We were like, Okay-clap-let experiment.身形轻快敏捷的本高特带着我参观康韦录音室的那个房间在这里,他们不仅录制了《超时空记忆,还为坎耶?韦斯特(Kanye West)的专辑“Yeezus”录制了多首曲子他带着我看了屋角一架漂亮的斯坦威(Steinway)钢琴,还有一间隔音室──韦斯特热门歌曲《黑色光头(Black Skinhead)里面类似狂野版盖瑞?格利特(Gary Glitter)的鼓声,就是两人在那间隔音室里监制的早年的本高特和德霍曼-克里斯托更喜欢使用家里的录音室,但本高特指着录音室里一片宽阔的录音区说,《超时空记忆让他们看到了“无法在家里完成的东西我们就像是:OK,试验一下吧”Random began in earnest in , when Bangalter and de Homem-Christo moved their gear into a giant studio and began playing around. Inspiration came from Tron, which they were still in the midst of scoring, and which required them to work with a full orchestra. Though theyd collaborated with other musicians in the past-most notably on the West single tronger-as Tron progressed, they found themselves energized by the prospect of incubating a more open-ended creative commy. They started to see their role on Random less as musicians and more as filmmakers, shepherding a large group of disparately talented people and ing them behind a single vision.《超时空记忆的录制工作在年正式开始本高特和德霍曼-克里斯托把他们的装备搬到一个大型录音室,开始试音灵感来自于《创:战记,当时他们还在为这部电影配乐,而电影的配乐要求他们跟一个完整的管弦乐团合作虽然过去也曾跟其他音乐家合作(特别是年录制韦斯特单曲《更强(Stronger)的时候),但随着《创:战记配乐的进行,他们看到孵育一个更开放创意共同体的可能性,并为之感到振奋他们开始觉得,在《超时空记忆里面,他们的角色与其说是音乐家,倒不如说是导演:带领一大群各怀禀赋的人才,把他们团结在同一种想象之下So Bangalter and de Homem-Christo ditched their samplers and began a years-long series of recording sessions, traveling to Los Angeles, Paris and New York. As with any project they undertake, Bangalter says, making an album is so day-to-day. We dont have a road map or a master plan.于是本高特和德霍曼-克里斯托抛弃了采样器,前往洛杉矶、巴黎和纽约一期一期地录制,耗时数年本高特说,跟他们做的任何项目一样,录制专辑是一种日常工作,“没有路线图也没有总体规划”Perhaps no track exemplifies their calculated capriciousness better than Get Lucky, which took more than a year to record. Bangalter and de Homem-Christo had been working on the track since , but the song sparkling guitar lines werent in place until they met with legendary guitarist and producer Nile Rodgers. At first, the three men just talked.恐怕没有哪首曲子比录制耗时一年多的《走运更能体现他们精心设计的反复无常本高特和德霍曼-克里斯托从年就开始创作这首歌,但直到他们遇上传奇吉他手兼制作人奈尔?罗杰斯(Nile Rodgers),这首歌闪耀的吉他声线才开始成形起初三个人只是在口头上谈Their discussions with me were holistic discussions, notes Rodgers, who provided Get Lucky with its spiky backbone riff. It was like, were treating this record as if the Internet doesnt exist. And I interpreted that as, were approaching this record the way we approached records in the pre-digital era. Which meant permances had to have a linear life: a beginning, a middle and an end. And those permances had to be played pretty damn good.为《走运贡献了核心连复段的罗杰斯说“他们与我的讨论是原则上的讨论我们对这张专辑的处理就像是互联网根本不存在一样我的解释是,我们要像对待前数字化时代的专辑一样对待这张专辑,也就是演奏必须是一条线性的生命:有开始,有中间部分,有结尾,而这些演奏又必须做到一流”After some discussions about what the group was trying to achieve, Rodgers took out his guitar and started playing. The riff Get Lucky, Rodgers says, came right there on the spot. When I first started playing, it was a little too complicated. You could see this look on Guy-Man face, which was not so approving but respectful, and I knew I wasnt in the right place yet. But that how all my stuff starts out. I do complicated things first, simplify it, then work backwards. Rodgers would wind up contributing to three songs on the album, including the most recent single, Lose Yourself to Dance.在讨论要实现什么样的目标之后,罗杰斯拿出吉他开始弹奏罗杰斯说,《走运的连复段“完全是即兴演奏的我开始弹的时候还有点过于复杂,从盖-马努尔的脸上就可以看出,虽然不是很赞同,但还是充满尊重,我就知道我还没有做到位但我的所有作品都是这样开始的,先把复杂的做出来,然后予以简化,倒着回去”到最后,罗杰斯为这张专辑里面的三首歌曲出了力,其中之一是最晚出的单曲《迷失自己于舞蹈(Lose Yourself to Dance)Months later, after shaping the track on their own, Bangalter and de Homem-Christo summoned Pharrell to their studio in Paris. Once again, they didnt start playing right away. Instead, they listened to a few singles Pharrell had been working on and talked music. They were feeling the same way I was, Pharrell says. That everything now is so programmed, it missing the human element.几个月后,本高特和德霍曼-克里斯托在自己定好《走运大体框架之后把法瑞尔叫去了他们的巴黎录音室这一次他们也没有马上开始弹奏,而是听了法瑞尔之前正在创作的几首单曲,并谈论音乐法瑞尔说:“他们跟我的感觉一样,就是现在什么都通过编程编好了,缺失了人的元素”Theyre very methodical, but at the same time very sensitive with how they make their music, Pharrell continues. Not sensitive in a negative way, but very open. And their music is always in a constant pursuit of feeling. That a recurring theme in every piece of music they make, and that not a human trait to me; it more characteristic of a robot.法瑞尔接着说:“他们非常地有条不紊,但同时对自己如何做音乐又非常地敏感不是那种消极的敏感,是非常地开放他们的音乐一直是在不断地追寻感觉这是他们每一件音乐作品里反复出现的一个主题,在我看来它并不是人的特点,勿宁说是机器人的特点”After giving the jet-lagged Pharrell a superstrong over-the-counter French stimulant, Bangalter and de Homem-Christo cued up a rough draft of Get Lucky and asked if he was interested in working on it. the most part, they let me roam free, he says. They introduced it as a blank canvas: What are you hearing; what are you seeing? We did so many takes of different parts, because they like to capture something perfect. And perfect doesnt mean that every syllable is sung correctly. Perfect means it touches the soul.在给倒时差的法瑞尔吃了一剂超强的法式非处方兴奋剂之后,本高特和德霍曼-克里斯托准备弹唱《走运的一个草稿,问他有没有兴趣参与创作法瑞尔说:“他们基本上是让我自由发挥他们把这首曲子当作一张空白画布呈现给我:你听到了什么,你看到了什么?我们对各个不同的环节做了多次尝试,因为他们喜欢捕捉到某种完美的东西完美的意思并不是每一个音节都唱对,而是每一个音节都触及灵魂”When it was all over, Pharrell got back on a plane. He was so exhausted, he could barely remember what hed sung.全部完事之后,法瑞尔坐飞机回去了精疲力竭的他差点都想不起自己唱了什么HERE ARE A FEW oft-spoken truisms about the music industry in the year : Pop songs, even big ones, are lucky if they can dominate the airwaves more than a few weeks; the major-label system is a slowly smoldering empire in decline; the best way to ensure a chart-topping, culture-conquering album is to shake the tendrils of some deep-pocketed mega-corp (Samsung, Bud Light) that has as much to with music as it does with, say, llama husbandry.关于年的音乐行业,有几句常常被说起的老生常谈:流行歌曲(哪怕是热门流行歌曲)在电台上播放的时间如果能超过几个星期,那就算运气好了;大唱片公司制度是一个正在慢慢焚化的衰落帝国;确保一张专辑登顶排行榜、跨越文化界线的最佳办法是摆脱一些实力雄厚的大财团的羁绊,比如三星(Samsung)、百威(Bud Light)等,这些大财团不仅做音乐,还做羊驼养殖之类的业务These are all, sadly enough, pretty much well-founded realities at this point. But the release of Random, and its ensuring success, has proved to be, at the very least, a temporary rebuke to the way music has been sold in the last decade.可悲的是,这一切在当下基本上都是有根有据的现实但事实明,《超时空记忆的发布及之后取得的成功,再怎么说也是对过去年音乐发售方式的一种暂时的批判Bangalter and de Homem-Christo had funded the record production, but instead of releasing it independently, they turned to Columbia Records, one of the oldest major labels in the world-and also one of the last. Bee wed heard the record, we met with them to talk about their philosophy, says Columbia Chairman Rob Stringer. Their attitude was, records do still sell, if they have quality and imagination behind them. We talked about campaigns that were really based on the golden age of the record industry, in the 70s and 80s, when the Sunset Strip was as much about music as it was about movies.唱片的制作经费由本高特和德霍曼-克里斯托提供,但他们并没有独立发行,而是求助于世界上第一批成立、也是最后一批存在的大品牌之一:哥伦比亚唱片公司哥伦比亚公司董事长罗伯?斯汀格(Rob Stringer)说:“听这张唱片之前,我们跟他们见了面,谈起他们的理念他们的态度是,只要有足够的质量和想象力,唱片还是可以好卖的我们谈起推广计划这些计划其实是基于唱片行业在70年代、80年代的黄金时期,那个时候日落大道不仅关乎音乐,同样也关乎电影”Random was introduced using a mix of retro showmanship and new-media cunning. Instead of announcing the record online, the band teased it with a brief, vague ad on Saturday Night Live, a clip that featured little more than their helmeted visage and a quick snippet of Get Lucky. That was followed by billboards in cities like New York and London; a series of YouTube interviews with the likes of Pharrell and Rodgers; and a reveal of the album track-listing on the -sharing app Vine.《超时空记忆的发布将怀旧表演技巧与新媒体技巧融合在了一起傻朋克并没有在网上发布这张专辑,而是欲擒故纵地在《周六夜现场(Saturday Night Live)发布了一则简短而含混的广告,镜头上除了他们戴着头盔的形象和一小段《走运之外基本上就没有别的了之后专辑的广告又打上了纽约、伦敦等城市的广告牌,然后是YouTube上法瑞尔、罗杰斯等人接受采访的视频,以及视频分享应用Vine上发布的专辑歌曲列表The buildup to the record was so steadily intriguing that, as Random release date came closer, its success felt like a fait accompli-which is strange, given that, all their success, Daft Punk had never broken into the top 0 in the U.S. So when the album finally debuted at number 1, no one was surprised-in part because of its persuasive marketing, but also because, by that point, Get Lucky was beginning to lodge itself in the country collective hippocampus.造势活动稳步吊人胃口,所以当《超时空记忆的发布日期日益临近的时候,它的成功感觉已经像板上钉钉(这一点很不寻常,因为傻朋克尽管很成功,但也从来没有进入到美国销量排行榜前0名)所以当这张专辑最终实现上市首周便取得销量第一的成绩时,谁都不觉得奇怪,这既是因为它的营销说力很强,也是因为到那个时候《走运已经开始融入美国人的集体记忆And though it never actually reached the top of the singles charts in America-denied entry by Robin Thicke Blurred Lines, also featuring Pharrell-it hard to think of another song this year that proved as joyfully egalitarian, or as reliably escapist, as Get Lucky. People are in a time or a place when they wanna feel again, says Pharrell, when asked why the song took off. The Internet has brought on so much ubiquity. When you can get the news real-time, and with 7 billion people on the planet, odds are, there gonna be bad news. I think were all y to hear music that takes us away and allows us to have a good time again. Most people just want to be happy.《走运事实上从未登顶美国的单曲排行榜(被罗宾?西克(Robin Thicke)的《模糊线条(Blurred Lines)挤出,这首歌也有法瑞尔参与),但很难想到今年有哪首歌像它一样地充满了快乐的平等主义和确切的逃跑主义法瑞尔在回答这首歌为什么走红的问题时说:“人们想再次感受曾经处过的时间或空间互联网带来了如此多的无处不在现象地球上有70亿人口,当你随时能够读到新闻,读到的很可能就是坏消息我觉得我们都乐意听到一些带我们远走高飞、让我们能够再次享受好时光的音乐大部分人不过是想感到快乐”There another music-biz axiom that Daft Punk flouted this year, much to the chagrin of its fans: Namely, that when youve got an album as big as this one, youve got to get out and play it live.傻朋克今年还鄙视了另一条音乐行业的公理,让其信奉者大为懊丧这条公理是:推出这样盛大的一张专辑,你必须亲自出马搞现场演出The group last tour-during which they permed in a massive light-up pyramid-ended in . The shows have become legendary: Like Woodstock, theyre the kind of gigs people remember fondly, even if they werent actually there. Daft Punk never had a problem selling out huge venues, but the group scarcity has only increased their fans demand more stage time.傻朋克的最后一次巡演在年结束(期间他们曾在一个灯光璀璨的巨型金字塔里表演)那几场演出已经成为传奇:像伍德斯托克音乐节(Woodstock)一样,它们也属于那种被人津津乐道的演出,尽管实际上并不是在伍德斯托克进行的傻朋克的大型表演从来不愁卖,但这个组合很少演出这一点只会让歌迷更加希望他们多在舞台上演出As proof, witness the group only live appearance this year, at the MTV Video Music Awards. They were originally supposed to appear on Comedy Central The Colbert Report, but after what host Stephen Colbert later claimed was interference from MTV, the duo pulled out. (MTV, Colbert and Daft Punk all declined to comment.) As it turns out, the VMAs wound up being Daft Punk only strategic misfire of the year-after all the buildup to their appearance, it was deflating to watch two guys in robot suits simply help hand out an envelope onstage.作为据,不妨看看这个组合今年在MTV音乐电视大奖(MTV Video Music Awards)颁奖典礼上唯一的一次亮相本来他们要在喜剧中心频道(Comedy Central)的“科尔伯特报告”(The Colbert Report)中表演,但后来还是退出了,据主持人斯蒂芬?科尔伯特(Stephen Colbert)后来称,这是因为MTV方面的干预(MTV、科尔伯特和傻朋克均拒绝置评)事实明,MTV音乐电视大奖颁奖典礼成为傻朋克今年来唯一的一次失策:在有关他们将要亮相的各种造势活动之后,看到两个穿着机器人外套的人在舞台上只是帮忙递出一个信封,实在让人泄气As of now, the group has no plans to play live, even though the electronic-dance field theyve inspired has grown into a multimillion-dollar industry, and despite the fact that there are no doubt millions of fans (and certainly a few business associates) who would love to see them hit the road.尽管在傻朋克激发下诞生的电子舞曲已经成长为一个庞大的产业,尽管肯定有数百万的乐迷(肯定还有一些商业伙伴)期待看到他们走上巡演之路,但到目前为止,这个组合还没有现场演出的计划Were not sensitive to any kind of pressure, because the most valuable thing we have is our own freedom and creative dreams, says Bangalter. There less value us in a big bag of money than in a creative idea we want to fulfill. The world we live in today is slightly off because money makes the world go. So weve had the freedom to always pick the thing that makes us the most happy.本高特说:“我们不在意任何压力,因为我们拥有的最宝贵的东西,是我们自己的自由和创作梦想一大袋子钱对于我们的价值,比不上一个我们希望实现的创作构想我们今天生活的世界有些偏离正轨,因为金钱能让地球转动总之我们有自由去挑选最让我们感到快乐的东西”Still, it seems a given that at some point Bangalter and de Homem-Christo will decide to reimagine their live show, in the same way they rewired their sound. After all, a song like Get Lucky only comes along once or twice a career, and as much as the robots love watching our reactions to it from the safety of their cars, it hard to believe they wont want to see that joy amplified, illuminated and shared, and among thousands of faces all at once. After all, theyre only human.但本高特和德霍曼-克里斯托似乎肯定会在将来的某个时候重新想象他们的现场演出,就像他们重新设计自己的声音一样毕竟像《走运这样的歌曲在艺人从业生涯中只会出现一两次,而且,既然这两个机器人喜欢舒舒地坐在车里看我们对这首歌的反应,很难相信他们不想看到这种快乐被放大、被点亮、被分享,一瞬间呈现在数千张脸孔之上他们毕竟还是人类 6Angelina Jolie Pitt: Diary of a Surgery安吉丽娜·朱莉·皮特:手术日记Two years ago I wrote about my choice to have a preventive double mastectomy. A simple blood test had revealed that I carried a mutation in the BRCA1 gene. It gave me an estimated 87 percent risk of breast cancer and a 50 percent risk of ovarian cancer. I lost my mother, grandmother and aunt to cancer.两年前,我曾写过一篇文章,是关于我选择预防性双乳切除手术的因为一项简单的血检显示,我的BRCA1基因存在突变这意味着我患乳癌的概率高达87%,而患卵巢癌的概率高达50%此外,我的母亲、外祖母和姨妈都因癌症去世   I wanted other women at risk to know about the options. I promised to follow up with any inmation that could be useful, including about my next preventive surgery, the removal of my ovaries and fallopian tubes.为了让其他高危女性了解我的选择,我曾经承诺会不断更新有用的消息,比如我接下来要做的预防性卵巢与输卵管摘除手术I had been planning this some time. It is a less complex surgery than the mastectomy, but its effects are more severe. It puts a woman into ced menopause. So I was ying myself physically and emotionally, discussing options with doctors, researching alternative medicine, and mapping my hormones estrogen or progesterone replacement. But I felt I still had months to make the date.为了这个手术,我已计划了一段时间虽然它没有乳腺切除术复杂,但影响却更严重,它会迫使女性绝经,进入更年期,我做了很多身心准备工作,与医生探讨其他办法,研究替代性药物,规划雌激素和激素代替物但我依然觉得自己还有好几个月的缓冲时间Then two weeks ago I got a call from my doctor with blood-test results. ;Your CA-5 is normal,; he said. I breathed a sigh of relief. That test measures the amount of the protein CA-5 in the blood, and is used to monitor ovarian cancer. I have it every year because of my family history.就在两周前,我接到了医生的电话,他告知我血检结果听到他说;你的CA-5正常;时,我舒了一口气血液中的CA-5蛋白含量是用来检测卵巢癌的一项指标因为家族病史,我每年都会做这项测试I went through what I imagine thousands of other women have felt. I told myself to stay calm, to be strong, and that I had no reason to think I wouldnt live to see my children grow up and to meet my grandchildren.我顿时想到成千上万的女性们(在接到诊断通知书时)心中的感受我告诉自己要保持冷静和坚强,因为我必须活下去,看着我的孩子们长大,活着看见我的孙子孙女们出生I called my husband in France, who was on a plane within hours. The beautiful thing about such moments in life is that there is so much clarity. You know what you live and what matters. It is polarizing, and it is peaceful.我给身在法国的老公打了电话,几个小时后他将登机生命中最;美好;的时刻,莫过于一切都无比明了清晰你知道了自己活着的目的,也知道什么才最为重要()虽然极端,但也能平静接受That same day I went to see the surgeon, who had treated my mother. I last saw her the day my mother passed away, and she teared up when she saw me: ;You look just like her.; I broke down. But we smiled at each other and agreed we were there to deal with any problem, so ;let get on with it.;当天,我就去见外科医生,她曾治疗过我的母亲上一次见她还是我母亲去世之时,当时一见到我,她就哭着说:;你跟你的母亲长得真像;我也随之崩溃但这一次,我们都对彼此笑了笑,约定要解决所有问题,所以;让我们继续加油;Nothing in the examination or ultrasound was concerning. I was relieved that if it was cancer, it was most likely in the early stages. If it was somewhere else in my body, I would know in five days. I passed those five days in a haze, attending my children soccer game, and working to stay calm and focused.超声波检查并无异样我也终于松了口气,因为即使是癌症,也极可能还处于早期阶段如果是身体其他部分的问题,我将会在五天内得到通知于是,我度过了昏昏沉沉的五天,参加了孩子们的足球赛,忙着工作试图保持冷静和专注The day of the results came. The PETCT scan looked clear, and the tumor test was negative. I was full of happiness, although the radioactive tracer meant I couldnt hug my children. There was still a chance of early stage cancer, but that was minor compared with a full-blown tumor. To my relief, I still had the option of removing my ovaries and fallopian tubes and I chose to do it.终于到了出结果的那天PETCT扫描清楚地显示没有肿瘤迹象,而肿瘤检测也呈阴性尽管因为体内有放射性示踪剂,我还不能和孩子们拥抱,但我还是满心欢喜虽然,早期癌症的风险仍在,但是相比较全面爆发的肿瘤,这已经不算什么了庆幸地是,我还有机会可以选择进行卵巢和输卵管摘除术,于是我决定进行手术I did not do this solely because I carry the BRCA1 gene mutation, and I want other women to hear this. A positive BRCA test does not mean a leap to surgery. I have spoken to many doctors, surgeons and naturopaths. There are other options. Some women take birth control pills or rely on alternative medicines combined with frequent checks. There is more than one way to deal with any health issue. The most important thing is to learn about the options and choose what is right you personally.我想告诉其他女性的是,我做这个决定并不仅仅是因为携带了BRCA1突变基因仅仅是BRCA基因检测呈阳性,并不意味着你需要立即接受手术我曾咨询过许多大夫、外科医生,还有理疗专家,得知对此还有其他的治疗方式可供选择,比如口避药或者代替药物,并结合定期检查进行治疗面对健康问题,解决之道往往不止一种,而最重要的是了解这些解决方案,并从中选择最适合自己的一种In my case, the Eastern and Western doctors I met agreed that surgery to remove my tubes and ovaries was the best option, because on top of the BRCA gene, three women in my family have died from cancer. My doctors indicated I should have preventive surgery about a decade bee the earliest onset of cancer in my female relatives. My mother ovarian cancer was diagnosed when she was 9. Im 39.拿我的例子来说,中西医在诊断之后,都认为摘除卵巢和输卵管是我最好的选择,因为我不仅携带突变BRCA基因,还有三位女性亲人死于癌症我的医生们表示,相比女性亲人们最早出现癌症症状的年纪,我应该提前十年进行预防性手术我妈在9岁时被诊断出卵巢癌,而我今年已经39岁了I have a little clear patch that contains bio-identical estrogen. A progesterone IUD was inserted in my uterus. It will help me maintain a hormonal balance, but more important it will help prevent uterine cancer. I chose to keep my uterus because cancer in that location is not part of my family history.我还在身体里打了个;补丁;,里面装着替代性雌激素而我的子宫里还有一个一个激素节育器,用以维持我的激素平衡,更重要的是预防子宫癌我选择留下子宫,因为我的家族病史中并没有子宫癌It is not possible to remove all risk, and the fact is I remain prone to cancer. I will look natural ways to strengthen my immune system. I feel feminine, and grounded in the choices I am making myself and my family. I know my children will never have to say, ;Mom died of ovarian cancer.;排除所有的风险是不可能的,事实上我依旧属于癌症高发人群但我将会寻求自然的方式增强免疫系统我为自己和家庭做出了这样的选择,这是理智的至少我的孩子们以后绝不会说 ;我的妈妈死于卵巢癌;这样的话了Regardless of the hormone replacements Im taking, I am now in menopause. I will not be able to have any more children, and I expect some physical changes. But I feel at ease with whatever will come, not because I am strong but because this is a part of life. It is nothing to be feared.虽然我使用了激素代替物,但是我现在还是停经了,不能再生育小孩,身体也将出现变化但我将坦然接受所有的结果,这并不是因为我多么坚强,而是因为这就是我生命的一部分,没什么可怕的I feel deeply women whom this moment comes very early in life, bee they have had their children. Their situation is far harder than mine. I inquired and found out that there are options women to remove their fallopian tubes but keep their ovaries, and so retain the ability to bear children and not go into menopause. I hope they can be aware of that.我深深地体谅那些很早就遭遇此劫,甚至还来不及拥有自己孩子的女性,她们的处境比我更为艰难我还咨询到了一种摘除输卵管、保留卵巢的做法,接受这种治疗的女性就不会停经,保留生育能力我希望她们能知道这种选择  It is not easy to make these decisions. But it is possible to take control and tackle head-on any health issue. You can seek advice, learn about the options and make choices that are right you. Knowledge is power.做出这样的决定并非易事,但是任何健康问题都是可控的,也有防患未然的可能你可以寻求建议,了解不同的解决办法,做出最适合自己的选择总而言之,知识就是力量 3835

The pressure is on. The endgame is near. There will be blood, brutality, death and scary lizard mutants smashing through a sewer. The final film installment of Suzanne Collins’s best-selling trilogy, “The Hunger Games: Mockingjay Part ,” will reach American screens on Friday, Nov. , and millions of fans worldwide will scrutinize the movie its fidelity to the books; the portrayal (by Jennifer Lawrence) of its intrepid, taciturn heroine Katniss Everdeen; and its evocation of the civil war that rends Panem, the totalitarian state built from the ashes of North America at some unspecified time in the future.压力很大,终局来了会有鲜血、暴行与死亡,可怕的蜥蜴变种生物涌进下水道月日星期五,根据苏珊·柯林斯(Suzanne Collins)的畅销三部曲改编的《饥饿游戏电影系列的最后一部《饥饿游戏3:嘲笑鸟(下)(The Hunger Games: Mockingjay Part )在美国影院上映全世界千百万书迷们将会紧盯着电影,看它是否忠实原著;詹尼弗·劳伦斯(Jennifer Lawrence)仍在片中饰演勇敢而沉默的女主角凯特尼斯·伊夫狄恩(Katniss Everdeen),她的表现如何?施惠国”是未来某个不确定的时间里建立在如今北美国家余烬之上的集权国家,在这一部影片中被卷入内战,它的命运又将怎样?The pressure has always been on the makers of “The Hunger Games” films. More than nine million copies of the trilogy were in print in the ed States by the time the first movie was being planned, and a huge fan base, with very specific ideas about Katniss and her world, aly existed. Despite the blockbuster nature of the books, Ms. Collins’s dystopian vision of an annual gladiatorial game of wits and weapons in which teenagers — a boy and a girl from each Panem’s districts — must kill one another while the entire population of Panem watches on television, wasn’t an easy one to bring to the screen.《饥饿游戏电影的制作人们总要承担压力当系列的第一部电影筹拍之时,原著三部曲小说在美国已经印行了900万册,它拥有广大的粉丝基础,人们对凯特尼斯和她的世界已经有了非常清晰的概念柯林斯女士的这部反乌托邦小说讲了这样一个故事,施惠国有个地区,每一年,每个地区都要选送一名少年与一名少女参加竞技游戏,凭着智慧与武器生存,彼此残杀,施惠国的全体居民则会通过电视观看,尽管小说有着畅销基础,但要把它搬上银幕却并不容易“Many studios just passed,” said Nina Jacobson, who, along with Jon Kilik, has produced the film series from the start. She and the director Francis Lawrence, who was responsible “Mockingjay Part ” as well as the two preceding films, were sitting in a London hotel the day after the movie’s red-carpet premiere here, recalling the often difficult path they traveled to bring the series to fruition.“很多制片公司都放弃了,”妮娜·雅克布逊(Nina Jacobson)说,她和琼恩·吉里科(Jon Kilik)从第一部起就担任这个系列的制片人该片在伦敦举行红毯首映礼的第二天,她与《嘲笑鸟下和前两部影片的导演弗朗西斯·劳伦斯(Francis Lawrence)一起在伦敦的一家酒店中,回忆了这部系列走过的艰难路途“Kids killing kids, a young protagonist, female, and what’s with the weird name?” Ms. Jacobson said. “I had people saying: ‘Couldn’t you age up the characters? Can we make the love triangle more important?’”“孩子之间彼此残杀,一个年轻的领袖,女性,还有这个奇怪的名字是怎么回事?”雅克布逊说“有人问我:‘你不能让角色年纪大一点吗?我们能不能让三角恋爱关系分量再重一点?’”Ms. Jacobson, an independent producer, said that she became “fixated” on the series after an employee persuaded her to the first novel and that she convinced Ms. Collins that she would find a studio that would be faithful to the stories’ values.雅克布逊是一位独立制片人,她说,一个员工推荐她读读小说的第一部,她就“迷上了”这个系列,她向科林斯女士保,她一定会寻找一家忠实原著价值观的制片公司“The book is about the consequences and the commercialization of violence, so it can’t be guilty of commercializing violence itself,” she said of the film franchise. “That was the first conversation we had.” (Ms. Collins wouldn’t comment this .)“这本书说的是暴力的后果,以及暴力的商业化,被商业化了的暴力就不会令人产生负罪感,”她说起这部电影的改编,“这就是我和柯林斯做的第一次对话”(柯林斯女士拒绝接受本文作者采访)She and Ms. Collins eventually chose Lionsgate from three potential studios, even though it had never made a film on the projected scale of “The Hunger Games.”柯林斯和她最后从三家公司中选择了狮门公司(Lionsgate),尽管它此前从未拍过《饥饿游戏这样规模的大片“Having been a corporate soldier most of my career, I was very aware of how scared big companies can get down the line,” Ms. Jacobson said. “At Lionsgate, everyone was in the room from the beginning and knew exactly what they were in .”“在事业生涯的大部分时间里,我都是团结协作的战士,我非常清楚担惊受怕的大公司有时候是多么拖沓,”雅克布逊说,“但在狮门,从一开始,所有的负责人都在,而且知道自己的职责是什么”One of those things was Ms. Collins’s uncompromising vision of a heroine who is not friendly, funny, kooky or defined by a man. “A brilliant, possibly historic creation — stripped of sentimentality and psychosexual ornamentation, armed with Diana’s bow and a ferocious will — Katniss is a new female warrior,” Manohla Dargis wrote in The New York Times review of the first film.柯林斯笔下毫不妥协的女英雄不怎么友好,也并不有趣或古怪,并且完全不受男人掌控,这是小说中非常重要的东西“这是精的,或许是历史性的开创,她身上剥除了多愁善感和精神性爱的装饰,用狩猎女神的弓箭武装起来,有着凶狠的意志——凯特尼斯是全新的女战士,”曼诺拉·达吉斯(Manohla Dargis)在《纽约时报发表的,对第一部影片的影评中说道Still, Ms. Jacobson insisted that there had never been any demands to direct the role differently. Mr. Lawrence agreed. “The conventional arc this kind of movie would have been that she was petrified to go into the Games, and learns courage and triumphs,” he said. “Instead she volunteers, is courageous from the beginning and is changed in other ways — and not always the better. In the last movie, it is her fault that some of the loss of life happens.”但是雅克布逊坚持说,并不需要对这个角色进行特别处理导演劳伦斯同意她的看法“对于这种电影来说,传统的发展是让她先是害怕参加这个游戏,然后学会了勇气,最终凯旋归来,”他说“但她是自愿参加的,她从一开始就很勇敢,后来她在别的方面产生了很多变化——不一定都是好的在最后一部影片中,因为她的错,有些人送了命”He added that he liked that the love triangle involving Katniss, Peeta (Josh Hutcherson) — her fellow tribute from District — and her childhood friend Gale (Liam Hemsworth) was not at the efront of the movies or the books. “It’s not about romance, it’s just about survival,” he said.他补充说,片中凯特尼斯、她在区的祭品同伴皮塔(Peeta,乔什·哈切森[Josh Hutcherson])饰演),以及她的童年朋友盖尔(Gale,利亚姆·海姆思沃斯[Liam Hemsworth]饰演)之间的三角关系,并不是电影或书的中心,这一点他非常喜欢“它的主题不是浪漫爱情,而是生存,”他说Ms. Lawrence has won plaudits her Katniss, but her casting initially drew an outcry from some fans of the novels — too old, too blonde, too curvaceous. Yet Ms. Jacobson; Mr. Kilik; and the first film’s director, Gary Ross, held their ground.詹妮弗·劳伦斯因凯特尼斯这个角色获得了喝,但一开始决定由她来饰演这个角色时,却令不少原著的书迷抱怨——她年纪太大,是金发,身材太丰满然而雅克布逊、吉里科和第一部电影的导演加里·罗斯(Gary Ross)都力挺她“Jen had and has a very youthful face and quality, and quite honestly from the time we saw her audition, there was no one else that we even considered.” Plus, she added, there was always hair dye.“从过去到现在,詹妮弗都有一张非常青春的脸,也有非常年轻的气质,试镜时她就非常诚实,除了她我们没考虑过别人”此外,雅克布逊还说,她一直都要染头发After the wild box-office success of the first movie, which took in 6.5 million globally, the producers found themselves without a director. Mr. Ross, who had written the screenplay of “The Hunger Games” with Ms. Collins and Billy Ray, issued a statement at the time saying he didn’t have enough time to write as well as direct the second installment.影片第一部取得了巨大的票房成功,在全球赚到了6.865亿美元,之后制片人们发现,他们缺了一个导演罗斯和柯林斯女士以及比利·雷(Billy Ray)一起创作了《饥饿游戏第一部电影的剧本,当时他发表声明,说自己没有时间为为第二部影片担任编剧和导演Mr. Lawrence, who had aly established his post-apocalyptic directing credentials in the Will Smith vehicle “I Am Legend,” said that he was at first hesitant when Ms. Jacobson approached him. “I had never done a sequel to anyone else’s movie,” he said. “If too many parameters have been set, there is not enough to do.” After going back to the books, he said, he found enough of a change of environment to make the second film, “Catching Fire,” interesting.弗朗西斯·劳伦斯当时已经执导过威尔·史密斯(Will Smith)坐镇的后末日巨作《我是传奇(I Am Legend),他说,当雅克布逊女士同他接触时,他一开始非常犹豫“我从来没接手过另一个人的系列片,”他说“如果有太多限制因素已经设定好了,那就没什么发挥余地了”但是,他说,读过原著之后,他发现环境有了足够的改变,可以令第二部影片《饥饿游戏:星火燎原(Catching Fire)有趣起来The decision to split the final novel, “Mockingjay,” into two parts was made bee he came aboard, but Mr. Lawrence said he would not have been able to make an adequate version of the book in a single film. “We got a lot of flack; some people thought it was cynical and money-making,” he said. “But I honestly don’t think the changes that happen to people in that book are doable in a two-and-a-half-hour movie.”他上任之前,制片人们就已经决定将小说第三部《嘲笑鸟分为上下两部电影拍摄,但是劳伦斯先生也说,在单独一部影片里,没办法展现出一本书的全貌“我们遭到很多抨击,有人觉得这很讽刺,都是为了赚钱,”他说“但是第三部书中的人物发生了很多变化,我真的不觉得能在一部两个半小时的电影里说完”Fans may not have agreed; “Mockingjay Part 1” earned Lionsgate around He is known having a horde of die-hard fans.本尼迪克特·康伯巴奇有一群死忠粉人尽皆知But followers of TV actor Benedict Cumberbatch have surpassed themselves by entering into an online bidding war a copy of a free in-flight magazine which features the 37 year-old on its cover.现在本尼迪克特的持者们又参与了一期飞行杂志的竞拍,只因为杂志封面是37岁的本尼迪克特The latest issue of British Airway High Life - which is complimentary customers of the popular airline - is currently selling £30 on Ebay.英国航空公司最新一期《High Life杂志,其实是免费面向飞机乘客的,但是现在已经在Ebay上卖到30英镑了he magazine, which is produced by publishing house Cedar and is not on general release, shows the Sherlock star ice driving in Finland in a convertible sports car.这本由Cedar出版社出版的杂志并不公开发售,这一期刊登了一组本尼迪克特开着敞篷跑车在芬兰的冰天雪地里驾驶的照片Wearing a blue wool jumper with a matching scarf, accompanied by a navy blue duffle coat, the London-born permer cuts a stylish and handsome figure.穿着一身蓝色羊毛针织套衫,搭配一条恰到好处的围巾,在外面披着一件海军蓝的带风帽的粗呢大衣,这位英国演员看上去十分帅气有型Currently, there are twelve bids on the next auction to end, meaning the price could rise further.至今为止,下一轮竞拍还未结束之前,已经有个人竞标了,这说明杂志的最终成交价格有可能还要升高Speaking in an interview with High Life, he says: It a bit of a mystery why as my face has not changed that much during the ten years I have been in this business.本尼迪克特在《High Life的访谈中说道:“我的样貌在我从业十几年来没怎么改变,这的确是件神奇的事情” 78 million less than “Catching Fire.” But Ms. Jacobson defended the film, saying that it was the darkest of the movies, with difficult themes of war and revolution as well as traumatic emotional events. “We hope that people seeing Part will understand the need Part 1 better,” she said.影迷们可能不会同意;《嘲笑鸟上比《星火燎原少了一亿美元的票房收入但雅克布逊女士坚持捍卫这部影片,说它是系列之中最黑暗的一部,要处理战争、革命、创伤的情感时刻等复杂的主题“我们希望看过《嘲笑鸟下的人都能更好地理解《嘲笑鸟上的必要性,”她说(The cast and crew members suffered their own trauma when Philip Seymour Hoffman, who played the chief gamemaker Plutarch Heavensbee in the final three movies, died suddenly a few weeks bee the end of shooting “Mockingjay Part ,” in which he appears, though the filmmakers were ced to rewrite some of his scenes other characters.)(拍摄过程中,剧组成员也经历了创伤的时刻,在后三部影片中饰演游戏总监普鲁塔克·黑文斯比[Plutarch Heavensbee]的菲利浦·赛默·霍夫曼[Philip Seymour Hoffman]于《嘲笑鸟下拍摄结束前几个星期突然身亡,制片人们只得重写片中一些和他有关的场景,把他的戏份改给别人)Mr. Lawrence and Ms. Jacobson said that while such themes are always relevant, they carry particular weight today. “The fear and the consequences of defying the status quo are not glossed over,” Ms. Jacobson said. “You can change the world if you stand up to authority, but at a great cost.”劳伦斯先生和雅克布斯女士说,虽然这些主题一直都很重要,但在当今的世界,它们显得更加意味深长“反抗现状的恐惧与其后果并未被掩饰,”雅克布逊女士说,“如果你挺身而出,反抗权威,就能改变世界,但这要付出巨大的代价” 159


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