Annie Proulx：电影比我的文字更有力量 More powerful than my words

TonyLau

http://www1.brokebackmountain.cn ... l than my words.rar
<br><br><br>
谁逛到这如果知道这个文档是什么的话就顺便添加一下说明吧，我累得不想打字了，得赶个奥斯卡的页面

aromap

原帖由 TonyLau 于 2006-3-6 00:39 发表
http://www1.brokebackmountain.cn ... l than my words.rar

http://www2.brokebackmountain.cn ... l than my words.rar

谁逛到这如果 ...

bbm作者安妮的电影随感，倒数第二段很感人。

aromap

转载请联系 aromap@sohu.com
More powerful than my words
比我的文字更有说服力
February 4, 2006

ANNIE PROULX, the author of Brokeback Mountain, doubted her story of illicit love in rural Wyoming could ever be filmed. Then she saw Ang Lee's movie and was overwhelmed.
大意：安妮恐怕她的小说无人问津，然后碰到了李安，被李安的能力彻底征服
AS A STUDENT OF history and a writer of fiction, I have focused my interest on social and economic change in rural communities - Vermont, Newfoundland, Texas, Wyoming. I am something of a geographic determinist, believing that regional landscapes, climate and topography dictate local cultural traditions and kinds of work, and thereby the events on which my stories are built.
大意：作为文学系学生，我比较喜欢一些州（比如怀俄明）喜欢地理。故事原于这些地方经历。
Landscape is central to this rural fiction. I have been interested in the disappearance of dairy hill farms in New England, the collapsing fishing industry in Atlantic Canada and the slow fade of cattle-ranching in the west.
大意：
景色是我小说的重点。
Close Range contains nine stories, including Brokeback Mountain, ostensibly concerned with the Wyoming landscape and making a living in hard, isolated livestock-raising communities dominated by white masculine values, but also holding subliminal fantasies. Most of the stories are loosely based on historical events, such as the botched castration in People in Hell Just Want a Drink of Water. Brokeback was not connected to any one incident but based on a coalescence of observations over many years, small things here and there.
大意：bbm是我小说系列9个故事之一。大部分故事来自当地历史事件。但是bbm和当地事件没有关系，但是来自于一些多年经历的联想加工。
Some time in early 1997 the story took shape. One night in a bar upstate I had noticed an older ranch-hand, maybe in his late 60s, obviously short on the world's luxury goods. Although spruced up for Friday night, his clothes were a little ragged, boots stained and worn. I had seen him around, working cows, helping with sheep, taking orders from a ranch manager.
1997年bbm故事成型。我仔细观察牧场一老板的工作，穿着。。。
He was muscular in a stringy kind of way. He leaned against the back wall and his eyes were fastened, not on the dozens of handsome and flashing women in the room, but on the young cowboys playing pool. Maybe he was following the game, maybe he knew the players, maybe one was his son or nephew, but there was something in his expression, a kind of bitter longing, that made me wonder if he was country gay.
他的样子，周围小牛仔们嬉戏的情景，让我顿生疑问：这个人是否就是乡村同性恋。。。
Then I began to consider what it might have been like for him - not the real person against the wall, but for any ill-informed, confused not-sure-of-what-he-was-feeling youth growing up in homophobic rural Wyoming.
然后我开始考虑那些他可能经历的事情：不是这个人轻身经历，而是我个人随便胡思乱想，我想到了可以构思一个怀俄明州牛仔的模模糊糊的同性恋故事。这些都是点点低低没有秩序的灵感，而且我自己也反复动摇，故事如何下去。
A few weeks later, I listened to the vicious rant of an elderly bar-cafe owner who was incensed that two "homos" had come in the night before and ordered dinner. She said that if her bar regulars had been there (it was darts tournament night), things would have gone badly for them.
几周以后，我听说当地有酒吧老板目睹两个同性恋进进出出。她说如果这两个同性恋继续进出，恐怕以后没有好结果。

aromap

Brokeback was constructed on the small but tight idea of a couple of home-grown country kids, opinions and self-knowledge shaped by the world around them, finding themselves in emotional waters of increasing depth. I wanted to develop the story through a kind of literary sostenente.
Bbm的灵感来自这两个家伙的经历。感性，自我为是，爱之潮水在他们心坎上涨。我想把这个故事发展成小说。
The early 1960s seemed the right period. The two characters had to have grown up on isolated hard-scrabble ranches and were clearly homophobic themselves, especially the Ennis Del Mar character. Both wanted to be cowboys, be part of the Great Western Myth, but it didn't work out that way; Ennis never got to be more than a rough-cut ranch hand and Jack Twist chose rodeo as an expression of cowboy. Neither was ever a top hand, and they met herding sheep, animals most real cowpokes despise.
60年代早期是我指定的故事时间。这两个角色生长在荒野平原，而且有显著同性恋性倾向，特别是ennis。两人都是牛仔，是西部传奇生活中一部分。但是这故事不追寻西部事件老路。Ennis只不过是低等ranch切割劳动力（不知道怎么翻译，身边除了法文字典，没有朗文字典），jack就是套索工（对不起，不知道怎么翻）。没有任何一个出生于农场主家（布什？？），他们的工作仅仅是照顾羊群等动物。

Although they were not really cowboys (the word cowboy is often used derisively in the west by those who do ranch work), the urban critics dubbed it a tale of two gay cowboys. No.
他们也不是真正的牛仔。（牛仔一词经常用于牧羊人中），大城市的文学评论家说这是关于两个同性恋牛仔的故事。错了。
It is a story of destructive rural homophobia. Although there are many places in Wyoming where gay men did and do live together in harmony with the community, it should not be forgotten that a year after this story was published, Matthew Shepard was tied to the buck fence outside the most enlightened town in the state, Laramie, home of the University of Wyoming.
这是一个关于偏远地带同性恋故事。虽然怀俄明州很多地方同性恋和别的人可以和穆生活，但是仍然有人至今被杀害在某些角落，larmaie,怀恶名大学的早期地址。

Note too the fact that Wyoming has the highest suicide rate in the country, and that the preponderance of those people who kill themselves are elderly single men.
怀俄明是本国自杀率最高的州，通常自杀的都是老的光棍。
In my mind, isolation and altitude - the fictional Brokeback Mountain, a place empowering and inimical - began to shape the story. The mountain had to force everything that happened to these two young men.
在我脑海里，孤独和高山的象征-断背山，成为一个合适的背景地。这座山必须有逼迫两个人发生某些事情的力量。
I have many times heard Wyomingites who have gone east for one reason or another, talk about how badly they missed their natural terrain, the long sight-lines, the clear thin air, how claustrophobic were trees and how dead the atmosphere without the constant flow of wind, and I find it so myself.
我好多次听说一些老家在怀俄明居民，如今定居美国东部，谈论他们如此怀念自己的家乡的土地，长长的天接线，稀薄干净的空气，树木如此繁茂，风如此有灵性，我的确认为这是真的。
It seemed to me that the story could balance only on love, something all humans need and give, whether to one's children, parents, or a lover of the opposite or same sex. I wanted to explore long-lasting love and its possible steep price tag, homophobic antipathy and denial.
对我来说，小说似乎只能建构在爱情层面上，内容反映所有人类共同的需要和给于，无论对小孩，父母或者同性，或者异性（可见bbm不是专门给同性恋的）。我想深层次挖掘持续长久的爱情故事，基于同性的，同情的，不被人谅解的。
These characters did something that, as a writer, I had never experienced - they began to get very damn real. Usually I deal in obedient characters who do what they are told, but Jack and Ennis soon seemed more vivid than many of the flesh-and-blood people around me and there emerged an antiphonal back-and-forth relationship between writer and character. I've heard other writers mention this experience, but it was the first time for me.
这些特性，因为我本人从未经历过，让我很难把握真实性。

aromap

As I worked on the story over the following months, scenes appeared and disappeared. (The story went through more than 60 revisions.) The mountain encounter had to be, shall we say "seminal"? - and brief. One spring, years before, I had been in the Big Horns and noticed distant flocks of sheep on great empty slopes.
接下来几个月我开始撰写小说，脑海里一幕一幕闪现又消失。（故事反复修改了60次）。我去山区逛过，观察过。
From the heights, I had been able to see 100 miles and more to the plains. In such isolated high country, away from opprobrious comment and watchful eyes, I thought it would be plausible for the characters to get into a sexual situation.
在bbm顶部，我看到过100英里远的景物，平原。在这种如此与世隔绝的地带，远离人类世俗，我认为两个主角是有可能发声性关系的。
That's nothing new or out of the ordinary; livestock workers have a blunt and full understanding of the sexual behaviours of man and beast. High lonesome situation, a couple of guys - expediency sometimes rules, and nobody needs to talk about it and that's how it is. One old sheep rancher, dead now, used to say he always sent up two men to tend the sheep "so's if they get lonesome they can poke each other".
我的经历没有什么特别的，大家都知道，孤立的地段，两个男孩之间是有可能发生点事情。根本不需要深入解释（爱是与生俱来的力量。。。）我认识一个老农场主，现在已经去世了，对我说，“我每次招聘，必雇佣两个人上山，这样当他们孤独又欲火中烧的时候，可以借对方身体发泄。”（看来老板也比较人道，早知如此，应该雇一男一女，就好多了，下山以后肯定还带回一个baby!!）

From that perspective Aguirre, the hiring man, would have winked and said nothing, and Ennis' remark to Jack that this was a one-shot deal would have been accurate. The complicating factor was that they both fell into once-in-a-lifetime love. I strove to give Jack and Ennis depth and complexity and to mirror real life by rasping that love against societal norms that both men obeyed, both of them marrying and begetting children, both loving their children, and, in a way, their wives.
对ennis来说，可能就“做这一次”，以后忘掉就可以了。但是复杂的是就这一次，他们坠入了爱河，不能自拔。我试图给ennis一个深度塑造，让他挣扎在梦乡和现实中，受社会世俗约束，这两个人都必须遵守世俗规定，必须结婚生子，必须爱孩子，以及妻子。
Many gay men marry and have children and are good fathers. Because this is a rural story, family and children are important. Most stories (and many films) I have seen about gay relationships take place in urban settings and never have children in them. The rural gay men I know like children, and if they don't have their own, they usually have nephews and nieces who claim a big place in their hearts.
很多同性恋男人结婚生子，成为好父亲。因为这是一个凡夫俗子的故事，家庭和子女很重吆。我看过得大部分电影和小说都是关于城市中同性恋故事，他们从来没有子女的烦恼。但是偏远地带的同性恋有孩子，如果没有孩子，也有外甥，必须好好照顾的。
For both characters to marry women enlarges the story and introduces two young wives who move from innocence and happy trust to some pretty hard lessons about real life. Alma and Lureen give the story a universal connection, for men and women need each other, sometimes in unusual ways.
两个主角都和女人结婚，故事引进两个妻子，从无辜到不得不接受一些艰难教训。Almalureen给故事一个引子，让故事显得世俗化。

It was a hard story to write. Sometimes it took weeks to get the right phrase or descriptor for particular characters. I remember vividly that driving on Owl Canyon road in Colorado down over the state line one afternoon and thinking about Jack Twist's father, the expression "stud duck", which I had heard somewhere, came to me as the right way to succinctly describe that hard little man, and a curve in the road became the curve that killed Ennis' parents. The scene for the kiss when Jack and Ennis reunite after four years occurred in its entirety as I drove past the Laramie cement plant - so much for scenery.
这部小说很难写。有时候我花上好几周时间来反复刻画某个角色。我清晰记得开车去O canny 路然后下午考虑描写jake的父亲。如何描述stud duck类似表情。然后描写ennis父母如何被路上一个拐弯弄出事故死掉。至于jake和ennis4年后接吻的段落，是我在Larami想出来得，很费脑力。
In fact, I did most of the writing while I was driving. The most difficult scene was the paragraph where, on the mountain, Ennis holds Jack and rocks back and forth, humming, the moment mixed with childhood loss and his refusal to admit he was holding a man.
实际上，我很多段落都是开车途中写出来的（怎么写？左右开车右手写字？？）本小说最艰难段落，应属山上ennis从后头抱住jack，思维里失落的童年，以及不愿意承认他抱着的是一个男人。
This paragraph took forever to get right, and I played Charlie Haden's and Pat Metheny's Spiritual, from their album Beyond the Missouri Sky (short stories) uncountable times, trying to get the words. I was trying to write the inchoate feelings of Jack and Ennis, the sad impossibility of their liaison, which for me was expressed in that music. To this day, I cannot hear that track without Jack and Ennis appearing before me. The scraps that feed a story come from many cupboards.
这段永远不能写完美，我播放…Spiritual和Beyongd the Missouri Sky.音乐无数次，式者捕获文字，我式者写出此刻两人的感受，他们不可能一起的现实。至今，我每次听到音乐，眼前必然浮现jak和ennis的身影。
I WAS AN AGEING FEMALE writer, married too many times, and though I have a few gay friends, there were things I was not sure about. I talked with a sheep rancher to be sure that it was historically accurate to use a couple of white ranch kids as flock-tenders in the early '60s, for I knew that in previous decades it had been mostly Basques who did this job, and today it is often men from the South American countries. But jobs were scarce in Wyoming in that period and even married couples with children got hired to herd sheep.
我是一个老年女作家，结婚数次，然而我有一些同性恋朋友，当我不知道如何写下去的时候，我就去请教。我请教一个农场主60年代帐篷的颜色是否是白色。工作环境恶劣，甚至有已婚夫妇被雇佣山上养羊。家里还有子女。
One of my oldest friends, Tom Watkin, with whom I once published a rural newspaper, read and commented on the story as it developed. I thought too much about this story. It was supposed to be Ennis who had dreams about Jack, but I had dreams about both of them.
我的一个最要好得朋友tom，我和他曾经发表过一些关于西部的文章，读了我的小说，并且作了评论。我对这个故事想法很多。曾经立意是ennis先追jack,但是后来想改成两人互追。

aromap

I still had little distance from it when it was published in The New Yorker on October 13, 1997. I expected letters from outraged religio-moral types but instead got them from men, quite a few of them Wyoming ranch hands and cowboys and the fathers of men, who said "you told my story", or "I now understand what my son went through".
当时离最后发表还有一段日子，小说未彻底完善。我预料出版以后会受到脑火的保守天主教人士批评，然而，我收到很多来自怀俄明州的牛仔以及他们父亲的来信，说“你在说的，就是我的故事”还有的说“我现在终于明白我儿子经受的苦难”
I still, eight years later, get those heart-wrenching letters. When I got Diana Ossana's and Larry McMurtry's request to option the story for a film with money from their own pockets - unusual for screen-writers - I was immediately beset with doubts.
甚至小说发表8年以后，我仍然受到感人肺腑的信件。当diana 和larry要求把我小说改编成电影，他们自掏腰包，这在剧作家中很少见，我欣然接受。
I simply did not think this story could be a film: it was too sexually explicit for presumed mainstream tastes, the general topic of homophobia was a hot potato unless gingerly skirted, and, given Hollywood actors' reluctance to play gay men, it would likely be difficult to find a good cast, not to say a director. It was only because I trusted Larry's and Diana's writing skills, film experience, and especially Larry's incomparable knowledge of the west's mores and language that I signed the contract.
我不觉得这小说可以改变成电影，它太色情，脱离主流题材，通常同性恋题材都是热番茄类型，再者，好莱坞演员都不愿意演gay, 找演员会很困难，更别说找导演。只是因为我相信larry和diana的编剧能力，从影经验，特别是larry不可比拟的西部知识和语言（俚语），我决定和他们签合同。
It didn't take them long. Within a few months I was reading their powerful screenplay constructed from the story, but richly augmenting it, adding new flesh to its long bones, filling out the personalities, introducing a little humour and new characters who moved the story along its close-set rails. Yes, the screenplay was beautiful, but my worries continued.
他们没有花很多时间。几个月内我一直在读他们基于我的小说得剧本，但是我也剔出不少修改意见，加上一些新鲜血液，填补人的性格，介入一些简单幽默事件，以及一些增补角色。是的，剧本很美，但是我仍然担心接下来怎么开机。

What producers would be interested in a story about homophobic gay Wyoming ranch hands? What actors would have the guts to do this? What director would take the risk? How severely would the screenplay be clawed to pieces? The freedom-granting, yet hostile, landscape, of course, would be utterly lost, and with it, the literal grounding of the story. I thought the screenplay was as far as the movie would go, and I wasn't sorry.
哪个制片人会对怀俄明州的牛仔同性恋故事感兴趣？哪里会有演员对这个故事感兴趣？哪个导眼会冒这个险去拍电影？我觉得最后电影会偏离剧本精神约走越远，但是我不遗憾。
Screen-writers almost always deal with adapting novels to film, and necessarily great chunks are excised, crunched, plots straitjacketed, dialogue transmuted into television-speak. This was different. Larry and Diana were working with a short story that came with a sturdy framework. But there was not enough there.
剧作家经常改编小说成电影，必要时候很多场景要反复咀嚼雕琢。Larry和diana在努力，但还不够。
I write in a tight, compressed style that needs air and loosening to unfold into art. They had to invent, enlarge and imagine. It was, in a real way, a collaboration. I began to wonder why movie people didn't prefer short stories to novels, since the opportunity for original work is built in.
大意：基于短篇小说的剧本编写起来困难，需要推敲想象润色。。。
Over the next few years, several producers and directors appeared on the horizon, but there were problems with all of them. Larry liked an interesting young filmmaker who had made a funny and original short feature. I met this fellow in Tucson, liked him, and hoped he would understand the place and the characters. We arranged to meet again in Wyoming so he could look at the terrain and possible scene sites. He came with a photographer, adviser, location person and others.
几年以后，几个制片人和导演浮现出来，但是他们各自有问题。Larry喜欢一个有意思的年轻电影人，他曾经做过短片。我在Tucson碰到这个家伙，就像他一样，我希望他能明白地点和角色。我们相约再一次去怀俄明州，这样他可以观察场地，选择场景。他和几个摄影师，咨询师，布景人员和其他人员一起来。
That meeting turned into something I think of as "The Wyoming Death Trip". From the start, everywhere the tender-hearted city-folk looked there was a dead animal. First, it was deer by the side of the highway, then squashed rabbits on the tarmac. We stopped at a sheep-herder's home quarters. He was out with the sheep, but, as it was spring, there was a makeshift pen with a few dozen bum lambs in it.
那次约会被我看来就是以此“怀俄明死亡之旅”。从到达那里一开始，到处都能看到动物死尸。首先，公路上两边都是鹿，他们在捕捉野兔。我们停靠在一个牧羊人家。他远离羊群。。。后面不知怎么翻。

TonyLau

感谢 aromap 的辛勤劳作～

aromap

One of the film entourage spied a dead lamb by the side of the fence and freaked. He decided (erroneously) that the lambs were starving to death, and, a man of action, rustled around until he found a bag of feed, poured some into a pan and set it in the pen.
大意：电影有一段讲述死羊。。。
Keith, the ranch hand showing us around, blanched. I suggested we leave the lambs, hoping the sheep-herder paid to look after them would not pursue us with a machete. We went to an untenanted house that might work as Ennis' and Alma's place. But as soon as we stepped inside,
there, near the hem of a long curtain that reached the floor, lay a dead mouse.
We finished the day at a lonely ranch house outside Ucross called "the old Childress place". Empty for years, the crawl space below was a haven for rattlesnakes, the interior home to other animals needing shelter. We looked into a dusty room with a hole in the ceiling where once the stovepipe exited.
Keith,那个牧羊人让我们参观周围。我们走啊，走啊，选择一个没有架帐篷的房子，假定是ennis和Alma的家。当我们进去的时候，地上趟着一支死老鼠。
我们天黑后聚集在牧羊人孤独的房子里，已经空屋了好几年。我们走进一个脏暗的房间那里天花板都破开了一个洞。
The Los Angeles people sucked in their breaths as one, for on the floor lay the dried remains of a rabbit, discarded by an owl. That was it. These urban people just did not get it that Wyoming has a lot of wildlife and that the wildlife sometimes gets dead. Animals and rural places were clearly alien to them, and just as clearly I knew they could not make this film. And I pretty much gave up on the whole idea. It wasn't going to happen because there were no producers or directors who understood the rural west, the rural anything. Old story.
这位Los Angeles来的家伙（大概指导演）倒吸一口凉气，看到地上趟着死兔干尸，被一支鹰陶破肚肠。我想他们再也不想把这部电影拍下去了。我也想放弃掉算了。我想这部电影做不下去，原因是没有制片人或者导演回理解西部。老掉牙了。
A long time later, Focus films showed interest. That was encouraging, as it, in an earlier incarnation known as Good Machine, had produced the successful film version of The Laramie Project. I had met one of the people involved with that film in Denver one night, and we had gone up the street looking for a CD of Jim White's Wrong-Eyed Jesus!, which was a great favourite of mine at that time.
很久以后，21世纪福克斯公司重拾兴趣。真令人兴奋
So I was inclined towards Focus. They were suggesting Ang Lee as the director, and I thought, here we go again. Could a Taiwanese-born director, probably a thorough-going urbanite, who had recently recreated The Hulk, understand Wyoming and the subterranean forces of the place? I doubted it. But the wheels were rolling now. I didn't know what to expect and tried not to think about it.
于是我和公司签约。他们建议李安做导演。我想，我们又要失败。一个台湾出生的导眼，可能是城市化了的人，最近制作了《绿巨人》片子，能明白怀俄明和bbm环境的美吗？我真怀疑。但是轮子开始转了，我不知道接下来如何，我干脆不去想了。

aromap

On a New York visit I met James Schamus briefly, and Ang Lee in a funky boite far downtown. I was nervous about meeting Ang Lee, despite his reputation as brilliant and highly skilled. Would we have anything to say to each other? Were the cultural gaps surmountable?
一次去纽约的行程中我在一个城镇酒吧？遇到James schamus，以及李安。我面对李安焦虑不安，尽管他的名声已经很响了。我们还需要互相说些什么吗？文化隔阂可以克服吗？

We smiled and made small talk for a while and then, reassured by something in his quietness, I said that I was very afraid about this story, that making stories sometimes took me into off-limits places and that I feared the film would not follow that path. He said that he was afraid, too, that it would be extremely difficult to make into a film. He said he had recently lost his father. I remembered from my mother's death, a few years earlier, the vast hole in the world that opened and could not be pulled closed.
我们微笑着，小议一阵，然后，我被他的从容镇定征服，我对他说我担心这个剧本，它让我担心电影效果脱离小说原意。他告诉我他刚刚痛失父亲（真的，当时李安身处悲痛中）。我记得几年前母亲去世时候那种伤痛就是地球上一个洞，开了就无法合闭了。
I had a glimmering that Ang Lee might use his sorrow creatively, transferring a personal sense of loss to this film about two men for whom things cannot work out, that he might be able to show the grief and anger that builds when we must accept severe emotional wounding. I felt we both knew that this story was risky and that he wanted to take the story on, probably for the creative challenge and, perhaps, (though he didn't say so) for the gasping euphoria when you get into unknown but hard-driving imaginative projects. However slender, there was a positive connection.
我想，李安一定会利用这种创造性悲痛，转化个人情感的失落到这部电影里面！我们会看到他那种基于严肃情感的愤怒。我感觉我和他都知道拍这部电影很冒险，他想坚持下去，可能因为为了转化父亲逝世的创造性悲伤（不是很明白，李安父亲逝世和牛仔同性恋悲剧的联系，可能是Annie超人的哲学想像力。。。。）尽管李安没有说自己在转化这个悲伤。可能他也是为了进入一个艰难的拍摄计划而忘却逝父的悲伤从而从工作中吸取快乐？然而无论如何，他失去父亲的感受和小说意境有某种积极联系。（天才想像力。。）

Later, there were some disagreements. In the written story the motel scene, after a four-year hiatus, stood as central. During their few hours in the Motel Siesta, Jack's and Ennis' paths were irrevocably laid out. In the film that Ang Lee already had shaped in his mind, the emotional surge contained in that scene would be better shifted to a later point and melded with the men's painful last meeting. I didn't understand this until I saw the film in September 2005 and recognised the power of this timing.
之后，我们发生一些小争执。在motel里面共浴一幕（就是四年后相遇），成为故事中心。在他们motel共处几个小时，jack和ennis前途看得出各异。李安早就预想好如何拍，共浴那一幕就是呼应了以后两人的悲剧终结。2005年9月我不大明白这个拍摄手法，之后，才发现这一安排的力量。
Although I have always known that films and books have different rises and falls, different shapes, it's easier to know that in the abstract than on the killing ground. At some point, I wrote a letter pleading for the motel scene, which went for naught. It was out of my hands, no longer my story, but Ang Lee's film. And so I said goodbye to Jack and Ennis and got on with other work.
尽管我一直了解电影和小说原著总有一些区别，小说可以抽象演绎，电影难演绎。某些方面，我写信要求重拍motel共浴场面，却毫无回应。我没有权利改了，这个电影不是我的电影，而是李安的。于是我告别jack和ennis,继续我别的工作。

Before I finally saw the film, I had heard from Larry and Diana that it was very good, that the language was intact, that the actors were superb. But I was not prepared for the emotional hammering I got when I saw it. The characters roared back into my mind, larger and stronger than they had ever been.
在我最后看到这部电影以前，我听larry和Diana说这部电影很棒，语言很巧妙，演员很棒。当我看了的时候，我才体验到的毫无准备的心灵震荡。两个角色重回我脑海，壮大，深化，就好像我以前亲眼见过一样。

aromap

Here it was, the point that writers do not like to admit; film can be more powerful than the written word. I realised that if Ang Lee had been born in Barrow or Novosibirsk it would likely have been the same. He understands human feelings and is not afraid to walk into dangerous territory.
你看，现在出现了作者及不愿意承认的一点：电影可以比手写的文字更有力量。我想就算李安出生在Barroz或者俄国的Novosibirsk，他同样可以拍好这部电影。他理解人类的感情，并不害怕走入危险区域。
Seeing the film disturbed me. I felt that, just as the ancient Egyptians had removed a corpse's brain through the nostril with a slender hook before mummification, the cast and crew of this film, from the director down, had gotten into my mind and pulled out images.
看这部电影，困扰了我。我感到就像古埃及人制作木乃伊时候移除尸体的大脑组织然后放入防腐剂，这部电影工作人员，从导演到最下一层工作者，侵入我的脑袋，植入影像。
Especially did I feel this about Heath Ledger, who knew better than I how Ennis felt and thought, whose intimate depiction of that achingly needy ranch kid builds with frightening power. It is an eerie sensation to see events you have imagined in the privacy of your mind, and tried hopelessly to transmit to others through little black marks on a page, loom up before you in an overwhelming visual experience.
尤其我感到heath比我笔下的ennis更深入。当时这人物只不过纸上一些点滴描述，现在被塑造成一个无助的，活生生人物，让你的视觉陶冶。
I realised that I, as a writer, was having the rarest film trip: my story was not mangled but enlarged into huge and gripping imagery that rattled minds and squeezed hearts.
我发现，自己作为一个作家，经历了少有的电影制作之旅：我的故事不长，却被扩大成一个巨大的印象库，敲击人的大脑和心灵。
The film is intensely Wyoming. Although it was shot mostly in Alberta, the production designer Judy Becker toured Texas and Wyoming, noting landforms and long views. So visually accurate is the film that a few weeks after I saw it for the first time, I was driving through the Sierra Madre. It was a windless, brilliant day, the aspen lit by slant-handed autumnal light; hunting season and time for the fall shove-down when stockmen with Forest Service allowances move their cows and sheep to the lower slopes before the early storms.
这部电影是压缩的怀俄明。尽管在Alberta拍摄，Judy bercker，电影制作设计人参观了的克萨斯和怀俄明州，记住了那里的景观。电影如此正确处理背景，以至于几周以后我第一次看到它，我正在Sierra Madre开车。这是一个无风，晴朗的天气，秋天阳光明媚。是打猎季节，适合农场人员移动牧群。
As I came around a corner I had to stop to let a band of sheep cross the highway. In the trees on the upslope stood a saddled horse, bedroll tied on behind, rifle in scabbard; behind it stood a laden packhorse. No rider in sight. I thought I would wait a minute and see if Jack or Ennis might come out of the trees; then I shook my head, feeling wacky to have tangled the film and reality, and pretty sure that neither character was going to show.
当我徊绕在一个角落的时候，我必须停下来让一群羊穿过高速公路。在路边树下，停着一只未被绳子签注的马。我的视野中没有骑马人。我想我能等1分钟，看看jack或者ennis能出现在树下。然后我摇摇头，感觉我混淆了电影和现实，我知道没有任何一个角色回出现在树下。

Aside from the two-faced landscape, aside from the virtuoso acting, aside from the stunning and subtle make-up job of ageing these two young men 20 years, an accumulation of very small details gives the film authenticity and authority: Ennis' dirty fingernails in a love scene; the old highway sign "entering Wyoming" not seen here for decades; the slight paunch Jack develops as he ages; the splotch of nail polish on Lureen's finger in the painful telephone scene; her mother's perfect Texas hair, Ennis and Jack sharing a joint instead of a cigarette in the 1970s; the switched-around shirts; the speckled enamel coffee pot; all accumulate and convince us of the truth of the story.
&copy; Annie Proulx. This essay is from Brokeback Mountain: Story to Screenplay (Scribner 2005).
离开两面的景色，离开虚拟的场景，远离表现两个人20年以来老龄的化妆过程，从非常小的细节开始转变，做爱中ennis的脏手指甲，旧的高速公路上“进入怀俄明州”的路牌（如今已经销声匿迹好几十年了！）jack的肚皮日渐肥厚，lureen的指甲打扮得花侨，她妈妈的完美的的克萨斯州发型，ennis和jack共享一支1970年的烟，互相缠绕的衬衫，锈迹斑斑的咖啡锅，所有一切积累起来，让我们信以为真。

（全文完，aromap@sohu.com)

aromap

原帖由 TonyLau 于 2006-3-6 02:31 发表
感谢 aromap 的辛勤劳作～

终于写完了！草草的东西，哎。
其中一段很让我惊讶：农场主原来专门雇佣两个牛仔上山赶羊，而不是雇用一个，是为了保证当他们有肉体需要的时候可以借对方发泄。。。。这是真的吗？如果是这样，那么军队里成千上万锅盖头可不是要闹大乱子？？？

TonyLau

原帖由 aromap 于 2006-3-6 03:15 发表
终于写完了！草草的东西，哎。
其中一段很让我惊讶：农场主原来专门雇佣两个牛仔上山赶羊，而不是雇用一个，是为了保证当他们有肉体需要的时候可以借对方发泄。。。。这是真的吗？如果是这样，那么军队里成千上 ...

以前对这个有所耳闻，忘记是在哪本书里看到过了，军队毕竟不一样，是有严格的管制的，人性在那种高压政策下充其量也就是有心没胆，大家都受约束，也就习惯约束了。

Layla落单的绵羊

谢谢啦~一直想找这篇文章的英文原文呢^^

amsolo

Google了很久了。辛苦老大！！！

SaturnMercury

原帖由 aromap 于 2006-3-6 02:54 发表
我感觉我和他都知道拍这部电影很冒险，他想坚持下去，可能因为为了转化父亲逝世的创造性悲伤（不是很明白，李安父亲逝世和牛仔同性恋悲剧的联系，可能是Annie超人的哲学想像力。。。。）尽管李安没有说自己在转化这个悲伤。

李安的父亲在生前，叫李安一定要把这本小说拍成电影。