弗兰肯斯坦：解剖课（2025）

So we built a tower and blew it up.
吉列尔莫的工作流程变得更加直接
Guillermo's process has gotten much more immediate.
拍摄这部电影的时候 他每天都早早地
On this movie,
he's been a constant presence in the cutting room, early every day
出现在剪辑室...
(剪辑师 埃文·希夫)
...看剧本上的故事
to see how the story that is on the page
转化成屏幕上的故事 并不总是一样的
is translating into the story on screen, which are not always the same thing.
吉列尔莫很清楚影片最终的样子
Guillermo has a pretty good idea what the movie is gonna look like,
但他仍会在拍摄过程中不断调整
but he still shapes it as he shoots.
如果有你需要但当下还没拍到的内容
If there's something that you need that you may not have,
这样的方式能让你回去补拍
it gives you the ability to go back and get it.
这让我想起当年我和朋友 用摄像机拍电影时的情景
It reminded me of when I would make movies with my friends
我们会说:“好 现在轮到你说台词”
with a video camera, and we'd be like, "Okay, now you say your line."
基本上就是在镜头中完成剪辑 充满即兴的活力
"Okay, now you say your line."
Basically editing in camera.
It had that kind of energy to it.
好吗?
- Again? - Yeah.
我们一开始没有使用配乐
We started with no score,
因为这部电影本身就有很强的节奏感 即使没有临时音乐
because the movie does have a great rhythm without any temp music.
亚历山大·德斯普拉加入并创作配乐
And once Alexandre Desplat comes in and adds his work,
影片被提升到全新的层次
it'll take it to a whole new level.
我认为亚历山大是在世的 最优秀的作曲家之一
Alexandre is, in my opinion,
one of the best composers alive.
他非常清楚自己为何而作
He's a guy that knows exactly why he's doing something
也确切知道如何营造情感
and exactly how to achieve an emotion,
以及怎样让音乐更具表现力
and exactly how to make the music eloquent.
我真的认为 想要好的配乐 你必须找到...
I deeply think that, to have a good score, you have to find...
(作曲家 亚历山大)
...电影的灵魂 在电影之外创造出
the soul of the film, create beside the film
一个与之并行的维度
another dimension that follows the film,
并且放大电影的情绪
and amplify the emotions of the film.
但我和吉列尔莫认为一些画面
So with Guillermo, there are some scenes
不应该有音乐
where we think maybe there shouldn't be music.
也许我们不需要配乐 因为角色本身不需要再增加情绪
Maybe we don't need it because the characters don't need to add more.
又或者那是一场暴♥力♥粗鲁的戏
Or it could be a very violent, rough scene that we see,
如果音乐风格与之迥然不同 可能比单纯强化恐怖更有效
and if the score is the opposite it may be better than just adding more horror.
Cut!
在一些极度疯狂的片段中
In some very active moments of craziness, you know,
当他创造“怪物”或者想要风暴
when he's building his Creature
or when he's trying to get the storm and lightning,
和闪电的时候 我使用了多种风琴 形成多重波动
I've used many organs that create a kind of multi-wave,
和琶音的律动 从而强化失控的氛围
multi-arpeggio movement,
which really amplifies the craziness of the situation.
但如果再加上小提琴...
But if you put on top of that the violin...
整个声音漩涡就会骤然爆发...
...suddenly it's taken this twister of sounds and...
他们能感觉到吉列尔莫注入的能量
They feel this energy that Guillermo put in his film
我尝试用音乐来传达
and I try to convey with the music.
不!
No, no, no!
如果真有公式可循 那每部电影都将成为杰作
If there was a recipe,
every movie would be a masterpiece.
但创造杰作非常困难
But it's very hard to do a masterpiece.
不!
No! No! No!
就像一团蒸汽 需要你去塑形 并引导它流向你想去的方向
It's a vapor that you have to kind of mold
and take to wherever you want to take it.
长生不老是诅咒还是幸事?
Is immortality a curse or a blessing?
你想痛苦地活着吗?
Do you want to be alive in a painful state?
你能找到救赎吗?
Can you find the redemption in that?
《木偶奇遇记》、《魔鬼银爪》 《科学怪人》的结尾
The ending of Pinocchio,
the ending of Cronos and the ending of Frankenstein
都是一样的
are exactly the same.
一个角色沐浴在初升的阳光中 接受光明的照耀
A character being bathed in a dawning sun
and accepting the daylight.
爱一个不完美的角色
The idea of loving a character that is imperfect,
忘却不完美之处
and forgiving those imperfections.
最终 用镜头寻找风格
And ultimately, the search of style with the camera,
光线和彩色 体现在《魔鬼银爪》 和《科学怪人》中
and the light, and the color is on Cronos and is on Frankenstein.
如果我更早些拍《科学怪人》
If I made Frankenstein earlier,
我会将之呈现为父亲和我的对话
I would have done it a dialogue between me and my father.
现在是父亲和我、我和孩子们的对话
Now it's a dialogue between my father and me and me and my kids.
代际的痛苦在一代又一代间传递
Generational pain passed from one generation to the other,
而你该如何说出 “够了 我们该向前走了” ?
and how can you say, "Stop. Let's move forward"?
这两部电影之间隔着三十年的延续
There's a line from that moment to this one that takes 30 years.
有趣的是 我觉得这代表着终结
And the funny thing is, I think it marks an ending.
我想做的是拍摄一部电影
What I would like to do is I would like to make a movie that tries
尝试我“通常”不会做的事
to do things that I don't "normally" do.
有些人随着年龄增长变得害怕风险
Some people age and they become more risk-averse,
而有些人反而喜欢风险
and some people age and become more risk-prone.
我想我是后者
And I think I would like to go that way.
电影中有一句台词 “当抵达世界尽头时
There's a line in the movie that says, "And having reached the end of the world,
已再无地平线 这种成就感反而不自然”
there was no more horizon and the achievement felt unnatural."
这是我现在的感觉
That's how I feel right now.