寻找黑暗 第二章（2020）

到今天仍然如此 这是很令人心寒的
This goes on today. It was chilling,
不可预测的 还有一点是美国文化
unpredictable. And a slice of Americana.
拍这部电影让我学到了很多 这不是一部完美的电影 但我必须得说
I learned a lot making that movie . It wasn't a perfect film, but I have to say, you
有一些粉丝来找我 告诉我这是我拍的电影里他们最喜欢的
know, I have certain fans that come to me and tell me it's their favorite film that I've made.
《魔鬼战士堡》（1983） - 预告片
迈克尔·曼执导的《魔鬼战士堡》
Michael Mann directs "The Keep“,
克兰西·布朗
《肖申克的救赎》演员
我认为这是他最好的电影之一 那是一部潘多拉魔盒式的电影
which I think is one of his best movies. That's a Pandora's Box movie.
《魔鬼战士堡》（1983）
就像《木乃伊》一样 我们不想让里面的东西
It's like "The Mummy", we don't want to let whatever‘s in the
《魔鬼战士堡》（1983）
出来 它在仓库里的原因是它应该留在那里
keep out. The reason it's in the keep it supposed to stay in there.
不要碰十字架 不要碰
Never touch the crosses. Never!
纳粹必须控制这个要塞
And the Nazis have to control this keep. And of course
当然 他们肯定会打开城♥堡♥ 看看里面有什么
they can't not open up the keep and find out what is in.
我们发现里面是斯科特·格伦
What we find out is inside is Scott Glenn.
你不会想把斯科特·格伦放出来的
You don't want to let Scott Glenn out on the world.
不要碰
Don't touch that.
《魔鬼战士堡》拥有狂热粉丝的原因是它
The reason why “The Keep" has a cult following is that it is both
布兰登·唐奥德
《布兰登的邪典电影评论》主持人
有80年代风格的同时又非常独特 声音设计 外观 音乐
very '80s and very unique. The sound design, the look of it, the music.
这和其它二战背景的怪物杀人影片
It's all very unlike what you would see in a
的风格是很不一样的
World War ll movie where a monster kills people.
迈克尔·曼恩 就像他之前的电影《大盗独行》一样 他用了
Michael Mann, just like on his previous movie "Thief", he used "Tangerine
橘梦的音乐 就是这些忧郁的合成音景
Dream" for the soundtrack and it's these moody synthesized soundscapes,
你通常不会在二战电影中听到的
which is again something you don't normally hear in a World War ll movie.
电影中的大反派莫拉索尔的长相很有趣
The villain of the movie, Molasar, has a really interesting look. When he
他刚出现的时候 他有着巨大的肌肉和肌腱 头部是一个头骨
first appears he's this giant mass of muscle and sinew with a skull for a head,
看起来就像有人剥了绿巨人的皮
it almost looks like somebody's skinned the Incredible Hulk.
黑色的士兵 - 我要摧毁他们
On the soldiers of black. - I will destroy them!
然后之后
And then later,
他变得更完整 变得像魔像一样
he gets more complete and he takes on almost this Golem-like appearance,
考虑到魔像是一个
which is pretty appropriate considering the Golem is a
犹太神话中的人物 而且他还杀纳粹
creature from Jewish mythology and he's killing Nazis.
这部电影的拍摄就很不顺利
The movie had a very troubled production. Michael Mann's
《魔鬼战士堡》（1983） - 制♥作♥花絮
迈克尔·曼最初的剪辑应该是三个半小时
original cut was supposed to be three and a half hours long,
但上级强迫他把电影再剪短
but they forced him to cut it down to a little over
剪到一个半小时 所以在电影的最终版本里
an hour and a half. So as a result in the final movie,
有很多元素都没有真正解释清楚
there's a lot of the elements that aren't really explained.
例如 斯科特·格伦扮演的角色 你并不清楚他的角色是什么
For example, Scott Glenn's character, you're not exactly sure what his
《魔鬼战士堡》（1983）
他和坏人有什么联♥系♥ 他为什么有这些超能力
connection to the villain is or why he's got these - these supernatural powers.
迈克尔·曼对这部电影非常失望
Michael Mann was very disappointed in the movie and
自从它上映后 他就一直想把它掩埋起来
has basically tried to bury it ever since it was released.
迈克尔 如果你在看的话 我知道你不喜欢这部电影 但是
Michael, if you're watching this, I know you don't like this movie, but there are
也有很多人喜欢 所以 你也许可以考虑给它修复一个高清版本
people out there who do. So, you know, maybe consider giving it a high def release.
恐怖片里的孩子
好的 坏的 还有脆弱的
《开错鬼门关》（1987）
在80年代
In the '80s,
孩子们成为了故事的一部分 故事不可分割的一部分
having the kids be part of the story and an integral part of the story,
安德烈·高尔
《降妖别动队》演员
他们不仅仅是某人的后代 变得更受欢迎
instead ofjust someone's offspring, became more popular.
《开错鬼门关》（1987）
他们成为了故事引擎的一部分 而不仅仅是点缀
And it became more part of the story engine than just on the side.
《第三类外星人》（1982）
我们把他们变成了一种可爱的角色
We progressed out of that as just a cutesy little kind of,
"我是长雀斑的孩子"这句话出自《爱之船》
"I'm the kid with the freckles", on an episode of "The Love Boat"
《闪灵》（1980）
被拿着斧子的家伙和带着炸♥药♥的怪物追赶
into being chased by guys with axes and monsters with dynamite,
《克莉丝汀魅力》（1983）
还有活过来的汽车 它们真的能让你崩溃
and cars that come alive. Stuff that can really get you.
《恐怖欢乐屋》（1981）
任何时候你把一个小孩放在恐怖故事里 都会让人很有感触
Anytime you put a young kid in a - in a scary story, it really brings it home.
你把他们分成小组 把孩子们置于危险之中 让他们去冒险
You put them in groups, you put kids in peril, you put them in adventures,
这就引导整个事件 你只是沉浸在情感之中
it becomes this whole thing, and you're just wrapped up in emotion
《开错鬼门关》（1987）
因为他们是孩子 你希望他们成功
because these are kids, you want them to succeed.
所以你要一直追溯到恐怖故事里最初的那个孩子
So you go all the way back to the original kid in a - in a horror story,
无疑是弗兰肯斯坦里
is when Frankenstein's
《科学怪人》（1931）
这个怪物在池塘边杀死的小女孩 那绝对是
monster kills a little girl by the pond. That had to have been absolutely
让当时的人十分吃惊 真的是一拳打在你的胸口上
astonishing to people at that time, that really punches you right in the chest,
就像 哇 这孩子受到了伤害
where it's like, wow, some harm came to this kid.
有段时间有个规定 你不能在影片里杀死孩子
There was a rule for a while that you cannot kill off a kid.
杰基·孔
《异变》编剧、导演
《异变》（1983）
除了在《异变》里 我也没这么做过
And I don't think I do except for in "the Being".
我觉得我做得太过分了 但是我喜欢
I think I cross the line on that one. But I love
《异变》（1983）
和孩子们一起工作 他们也喜欢这种角色扮演
working with kids. They love that role playing.
他们知道如何对正在发生的事情做出反应 并完全沉浸在场景中
They know how to react to what's happening, and get totally immersed in the scene
懂得抛却自我意识
without being self conscious.
我一直都很喜欢看年轻的表演者
I have always loved watching young performers anyway.
凯恩·霍德尔
《十三号♥星期五》系列演员
因为我很惊讶有人能有这种能力
Because it's amazing to me that someone can have that kind of ability.
《银色子弹》（1985）
《凶火》（1984）
有时他们会因此成长为出色的演员
Sometimes they grow up to be tremendous actors because of that,
凯恩·霍德尔
《十三号♥星期五》系列演员
而其他时候则是一团糟
and other times they're fuck ups.
《鬼娃回魂》（1988） - 制♥作♥花絮
但对很多人来说 和孩子一起工作完全是另一回事
But working with kids is a whole other thing that a lot of people
我不明白 如果他们从来没有和年轻演员合作过
don't understand if they've never been in production with younger actors,
《降妖别动队》（1987）
因为时间是有限制的 他们可以 你知道 取决于
because there's restraints on time. They can, you know, depending on
你的年龄 不同的水平 你可以在片场工作多长时间
how old you are, there's different levels of how long you can actually be on set.
甚至有最小或最大值 你可以在摄影机前
There's even minimums or maximums of how long you can be
待多长时间 这增加了你可以设置的时间
in front of the camera which adds into how long you can be on set.
你每天都得去上学 他们说这是有原因的
You have to go to school every day. There's a reason why they say they
我不想和孩子们一起工作 这对制♥作♥来说真的是件麻烦事
don't want to work with kids, it really is a pain in the ass for a production.
《月光光心慌慌3：女巫的季节》（1982）
《月光光心慌慌3》 在万圣节之夜
"Halloween ll|“ and on Halloween night,
汤姆·阿特金斯
《月光光心慌慌3》演员
这些面具会吃掉孩子们的脸和大脑然后杀死他们
all these masks are going to eat the kids faces and brains and kill them.
想到这我就不寒而栗 我希望大家都放心
It gives me chills thinking about it. I want everybody to be reassured,
当我站在电♥话♥前尖叫时
when I'm standing there on the phone screaming,
请停下来 停下来 关掉它
Please stop it, stop it, turn it off,
关掉最后一个频道 停下来 停下来
stop it turn off the final channel. Stop it, Stop it!
所有的孩子都得救了 你可以放心了
All the children were saved. You can take that to the bank.
《幽浮魔点》（1988）
当你还是个孩子的时候 屏幕上其他孩子被杀
When you're a kid, other kids getting killed on screen is much more
对你的冲击可能比看到他们的祖父被杀更大
affecting than if you see their, you know, somebody's grandfather getting killed.
乔·丹特
《小精灵》导演
科里·泰勒
Slipknot主唱
至少有一两个成为了一种潮流
It became very trendy to have at least one or two
孩子或一群孩子对抗对手
kids or a group of kids going against the antagonist.
《魔偶奇谭》（1985）
他们会召集一群勇敢的孩子试图拿下
They would assemble this group of - of plucky kids to try and take down,
你懂的 这种令人难以置信的干扰力量
you know, this incredibly disturbing force.
作为一个80年代长大的孩子
As a kid growing up in the '80s,
能在那里看到自己的影子 感觉很酷
it was cool to kind of be able to see myself reflected in that.
看到这些让我很有力量 尤其是作为一个贫穷的孩子
It was empowering to see that, especially as a poor kid.
《捉鬼小灵精》（1987）
我认为很多电影都是改编自
I think a lot of it came from the writings of Stephen
斯蒂芬·金 比如《狂犬惊魂》里就有孩子 《小丑回魂》有一群孩子
King. I mean "Cujo" has the kid, "it" has a group of kids.
《狂犬惊魂》（1983）
《小丑回魂》（1990）
我的意思是 他可以说是这个亚流派的发明者
I mean, he was kind of the inventor of that sub genre,
如果你想这么说的话
if you want to call it that.
南茜·艾伦
《魔女嘉莉》演员
斯蒂芬·金确实利用了儿童作为受害者
Stephen King certainly has exploited Children as - children as victims,
《魔女嘉莉》（1976）
孩子是邪恶的 你知道
children as evil, you know,
《玉米田的小孩》（1984）
而且他完成得很好 我觉得这是个有趣的工具 因为我
ancl - and done it really quite well. I think it's an interesting tool, because I
认为我们 作为观众 会变得非常矛盾 因为对象就是一个孩子
think we become - as the audience - very conflicted, because right away, it's a child.
《鬼作秀》（1982）
所以你有这些复杂的情绪
So you have all of these mixed mixed emotions,
你应该怎么想
about how you're supposed to feel about it.
《猫眼看人》（1985）
克兰西·布朗
《宠物坟场2》演员
斯蒂芬的伎俩之一就是让孩子们处于危险之中
One of Stephen's tricks is to put kids in jeopardy,
《银色子弹》（1985）
我认为这有点太有效了 因为它总是被模仿
it's a little bit too effective, I think, because it gets mimicked all the time.