你有没有让整个电影院的人哄堂大笑过(上)
正文翻译
Have you ever made an entire movie theater laugh?
你有没有让整个电影院的人哄堂大笑过？
Have you ever made an entire movie theater laugh?
你有没有让整个电影院的人哄堂大笑过？
评论翻译
Thomas Murphy
No - but my niece did when she was about six or seven.
At the time, she was heavily into Harry Potter. We used to read to her from when she was about three years old. It didn’t matter whether it was Mummy, Grandpa or me: she would demand to know who was reading to her that bedtime and then quite literally drag the poor victim up the stairs so she could hop into bed and listen to the next part of the story. Most nights, she would be smartly hopped out of bed again to brush her teeth, go to the loo and start all over again … but that was a different drama.
Anyway, she rarely lasted more than two pages before falling asleep. What used to astound us though was that we would usually read a third page to her just to make sure she was properly fast asleep. The next morning, we would then be faced with a barrage of questions … about page three! How she did it remains a family mystery to this very day.、
我没有，但我侄女在大约六、七岁的时候有过。
当时的她非常喜欢哈利波特。
从她三岁开始，我们就经常读书给她听，不管是妈妈、爷爷还是我，她会要求选一个人给她讲睡前故事，然后将这个可怜的受害者拖上楼，这样她就可以躺在床上听完故事的下一部分。
很多个晚上，她会很聪明地再次跳下床去刷牙，上厕所，然后重新开始找人讲故事，但那就是另一出戏了。
不过她很快就能睡着，很少能坚持听完两页故事，但我们通常会给她读到第三页，以确保她能快速睡着。令我们惊讶的是，第二天早上，我们就会面临一连串的问题，关于第三页的问题！她是如何做到的？
直到今天，这仍然是我们家庭的一个未解之谜。
No - but my niece did when she was about six or seven.
At the time, she was heavily into Harry Potter. We used to read to her from when she was about three years old. It didn’t matter whether it was Mummy, Grandpa or me: she would demand to know who was reading to her that bedtime and then quite literally drag the poor victim up the stairs so she could hop into bed and listen to the next part of the story. Most nights, she would be smartly hopped out of bed again to brush her teeth, go to the loo and start all over again … but that was a different drama.
Anyway, she rarely lasted more than two pages before falling asleep. What used to astound us though was that we would usually read a third page to her just to make sure she was properly fast asleep. The next morning, we would then be faced with a barrage of questions … about page three! How she did it remains a family mystery to this very day.、
我没有，但我侄女在大约六、七岁的时候有过。
当时的她非常喜欢哈利波特。
从她三岁开始，我们就经常读书给她听，不管是妈妈、爷爷还是我，她会要求选一个人给她讲睡前故事，然后将这个可怜的受害者拖上楼，这样她就可以躺在床上听完故事的下一部分。
很多个晚上，她会很聪明地再次跳下床去刷牙，上厕所，然后重新开始找人讲故事，但那就是另一出戏了。
不过她很快就能睡着，很少能坚持听完两页故事，但我们通常会给她读到第三页，以确保她能快速睡着。令我们惊讶的是，第二天早上，我们就会面临一连串的问题，关于第三页的问题！她是如何做到的？
直到今天，这仍然是我们家庭的一个未解之谜。
Eventually, my sister deemed that my niece was old enough to watch the first Harry Potter film. The group consisted of niece, Mum, Grandma and Grandpa. Obviously, as adults, we all know that directors of film adaptations of books have to make compromises and sometimes play fast and loose with plot, characters and speech. Anyone who knows the first Harry Potter film knows that the director made such changes. This was not good enough for my niece however. At one point, some dialogue had been swapped between characters and my niece who - at the age of six or seven - was word perfect on the story started squirming in frustrated annoyance. Eventually, she could take no more. From the front of the balcony, she stood up and shouted: “That’s not right! Ron didn’t say that - Hermione said that! And Harry said xyz not abc”. (As you can imagine, I wasn’t there and it was a very long time ago so forgive the paraphrasing.)
The entire cinema audience was stunned into silence which, according to my parents, lasted for about three seconds but seemed so much longer. Then the place erupted into a sustained roar of laughter and everyone turned to stare at this angry little girl who was apparently wagging her finger at the screen and employing her “cross voice” to upbraid the actors.
My niece is a young woman now and so harder to embarrass than she used to be. Even so, we could make her turn a bright shade of red on cue for a good seven or eight years after that - especially during her early teenage years.
后来，我姐姐认为我侄女已经到了可以看第一部《哈利-波特》系列电影的年龄，包括外甥女、妈妈、外婆和外公也是这样想的。
作为成年人，我们都知道，改编书籍的电影导演必须要做出部分妥协，有时会在情节、人物和言语上做一些改变。
了解第一部《哈利-波特》电影的人都知道导演做了什么样的改动，然而这些改动在我侄女看来显然不够好。
有一个地方，一些人物之间的对话被调换了，而我侄女在六七岁的时候已经对这个故事很熟悉了，她开始沮丧，恼怒，不停地扭来扭去，最后，她再也忍不住了。
她从座位上站起来，大声喊道：“这是不对的！罗恩没有这么说！不是罗恩说的，是赫敏说的!哈利说的是xyz而不是abc。”（你可以想象一下，因为我当时不在现场，而且这已经是很久以前的事了，所以我的转述不太完整，请不要在意。)
整个电影院的观众都被惊呆了，据我父母说，这种沉默持续了大约三秒钟，似乎更长，然后，全场爆发出持续不断的笑声，每个人都转过身来盯着这个愤怒的小女孩，她在对着屏幕摇手指，用她的 "怒声 "责备演员们。
我侄女现在已经是个年轻的女人了，不会再像以前那样容易出丑了，但是在那之后的七、八年里，我们仍可以随时逗得她羞红了脸--尤其是在她的青少年时期。
The entire cinema audience was stunned into silence which, according to my parents, lasted for about three seconds but seemed so much longer. Then the place erupted into a sustained roar of laughter and everyone turned to stare at this angry little girl who was apparently wagging her finger at the screen and employing her “cross voice” to upbraid the actors.
My niece is a young woman now and so harder to embarrass than she used to be. Even so, we could make her turn a bright shade of red on cue for a good seven or eight years after that - especially during her early teenage years.
后来，我姐姐认为我侄女已经到了可以看第一部《哈利-波特》系列电影的年龄，包括外甥女、妈妈、外婆和外公也是这样想的。
作为成年人，我们都知道，改编书籍的电影导演必须要做出部分妥协，有时会在情节、人物和言语上做一些改变。
了解第一部《哈利-波特》电影的人都知道导演做了什么样的改动，然而这些改动在我侄女看来显然不够好。
有一个地方，一些人物之间的对话被调换了，而我侄女在六七岁的时候已经对这个故事很熟悉了，她开始沮丧，恼怒，不停地扭来扭去，最后，她再也忍不住了。
她从座位上站起来，大声喊道：“这是不对的！罗恩没有这么说！不是罗恩说的，是赫敏说的!哈利说的是xyz而不是abc。”（你可以想象一下，因为我当时不在现场，而且这已经是很久以前的事了，所以我的转述不太完整，请不要在意。)
整个电影院的观众都被惊呆了，据我父母说，这种沉默持续了大约三秒钟，似乎更长，然后，全场爆发出持续不断的笑声，每个人都转过身来盯着这个愤怒的小女孩，她在对着屏幕摇手指，用她的 "怒声 "责备演员们。
我侄女现在已经是个年轻的女人了，不会再像以前那样容易出丑了，但是在那之后的七、八年里，我们仍可以随时逗得她羞红了脸--尤其是在她的青少年时期。
Gina Kelly, former Worked for 9 Years in the Prison Service
It was the year 2000, my partner and I were taking a much deserved break from the rigors of life by treating ourselves to a movie.
With work, family and “life” causing the usual stresses and strains, it was very rare that we ventured out just the two of us. We both loved the cinema and I was a huge fan of Harrison Ford so we decided to pay for premier seating at the multiplex cinema to see “What Lies Beneath”.
We started by ensuring that we had an adequately sized coke each, a couple of hot dogs (ketchup AND mustard for me please), and as many M&M’s that I was able to stuff into my purse…yum!
We made our way into the theatre, settled down in our comfy seats and started our wonderful feast. By the time the trailers had finished so had the hot dogs and most of the M&M’s. Then the big feature starts. Menacing music…ooooooh good, sounds scary!
Gina Kelly，曾在监狱工作了9年
事情发生在2000年，我和我的搭档从艰苦的生活中解脱出来，获得了我们应得的休息时间，于是我们决定犒劳自己，去看一场电影。
由于工作、家庭和 "生活 "造成的压力和紧迫，当只有我们两个人的时候，我们很少会出去，但我们都喜欢看电影，我是哈里森-福特的超级粉丝，所以我们决定买票去电影院看《谎言背后》。
我们先每人准备了一杯足够大的可乐，几根热狗（加了番茄酱和芥末），再往包里塞满了M&M巧克力豆，太好吃了！
我们走进了电影院，在舒适的座位上坐下，开始享受我们美妙的盛宴。
当电影的铺垫部分结束时，热狗和大部分M&M豆也都吃完了。
电影到了高潮部分，背景音乐很恐怖，听起来很吓人！
It was the year 2000, my partner and I were taking a much deserved break from the rigors of life by treating ourselves to a movie.
With work, family and “life” causing the usual stresses and strains, it was very rare that we ventured out just the two of us. We both loved the cinema and I was a huge fan of Harrison Ford so we decided to pay for premier seating at the multiplex cinema to see “What Lies Beneath”.
We started by ensuring that we had an adequately sized coke each, a couple of hot dogs (ketchup AND mustard for me please), and as many M&M’s that I was able to stuff into my purse…yum!
We made our way into the theatre, settled down in our comfy seats and started our wonderful feast. By the time the trailers had finished so had the hot dogs and most of the M&M’s. Then the big feature starts. Menacing music…ooooooh good, sounds scary!
Gina Kelly，曾在监狱工作了9年
事情发生在2000年，我和我的搭档从艰苦的生活中解脱出来，获得了我们应得的休息时间，于是我们决定犒劳自己，去看一场电影。
由于工作、家庭和 "生活 "造成的压力和紧迫，当只有我们两个人的时候，我们很少会出去，但我们都喜欢看电影，我是哈里森-福特的超级粉丝，所以我们决定买票去电影院看《谎言背后》。
我们先每人准备了一杯足够大的可乐，几根热狗（加了番茄酱和芥末），再往包里塞满了M&M巧克力豆，太好吃了！
我们走进了电影院，在舒适的座位上坐下，开始享受我们美妙的盛宴。
当电影的铺垫部分结束时，热狗和大部分M&M豆也都吃完了。
电影到了高潮部分，背景音乐很恐怖，听起来很吓人！
Then, without warning, the sound disappears!!! Being British, the whole theatre just sits, staring at the screen! After a few minutes…still no sound. This was becoming annoying as there seemed to be quite a lot going on in the film. You could hear people starting to get annoyed, shuffling in their seat, the odd turning of heads to look back at the projectionists window in the hope that they could telepathically communicate their displeasure.
I’m sure everyone, like me, was thinking…”well surely once they realise there’s a problem, they’ll start again won’t they?”
Then thankfully the sound returned, just as Michelle Pfieffer says to Harrison…”I don’t know what’s going on”, to which I responded in a very loud frustrated voice…”Neither do we!”.
The whole theatre erupted into laughter. I stood up and took a bow!
Needless to say, that was the most enjoyable part of the film…they didn’t start it over and we all sat there for the rest of the feature not really knowing what it was all about!
然后，毫无预兆的，音乐停止了!
整个电影院的人都坐在那里盯着屏幕看，几分钟后，还是没有声音，这就很烦人了，因为此时电影中应该正在发生很多事情，人们开始恼怒，在他们的座位上晃动，不解的转头看向放映员的窗口，像在以心灵感应的方式传达他们的不满。
我相信每个人都像我一样，内心在想："如果他们意识到出了问题，他们就会重新开始放映，不是吗？"
然后很幸运，声音恢复了，电影里米歇尔-普菲勒对哈里森说： "我不知道发生了什么？"，然后我用非常沮丧且大声的声音回答到： "我们也不知道！"
整个电影院爆笑，于是我站起来向大家鞠了一躬。
毋庸置疑，那是整场影片中最令人愉快的一部分，因为电影没有重新开始放映，我们坐在那儿稀里糊涂的看完了后面的电影，什么也没看明白。
I’m sure everyone, like me, was thinking…”well surely once they realise there’s a problem, they’ll start again won’t they?”
Then thankfully the sound returned, just as Michelle Pfieffer says to Harrison…”I don’t know what’s going on”, to which I responded in a very loud frustrated voice…”Neither do we!”.
The whole theatre erupted into laughter. I stood up and took a bow!
Needless to say, that was the most enjoyable part of the film…they didn’t start it over and we all sat there for the rest of the feature not really knowing what it was all about!
然后，毫无预兆的，音乐停止了!
整个电影院的人都坐在那里盯着屏幕看，几分钟后，还是没有声音，这就很烦人了，因为此时电影中应该正在发生很多事情，人们开始恼怒，在他们的座位上晃动，不解的转头看向放映员的窗口，像在以心灵感应的方式传达他们的不满。
我相信每个人都像我一样，内心在想："如果他们意识到出了问题，他们就会重新开始放映，不是吗？"
然后很幸运，声音恢复了，电影里米歇尔-普菲勒对哈里森说： "我不知道发生了什么？"，然后我用非常沮丧且大声的声音回答到： "我们也不知道！"
整个电影院爆笑，于是我站起来向大家鞠了一躬。
毋庸置疑，那是整场影片中最令人愉快的一部分，因为电影没有重新开始放映，我们坐在那儿稀里糊涂的看完了后面的电影，什么也没看明白。
Kyle Phoenix, Author (2003-present)
I don’t watch a lot of TV, barely any so that means that the movies are a big entertainment treat for me.
I like to sneak in food (I’ve done Chinese food and even a whole beef ribs and potato and Pepsi from BBQs. Generally I stick with a hot pastrami hero and a Pepsi. Yes, I still buy popcorn.). The movies are a mini-event for me.
Years ago a friend worked at one of those theaters that shows older films and kept inviting me. So I went one weekend. They were showing the classic action thriller Seven with Morgan Freeman and Brad Pitt. This was some time after it had come out but I had yet to see it.
I generally avoid war movies, horror movies and comedies but this time I made an exception—-going in, knowing it might be gory.
It starts rolling along and the theater is about 200 people packed and I can’t help it.
I start laughing.
At all the “wrong” times.
The film is sort of darkly………HILARIOUS.
Each murder/mayhem is more and more far reaching, broad strokes, insane.
Kyle Phoenix，作家（2003年至今）
我几乎不怎么看电视，看电影是我最主要的娱乐方式。
我喜欢偷偷的带吃的去电影院（我带过中餐，甚至还带过土豆炖牛小排和可乐罐烧烤，但一般来说，我只带五香熏牛和百事可乐，还有爆米花)，看电影对我来说就是一场小型活动。
几年前，一个朋友在那种放老电影的电影院工作，一直邀请我去，于是我在某个周末去看了场老电影。
电影院正在放映摩根-弗里曼和布拉德-皮特的经典动作惊悚片《七宗罪》，影片上映很久了，但我还没有去看过。
我一般不看战争片、恐怖片和喜剧片，但这次破例了，尽管知道会有血腥的片段，但我还是去看了。
电影进度不断往前走，电影院里大约有200人，我终于忍不住了，我开始笑了，在所有不该笑的时候。
这部电影有点黑暗，但又很滑稽。
每一次谋杀/伤害都是越来越重，越来越疯狂。
I don’t watch a lot of TV, barely any so that means that the movies are a big entertainment treat for me.
I like to sneak in food (I’ve done Chinese food and even a whole beef ribs and potato and Pepsi from BBQs. Generally I stick with a hot pastrami hero and a Pepsi. Yes, I still buy popcorn.). The movies are a mini-event for me.
Years ago a friend worked at one of those theaters that shows older films and kept inviting me. So I went one weekend. They were showing the classic action thriller Seven with Morgan Freeman and Brad Pitt. This was some time after it had come out but I had yet to see it.
I generally avoid war movies, horror movies and comedies but this time I made an exception—-going in, knowing it might be gory.
It starts rolling along and the theater is about 200 people packed and I can’t help it.
I start laughing.
At all the “wrong” times.
The film is sort of darkly………HILARIOUS.
Each murder/mayhem is more and more far reaching, broad strokes, insane.
Kyle Phoenix，作家（2003年至今）
我几乎不怎么看电视，看电影是我最主要的娱乐方式。
我喜欢偷偷的带吃的去电影院（我带过中餐，甚至还带过土豆炖牛小排和可乐罐烧烤，但一般来说，我只带五香熏牛和百事可乐，还有爆米花)，看电影对我来说就是一场小型活动。
几年前，一个朋友在那种放老电影的电影院工作，一直邀请我去，于是我在某个周末去看了场老电影。
电影院正在放映摩根-弗里曼和布拉德-皮特的经典动作惊悚片《七宗罪》，影片上映很久了，但我还没有去看过。
我一般不看战争片、恐怖片和喜剧片，但这次破例了，尽管知道会有血腥的片段，但我还是去看了。
电影进度不断往前走，电影院里大约有200人，我终于忍不住了，我开始笑了，在所有不该笑的时候。
这部电影有点黑暗，但又很滑稽。
每一次谋杀/伤害都是越来越重，越来越疯狂。
When he kills the fashion model and she has the choice of suicide-pills or calling for help—-the cutting off of her part of her face meaning the end of her career but she can save herself from bleeding to death——”He cut off her nose to spite her face.” My light outbursts and chuckles became a full on guffaw.
That shit is funny.
Now my group of friends is tickled by my laughter every time I laugh, they can’t help but laugh too. Soon the entire theater is waiting and then bursting out laughing when I do.
Okay, okay, okay…….the big field, the cops with Kevin Spacey and a Fed Ex truck pulls up. A wisp of blood hair comes form the opened box.
Lost it. I lost it.
I lost it because on one level the movie is brilliant in its’ insanity—-from a writing/writer’s perspective and two, it’s further insane because everyone is playing this film in a dreary way, as deeply serious.
But the whole serial killer/Deadly Sins angle is like watching this serial killer artist paint a mad tapestry that gets more and more insanely creative and destructive.
But it’s not simply gory for gore’s sake—-it’s this creative gore. Truly creative. And has a deep pique of sardonic humor to it. The Mozart of serial killers is deeply playing this game with the cops, the world and the movie itself, with the audience.
So the movie ends, on a wild note for me, and we all file out and people are following me, crowding around to get to know me, to ask what and why I found things funny if they didn’t directly get it when I laughed. One couple, with a stroller and baby, is like didn’t I think laughing ruined the mood? And I’m like: “What mood? Serial killer, manic gore and carnage in your head mood? And how are you bringing a toddler to this?”
他想杀死一位时装模特，此时模特有两种选择，一种是自己服用安眠药自杀，另一种是寻求帮助，她已经被切掉了脸上的一个部位，虽然这也意味着她的事业结束了，但求助可以避免自己血尽而亡。
“他割掉她的鼻子是因为讨厌她这张脸。”我瞬间爆笑，这真的太好笑了。
现在我的这群朋友们都被我的笑声干扰了，每次我一笑，他们也忍不住要笑，很快，整个影院的人都在等，等着和我一起爆笑。
好吧，高潮来了，警察与凯文-史派西在一辆联邦快递卡车前停了下来，一缕血丝从打开的快递箱里飘了出来。
我笑不出来了。
一方面是因为从编剧的角度来看，这部电影在“疯狂”方面很出色，另一方面，更疯狂的是，每个人都在以一种沉闷的方式演绎这部电影，因为它非常严肃。
但从连环杀手/致命罪犯的角度来看，就像看着连环杀手艺术家在创作一张疯狂的挂毯，越来越疯狂，越来越具有创造性和破坏性。
但这并不是简单地为了血腥而血腥，而是一种创造性的血腥，真正的创造性，还带有强烈的讽刺性的幽默，连环杀手中的莫扎特正与警察、世界和电影本身以及观众一起玩了一个游戏。
电影结束了，对我来说这就是一个狂野的音符。我们排着队出来，人们都跟着我，围在我身边，想要了解我，他们不理解我为什么要笑，什么地方好笑。
有一对夫妇，推着婴儿车，孩子坐在车里，问我:“你难道不觉得笑破坏了气氛吗？“
我回答说："什么气氛？连环杀手，你脑子里满是血腥屠杀的狂躁情绪?你怎么能把一个蹒跚学步的孩子带到这里来?"
That shit is funny.
Now my group of friends is tickled by my laughter every time I laugh, they can’t help but laugh too. Soon the entire theater is waiting and then bursting out laughing when I do.
Okay, okay, okay…….the big field, the cops with Kevin Spacey and a Fed Ex truck pulls up. A wisp of blood hair comes form the opened box.
Lost it. I lost it.
I lost it because on one level the movie is brilliant in its’ insanity—-from a writing/writer’s perspective and two, it’s further insane because everyone is playing this film in a dreary way, as deeply serious.
But the whole serial killer/Deadly Sins angle is like watching this serial killer artist paint a mad tapestry that gets more and more insanely creative and destructive.
But it’s not simply gory for gore’s sake—-it’s this creative gore. Truly creative. And has a deep pique of sardonic humor to it. The Mozart of serial killers is deeply playing this game with the cops, the world and the movie itself, with the audience.
So the movie ends, on a wild note for me, and we all file out and people are following me, crowding around to get to know me, to ask what and why I found things funny if they didn’t directly get it when I laughed. One couple, with a stroller and baby, is like didn’t I think laughing ruined the mood? And I’m like: “What mood? Serial killer, manic gore and carnage in your head mood? And how are you bringing a toddler to this?”
他想杀死一位时装模特，此时模特有两种选择，一种是自己服用安眠药自杀，另一种是寻求帮助，她已经被切掉了脸上的一个部位，虽然这也意味着她的事业结束了，但求助可以避免自己血尽而亡。
“他割掉她的鼻子是因为讨厌她这张脸。”我瞬间爆笑，这真的太好笑了。
现在我的这群朋友们都被我的笑声干扰了，每次我一笑，他们也忍不住要笑，很快，整个影院的人都在等，等着和我一起爆笑。
好吧，高潮来了，警察与凯文-史派西在一辆联邦快递卡车前停了下来，一缕血丝从打开的快递箱里飘了出来。
我笑不出来了。
一方面是因为从编剧的角度来看，这部电影在“疯狂”方面很出色，另一方面，更疯狂的是，每个人都在以一种沉闷的方式演绎这部电影，因为它非常严肃。
但从连环杀手/致命罪犯的角度来看，就像看着连环杀手艺术家在创作一张疯狂的挂毯，越来越疯狂，越来越具有创造性和破坏性。
但这并不是简单地为了血腥而血腥，而是一种创造性的血腥，真正的创造性，还带有强烈的讽刺性的幽默，连环杀手中的莫扎特正与警察、世界和电影本身以及观众一起玩了一个游戏。
电影结束了，对我来说这就是一个狂野的音符。我们排着队出来，人们都跟着我，围在我身边，想要了解我，他们不理解我为什么要笑，什么地方好笑。
有一对夫妇，推着婴儿车，孩子坐在车里，问我:“你难道不觉得笑破坏了气氛吗？“
我回答说："什么气氛？连环杀手，你脑子里满是血腥屠杀的狂躁情绪?你怎么能把一个蹒跚学步的孩子带到这里来?"
See here’s how I see it.
It’s a movie.
It’s fiction. Fiction is NOT real. Fiction is a stretching of real-ity to insane proportions for entertainment’s sake.
Are there real serial killers—-sure, but that’s not what we were in that theater to dwell upon. We entered that space willingly knowing that we were going to see some fiction. With actors. On a giant screen.
One of the reasons why I avoid too much entertainment/TV consumption is because it projects not just false values but because it projects a lot of fiction and fantasy without often pragmatic or reality contextualizations.
By that big word sentence—-I mean just what the couple was demonstrating to me—-you’re invested in this movie being horrible, disgusting, freaking you out” and you bring your child.
Just think about that for a second.
Let’s go into a dark room and watch murder and mayhem. And bring our children!
That’s sort of darkly hilarious too.
You’ve so normed insanity that it’s a family event. Or even more disturbingly, you’ve so normed horrific fictitious projections that you MUST match it’s mood or react as IT intends.
我的看法是这样的：
这是一部电影，它是虚构的，不是真实的，虚构即为了娱乐而将真实性推到一个荒唐的地步。
有真实的连环杀手吗？当然有，但这不是我们在电影院里要纠结的问题，我们心甘情愿地进入那个空间，知道我们将在一个巨大的屏幕上看到一些虚构的东西，还有演员。
我避免过多的娱乐/电视的原因之一是，它不仅传播了错误的价值观，还传播了大量的虚构和幻想，往往没有实用性或现实背景。
通过这对夫妇问我的话，可以看出他们对这部电影的投入的情绪是可怕的、恶心的、吓人的，而且还是带着孩子一起来的。
请想一想这一点。
我们带着孩子进入一个黑暗的房间观看谋杀案件，这也很黑暗且讽刺。
你把观看一部疯狂的电影当作一个家庭活动，甚至更令人不安的是，你代入了虚构的东西，并配合它的情绪或按它的意图作出了反应。
It’s a movie.
It’s fiction. Fiction is NOT real. Fiction is a stretching of real-ity to insane proportions for entertainment’s sake.
Are there real serial killers—-sure, but that’s not what we were in that theater to dwell upon. We entered that space willingly knowing that we were going to see some fiction. With actors. On a giant screen.
One of the reasons why I avoid too much entertainment/TV consumption is because it projects not just false values but because it projects a lot of fiction and fantasy without often pragmatic or reality contextualizations.
By that big word sentence—-I mean just what the couple was demonstrating to me—-you’re invested in this movie being horrible, disgusting, freaking you out” and you bring your child.
Just think about that for a second.
Let’s go into a dark room and watch murder and mayhem. And bring our children!
That’s sort of darkly hilarious too.
You’ve so normed insanity that it’s a family event. Or even more disturbingly, you’ve so normed horrific fictitious projections that you MUST match it’s mood or react as IT intends.
我的看法是这样的：
这是一部电影，它是虚构的，不是真实的，虚构即为了娱乐而将真实性推到一个荒唐的地步。
有真实的连环杀手吗？当然有，但这不是我们在电影院里要纠结的问题，我们心甘情愿地进入那个空间，知道我们将在一个巨大的屏幕上看到一些虚构的东西，还有演员。
我避免过多的娱乐/电视的原因之一是，它不仅传播了错误的价值观，还传播了大量的虚构和幻想，往往没有实用性或现实背景。
通过这对夫妇问我的话，可以看出他们对这部电影的投入的情绪是可怕的、恶心的、吓人的，而且还是带着孩子一起来的。
请想一想这一点。
我们带着孩子进入一个黑暗的房间观看谋杀案件，这也很黑暗且讽刺。
你把观看一部疯狂的电影当作一个家庭活动，甚至更令人不安的是，你代入了虚构的东西，并配合它的情绪或按它的意图作出了反应。
See, I see TV and movies with a detachment. The way you’re detached when you’re in the supermarket and picking fruits and vegetables. Do you ever think THAT green pepper will be offended that I chose THAT one instead? Or do you wonder what the lady next to you is thinking of you for buying 4 and not 3 apples?
I have a TV show so I know all of the science of how video/film projection works and sometimes I’m editing videos and episodes down to the 1–5 second clips—-what’s long enough for something to get into your brain and at the same time you can or cannot recognize it. 30 images per second is generally the speed I’m working in and sometimes I’m shaving off or adding half a second to things. I’m doing this to GET INTO YOUR BRAIN with whatever I am making/creating. The hope is that I stay responsible and conscious but not everyone is doing so.
But the way to defend against shit, and most of it is shit, coming into your brain willy nilly 30x faster than you can consciously process or filter, is to break up the image—-have a portion of your self/brain looking at it in a detached way, seeing and pointing things out—-even laughing.
Sometimes I’m looking at things in a detached writer kind of way where I’m considering the structure of a scene, the actors, the language itself. As a teaching tool I often use clips, never longer than 15 minutes, for students, and if possible I put on the subtitles and closed captioning. This forces the brain to pay a sort of dual attention so that you don't get sucked into to just silent absorption.
Also another thing I personally do is I have videos, films on multiple screens while I’m doing something else so I’m paying partial attention, not the totality of my attention.
你看，我看电视和电影时会有一种超然的感觉，就像你在超市里挑选水果和蔬菜时的态度一样，你会考虑青椒因为我选择了其他的而感到不快吗？或者你想过你旁边的女士会因为你买了4个而不是3个苹果而对你有什么看法吗？
我有一个电视节目，所以我知道视频/电影放映的所有科学原理，有时我会把视频和剧集剪辑成1-5秒的片段--能进入人的大脑且被识别的长度。
一般来说，我的工作速度是每秒30张图片，有时我还会增减半秒的内容，我这样做是为了让我正在制作/创造的东西能让你记住，我希望我保持责任感和自觉，但不是每个人都要这样做。
但是，大部分垃圾信息会以比你有意识地处理或过滤快30倍的速度随意进入你的大脑，而抵御这些垃圾的方法就是打破图像--让你的一部分自我/大脑以一种超然的方式看待它，看到并指出一些问题，甚至是笑出来。
有时我会以一种超然的作家的思维看待问题，考虑一个场景的结构、演员、语言本身。
我经常使用一些片段作为教学工具，但从不会超过15分钟，有时候还会加上一些字幕，这迫使人的大脑给予双重的注意力，这样你就不会只是沉默的吸收了。
此外，我还有一个习惯，当我在做其他事情时，我会在多个屏幕上播放视频、电影，这样我就会分散部分注意力，而不是全部的注意力都集中在一件事上。
I have a TV show so I know all of the science of how video/film projection works and sometimes I’m editing videos and episodes down to the 1–5 second clips—-what’s long enough for something to get into your brain and at the same time you can or cannot recognize it. 30 images per second is generally the speed I’m working in and sometimes I’m shaving off or adding half a second to things. I’m doing this to GET INTO YOUR BRAIN with whatever I am making/creating. The hope is that I stay responsible and conscious but not everyone is doing so.
But the way to defend against shit, and most of it is shit, coming into your brain willy nilly 30x faster than you can consciously process or filter, is to break up the image—-have a portion of your self/brain looking at it in a detached way, seeing and pointing things out—-even laughing.
Sometimes I’m looking at things in a detached writer kind of way where I’m considering the structure of a scene, the actors, the language itself. As a teaching tool I often use clips, never longer than 15 minutes, for students, and if possible I put on the subtitles and closed captioning. This forces the brain to pay a sort of dual attention so that you don't get sucked into to just silent absorption.
Also another thing I personally do is I have videos, films on multiple screens while I’m doing something else so I’m paying partial attention, not the totality of my attention.
你看，我看电视和电影时会有一种超然的感觉，就像你在超市里挑选水果和蔬菜时的态度一样，你会考虑青椒因为我选择了其他的而感到不快吗？或者你想过你旁边的女士会因为你买了4个而不是3个苹果而对你有什么看法吗？
我有一个电视节目，所以我知道视频/电影放映的所有科学原理，有时我会把视频和剧集剪辑成1-5秒的片段--能进入人的大脑且被识别的长度。
一般来说，我的工作速度是每秒30张图片，有时我还会增减半秒的内容，我这样做是为了让我正在制作/创造的东西能让你记住，我希望我保持责任感和自觉，但不是每个人都要这样做。
但是，大部分垃圾信息会以比你有意识地处理或过滤快30倍的速度随意进入你的大脑，而抵御这些垃圾的方法就是打破图像--让你的一部分自我/大脑以一种超然的方式看待它，看到并指出一些问题，甚至是笑出来。
有时我会以一种超然的作家的思维看待问题，考虑一个场景的结构、演员、语言本身。
我经常使用一些片段作为教学工具，但从不会超过15分钟，有时候还会加上一些字幕，这迫使人的大脑给予双重的注意力，这样你就不会只是沉默的吸收了。
此外，我还有一个习惯，当我在做其他事情时，我会在多个屏幕上播放视频、电影，这样我就会分散部分注意力，而不是全部的注意力都集中在一件事上。
What I’m always trying to do is keep THAT at mental bay, force it to slow down, explain itself, show itself to me and go through my Mental Filter. Notice no one talks about that, people generally talk about getting totally absorbed into entertainment.
Seven was funny and creative and I avoid gory films. And the audience laughed at the insanity as I did and with me. But some of what I was laughing at—-was the gullibility of the audience itself.
我一直试图在精神上保持这种状态，并通过我的精神过滤器，迫使它慢下来，解释自己，向我展示自己。
我注意到没有人谈论这个问题，人们通常都是完全沉浸在娱乐中。
《七宗罪》很有趣，很有创意，但我不喜欢血腥的电影，观众们也和我一起笑，和我一样笑得很疯狂，但我所嘲笑的一些东西--是观众本身的轻信。
原创翻译：龙腾网 https://www.ltaaa.cn 转载请注明出处
Seven was funny and creative and I avoid gory films. And the audience laughed at the insanity as I did and with me. But some of what I was laughing at—-was the gullibility of the audience itself.
我一直试图在精神上保持这种状态，并通过我的精神过滤器，迫使它慢下来，解释自己，向我展示自己。
我注意到没有人谈论这个问题，人们通常都是完全沉浸在娱乐中。
《七宗罪》很有趣，很有创意，但我不喜欢血腥的电影，观众们也和我一起笑，和我一样笑得很疯狂，但我所嘲笑的一些东西--是观众本身的轻信。
原创翻译：龙腾网 https://www.ltaaa.cn 转载请注明出处
Ticiana Tomasi, Former Stage Manager. (1995-present)
Twice. Well… Not a movie theater, just the audience watching a ballet at the theater. I was the stagemanager both times.
First time. In the middle of the show, the whole theater went black. Emergency lights turned on immediately and anyone who works backstage has a torch. I had the curtain dropped, found out what was wrong and gave instructions to the technicians and the dancers and then stepped out to face the audience. We had a full house, so that was about 1000 people in a really bad mood. I explained that it wasn't a problem in the building, but in the neighborhood. No, we didn't have generators. The electrical company had changed names like 25 or more years ago, but I'm not used to talk in front of a big audience and they started to ask questions about how much time and if they'd get their tickets back if we had to suspend the show, well… That sort of things. So while I was answering I said that the company X had informed that the problem would be fixed in about 15 minutes and we'll continue with the performance with a plus of seeing again a great solo by one of our best dancers. BUT I used the old name of the company and when I realized, I said: “Well whatever X is called now! “. And all the audience started clapping, laughing and cheering. I bowed and turned to go back to my position and a guy yelled ”Don't go! Talk about something else while we wait” and there was more laughing and clapping. So 1000 angry people were amused and in a good mood when we resumed the show.
Ticiana Tomasi，前舞台经理(1995年至今)
有两次，但不是在电影院，只是逗笑了在剧院看芭蕾舞的观众，这两次我都是舞台经理。
第一次，在演出的中间，整个剧院黑了下来。应急灯立即打开，在后台工作的人都有手电筒，我放下幕布，找出了问题所在，给技术人员和舞者下达指示，然后走出来面对观众。
我们在一栋大楼里，在场大约有1000人，大家心情都非常糟糕，我向大家解释说，这不是大楼的问题，是附近出了问题，但我们没有发电机。
我不习惯在大众面前说话，他们开始问我需要多久能处理好，如果我们不得不暂停演出，他们能不能退票......诸如此类的问题。
我回答说：“X公司已经通知我们，大约15分钟左右就能解决问题，我们的演出还会继续，大家再次看到我们最好的舞者之一的精彩独舞。”
但我用的是公司的旧名称，当我意识到后，我又说："好吧，不管X现在叫什么!“
所有的观众都开始鼓掌、大笑和欢呼，我鞠了一躬，转身回到我的位置上，一个人喊道："别走！别走！在等待的时间里我们聊点别的吧！"笑声和掌声也更热烈了。
最后，当我们的表演继续进行的时候，1000名愤怒的观众都已经被逗乐了，心情也变好了。
Twice. Well… Not a movie theater, just the audience watching a ballet at the theater. I was the stagemanager both times.
First time. In the middle of the show, the whole theater went black. Emergency lights turned on immediately and anyone who works backstage has a torch. I had the curtain dropped, found out what was wrong and gave instructions to the technicians and the dancers and then stepped out to face the audience. We had a full house, so that was about 1000 people in a really bad mood. I explained that it wasn't a problem in the building, but in the neighborhood. No, we didn't have generators. The electrical company had changed names like 25 or more years ago, but I'm not used to talk in front of a big audience and they started to ask questions about how much time and if they'd get their tickets back if we had to suspend the show, well… That sort of things. So while I was answering I said that the company X had informed that the problem would be fixed in about 15 minutes and we'll continue with the performance with a plus of seeing again a great solo by one of our best dancers. BUT I used the old name of the company and when I realized, I said: “Well whatever X is called now! “. And all the audience started clapping, laughing and cheering. I bowed and turned to go back to my position and a guy yelled ”Don't go! Talk about something else while we wait” and there was more laughing and clapping. So 1000 angry people were amused and in a good mood when we resumed the show.
Ticiana Tomasi，前舞台经理(1995年至今)
有两次，但不是在电影院，只是逗笑了在剧院看芭蕾舞的观众，这两次我都是舞台经理。
第一次，在演出的中间，整个剧院黑了下来。应急灯立即打开，在后台工作的人都有手电筒，我放下幕布，找出了问题所在，给技术人员和舞者下达指示，然后走出来面对观众。
我们在一栋大楼里，在场大约有1000人，大家心情都非常糟糕，我向大家解释说，这不是大楼的问题，是附近出了问题，但我们没有发电机。
我不习惯在大众面前说话，他们开始问我需要多久能处理好，如果我们不得不暂停演出，他们能不能退票......诸如此类的问题。
我回答说：“X公司已经通知我们，大约15分钟左右就能解决问题，我们的演出还会继续，大家再次看到我们最好的舞者之一的精彩独舞。”
但我用的是公司的旧名称，当我意识到后，我又说："好吧，不管X现在叫什么!“
所有的观众都开始鼓掌、大笑和欢呼，我鞠了一躬，转身回到我的位置上，一个人喊道："别走！别走！在等待的时间里我们聊点别的吧！"笑声和掌声也更热烈了。
最后，当我们的表演继续进行的时候，1000名愤怒的观众都已经被逗乐了，心情也变好了。
The second time, we were about to start, when something blew and lights stopped responding. Again 1000 people getting mad because we were not starting. So there I went, to explain what was going on. I apologized for the inconvenience and said that we were having a technical problem but “we are working as fast as we can to fix it and start the show. We'll, I'm not fixing anything… I've been asking the guys to hurry up until I came to talk to you”. Again cheering, clapping and laughing. I gave them an estimate of time and promised to come back with an upxe if things didn't work. They clapped a lot and fortunately, I didn't have to go out again.
And the last story. It wasn't me, but it was because of something I said…
第二次，我们正要开始表演时，有什么东西炸了，灯灭了，又有1000名观众因为我们的表演没能及时开始而生气，我再次去解释发生了什么事：“我对造成的不便表示抱歉，现在我们遇到了一个技术问题，但我们正以最快的速度修理它并恢复演出。我不会修理任何东西，但我一直在要求伙计们抓紧时间，然后我就来和你们说话了。"底下响起了欢呼声、掌声和笑声。
我给他们一个大概的时间，并承诺如果事情进展出现了问题，我会再次向大家报告的。
还有最后一个故事，不是因为我，而是因为我说的一些话。
And the last story. It wasn't me, but it was because of something I said…
第二次，我们正要开始表演时，有什么东西炸了，灯灭了，又有1000名观众因为我们的表演没能及时开始而生气，我再次去解释发生了什么事：“我对造成的不便表示抱歉，现在我们遇到了一个技术问题，但我们正以最快的速度修理它并恢复演出。我不会修理任何东西，但我一直在要求伙计们抓紧时间，然后我就来和你们说话了。"底下响起了欢呼声、掌声和笑声。
我给他们一个大概的时间，并承诺如果事情进展出现了问题，我会再次向大家报告的。
还有最后一个故事，不是因为我，而是因为我说的一些话。
Same theatre, different stage. Just 120 seats. There was a tiny fire in progress on the other side of the building. It's a huge theatre, so it was about a block away and not even on the same floor or block of the building. We had 2 short plays running one after the other, with a 15 minute break to set up the second one.
同一个剧院，不同的舞台，这次是120个座位的剧场。大楼另一边的剧场发生了一场小火灾，这是一个巨大的剧院，所以火灾点离我们大约有一个街区之遥，甚至不在同一楼层。
我们有两部短剧相继进行，中间有15分钟的休息时间来准备第二部。
同一个剧院，不同的舞台，这次是120个座位的剧场。大楼另一边的剧场发生了一场小火灾，这是一个巨大的剧院，所以火灾点离我们大约有一个街区之遥，甚至不在同一楼层。
我们有两部短剧相继进行，中间有15分钟的休息时间来准备第二部。
When I came back to my position, I could smell the smoke. The lightning and sound booth was higher than the audience seats and I had a vent right over my head. I didn't even need to fully stretch my arm to touch the ceiling. So I told the fireman and the technicians to be alx, because something was going on. 3 minutes into the 2nd play, the fireman gets a call and leaves. So I send someone to stay right by the door outside to keep me posted. According to the procedure, I can't evacuate until I get the command. But I knew by the smell that it would come any minute. About 30 minutes later, I heard a very distant fire truck siren. It was about 5 minutes away. So I told the techs to light up the house as soon as they saw me appearing on stage.
当我回到我的位置时，灯控室和音响室比观众席高，我的头顶上有一个通风口，我甚至不需要完全伸直，我的手臂就能摸到天花板，我闻到了烟味，所以我告诉消防员和技术人员要保持警惕，可能出什么事情了。
第二部短剧演了3分钟，消防员接到电话离开了，于是我派人就在外面的门边，随时向我汇报情况。根据程序，在我得到命令之前，我不能疏散人群，但我通过气味猜测，疏散的指令随时有可能下达。
大约30分钟后，我听到了很远传来的消防车的警报声，大约还有5分钟的路程，所以我告诉技术人员，一旦看到我出现在舞台上，就把灯都打开。
当我回到我的位置时，灯控室和音响室比观众席高，我的头顶上有一个通风口，我甚至不需要完全伸直，我的手臂就能摸到天花板，我闻到了烟味，所以我告诉消防员和技术人员要保持警惕，可能出什么事情了。
第二部短剧演了3分钟，消防员接到电话离开了，于是我派人就在外面的门边，随时向我汇报情况。根据程序，在我得到命令之前，我不能疏散人群，但我通过气味猜测，疏散的指令随时有可能下达。
大约30分钟后，我听到了很远传来的消防车的警报声，大约还有5分钟的路程，所以我告诉技术人员，一旦看到我出现在舞台上，就把灯都打开。
I went out to get cleared for evacuation and headed backstage. Sent the actors that were waiting, to get their stuff from the dressing rooms and leave the building and stepped to face the audience. Now, the wardrobe designed for that play was like everyday clothes and it happened in an old closed theater…
I also was very calm, because I had time to think what I was going to say to avoid a stampede of frightened screaming people. So when I said that we needed to evacuate, and gave the instructions to the audience and explained that we were in no danger because the fire was about a block away and they were already putting it out, an old lady asked: “Is this a part of the play or do we need to actually leave?” and even though many people were nervous, all the audience laughed. They left walking calmly, nobody forgot anything and when the firemen arrived I was the only one left in that part of the building, with all the doors open to avoid unnecessary damage. They thanked me and I left.
Well… Many more stories come to my mind. 25 years as a stagemanager aren't uneventful. But these three will do.
我先去了后台，为疏散做准备，让正在等待的演员们从更衣室里拿上他们的东西，离开大楼，然后我迈步走向观众。为该剧设计的服装和日常的穿着一样，该剧的剧情也是发生在一个封闭的老剧院里......
我非常冷静，我有时间思考我要怎么说，以避免受到惊吓的观众大声尖叫或发生踩踏事件。我对观众们说我们需要疏散，然后向观众发出了指示，并解释我们没有危险，因为火灾离我们大约有一个街区的距离，消防人员已经在灭火了。一位老太太问道："这是戏剧的一部分还是我们需要真正离开？"尽管很多人都很紧张，但所有的观众都笑了起来，他们平静地走了，没有人落下任何东西，当消防员到达时，我是唯一留在那部分建筑里的人，所有的门都开着，以避免不必要的损失。他们向我表示了感谢，然后我就离开了。
我的脑海中还浮现出了许多故事，当了25年的舞台经理，生活当然不可能是平淡无奇的，但我说这三个就够了。
I also was very calm, because I had time to think what I was going to say to avoid a stampede of frightened screaming people. So when I said that we needed to evacuate, and gave the instructions to the audience and explained that we were in no danger because the fire was about a block away and they were already putting it out, an old lady asked: “Is this a part of the play or do we need to actually leave?” and even though many people were nervous, all the audience laughed. They left walking calmly, nobody forgot anything and when the firemen arrived I was the only one left in that part of the building, with all the doors open to avoid unnecessary damage. They thanked me and I left.
Well… Many more stories come to my mind. 25 years as a stagemanager aren't uneventful. But these three will do.
我先去了后台，为疏散做准备，让正在等待的演员们从更衣室里拿上他们的东西，离开大楼，然后我迈步走向观众。为该剧设计的服装和日常的穿着一样，该剧的剧情也是发生在一个封闭的老剧院里......
我非常冷静，我有时间思考我要怎么说，以避免受到惊吓的观众大声尖叫或发生踩踏事件。我对观众们说我们需要疏散，然后向观众发出了指示，并解释我们没有危险，因为火灾离我们大约有一个街区的距离，消防人员已经在灭火了。一位老太太问道："这是戏剧的一部分还是我们需要真正离开？"尽管很多人都很紧张，但所有的观众都笑了起来，他们平静地走了，没有人落下任何东西，当消防员到达时，我是唯一留在那部分建筑里的人，所有的门都开着，以避免不必要的损失。他们向我表示了感谢，然后我就离开了。
我的脑海中还浮现出了许多故事，当了25年的舞台经理，生活当然不可能是平淡无奇的，但我说这三个就够了。
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