評(píng)論
打印
Weir's film, which was a critical and financial success,
威爾執(zhí)導(dǎo)的這部電影在評(píng)論界和票房上都取得了成功，
contains a fascinating duality between utopian and dystopian elements.
電影包含令人著迷的兩面性——烏托邦和反烏托邦因素。
On the one hand, Truman's home of Seahaven Island—
一方面，楚門(mén)在桃源島的家——
actually a television set constructed within a massive dome—
實(shí)際上是在一個(gè)巨大的攝影棚內(nèi)制造的——
is an idyllic, postcard-perfect place to live.
是一個(gè)田園風(fēng)格如明信片般完美的居住地。
(As Christof, the show's God-like creator, tells Truman when he realizes his life is a simulation:
（楚門(mén)意識(shí)到自己的生活都是模擬的，此時(shí)艾德·哈里斯飾演的神一般的真人秀制作人克里斯托弗告訴楚門(mén)：
"In my world, you have nothing to fear.")
“在我打造的世界里，你沒(méi)有什么好害怕的。”）
But this paradise is also outfitted with 5,000 hidden cameras and funded by product placement.
但是這個(gè)天堂也裝有5000個(gè)隱藏?cái)z像頭，并且為獲贊助植入廣告。
We learn, as the plot unfolds, that Truman is the first human being to have been "legally adopted by a corporation."
我們知道，正如電影所呈現(xiàn)的，楚門(mén)是“被公司合法收養(yǎng)”的第一人。
As Sylvia (Natascha McElhone), the show's most outspoken opponent, observes, "He's not a performer; he's a prisoner."
正如“楚門(mén)秀”最直言不諱的反對(duì)者施維亞（娜塔莎·麥克艾霍恩飾）發(fā)現(xiàn)“楚門(mén)不是演員，而是囚犯。”
The first draft was completed in 1991,
電影劇本第一稿于1991年完成，
and predated MTV's Real World by a year.
比MTV真人秀《真人世界》早一年。
Back then "there were no reality shows," says Niccol in an email.
當(dāng)時(shí)“沒(méi)有真人秀，”尼科爾在一封電子郵件中說(shuō)。
"I would argue that there still aren't.
“我認(rèn)為現(xiàn)在仍然沒(méi)有。
When you know there's a camera, there is no reality."
當(dāng)你知道了攝像頭的存在，真實(shí)性也就不復(fù)存在了。”
Niccol's original treatment dialed up the nightmarish elements of this world.
尼科爾最初的提示喚醒了這個(gè)世界的噩夢(mèng)。
"The Truman character was sadder and kind of strange," says Weir.
“楚門(mén)這個(gè)角色更具悲劇色彩，并有些怪異，”威爾回憶道。
In this early version of the film, set in New York,
電影早期版本將故事設(shè)置在紐約，
Truman had a drinking problem and visited a prostitute.
而楚門(mén)酗酒、召妓。
The Austrilian director (whose previous hits included Picnic at Hanging Rock and Dead Poets Society) thought
這位澳大利亞導(dǎo)演（之前執(zhí)導(dǎo)過(guò)轟動(dòng)一時(shí)的《空中搖滾野餐會(huì)》和《死亡詩(shī)社》）認(rèn)為，
people wouldn't watch the fictional show within the movie:
人們不會(huì)去看電影里編造的真人秀：
"It was too depressing and oppressive, 24/7," he says.
“一周7天，一天24小時(shí)不間斷的監(jiān)視太壓抑沉重了，”
Weir signed on to direct the film about a year after producer Scott Rudin purchased the script in 1993,
威爾于制片人斯科特·魯丁1993年買(mǎi)下草稿劇本之后，簽約執(zhí)導(dǎo)這部電影，
on the condition that he could rework the script with Niccol.
條件是自己可以和尼科爾一起修改劇本。
They eventually settled on a sunny, resort-like setting,
他們最終選定了一個(gè)陽(yáng)光明媚、風(fēng)景如畫(huà)的地方，
where the unsuspecting star would be "a kind of back-slapping, grinning friend to everyone."
在那里，這位毫不知情的明星將是每個(gè)人親密無(wú)間、笑口常開(kāi)的朋友。
Weir wanted Carrey, with his rubber-faced comedic zeal,
威爾想讓凱瑞做男主角，凱瑞有橡膠一般喜劇性的臉，
and he was willing to wait a year for the actor,
為讓凱瑞主演，威爾愿意等待一年，
then busy with The Cable Guy and Liar Liar, to become available.
凱瑞當(dāng)時(shí)正忙于拍攝《王牌特派員》和《大話(huà)王》。
"I thought of Tom Hanks, but he had already done Forrest Gump, and it was too close," he says.
“我考慮過(guò)讓湯姆·漢克斯來(lái)做男主角，但是當(dāng)時(shí)他剛拍完《阿甘正傳》，時(shí)間間隔太近，”他說(shuō)。
Ultimately, "there was no one else I thought could pull it off.
最后，“我認(rèn)為其他人都演不好。
And there was no question that this had to hit the target dead center."
毫無(wú)疑問(wèn)，必須一擊而中。
Otherwise, the film "would collapse."
否則的話(huà)，電影就會(huì)“功虧一簣”。
Carrey had recently become a huge star,
凱瑞在此部電影不久后成了巨星，
and he identified with Truman's sense of being constantly watched.
他理解楚門(mén)時(shí)刻被監(jiān)視的感覺(jué)。
"I can draw off the feelings I have," Carrey reportedly told the director.
“我可以把我的感覺(jué)演繹出來(lái)，”據(jù)說(shuō)凱瑞如此和威爾說(shuō)道。
"I'm a prisoner." It would become the actor's first foray into drama,
“我是個(gè)囚犯。”這將是凱瑞第一次涉足此類(lèi)風(fēng)格，
setting him up for later roles in Man on the Moon and Eternal Sunshine of the Spotless Mind.
為他之后在《月亮上的男人》和《暖暖內(nèi)含光》中的角色奠定了基礎(chǔ)。
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