評(píng)論
打印
Carrey and Weir initially clashed.
凱瑞和威爾最初發(fā)生了沖突。
"After a take, Jim would come out and say, 'Let me have a look at that,'" the director recalls.
“一個(gè)鏡頭后，金就會(huì)停下來(lái)說(shuō)，‘讓我看下鏡頭’”威爾回憶道。
"I was stunned. I said, 'You don't need to look.
“我都驚呆了。我說(shuō)，‘你不需要看鏡頭。
I'll tell you if it's working or not—that's directing.' He said,
能不能過(guò)我會(huì)告訴你的——這就是導(dǎo)演的工作。’
'No, no, I need to evaluate my performance.'"
但他說(shuō)，‘不，不可以，我需要評(píng)估自己的表演。’”
Weir began allowing Carrey to view the takes he printed,
威爾開(kāi)始讓凱瑞看他拍攝的鏡頭，
then realized this was interfering with the character's unwitting innocence:
但卻發(fā)現(xiàn)這會(huì)影響演員發(fā)揮一無(wú)所知的狀態(tài)：
"I said to him, 'Jim, it's harming your performance.
“我說(shuō)，‘金，這不利于你的表演。
Truman doesn't know he's on television.
楚門(mén)不知道他上了電視。
So you shouldn't be looking at yourself.' He trusted me."
所以你也不應(yīng)該看到鏡頭里的自己。’他被我說(shuō)服了。”
Truman, a sort of glorified lab rat,
楚門(mén)就是一只美化了的實(shí)驗(yàn)室小白鼠，
is manipulated by producers who stage dramatic plot twists, like the feigned death of Truman's father.
制片人用戲劇性的曲折情節(jié)操縱他，如編造其父親的死亡。
His family and friends and co-workers, he comes to discover, are all actors taking direction.
楚門(mén)最終發(fā)現(xiàn)，家人、朋友、同事都是引導(dǎo)故事發(fā)生的演員。
"Was nothing real?"
“有什么是真實(shí)的嗎？”
he asks Christof during the film's emotional climax.
楚門(mén)如此問(wèn)克里斯托弗，將電影帶入了情感高潮。
(A rare moment in cinema: A human character confronts his omniscient creator.)
電影中有一幕很罕見(jiàn):一個(gè)人類角色與無(wú)所不知?jiǎng)?chuàng)造了他的人對(duì)峙。
"You were real," Christof says.
“你是真實(shí)的，”克里斯托弗說(shuō)道。
"That's what made you so good to watch."
“這就是為什么你能帶來(lái)如此棒的觀看體驗(yàn)。”
Christof grasped the business model that would drive the success of YouTube and social media: base voyeurism.
克里斯托弗抓住了這種推動(dòng)Youtube和社交媒體成功的商業(yè)模式：窺探他人隱私的好奇心。
The crucial difference, of course, is that these real-life stars know they're being filmed.
當(dāng)然，關(guān)鍵的區(qū)別在于，現(xiàn)實(shí)生活中的明星知道他們正被拍攝。
Or maybe they're doing the broadcasting themselves,
更或者這些明星自己就在做直播，
as in the case of absurdly popular YouTubers like Logan Paul.
就像洛根·保羅這樣的youtube大V。
The Truman Show's emphasis on product placement
楚門(mén)秀重點(diǎn)在于植入廣告
(Truman's friends and family incessantly shill brand-name items when talking to him)
（楚門(mén)的朋友和家人都在和楚門(mén)談話時(shí)推銷品牌商品），
seems particularly prescient now.
而如今看來(lái)尤其有先見(jiàn)之明。
Instagram celebs make substantial cash from sponsored content,
圖片分享應(yīng)用Instagram上的大V們從贊助商那里賺取可觀的收入。
and the intrusion of corporate brands into our private lives has become a commonplace phenomenon.
企業(yè)品牌在我們私生活里無(wú)孔不入已見(jiàn)怪不怪。
It's now commonplace to willingly hand over the digital detritus of our private lives to real-life technology companies as powerful as the one that adopted Truman.
如今，心甘情愿把我們私生活的數(shù)字碎片交給類似于收養(yǎng)楚門(mén)的科技巨頭公司已司空見(jiàn)慣。
"There's nothing more chilling," Weir says, "than the little thing that happens quite regularly:
“最讓人不寒而栗的是，”威爾說(shuō)道，“日常發(fā)生的小事：
You're looking something up on the internet one day;
你在上網(wǎng)，而網(wǎng)頁(yè)上出現(xiàn)昨天你瀏覽的內(nèi)容；
you're thinking of a holiday somewhere in Eastern Europe,
你在想著在東歐某地度過(guò)的假期，
and up comes information about towns in Eastern Europe the next day."
網(wǎng)頁(yè)上就出現(xiàn)了東歐小鎮(zhèn)的信息。”
The most curious legacy of the film has been observed not by critics but by psychiatrists.
電影中最令人好奇的遺留問(wèn)題不是被批評(píng)家發(fā)現(xiàn)，而是被精神病學(xué)家發(fā)現(xiàn)。
While working at Bellevue Hospital Center, Dr. Joel Gold noticed the phenomenon of
喬爾·戈?duì)柕箩t(yī)生在紐約貝爾維尤醫(yī)院中心工作時(shí)，注意到一種現(xiàn)象：
delusional individuals believing their lives were reality shows being staged for others' entertainment.
有些人存在錯(cuò)覺(jué)，認(rèn)為自己的生活就是為別人的娛樂(lè)上演的真人秀。
Later, he and his brother, Ian Gold, a neurophilosopher,
之后，他和他的兄弟——神經(jīng)哲學(xué)家伊恩·戈?duì)柕拢?/div>
dubbed this form of psychosis the Truman Show Delusion,
將這種精神錯(cuò)亂稱為“楚門(mén)秀”錯(cuò)覺(jué)，
describing its characteristics in a 2012 paper and a 2014 book, Suspicious Minds: How Culture Shapes Madness.
具體可見(jiàn)其2012年發(fā)表的論文和2014年出版的書(shū)：《可疑的心靈：文化如何塑造瘋狂》。
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