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《浩瀚的夜晚》:如何以崭新的风格讲述一个复古科幻故事

《浩瀚的夜晚》:如何以崭新的风格讲述一个复古科幻故事

Radhika Marya 2020年06月01日
这部电影以一种略微不同的方式讲述了一个熟悉的故事。

《浩瀚的夜晚》(The Vast of Night)并不羞于模仿《阴阳魔界》(The Twilight Zone)。事实上,这部电影的构思与罗德?瑟林系列剧中的其中一集非常相似,向观众表明他们正在转向“悖论剧场”。

但是,尽管这类模仿在该部电影(上周五于亚马逊Prime Video上线)中随处可见,但导演安德鲁?帕特森认为,这部电影(他的处女作)是以一种略微不同的方式讲述了一个熟悉的故事。

帕特森告诉《财富》杂志:“我很喜欢使用影剧院这一媒介。”他指出,詹姆斯?蒙塔古和克雷格?W?桑格的剧本感觉很像舞台剧和广播剧,还带有现代播客的元素。

故事发生在20世纪50年代新墨西哥州的一个小镇,一个年轻的电话接线员费伊(由希艾拉?迈克考米克饰演)和电台DJ埃弗雷特(由杰克?霍洛维茨饰演)调查在他们小镇发现的一个奇怪音频。这个故事基本上是实时展开的,虽然它向《第三类接触》(Close Encounters of the Third Kind)或《X档案》(The X-Files)影迷们所熟悉的飞碟故事致敬,但帕特森不加避讳地谈及的《总统班底》(All the President’s Men)和《十二宫》(Zodiac)等电影的影响也很明显。

杰克?霍洛维兹在《浩瀚的夜晚》(5月29日在亚马逊Prime Video上线)中饰演埃弗雷特(左),希艾拉?迈克考米克饰演费伊。图片来源:Amazon Studios

霍洛维兹说:“作为演员,我们一直认为这更像是一部理查德?林克莱特式的电影。”他被剧本“惊人的节奏”和“音乐”特质所吸引。“这更像是生活片断,更加实时,更加——实际情况如何?”

该项目丰富多彩的剧本和对话并不是吸引演员的唯一特质。迈克考米克的角色让她想起了她的妹妹,她说这个角色太好了,不能错过。

迈克考米克说:“能够遇到像费伊这种角色的机会并不多。”她指出,她是一个“细腻而真实的女性角色……在整部电影中有着如此美妙的弧线,一开始,她做事犹豫不决,遇到任何事情都拿不定主意,她也很胆小,无法自如地处理各种事情,但在电影结尾,她掌控一切,镇定自然,对埃弗雷特发号施令,她是这场冒险的带头人。”

帕特森说,制片团队努力让这部电影具有真正20世纪50年代的品质,这一点在人物的手表和眼镜等最小细节以及在屏幕上看到的技术都清晰可见。霍洛维兹说,不拍电影时,他在酒店房间里摆弄卷轴式磁带录音机。迈克考米克在YouTube上查阅了那个时代的视频,她用一个电话总机反复练习,直到她学会了在以前的视频中看到的手腕急速摆动动作。

她说:“我想让它……看起来很真实,而不是一个21世纪的女演员在笨手笨脚模仿这项不可思议的技术。”

迈克考米克使用总机练习扮演费伊这一角色。图片来源:Amazon Studios

这部电影的部分氛围是在晚上拍摄营造的。但这也带来了挑战。帕特森说:“晚上拍摄时,必须照亮一切。找到合适的开机时间很难。”他指出,拍摄团队必须在日出日落间快速完成拍摄,最终拍摄了17天。“我们必须随时重新安置或移动拍摄点,即使只移动10到15英尺的距离,我们因此浪费了很多时间。”

霍洛维兹在拍摄一个重要的电台场景时,时间就有些紧张。

他说:“大约拍摄了六次,镜头最后定格在我的身上。”他还说,他比以往更担心犯错。“这种不可思议的远景镜头定格在我的身上,其实很简单。我只需要站在那里,抽着烟,然后拿起电话。他们却花了6个小时照亮整条街,但在凌晨5点完成这些工作,压力确实相当大。”

这部电影的许多场景都需要长时间对话,其中包括一段与一位电台来电者(在屏幕上看不到)的对话,观众看到的画面基本上都会出现其中一个或两个主角。在电影开始约半个小时,观众已经看到了整个小镇的全貌。此时,在一个特别长的镜头里,场景发生了转变。帕特森说,这是“电影中有意安排的一个瞬间”,是为了突出主角是如何被小镇中的其他人孤立,同时也让节奏发生了变化。

“我们知道观众已习惯了现在的节奏。”他说。“每件事最终都会被观众记录并追踪,如果不能提前作出改变,电影也就失去了吸引力。”

“我们知道我们需要选择一些不同于以往的外景拍摄地,我们需要以一种振奋而激动人心的方式来做这件事情。”

这部电影拍摄于2016年秋季,帕特森花了几年时间制作,才让这部电影在电影节上映。这部电影于5月15日周末在指定的汽车电影院播放,也已于亚马逊Prime Video上线,这是针对当下新冠疫情制定的放映策略。

霍洛维兹和迈克考米克都对影片的推广方式感到乐观。霍洛维兹说:“我们本来并不打算在汽车电影院放映这部电影,现在看来,这个想法很愚蠢。”他还说,这部电影在流媒体也有很多观众,而且很多人一直在关注。

迈克考米克也是这种看法。她曾经有机会在加州的一家汽车电影院观看这部电影。她说,通过车载收音机收听音频,会让电影中的某些场景更加真实。

她说:“汽车电影院的这种氛围和观看方式,确实让人感受到这部电影的奇思妙想、怀旧感和时间感。”

同时,帕特森承认,这部电影无法在“无数银幕”放映,这让人“有点沮丧”。

“但与此同时,随着越来越多的电影被调整上映院线,上映日期不断改变,我想我们的电影可能会比预想更受关注。”他说。“这也是我们的一线希望。”(财富中文网)

译者:Biz

《浩瀚的夜晚》(The Vast of Night)并不羞于模仿《阴阳魔界》(The Twilight Zone)。事实上,这部电影的构思与罗德?瑟林系列剧中的其中一集非常相似,向观众表明他们正在转向“悖论剧场”。

但是,尽管这类模仿在该部电影(上周五于亚马逊Prime Video上线)中随处可见,但导演安德鲁?帕特森认为,这部电影(他的处女作)是以一种略微不同的方式讲述了一个熟悉的故事。

帕特森告诉《财富》杂志:“我很喜欢使用影剧院这一媒介。”他指出,詹姆斯?蒙塔古和克雷格?W?桑格的剧本感觉很像舞台剧和广播剧,还带有现代播客的元素。

故事发生在20世纪50年代新墨西哥州的一个小镇,一个年轻的电话接线员费伊(由希艾拉?迈克考米克饰演)和电台DJ埃弗雷特(由杰克?霍洛维茨饰演)调查在他们小镇发现的一个奇怪音频。这个故事基本上是实时展开的,虽然它向《第三类接触》(Close Encounters of the Third Kind)或《X档案》(The X-Files)影迷们所熟悉的飞碟故事致敬,但帕特森不加避讳地谈及的《总统班底》(All the President’s Men)和《十二宫》(Zodiac)等电影的影响也很明显。

霍洛维兹说:“作为演员,我们一直认为这更像是一部理查德?林克莱特式的电影。”他被剧本“惊人的节奏”和“音乐”特质所吸引。“这更像是生活片断,更加实时,更加——实际情况如何?”

该项目丰富多彩的剧本和对话并不是吸引演员的唯一特质。迈克考米克的角色让她想起了她的妹妹,她说这个角色太好了,不能错过。

迈克考米克说:“能够遇到像费伊这种角色的机会并不多。”她指出,她是一个“细腻而真实的女性角色……在整部电影中有着如此美妙的弧线,一开始,她做事犹豫不决,遇到任何事情都拿不定主意,她也很胆小,无法自如地处理各种事情,但在电影结尾,她掌控一切,镇定自然,对埃弗雷特发号施令,她是这场冒险的带头人。”

帕特森说,制片团队努力让这部电影具有真正20世纪50年代的品质,这一点在人物的手表和眼镜等最小细节以及在屏幕上看到的技术都清晰可见。霍洛维兹说,不拍电影时,他在酒店房间里摆弄卷轴式磁带录音机。迈克考米克在YouTube上查阅了那个时代的视频,她用一个电话总机反复练习,直到她学会了在以前的视频中看到的手腕急速摆动动作。

她说:“我想让它……看起来很真实,而不是一个21世纪的女演员在笨手笨脚模仿这项不可思议的技术。”

这部电影的部分氛围是在晚上拍摄营造的。但这也带来了挑战。帕特森说:“晚上拍摄时,必须照亮一切。找到合适的开机时间很难。”他指出,拍摄团队必须在日出日落间快速完成拍摄,最终拍摄了17天。“我们必须随时重新安置或移动拍摄点,即使只移动10到15英尺的距离,我们因此浪费了很多时间。”

霍洛维兹在拍摄一个重要的电台场景时,时间就有些紧张。

他说:“大约拍摄了六次,镜头最后定格在我的身上。”他还说,他比以往更担心犯错。“这种不可思议的远景镜头定格在我的身上,其实很简单。我只需要站在那里,抽着烟,然后拿起电话。他们却花了6个小时照亮整条街,但在凌晨5点完成这些工作,压力确实相当大。”

这部电影的许多场景都需要长时间对话,其中包括一段与一位电台来电者(在屏幕上看不到)的对话,观众看到的画面基本上都会出现其中一个或两个主角。在电影开始约半个小时,观众已经看到了整个小镇的全貌。此时,在一个特别长的镜头里,场景发生了转变。帕特森说,这是“电影中有意安排的一个瞬间”,是为了突出主角是如何被小镇中的其他人孤立,同时也让节奏发生了变化。

“我们知道观众已习惯了现在的节奏。”他说。“每件事最终都会被观众记录并追踪,如果不能提前作出改变,电影也就失去了吸引力。”

“我们知道我们需要选择一些不同于以往的外景拍摄地,我们需要以一种振奋而激动人心的方式来做这件事情。”

这部电影拍摄于2016年秋季,帕特森花了几年时间制作,才让这部电影在电影节上映。这部电影于5月15日周末在指定的汽车电影院播放,也已于亚马逊Prime Video上线,这是针对当下新冠疫情制定的放映策略。

霍洛维兹和迈克考米克都对影片的推广方式感到乐观。霍洛维兹说:“我们本来并不打算在汽车电影院放映这部电影,现在看来,这个想法很愚蠢。”他还说,这部电影在流媒体也有很多观众,而且很多人一直在关注。

迈克考米克也是这种看法。她曾经有机会在加州的一家汽车电影院观看这部电影。她说,通过车载收音机收听音频,会让电影中的某些场景更加真实。

她说:“汽车电影院的这种氛围和观看方式,确实让人感受到这部电影的奇思妙想、怀旧感和时间感。”

同时,帕特森承认,这部电影无法在“无数银幕”放映,这让人“有点沮丧”。

“但与此同时,随着越来越多的电影被调整上映院线,上映日期不断改变,我想我们的电影可能会比预想更受关注。”他说。“这也是我们的一线希望。”(财富中文网)

译者:Biz

The Vast of Night isn’t shy about referencing The Twilight Zone. In fact, the film is framed very similarly to an episode of the Rod Serling series, informing viewers that they’re being transported to the “Paradox Theater.”

But while such genre references are peppered throughout the movie—available for streaming on Amazon Prime Video on last Friday—director Andrew Patterson also saw the film, his feature debut, as an opportunity to tell a familiar tale a little differently.

“I was very much obsessed with getting to play with the medium of cinema,” Patterson tells Fortune, noting that the script by James Montague and Craig W. Sanger felt similar to stage and radio plays, with elements of a modern-day podcast.

The story, set in the 1950s, focuses on two teens—switchboard operator Fay (Sierra McCormick) and radio DJ Everett (Jake Horowitz)—as they investigate a strange audio frequency detected in their small New Mexico town. The tale essentially unfolds in real time, and while it pays homage to UFO stories familiar to fans of Close Encounters of the Third Kind or The X-Files, the influence of films like All the President’s Men and Zodiac—which Patterson is open about—is also clear.

“As actors, we always thought of it as more of like a [Richard] Linklater movie,” says Horowitz, who was drawn to the “amazing rhythm” and “musical” qualities of the script. “It’s more a slice of life, it’s more real-time, it’s more—how would this actually happen?”

The project’s rich script and dialogue weren’t the only qualities that appealed to the actors. McCormick, whose character reminded her of her younger sister, says the role was too good to pass up.

“Characters like Fay for actresses just don’t come along all that often,” says McCormick, who notes that she is a “nuanced real kind of female character that…has this wonderful arc throughout the movie, where in the beginning she is more hesitant to assert herself in situations, she’s more timid, she’s more self-conscious maybe about taking charge in situations, and then by the end of the film, she’s taking charge, she’s asserting herself, she’s bossing Everett around, she’s leading this adventure.”

The production design team worked hard to give the film a true ’50s quality—Patterson says this is evident in the smallest details, such as characters’ watches and glasses, as well as the technology seen on-screen. When they weren't actively shooting the film, Horowitz says he played around with reel-to-reel tape recorders in his hotel room. McCormick, who looked up footage from the era on YouTube, had a switchboard to practice with, which she did repeatedly until she captured the quick flick-of-the-wrist movement she noticed in old videos.

“I wanted to make sure it…looked authentic, and it didn’t look like I was an actress from the 2000s fumbling through this crazy technology,” she says.

Part of the film’s atmosphere is established by the fact that it was shot at night. But this also presented challenges. “When you shoot at night, you have to light everything. There isn’t any available opportunity for you to just turn the camera on,” says Patterson, who notes that the team had to work quickly within the constraints of when the sun rose and set, eventually wrapping up the shoot after 17 days. “Anytime we had to pick up and relocate or move the shoot even just 10 or 15 feet, we lost a lot of time.”

That made for some tension when Horowitz shot a key radio station scene.

“They did it about six times, and it sort of ends on me,” he says, adding that he was more concerned than usual about making a mistake. “This incredible long shot was ending on me and it was pretty simple. I just have to stand there, smoke a cigarette, then pick up a phone. But the pressure of doing that at five in the morning, after they have spent six hours lighting this whole street, that was pretty intense.”

Many of the movie’s scenes involve long takes of dialogue—including one with a radio station caller who isn’t seen on-screen, and the viewer rarely gets to witness a moment without one or both of the main characters in the frame. The one time this changes is during a particularly long take about half an hour into the film, when the audience gets a sweeping view of what’s happening across the town. Patterson says this was an “intentional point in the movie” meant to highlight how the main characters were isolated from others in their town, while also allowing for a change in pace.

“We know that the viewer gets used to the pace and the rhythm of what you’re doing,” he says. “Everything eventually gets clocked and tracked by a viewer, and if you aren’t evolving ahead of them, your movie will stop being interesting. ”

“We knew we needed to change from the location we were at and we needed to do it in an invigorating, exciting way.”

The film was shot during the fall of 2016, with Patterson spending a couple of years on production before it could hit the film festival circuit. It’s coming out now on Amazon Prime Video, after playing at select drive-in theaters the weekend of May 15, a release strategy tied to the ongoing coronavirus pandemic.

Horowitz and McCormick are both upbeat about how the film has rolled out to audiences. “The idea that we would not have released this in drive-ins now seems crazy,” says Horowitz, adding that there’s also a huge audience for the movie on the streaming side, with many people inside all the time.

McCormick agrees with both assessments. She also had a chance to catch the movie at a drive-in theater in California; hearing the audio through the car radio made certain scenes in the film feel even more true to the story, she says.

“The drive-in atmosphere and that sort of way of viewing just really lends itself to the whimsy of the film and the nostalgia and the time period,” she says.

Meanwhile, Patterson admits that it’s been a “little disheartening” that the movie didn’t get a chance to make it to “hundreds of screens.”

“But at the same time, with as many movies getting pulled and relocated and shifted around, and release dates getting moved around, I think we may get more attention than we would have otherwise,” he says. “So that’s the silver lining in our situation.”

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