At the age of 78, Ridley Scott makes filmmakers half his age look downright lazy. Scott has directed a movie a year since 2012, and they haven't been small or easy. He's jumped from sci-fi (Prometheus) to a drug-trade thriller (The Counselor) to a biblical epic (Exodus: Gods and Kings). With The Martian, Scott challenges himself once again in a genre that he's already conquered with two major classics: Alien and Blade Runner.
在78岁高龄，雷德利·斯科特让那些年纪小他一半的制片人宛若彻头彻尾的懒蛋。斯科特自2012年以来每年执导一部电影，而且这些电影都既不是小制作也非一蹴而就的。他从科幻片（《普罗米修斯》）调到贩毒惊悚片（《黑金杀机》），再到圣经史诗片（《法老与众神》）。携手《火星救援》，斯科特再次自我挑战他在两大经典《异形》和《银翼杀手》中早已征服过的电影类型。
BoxOffice spoke with Scott the morning after The Martian premiered at the Toronto International Film Festival.
BoxOffice在多伦多国际电影节首映《火星救援》后的上午与斯科特做了对话。
Congrats on the great reaction to the film. Was this the first time you saw it with a big audience,or did you sit in on test screenings?
祝贺电影获得的极佳反响。这是你与大批观众一同第一次观看呢，或是出席了试映？
I have to sit in on the test screenings. It's part of the process.We did five, actually. In the five screenings we had, we rated in the 90s, which is almost unheard of. That usually happens with riotously funny comedies, but we're a drama with some amusing stuff. It was an indication that we were in good shape.
我必须出席试映，这是流程的一部分，实际上我们去了5次。在所有5场试映中，我们的得分都是90多，这几乎是闻所未闻的。这通常会出现在热闹有趣的喜剧片里，但我们是带让人惊奇情节的剧情片。这表明我们状态良好。
How did you first become interested in The Martian ?
你是如何对《火星救援》开始感兴趣的？
I learned years ago that a great script ain't gonna land on your desk. When I'm not working I'm also constantly developing material. But this came to me in one of those rare occurrences. I've been with Fox more than 12 years now, and there’s a first-look deal. They came to me and said, “Look, we’ve got this script and you
might want to look at it.” I read it and was highly entertained and also impressed that it covered all four quadrants of emotion.
多年前我就心知肚明，一个伟大的剧本不会凭空落在你桌子上。所以即使当我不工作时，我也在不断地挖掘素材。这种千载难逢的事终于找上了我。我与福克斯合作12年了，有一份第一优先合作协议。他们找到我说，“看，我们已得到这个剧本，你或许会想看看。”我读了剧本，非常喜欢，同时留下深刻印象，剧本涵盖了情感的所有四个象限。
It's far more uplifting than your other sci-fi films. Was it a reliefto do something less dark?
这远远比你其他科幻电影更令人振奋。做一些不太灰暗的东西是不是一种解脱？
I'm a Brit, so positive/negative is about tonality. It becomes academic. It's a very American trait—and I'm not being negative here—to have a fun, uplifting ending. It makes sense because it helps put bums on seats and that’s what we're all about. We are here to entertain, and if you don’t put bums on seats then you
don't have a business.
我是一个英国人，所以积极/消极就是个色调的事，是个学术问题。有个皆大欢喜的圆满结局，这是非常美国化的特质——而我在这里也一点都不消极。这是有道理的，因为这让人们坐稳位子来观影，这也是我们的全部使命。我们来这是为了娱乐众生，如果你吸引不了人们来观影，那你就没有生意。
Do you feel, then, that filmmakers today are not as concerned as they should be with the commercial aspect? Are there too many who are just going to make what they make and not worry about recouping the money?
那么，你觉得如今电影制片人是否还应该那么多地去顾虑商业性的一面吗？是否许多人只做他们做的，并不担心收回成本？
I'd say the opposite. This is probably going to be unpopular,but I think there are too many [who are overly concerned with the commercial aspect]. People come up with a marketing plan, and that's why we're seeing a lot of mediocre movies that are sometimes blatantly there for commercial reasons, and when you do it, too often
they fail.
我想说的是恰恰相反。这可能不得人心，但我想这样的人太多了（过分关注商业性一面的人）。人们想出了市场计划，这是为什么我们看到许多滥片有时为了商业原因公然地放映，当你这样做时，他们常常会失败。
There's this notion that directors can't always have art and commerce, but I look at you or someone like Stanley Kubrick—who cared a great deal about commercial success—and it's obvious that you can have both. Do you agree?
有这么个概念，导演不能总是艺术与商业兼得，但我看你或一些人像斯坦利·库布里克——也很关心商业化成功——而且很显然你可拥有两者。你同意吗？
I do. You try to hit that bar. To certain people it's all about art, and sometimes they fly. It's perfect if something is agreeable and raises the bar artistically but also works commercially. It doesn't happen very often.
我同意。你尝试去找到平衡。对某些人来说，这全都关于艺术，而且有时他们会成功。如果万事顺利，既提升了艺术水准，又能商业化运作，这当然很完美。但这并不经常发生。
Did making the movie in 3D change your approach as a director?
作为导演，3D电影是否改变了你的方法？
Not at all. I'm blessed with a great eye, and I always have been. It even got in my way because I used to be criticized for being too visual. I would say, “Well,hold on. I'm not making a bloody radio play! I'm making a movie.”What I have is an advantage, and I'm constantly looking for a way of evolving and avoiding what I've
done before.
一点也不。我很幸运自己有很好的眼光，而我一直都是。这甚至影响我的方式，因为我曾经被批评为过于视觉化。我会说，“嗯，坚持住。我不是在做一部什么广播剧！我是在拍电影。”我所拥有的是一项优势，我
一直在寻找一种方式去进化，避免我曾经做过的。
What are your thoughts on the current state of 3D filmmaking?
你对3D电影现状有什么想法？
The truth is that technology is moving so quickly that the high-end 2D [highdynamic range] nearly makes 3D redundant. We shot and edited The Martian on 3D and it was pretty straightforward if you've got the right team, and [cinematographer] Dariusz Wolski is great. From my point of view, I can just have fun making 3D pictures.
But now with 2D becoming so great, you really have to ask yourself if you need it.
事实上，技术发展如此之快，高端2D（高动态范围）几乎使3D变得多余。我们用3D拍摄与编辑《火星救援》，如果你有合适的团队，工作就非常简单，而且（摄影师）达瑞兹·沃斯基非常出色。从我的角度来看，制作3D影片我可以找到乐趣。但现今2D变得如此出色，你真该问问自己是否还需要。
Matt Damon is secluded for a big part of the film. Was there any method acting coming into play? Did you try to separate him from the rest of the crew?
马特·达蒙在电影中大部分都是与世隔绝的。有没有什么体验派表演发挥作用？你有没有尝试将他与其他团队分开？
Not at all; I never do that. I think it’s very much a choice of the individual actor as to how they want to get the work done. Do they want to be miserable for 16 weeks or do they want to have fun?
完全没有；我从来都不会这样做。我认为演员想要如何完成工作，这更多是他们个人的选择。他们想凄凄惨惨地度过16周，还是要玩得开心呢？
Did Matt nail some of the film's big emotional scenes quickly or did he need a lot of takes to get to the heart of it?
马特是迅速抓住电影中的那些大情绪场面，还是需要反复尝试来酝酿情绪？
He got it quick. I cast carefully. If I cast very well, the actors are going to help me on the day we shoot and I'm going to help them. It becomes a partnership. I don't do days and weeks of rehearsal. What I tend to do is when we walk on the floor, I literally shoot the first rehearsal and rehearse on camera. Because then you get the energy of coming in prepared but not rehearsed, and then you get a reality. If you over-rehearse it goes dead when you shoot, and you spend time getting back to what you found in rehearsals. I'm not unusual that way. Clint Eastwood does it, and so does Martin Scorsese.
他很快抓住了。我挑选演员很仔细。如果我挑选得好，演员们会在我们拍摄那天帮助我，而我也会帮助他们。这成为一种合作伙伴。我不做数天和数星期的排练。我倾向于做的是，当我走入片场，我确实地拍摄第一次排练，就在摄影机前排练。因为这时你有精力去准备，而不是排练，这样你会有现实感。如果你过分排练，在你摄影时就会麻木，然后你花时间回到你排练时领悟的状态。我这样并没有什么不寻常。克林特·伊斯特伍德这样做，马丁·斯科塞斯也如此。
It's a workmanlike approach. It's making sure you get things done as efficiently as possible.
这是一个熟练的方法。这确保你尽可能高效地完成事情。
Yes, and more actors like it than they care to admit. If it's well written, you don't have to rehearse. In this case we had a great script from a great book.
是的，许多演员喜欢而不愿意承认。如果写得很好，你不用排练。在这种情况下，我们已经有了一本伟大的书改编而来的一部伟大的剧本。
As a director you're not one to shy away from releasing directors'cuts.Did this version come out exactly the way you wanted it to?
作为导演，你不是回避放映导演剪辑版本的人。这个版本问世正是你想要的吗？
Definitely. I never do the long versions for theaters. The one that goes out is the one I like.
当然，我从不为影院做长版本。问世的版本正是我喜欢的版本。