钒岛-译制
There's a beauty in horror.
恐怖中也蕴含美
The seductive nature of something terrifying.
这是恐怖事物具备的迷人本质
And nowhere is that more present than in the design of H. R. Giger's Alien.
没有什么比H.R.吉格笔下的异形更能体现这一点了
A film icon as influential as Dracula,
一个影响力媲美德古拉的银幕巨星
that brought an elegance to the grotesque and reshaped the way we think of movie monsters.
赋予怪诞以优雅 也重塑了我们对电影怪物的看法
This is Hans Rudolf Giger known simply as "H.R."
他便是汉斯•鲁道夫•吉格 简称"H.R."
A Swiss surrealist painter whose roots are in architecture and industrial design.
一位建筑与工业设计出身的瑞士超现实主义画家
And his work has been described as a twisted combination of
他的作品被评述为
the surreal, the mechanical, the sexual, and the macabre.
超现实、机械、性与恐怖的扭曲组合
And even if you are not familiar with his work, you certainly know his influence.
即便你不熟悉他的作品 你也肯定知晓他作出的影响
An aesthetic so unique, it's earned its own adjective.
如此独特的美感 为他赢得了自己的形容词
It's rare for something so disturbing
如此令人不安 饱含黑暗肉欲
and darkly sensual to also be commercially appealing.
又能在商业上具有吸引力 这实属罕见
So, what's the story?
那么 这背后有一段怎样的故事呢
Well, in 1977,
一切要从1977年说起
director Ridley Scott and screenwriter Dan O'Bannon
雷德利•斯科特导演与电影编剧丹•欧班农
approached Giger after seeing his work in his book Necronomicon - a collection of Giger's airbrushed paintings.
在看过收录了吉格的喷绘画集--《死灵之书》后找到了他
This is Necronom IV.
这幅名为《死灵4》
It, along with it's companion piece Necronom V,
它 连同其姊妹篇《死灵5》
were used as the basis for the Xenomorph design.
一同用作为终变体(异形)的设计原型
Scott was so impressed with Giger's work,
斯科特对吉格的作品印象深刻
he insisted on keeping the design faithful to the original painting,
他坚持要让怪物的设计忠于原画
interfering as little as possible.
尽可能地将改动降至最少
His distorted blend of sci-fi and abstract industrialism
他对科幻与抽象工业主义的扭曲交织
was perfect for that used future atmosphere they were attempting with the film.
完美地诠释了他们在影片中试图营造的未来氛围
And Giger's designs became such an integral part of the production
吉格的设计成为了电影制作中不可或缺的部分
that he was also brought on to shape the entirety of LV-426 and everything within it.
他也参与了LV-426星球整体 以及星球上一切事物的设计
Ridley Scott:"Gradually down the line I realized that it made a lot of sense to have Giger design everything
雷德利•斯科特: 渐渐地 我意识到让吉格负责所有的
that was to do with the alien.
与异形相关的设计工作不是没有道理的
That includes the landscape
包括星球地表
and the spacecraft,
还有宇宙飞船
and that everything that,
以及一切的一切
that was Earthly would be Michael Seymour and his team, right?
要是交给迈克尔•西摩和他的团队负责就太"接地气"了 对吧?
And so that made a lot of sense, you know?
这十分合理 不是吗?
Two separate brains working on two different worlds."
两个独立的头脑 负责两个不同的世界
Up until 1979,
直到1979年
horror movie creatures were typically Earthbound entities;
恐怖电影中的生物都是缺乏创意的典型实体
Spiders, Sharks, lizardman, fishman, wolfman.
蜘蛛 鲨鱼 蜥蜴人 鱼人 狼人
But Giger, as an outsider to the film industry,
但吉格 作为影视行业的局外人
wasn't bound by the common design tropes of the 70's.
并没有被70年代常见设计所束缚
He was able to create something genuinely alien.
他能够创造出真正陌生的事物
A distorted biomechanical reflection of man.
一种将人类投于生物机械上的失真映射
Everything we fear about ourselves
我们对于自身的恐惧
exaggerated to the point of surrealism.
被夸大到了超现实主义的地步
It's very difficult to interpret those airbrushed paintings
想要从三维的角度解读这些喷绘
in three dimensions,
是非常困难的
which is why they had Giger himself
这也是为什么他们让吉格
fabricate the majority of the Alien sets and costumes.
亲自操刀了大部分的《异形》服装和布景
They couldn't just tear apart a jet engine
他们不能像对待诺斯托罗莫号一样
and construct the set out of scrap metal
只是拆开一个喷气引擎
like they did with the Nostromo.
然后用废金属重新拼凑成一个整体
Giger's vision is very specific and very uniform.
吉格的视野非常独特 且非常统一
A replication of the painting this accurate
一份如此精确的复制图画
could only come from the mind who created it.
只能来自于创造它的头脑
And Giger, coming from a background in industrial design,
此外 拥有工业设计背景的吉格
crafted everything with a practicality in mind.
在设计每样东西时都考虑到了实用性
The Alien's elongated head housing the secondary mouth,
异形细长的头部容纳着第二张嘴(内槽牙)
the breathing apparatus on its back in place of a nose,
背部的呼吸器(背管)取代了鼻子
and of course, something with acidic blood
并且 当然的 某种带有酸性的血液(硫酸血)
would be encased in an exoskeleton,
会被充斥在外骨骼内部
which, by the way, was made with real bones.
顺带一提 外骨骼是由真实人骨制成
Along with condoms for its articulating lips,
避孕套用以连接嘴唇
and a human skull in the tip of its head.
头部前端有一个真实的颅骨
Yes, a real human skull.
没错 真人的颅骨
And coupled with the idea that it wouldn't only take on the characteristics of its host,
再加上使它不仅具有宿主的生理特征
but also its environment,
还具有它所处环境的特征的构想
allowed it to blend perfectly
使得它能够完美地融入
into the interior of the Nostromo,
诺斯托罗莫号的内部环境
adding to that claustrophobic terror.
增添了幽闭恐怖的氛围
But even outside its design,
但即便跳出设计
one of the greatest aspects of the alien
异形最出色的方面之一
is the logic in its mechanics.
是它的生理构造上的逻辑
You as an audience member
你 作为一名观众
can understand everything there is to know
能够无需解释或对话
about the xenomorph's parasitic lifestyle
就理解关于终变体
without the need for exposition or dialogue.
寄生式生活型态的一切
There's no expert that comes in to explain
没有专家来解释
the origins and the motivations of the creature.
这个生物的起源与动机
Sinister (2012)Professor Jonas: "The symbol is associated
《凶兆》(2012) 乔纳斯教授: 这个符号与一个
with a Pagan deity named Bughuul.
叫Bughuul的异教神明有关
He consumes the souls of human children."
祂会吞噬人类幼童的灵魂
You learn the process visually
你可以通过角色的体验
through the experience of the characters.
直观地了解整个过程
And every stage of it's evolution drives the narrative.
且它演化的每一个阶段都推动着故事的发展
And, unlike your typical slasher movie antagonist,
而且 有别于典型恐怖片中的反派
the Alien isn't supernaturally invulnerable.
异形并非天生刀枪不入
Dennis Parker, Alien(1979): "It's got a wonderful defense mechanism.
丹尼斯•帕克 《异形》(1979): 它拥有出色的防御机制
你不会想杀它的
It's just as fragile
它和船上的其他人
as anyone else on the ship,
一样脆弱
but killing it can open a whole new series
但是杀死它会给角色们带来一系列
of life-threatening problems for the characters.
威胁性命的新难题
So, brilliantly, the objective becomes escape.
所以 明智起见 猎杀改为了逃命
It was Jaws that perfected the art of hiding
正是《大白鲨》完善了生物体隐藏自身的艺术
its creature for dramatic tension.
而达到的戏剧张力
But that was done out of a necessity,
但这是出于必要性
given that the shark was fairly unrealistic in close up.
这是出于对道具鲨鱼在近距离拍摄时会失去真实感的考虑
But the Xenomorph works in bright light or in darkness, and at every angle.
但终变体无论在亮光下还是黑暗中 任何角度都无懈可击
It's only seen in glimpses to accentuate
它的出现只是为了加强
its ability to disturb and seduce,
对外界的迷惑和干扰
because the Alien is a monster that you want to see,
毕竟 异形是那种你想一睹真容怪物
and honestly, at a certain point,
但老实说 在某种程度上
it becomes almost too intriguing to be scary.
它因为太有魅力而变得不太可怕
H. R. Griger talking...
H.R.吉格如是说…
我一直希望我的异形是一种非常美丽, 具有美感的东西
怪物也可以不是一种让人反胃的生物 -可以拥有一种别样的美...
它可以柔韧有致, 可以举止优雅
Giger's Alien
吉格的异形
is one of the most influential creature designs of the twentieth century.
是20世纪最具影响力的生物设计之一
It's become the crux of an empire of
它已经成为了
games, movies, comics, and merchandise.
游戏 电影 漫画 和商业帝国的关键
And somehow nearly forty years later,
并且在将近40年后的今天(19年异形已经迎来了上映40周年)
it still has the power to terrify, excite, and arouse in equal measures.
它仍然具有同样的震慑力 刺激力 激发力
It's a creature that, to this day, has seen no equal,
一种直到现今 还未有谁能与之媲美的生物
and is one of the most beautifully haunting nightmares ever put to film.
也是银幕上出现过的 最美丽 最令人难忘的梦魇之一
H. R. Griger: "When the work was finished on the Alien
H.R.吉格: 当《异形》的工作完成时
I thought it will be something special,
我觉得它会成为某种特别的存在
but I didn't know that it would be so important,
但我不知道它会变得如此重要
and I remember Gordon Carroll
我还记得戈登•卡罗尔说的话
saying, "You know, you will get famous with this film"
"你知道吗 你会因为这部电影闻名世界"
and I just thought, "Oh my god, I.."
然后我心想 "噢 天啊 我…"
I wouldn't be so successful,
我也许不会像《异形》电影
probably, as with the Alien film, know, as the thing of the-
那样成功 作为某种... 你知道的--
People always know me as the...
人们将我视为...
the father of this Alien,
异形教父
And...
还有就是…
那
也
行
吧
@钒钢孤岛