(約翰.拉塞特與自己創(chuàng)作的《玩具總動(dòng)員》主角:巴斯光年和胡迪)

第二十二章,《玩具總動(dòng)員》的一炮而紅,讓一直處于燒錢(qián)狀態(tài)的皮克斯動(dòng)畫(huà)嘗到了甜頭,也讓本欲賣(mài)掉它的喬布斯看到了改變電影業(yè)的可能。(he might be on the verge of transforming the movie industry)對(duì)于喬布斯而言,《玩具總動(dòng)員》不僅讓皮克斯賺到了錢(qián),更是一個(gè)起點(diǎn),讓皮克斯成為和蘋(píng)果一樣偉大的公司的起點(diǎn)。這一期就讓我們看看這部電影的基本框架是如何構(gòu)思出來(lái)的吧!

【英語(yǔ)原文】

The idea that John Lasseter pitched was called “Toy Story.” It sprang from a belief, which he and Jobs shared, that products have an essence to them, a purpose for which they were made.?If the object were to have feelings, these would be based on its desire to fulfill its essence. The purpose of a glass, for example, is to hold water; if it had feelings, it would be happy when full and sad when empty. The essence of a computer screen is to interface with a human. The essence of a unicycle is to be ridden in a circus. As for toys, their purpose is to be played with by kids, and thus their existential fear is of being discarded or upstaged by newer toys.?So a buddy movie pairing an old favorite toy with a shiny new one would have an essential drama to it, especially when the action revolved around the toys’ being separated from their kid. The original treatment began, “Everyone has had the traumatic childhood experience of losing a toy. Our story takes the toy’s point of view as he loses and tries to regain the single thing most important to him: to be played with by children. This is the reason for the existence of all toys. It is the emotional foundation of their existence.” (Chapter 22?TOY STORY:Jeffrey Katzenberg?)?

【滬江譯文】

約翰-拉塞特腦海里構(gòu)思的故事叫做“玩具總動(dòng)員”,靈感源自他和喬布斯共有的一個(gè)理念即產(chǎn)品是有靈魂的,它們皆有生來(lái)之使命。如果物體也有感情,這種感情的基礎(chǔ)就是其對(duì)自身價(jià)值實(shí)現(xiàn)的渴望。好比玻璃杯的使命在于盛水。如果它有感情,那么它會(huì)杯滿(mǎn)則喜杯空則哀。 又好比計(jì)算機(jī)屏幕的使命是與人交流,獨(dú)輪車(chē)的使命是在馬戲團(tuán)內(nèi)供人騎行。對(duì)于玩具們來(lái)說(shuō),他們的使命就是同孩子們玩耍,因而他們的恐懼來(lái)源于被拋棄或是被新玩具替代。因此一個(gè)飽受喜愛(ài)的舊玩具和一個(gè)閃亮登場(chǎng)的新玩具聯(lián)袂出演的兄弟電影才會(huì)有了必不可少的戲劇效果。特別是所有的故事都圍繞著同孩子分離的玩具們展開(kāi)。電影原始腳本是這樣開(kāi)頭的:“每個(gè)人在童年都有遺失玩具這樣痛苦的回憶。我們的故事從一個(gè)玩具的視角展開(kāi),他一度失去但努力嘗試尋回對(duì)他最重要一件事,那就是同孩子們玩耍。這是所有玩具存在的意義,也是他們存在的情感基礎(chǔ)。???

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【翻譯筆記】

1 spring (過(guò)去式sprang或sprung)

n. 春天;彈簧;泉水;活力;跳躍?

vt. 使跳起;使爆炸;突然提出;使彈開(kāi)?

vi. 生長(zhǎng);涌出;躍出;裂開(kāi)?

短語(yǔ):

spring from 起源于;發(fā)源(于)…;來(lái)自…?

spring up 出現(xiàn);涌現(xiàn);萌芽?

Unfortunately, as a standard mattress wears, the springs soften and so do not support your spine.
不幸的是,當(dāng)一張標(biāo)準(zhǔn)床墊用舊后,其彈簧變軟,因而不能支撐你的背脊。

Youth is not a time of life; it is a state of mind; it is not a matter of rosy cheeks, red lips and supple knees; it is a matter of the will, a quality of the imagination, a vigor of the emotions; it is the freshness of the deep springs of life.
青春不是年華,而是心境;青春不是桃面、丹唇、柔膝,而是深沉的意志、宏偉的想象、熾熱的感情;青春是生命的深泉在涌流。(這是Samuel Erman的《Youth》中的第一段,小編我無(wú)論是作文還是演講都很愛(ài)引用,通篇文章都很有哲理,大家不妨找來(lái)讀讀。)

Mary brought her boyfriend to my house, and sprang on me that they were going to get married soon.
瑪麗把她的男朋友帶到了我家,突然向我宣布他們很快就要結(jié)婚了。

Ethiopia's art springs from its early Christian as well as its Muslim heritage.
埃塞俄比亞的藝術(shù)起源于其早期的基督教和穆斯林教遺產(chǎn)。

His anger sprang from his suffering at the loss of the most important love he had ever known in his life.
失去一生中的至愛(ài)讓他悲痛不已,憤怒涌上他的心頭。

But even as some obstacles are removed, new ones spring up.
但即使有些障礙已經(jīng)被掃清,新的障礙還會(huì)涌現(xiàn)。

2. interface

n. 界面; <計(jì)>接口; 交界面

vi. 相互作用(或影響); 交流,交談 (人機(jī)之間)

inter-這個(gè)詞根的意思是“between”在…之間。我們就可以聯(lián)想在“face”之間的就是“界面”,而交流或者交談也是在“face”之間,這個(gè)單詞的意思就很容易記了。interact也有交流,互動(dòng)的意思,那么你能像我剛剛分析的這樣理解這個(gè)單詞嗎?

Observe what the users do, where they succeed, and where they have difficulties with the user interface.
觀察用戶(hù)做了些什么,他們?cè)谀睦锊僮鞒晒α?,在用?hù)界面上哪里遇到困難。

Listening is our interface with the thoughts of others.
傾聽(tīng)是自我思想和他人思想交流的接口。

3. circus

n. 馬戲,馬戲團(tuán); 馬戲表演(常在大帳篷里進(jìn)行);環(huán)形廣場(chǎng)(用于某些地名)圓形廣場(chǎng);<口>亂哄哄的熱鬧場(chǎng)面

circus一詞是16世紀(jì)時(shí)直接借自意為ring(圈,環(huán))的拉丁語(yǔ)circus,最初指“圓形場(chǎng)地”,1782年,一位名叫休斯的英國(guó)騎師創(chuàng)立了英國(guó)皇家馬戲團(tuán),自此以后,circus一詞才開(kāi)始用于“馬戲”,“馬戲團(tuán)”等意。后來(lái)也常用來(lái)指“環(huán)形廣場(chǎng)”,如Oxford Circus(牛津廣場(chǎng)),Piccadilly Circus(皮卡迪利廣場(chǎng))等。但這種用法僅限于英式英語(yǔ),美式英語(yǔ)多用circle。實(shí)際上circle及其相關(guān)詞circular(圓形的,環(huán)繞的),circulate(循環(huán),流通)等可以說(shuō)都源于拉丁詞circus。

They put up posters all round the town advertising the circus.
他們?cè)阪?zhèn)上四處張貼海報(bào)為馬戲團(tuán)作宣傳.

The question is whether, in the face of an ongoing national crisis, we can stop the political circus and actually do something to help the economy.
問(wèn)題是,我們是否愿意,面對(duì)不間斷的國(guó)家危機(jī),我們能夠停止政治馬戲,為了幫助經(jīng)濟(jì)來(lái)真正做點(diǎn)什么。

4. traumatic

adj. 造成創(chuàng)傷的;驚駭?shù)?痛苦的;n. 外傷藥

Our journey home was pretty traumatic.
我們歸途中不太順心。

But children are able to cope better with a traumatic event if parents, friends, family, teachers and other adults support and help them with their experiences.
但是,如果父母、朋友、家人、老師和其他成年人用自己的經(jīng)驗(yàn)來(lái)支援和幫助他們,那么孩子們就能更好地應(yīng)對(duì)創(chuàng)傷事件。

The prologue to China’s traumatic loss of national face can be found in the first modern encounter between East and West.
令中國(guó)大失顏面從而遭受創(chuàng)傷的起點(diǎn),可以追溯到中西方之間的第一次現(xiàn)代接觸。

5. 約翰-拉塞特其人

約翰-拉賽特生于1957年1月12日,是美國(guó)動(dòng)畫(huà)制作者,電影導(dǎo)演,皮克斯和迪士尼動(dòng)畫(huà)長(zhǎng)片部門(mén)的首席創(chuàng)意官、華特迪士尼幻想工程的首席創(chuàng)意顧問(wèn)。(John Alan Lasseter, born January 12, 1957, is an American animator, film director and the chief creative officer at Pixar and Walt Disney Animation Studios. He is also currently the Principal Creative Advisor for Walt Disney Imagineering.)

畢業(yè)之后拉塞特就加入了迪士尼公司,他的第一個(gè)工作是加州迪士尼樂(lè)園叢林漂流的船長(zhǎng),后來(lái)他加入華特迪士尼制作公司(即Walt Disney Productions)開(kāi)始了他在動(dòng)畫(huà)部門(mén)的工作。當(dāng)他看到當(dāng)時(shí)的電影電子爭(zhēng)霸戰(zhàn)(Tron)的時(shí)候,他就發(fā)現(xiàn)了計(jì)算機(jī)新技術(shù)帶來(lái)的潛能。因?yàn)榈鲜磕峋鸵恢毕M茏寗?dòng)畫(huà)片的層次更多,以前就應(yīng)用了多平面攝影技術(shù),而拉塞特就意識(shí)到電腦可以生成三維的背景,讓二維的人物穿梭其中。他在制作了一個(gè)測(cè)試短篇 Where the Wild Things Are(野獸家園) 之後,就找來(lái)Glen Keane(格蘭-基恩)作搭檔開(kāi)始制作一個(gè)長(zhǎng)片電影,可是后來(lái)當(dāng)他激動(dòng)地展示給迪士尼公司的人的時(shí)候,公司有一個(gè)人卻不喜歡他的想法,并直接把他開(kāi)除了,這樣拉塞特離開(kāi)了迪士尼。后來(lái)拉塞特先生加入了當(dāng)時(shí)的盧卡斯電腦圖形工作室,而后來(lái)這個(gè)組織變成了皮克斯。

拉塞特在1995年就創(chuàng)造了一項(xiàng)電影歷史,他導(dǎo)演完成了第一部故事片長(zhǎng)度計(jì)算機(jī)動(dòng)畫(huà)電影《玩具總動(dòng)員》,該片為他贏得了奧斯卡特別成就獎(jiǎng)。他隨后參與制作的影片為他贏得了更多的榮譽(yù),其中包括由他執(zhí)導(dǎo)的《蟲(chóng)蟲(chóng)危機(jī)》 (1998)和獲得了金球獎(jiǎng)的《玩具總動(dòng)員2》(1999);由他擔(dān)任執(zhí)行制片人的《怪物公司》、《海底總動(dòng)員》 和 《超人總動(dòng)員》。拉塞特同時(shí)也是是宮崎駿很好的朋友,并負(fù)責(zé)了好幾部宮崎駿美國(guó)的上映,同時(shí)負(fù)責(zé)這些電影的英文版配音。?

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