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歲高齡，雷德利·斯科特讓那些年紀小他一半的制片人宛若徹頭徹尾的懶蛋。斯科特自2012年以來每年執導一部電影，而且這些電影都既不是小制作也非一蹴而就的。他從科幻片（《普羅米修斯》）調到販毒驚悚片（《黑金殺機》），再到圣經史詩片（《法老與眾神》）。攜手《火星救援》，斯科特再次自我挑戰他在兩大經典《異形》和《銀翼殺手》中早已征服過的電影類型。
　　BoxOffice spoke with Scott the morning after The Martian premiered at the Toronto International Film Festival.
　　BoxOffice在多倫多國際電影節首映《火星救援》后的上午與斯科特做了對話。

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?
祝賀電影獲得的極佳反響。這是你與大批觀眾一同第一次觀看呢，或是出席了試映？

　　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.
　　我必須出席試映，這是流程的一部分，實際上我們去了5次。在所有5場試映中，我們的得分都是90多，這幾乎是聞所未聞的。這通常會出現在熱鬧有趣的喜劇片里，但我們是帶讓人驚奇情節的劇情片。這表明我們狀態良好。

How did you first become interested in The Martian ?
你是如何對《火星救援》開始感興趣的？

　　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，一個偉大的劇本不會憑空落在你桌子上。所以即使當我不工作時，我也在不斷地挖掘素材。這種千載難逢的事終于找上了我。我與福克斯合作12年了，有一份第一優先合作協議。他們找到我說，“看，我們已得到這個劇本，你或許會想看看。”我讀了劇本，非常喜歡，同時留下深刻印象，劇本涵蓋了情感的所有四個象限。

It's far more uplifting than your other sci-fi films. Was it a reliefto do something less dark?
這遠遠比你其他科幻電影更令人振奮。做一些不太灰暗的東西是不是一種解脫？

　　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.
　　我是一個英國人，所以積極/消極就是個色調的事，是個學術問題。有個皆大歡喜的圓滿結局，這是非常美國化的特質——而我在這里也一點都不消極。這是有道理的，因為這讓人們坐穩位子來觀影，這也是我們的全部使命。我們來這是為了娛樂眾生，如果你吸引不了人們來觀影，那你就沒有生意。

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，你覺得如今電影制片人是否還應該那么多地去顧慮商業性的一面嗎？是否許多人只做他們做的，并不擔心收回成本？

　　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.
　　我想說的是恰恰相反。這可能不得人心，但我想這樣的人太多了（過分關注商業性一面的人）。人們想出了市場計劃，這是為什么我們看到許多濫片有時為了商業原因公然地放映，當你這樣做時，他們常常會失敗。

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?
有這么個概念，導演不能總是藝術與商業兼得，但我看你或一些人像斯坦利·庫布里克——也很關心商業化成功——而且很顯然你可擁有兩者。你同意嗎？

　　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。你嘗試去找到平衡。對某些人來說，這全都關于藝術，而且有時他們會成功。如果萬事順利，既提升了藝術水準，又能商業化運作，這當然很完美。但這并不經常發生。

Did making the movie in 3D change your approach as a director?
作為導演，3D電影是否改變了你的方法？

　　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.
　　一點也不。我很幸運自己有很好的眼光，而我一直都是。這甚至影響我的方式，因為我曾經被批評為過于視覺化。我會說，“嗯，堅持住。我不是在做一部什么廣播劇！我是在拍電影。”我所擁有的是一項優勢，我
一直在尋找一種方式去進化，避免我曾經做過的。

What are your thoughts on the current state of 3D filmmaking?
你對3D電影現狀有什么想法？

　　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.
　　事實上，技術發展如此之快，高端2D（高動態范圍）幾乎使3D變得多余。我們用3D拍攝與編輯《火星救援》，如果你有合適的團隊，工作就非常簡單，而且（攝影師）達瑞茲·沃斯基非常出色。從我的角度來看，制作3D影片我可以找到樂趣。但現今2D變得如此出色，你真該問問自己是否還需要。

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?
馬特·達蒙在電影中大部分都是與世隔絕的。有沒有什么體驗派表演發揮作用？你有沒有嘗試將他與其他團隊分開？

　　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?
　　完全沒有；我從來都不會這樣做。我認為演員想要如何完成工作，這更多是他們個人的選擇。他們想凄凄慘慘地度過16周，還是要玩得開心呢？

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?
馬特是迅速抓住電影中的那些大情緒場面，還是需要反復嘗試來醞釀情緒？

　　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。我挑選演員很仔細。如果我挑選得好，演員們會在我們拍攝那天幫助我，而我也會幫助他們。這成為一種合作伙伴。我不做數天和數星期的排練。我傾向于做的是，當我走入片場，我確實地拍攝第一次排練，就在攝影機前排練。因為這時你有精力去準備，而不是排練，這樣你會有現實感。如果你過分排練，在你攝影時就會麻木，然后你花時間回到你排練時領悟的狀態。我這樣并沒有什么不尋常。克林特·伊斯特伍德這樣做，馬丁·斯科塞斯也如此。

It's a workmanlike approach. It's making sure you get things done as efficiently as possible.
這是一個熟練的方法。這確保你盡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，許多演員喜歡而不愿意承認。如果寫得很好，你不用排練。在這種情況下，我們已經有了一本偉大的書改編而來的一部偉大的劇本。

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?
作為導演，你不是回避放映導演剪輯版本的人。這個版本問世正是你想要的嗎？

　　Definitely. I never do the long versions for theaters. The one that goes out is the one I like.
　　當然，我從不為影院做長版本。問世的版本正是我喜歡的版本。