女神殿

3. 韋思安德森感覺很受傷




It turned out to be the beginning of a European adventure that, somewhere along the way, ended up producing The Darjeeling Limited. The movie features Schwartzman, Wilson, and Adrien Brody as three estranged brothers who travel through India by train in order to find themselves and bond with each other and "say yes to everything," as Wilson’s character puts it. This "spiritual journey" is played for laughs, though like all of Anderson’s work, the comedy is born out of sadness—a fractured family attempting to repair itself. (See David Edelstein’s review here.)

結果兩人展開一場歐洲探險，沿路上大吉嶺有限公司於焉誕生。電影由感情疏離三兄弟薛茲曼、威爾森、安德林布洛迪主演，搭乘火車長征印度是為了找尋自我，結合彼此，以及「對每件事說好」威爾森角色的台詞。這趟「心靈旅程」有歡笑，就像所有安德森電影，乃悲傷延伸之喜劇—一個破碎家庭試著彌補本身。




Anderson first got the itch to shoot in India after Martin Scorsese—an avowed fan who in Esquire once anointed Anderson "the next Scorsese"—introduced him to The River, a lush and evocative 1951 film made by Jean Renoir. The idea for the brothers traveling came from Husbands, a 1970 John Cassavetes movie about three suburban husbands escaping to London. "But my main idea was not the train, not India, not the brothers," says Anderson. "My main idea was, I want to write with Roman and Jason." One night when Anderson was holed up in Schwartzman’s Paris apartment, he read a few pages of his notebook to Schwartzman—a scene that ended up being the film’s opening. It wasn’t long before Schwartzman and Coppola had signed on, and the three of them set aside a month to travel through India by train. It was there that most of the script was written.

安德森手癢於印度拍電影，在馬丁史柯西斯—曾在君子雜誌 欽點 安德森為下一個史柯西斯的死忠影迷—介紹他看大河，飽滿誘人的一九五一年尚雷諾電影。兄弟旅行主意來自丈夫們，一九七零年約翰卡薩維提電影，關於三位近郊大丈夫逃往倫敦的故事。「但我的重點不是火車，不是印度，不是三兄弟。」安德森說。「我的重點是，我想和羅曼與傑森創作。」某夜安德森躲藏薛茲曼巴黎公寓，他向薛茲曼讀了幾頁安德森筆記本—該場景成為電影片頭。薛茲曼和柯波拉隨即簽約，三人排出一個月搭乘火車長征印度，劇本幾乎在那完成。




"I guess we went to India as research," says Anderson, "but the more precise-slash-romanticized description would be that we were trying to do the movie, trying to act it out. We were trying to be the movie before it existed."

「我猜我們以做功課心態前進印度，」安德森說，「但更精確／浪漫的說法，是我們試著做這電影，試著演出來。我們希望我們就是這電影，在這電影存在以前。」




On the trip to Rome, Anderson and company move about the train as if it belongs to them. They abandon the suitcase full of Bill Murray’s money and head to the dining car for pasta, prosciutto and melon, and numerous half-bottles of wine. After lunch they sneak into a business-class cabin (from which, later, they will be ejected when an Italian politician arrives with armed guards). Coppola and Furches decide to kill some time by completing the Times crossword puzzle; they are soon stumped, and turn to Anderson, an amateur crossword junkie, for assistance. "Mind if I hold the paper?" Anderson asks, setting the crossword in his lap, pulling an erasable pen from his pocket, and casually taking control of the situation. He gives the sense that everyone is participating, working together, and yet—as he fills in one answer after another—it becomes clear that the end result would be the same if Anderson were sitting there alone. 

往羅馬途中，安德森偕友人穿梭車廂，彷彿火車是他們的。他們拋下裝滿比爾莫瑞鈔票的手提箱，直奔用餐車廂，享用義大利麵，煙燻五香火腿，甜瓜，以及多瓶美酒。午餐後他們潛入商務車廂 (不久因一名義大利政客武裝駕到而被驅逐)。柯波拉和費區斯決定完成時代雜誌填字遊戲打發時間；他們馬上陷入困境，便找安德森，業餘填字遊戲成癮者，幫忙。「介意我拿著報紙嗎？」安德森問到，把報紙在膝蓋上整頓好，從口袋拿出一隻可擦拭筆，從容地掌控大局。他讓大家都有參與感，同心協力，然後—當他征服一格又一格—很明顯結果就和他獨自完成一樣。




"I think we’re just being entertained," jokes Coppola.

「我們只有被娛樂的份。」科波拉開玩笑。




"Oh, no—I couldn’t do this without you guys," says Anderson, a statement that comes across as both true and false.

「喔，別這麼說—沒有大家我是無法大功告成的。」安德森說，一個正確也是錯誤的聲明。




It is perhaps not unlike his collaborative process. His friends seem to act as conductors for his imagination: triggering it, encouraging it, very rarely questioning it. There were times on the set of Darjeeling, for instance, when Anderson would doubt his instincts: "Okay, am I doing too much of a 'thing I do' here?" he would ask the crew. Coppola was quick to quell the director’s insecurities. "Roman would always express his appreciation for being inventive and making what we thought was a strong choice." As Coppola puts it, "When you do something that really is your instinct to do, then what more can you ask of yourself?"

那可能不太像他的合作經歷。他的朋友似乎是他想像力的指揮：觸發它，鼓勵它，甚少質疑它。大吉嶺拍攝期間，例如當安德森對自己的直覺沒信心：「好的，我是不是在這裡做太多『我做的事』了？」他會這樣問劇組。柯波拉迅速地平息導演的不安全感。「羅曼總是表達他對創意以及我們所選擇的賞識。」科波拉表示。「當你順從你的直覺，還有什麼好懷疑的？」




Still, Anderson was tense at the premiere in Venice. It is the same at all premieres—Anderson worrying about how his movies, crafted in something of a parallel universe, will play in the world at large. "Mostly it’s just a process of steeling oneself for what’s going to happen. I’m sitting there thinking, Is the movie gonna be received with a lull of silence? Or with a boo?" says Anderson. "That’s a common thing in Europe, you know? They boo here." 

安德森對威尼斯影展首映還是感到緊張。每次首映都一樣—安德森擔心他的電影，製作於某平行宇宙，會在這世界怎樣被上演。「主要就是將自己轉到接下來將發生什麼的過程。我坐在那裡心想，這電影會被沉默之打呼接收，還是被噓？」安德森說。「那是在歐洲很常有的事，你知道嗎？他們噓人。」




For the record, they did not boo. The early reviews were mainly positive, much more so than with Aquatic, though there was the requisite grumbling that the movie was "good but more of the same," as Anderson puts it, shaking his head, after reading what Variety had to say. But the director does not seem particularly hurt or defensive this time around. "It’s probably not a good idea to put too much of your self-esteem on something like this, because, really, you can make a bad movie and it can be well received, and you can make a good movie and it can be badly received," he says. “I think people who’ve done it a lot have learned, like the Coen brothers, for instance. My impression of them is that they really aren’t that vulnerable to what comes back at them. And they could get anything from any of their movies. Like The Big Lebowski, the first time I saw it I thought it didn’t quite work, but the second time I saw it I thought, Oh, I didn’t get it. I just didn’t understand it. And I really loved it then." He adds, "You know, everyone’s limited. You can only do so much. I think in the end all I can do is say, Let me live the moment. I can still do what I want to do. I’m lucky enough to be able to do these movies so far."

這次，他們沒有飽以噓聲。早先影評大多呈現正面，比海海人生好上許多，即使還是有不可避免的牢騷，關於電影「很棒但了無新意」安德森說，看過綜藝評論後搖搖頭。但導演這次似乎沒有特別受傷或防備。「把過多自尊放在這種事上大概不是個好點子，你可以拍個壞電影但受好評，或拍個好電影但受壞評。」他說。「我認為經驗豐富的人學到很多，利如科恩兄弟。我對他們的印象就是他們對於負面意見從不在意。而且他們可以從他們的電影得到任何東西。比方說謀殺綠腳趾，我第一次看覺得不是很順暢，但第二次看，喔，我看不懂。我就是無法理解。然後我就愛上那電影了。」他補充。「你知道的，每個人都有限制。你就只能做這麼多。我猜到最後只能說，讓我活在當下。我還是可以做自己想做。目前為止我很幸運有辦法一直拍電影。」




Two weeks later, over the phone from his Paris apartment, Anderson briefs me about how he fared during the rest of his travels. After we parted ways in Rome, he tells me, he delivered the money to Luigi, clearing Bill Murray’s outstanding debt. For the next few days he dined at his favorite restaurants until he decided it was time to head back to Paris. A sleeper train was momentarily considered for the journey, until a better idea struck. "We ended up slowly wandering our way back to France in a Roman taxi," Anderson says, as if nothing could have made more perfect sense. 

兩週過後，他的巴黎公寓來電， 安德森向我簡短報告他之後旅行情況。羅馬分別後，他告訴我，他把錢運送給路奇先生，償還比爾莫瑞的巨額負債。剩下幾天他在他最喜歡的餐廳吃飯，直到決定是時候回巴黎。睡眠車廂暫時是好主意，直到有更好點子湧現。「結果我們搭乘計程車從羅馬漫遊回巴黎。」安德森說，好像沒有更完美的選項了。




The Life Obsessive With Wes Anderson

1. 韋思安德森的海海人生
2. 韋思安德森幽閉恐懼症
3. 韋思安德森感覺很受傷