Ready Camera. Set and action.
攝影機(jī)準(zhǔn)備。就位、開(kāi)拍。

It’s gonna be different, for sure. This is the first time anyone’s ever tried it like this.
它將會(huì)截然不同，絕對(duì)。這是第一次有人像這樣嘗試(拍攝)。

Every single person is singing every take live.
每一個(gè)人都在現(xiàn)場(chǎng)演唱每一個(gè)鏡頭。

This has not been done through this kind of consistency in a musical before.
這以前從未以如此一貫的手法在音樂(lè)劇中被實(shí)現(xiàn)過(guò)。

The idea of singing live is daunting, but what it gives you is this freedom.
現(xiàn)場(chǎng)演唱的想法是令人卻步的，但它賦予你的是這樣的自由發(fā)揮空間。

We have found an amazing group of actors, who completely at home attune through music, and the only way you can make that work is by capturing the moment.
我們已經(jīng)找到了一群出色的演員，他們透過(guò)音樂(lè)完全自在地取得協(xié)調(diào)，而你可以將其付諸實(shí)行(指現(xiàn)場(chǎng)演唱)的唯一方法就是透過(guò)捕捉那關(guān)鍵的瞬間。

Normally if you are making an old school movie musical, as a group of actors, we go into a studio, we record an album and then two months later we’d arrive on set, and they would play the playback, and we would mime alongside it. The problem with that is that you have to make all your acting choices three months before you’ve even met the actor you are working with. By recording it live, Tom is allowing us the spontaneity of normal film acting.
一般而言如果你在拍一部舊式的電影音樂(lè)劇，身為一群演員，我們會(huì)先進(jìn)一間錄音室，錄制一張專(zhuān)輯然后兩個(gè)月之后我們會(huì)抵達(dá)攝影現(xiàn)場(chǎng)，他們會(huì)播放錄像，而我們會(huì)在旁對(duì)嘴演出。隨之而來(lái)的問(wèn)題是你必須在甚至見(jiàn)到合作演員的三個(gè)月之前，做出你所有的戲路選擇。透過(guò)現(xiàn)場(chǎng)錄音，Tom允許我們使用一般電影演出的自發(fā)性。

You can tell in your bones there’s something false and unreal about people singing to playback. What would excite the audience is that singing live have such a profound effect on the power and realism of this story.
你可以直覺(jué)感受到演員對(duì)著錄像唱歌很假而且不真實(shí)。能夠激起觀眾興趣的是因?yàn)楝F(xiàn)場(chǎng)演唱對(duì)這個(gè)故事的張力和真實(shí)性有著深邃的影響。

Ready camera.
攝影機(jī)準(zhǔn)備。

I did the soliloquy, and it starts with, “What have I done? Sweet Jesus, what have I done? Become a thief in the night. Become a dog on the run. Have I fallen so far, and is the hour so late? That nothing remains, but the cries of my hate.” Ok, so that’s… if you’re singing it literally, it’d be like that. I can go out there in some takes… I will be like, “What have I done? Sweet Jesus, what have I done? Become a thief in the night. Become a dog on the run. Have I fallen so far, and is the hour so late? That nothing remains, but the cries of my hate.” I can take a break; I can move on; I can speed it up; I can slow it down, which means I just have to worry about acting.
我唱了段獨(dú)白，它的開(kāi)頭是：「我做了什么？親愛(ài)的耶穌，我做了什么？成了夜里的盜賊。成了亡命的喪犬。而我已墮落至深，為時(shí)已晚？蕩然無(wú)存，剩下我怨懟的泣聲。」好，所以那是…如果你照著字面唱，它會(huì)像是那樣。我可以在那里的某些鏡頭中跳脫出來(lái)，我會(huì)像是：「我做了什么？親愛(ài)的耶穌，我做了什么？一夜之間成了竊賊。成了亡命的喪犬。而我已墮落至深，為時(shí)已晚？蕩然無(wú)存，剩下我怨懟的泣聲。」我可以停頓一下；我可以繼續(xù)前進(jìn)；我可以加速；我可以慢下來(lái)，那意味著我只需擔(dān)憂演技。

“I missed a twenty long years ago…”
我在久遠(yuǎn)的二十年前就錯(cuò)過(guò)了…

The actors have hidden ear pieces, and we have a pianist who is playing live into the actors’ earpieces, and the actors are setting the tempo rather than the pre-recorded music track.
演員們有隱藏式耳機(jī)，而且我們有一位鋼琴師現(xiàn)場(chǎng)演奏傳入演員的耳機(jī)，然后演員們定下節(jié)奏，而非依賴(lài)預(yù)錄的音軌。

“There is a way for us. I love him, but when the night is over…”
「我們有條出路。我愛(ài)他，但當(dāng)黑夜結(jié)束…」

Ultimately, the panel will be replaced by Seventy-Piece Orchestra.
最后，配樂(lè)盤(pán)會(huì)被Seventy-Piece Orchestra(洛杉磯知名管弦樂(lè)團(tuán))取代。

“I love him, but everyday I am learning…”
「我愛(ài)他，但我每天都漸漸了解…」

Acting has to be completely natural. So a lot of us are stripping right back so that you can just live it a lot more.
演技必須完全地自然。所以我們大都褪下華麗的技巧，如此你就可以更加地融入角色。

“There are so many questions and answers that somehow seem wrong…”
「有太多的問(wèn)題和答案，不知怎地都看似錯(cuò)誤…」

It’s so much more powerful. You have complete freedom, complete control. When you are doing a love scene as an actor, you just wish there is a music to kind of help you get there. But now you hear the piano in your ears. Now you are the music, and almost it makes you cry.
它更加的有張力。你有完全的自由、完全的主控權(quán)。當(dāng)你身為演員在演一場(chǎng)愛(ài)情戲碼時(shí)，你就是希望有音樂(lè)能夠有點(diǎn)像是幫助你完成。但現(xiàn)在你在耳中聽(tīng)到鋼琴聲?，F(xiàn)在你就是音樂(lè)，它幾乎要讓妳哭了出來(lái)。

“Cosette, Cosette. This is a chain we’ll never break.”
「Cosette，Cosette。 這是條我們永遠(yuǎn)無(wú)法切斷的枷鎖。」

What comes with this way of working is you get the fragility of a voice, which matches with the emotions of what characters are saying.
這種工作方式伴隨而來(lái)的是你會(huì)領(lǐng)悟到聲音的脆弱，那符合角色在訴說(shuō)的情緒。

“When hope was high, and life worth living.”
「理想很崇高，而生命充滿活力?！?/div>

When I saw the trailer and(with) Anne singing with this extraordinary fragility, that song which I thought I knew pretty well… suddenly I listened to the lyrics for the first time, afresh.
當(dāng)我看到預(yù)告片Anne用這種特別的脆弱歌聲唱歌，那首我自認(rèn)為很熟悉的歌…霎那間我第一次傾聽(tīng)歌詞，耳目一新。

“I dream that God would be forgiving.”
「我夢(mèng)到神會(huì)寬容大量?！?/div>

There seem to be something selfish about trying to go for the pretty version. She’s devastated. She’s literally at the bottom of a hole looking up and realizes that she’s never gonna climb out of this, so I just decided to apply the truth to the melody and then see what would happen.
嘗試著追求優(yōu)美的版本似乎是件自私的事。她身心交瘁。她實(shí)際上身在絕望的處境仰望著且意識(shí)到她將永遠(yuǎn)爬不出來(lái)，所以我就決定將事實(shí)應(yīng)用在旋律上然后看看會(huì)發(fā)生什么事。

“I had a dream my life would be…”
「我有個(gè)夢(mèng)，我的人生將會(huì)…」

Somehow Les Miserables… it has to feel real. It has to feel immediate.
《悲慘世界》不知怎的…它必須要感覺(jué)真實(shí)。它必須要感覺(jué)直接。

So different from this hell I am living…
「與我身處的這地獄大相徑庭…」

Singing live, there is an emotional level to this that just cannot be created in the studio.
現(xiàn)場(chǎng)演唱，對(duì)于這個(gè)，有一種情感層次就是無(wú)法在錄音室內(nèi)營(yíng)造的。

“Now life has killed the dream…”
「現(xiàn)在生活已經(jīng)扼殺了美夢(mèng)…」

I thought there was an amazing opportunity to do something genuinely groundbreaking.
我認(rèn)為有個(gè)很棒的機(jī)會(huì)去做某種真正開(kāi)創(chuàng)性的事情。

“… I dreamed.“
「…我夢(mèng)想。」

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