[原创][翻译]《哈尔的移动城堡》原书作者安娜·温妮·琼斯访谈

icytear 发表于 2005-10-2 18:45:19

“他由内而外的欣赏我的作品。”――《哈尔的移动城堡》、英国作家安娜·温妮·琼斯与Nick Bradshaw的谈话 'He saw my books from the inside out' 2005.9.23翻译：icytear所有翻译均为动画爱好者交流所用，版权归原作者及所属媒体所有翻译部分未经允许，请勿转载.. .2004奥斯卡最佳动画奖抛弃了皮克斯、梦工厂以及迪斯尼的最新电脑特技作品，而向宫崎骏这位日本动画界魔术师的老式手绘作品张开臂膀，这对于这个追求电影制作多元化的奖项简直就是一个罕见的奇观，也是宫崎骏本土传奇20年中赢得西方称颂的的新里程碑。与宫崎骏大部分作品相同，《千与千寻》被蒙上了奇迹与魔幻的色彩；而与其他作品不同的是，在本国内，它是一场由怪物效应引起的轰动。但如果宫崎骏至今只是一个被本国人细心收藏的“机密”，那他那些慷慨借用欧洲绘画的艺术就不会有任何奇特的东西在其中。《千与千寻》在一个日本的神异世界重现了爱丽斯漫游奇境记的故事，而他接下来的幻想旅程更是直接改编了英国多产的幻想小说作家黛安娜·温妮·琼斯的作品《哈尔的移动城堡》。这是一个完美的组合，因为琼斯本身也是一位令人敬畏的魔术师，她的头脑中满是奇思妙想。她收到大批FANS的热烈追捧，但奇怪的是在更广泛的领域却不为人知。作为过气的幻想小说大师托尔金（《魔戒》作者――译者注）和 CS路易丝（《纳尼亚传奇》系列的作者――译者注）（50年代中期她作为牛津的学生曾经听过他的讲座）和JK 罗琳和菲利.普曼（《金色罗盘》作者――译者注）,掀起的新一轮热潮的纽带，身为出版作家她的已经奋斗了30多年，拥有40多本单行本作品。宫崎骏的关注很可能帮她赢得新的国际读者群。这部片子借七月份的剑桥电影节在英国重拳出击，而琼斯本人则作为最后周六之夜的贵宾出席。本以为在电影节上她会在烟幕的掩映中露面，然而事实上她只是戴着围巾在两名保镖的陪同下蹒跚而来，一个保镖当然是负责照顾她，而另外一个好像是要在城里找寻午餐专用的优质淡色啤酒。《哈尔的移动城堡》讲述了年轻的制帽裁缝苏菲的故事。在女巫恶毒的把她变为老婆婆之后，她在那个潇洒率真的巫师的移动城堡中寻求庇护。虽然琼斯已经70多岁，她解释说是她灵感突现写下了这个故事是在20年前。那时她的乳糖排斥症（那是一个医学上的顽症）让她只能靠手杖蹒跚而行。“那一点也不好玩，事实上简直是一段异样的时光”，她叹了一口气，“但既然没有别的事情可以做，我就继续着手写作了。”从那个早熟的年纪开始，琼斯就一直克服着重重困难奋斗在这条道路上。“那很难描述。但我在八岁的时候，一天下午，我突然意识到自己想成为一名作家”，她说，“我饱受阅读困难症的折磨，而且又是一个左撇子，所以看起来这根本不可能。我下楼告诉我的父母（我的想法），他们大笑起来。但我仍坚信自己。这让我克服了种种失望的打击不断前行――当然，作品的发表也花费了相当长的时间。”她最初的读者是两个妹妹，她们一起在远离剑桥的乡村世外桃源一起长大。“父亲可能是我所遇到的最吝啬的人”，她说，“他根本不愿意在文学上花钱，所以我们只能自己搜罗书籍过活。” 学校作业总是字迹潦草的完成了，于是她的诗歌处女作填补了空余时间。“在那个领域里我发现事实上写作和读书很相似，只是进度要慢一些。除非你事先把一切都和盘托出（然而我是不能这么做的）。在你的深入过程中情节会逐渐浮出水面。”她的作品和宫崎骏的艺术结合的如此紧密。他们都是那种在那个魔幻而飘忽的世界以自己的方式中向孩子们在找寻自我途中的奋斗致敬的人。琼斯说自从看了盗版的《天空之城》，她就成了宫崎骏的仰慕者。“我完全被征服了”，她回忆到，“已经到了无论何时放映我都要观看的程度。然而20年后我竟然得知宫崎骏想要为《哈尔的移动城堡》拍片子，这真像作梦一样。”宫崎骏是出了名的难以捉摸，她和他的第一次接触是和宫崎骏的美国特使签订著作权的时候。“那感觉真像我把那些角色当奴隶卖了一样。”之后一年半的风平浪静，她突然接到通知，宫崎骏要来波士顿拜访她，为了表示对她的敬意还安排了特别放映。“这奇妙了”，她说，“我从来没有想像过能够遇到和自己想法相同的人。他由内而外的欣赏我的作品。”谈到了电影和小说的脱离。其中一点不同就是对邪恶的态度。宫崎骏把琼斯给荒地女巫的恶名分摊到到一群好战者和卑鄙恶劣的人身上。“任何一个人变坏都是有原因的，我一直这样认为。”琼斯赞同宫崎骏（为荒地女巫）“洗脱罪名”。“我的哲学认为人们变坏不是这个原因，就是那个原因。我也确实认为有些人是不可救药的。的确，宫崎骏对人类的态度比我对人类的态度要宽厚的多。”琼斯也认为这些改编让电影更有韵味，而她本人好像对国师萨丽曼夫人在玩什么把戏也不太确定。也许和苏菲以及荒地女巫一样，萨丽曼夫人只是对哈尔那这个魅力十足的ｐｌａｙｂｏｙ的灵魂有着强烈的渴望。“从小说出版的那一刻开始”，琼斯透露到，“我就不断收到来信，询问‘真有哈尔这个人吗？我好想嫁给他啊’。为哈尔痴迷人排队大概能环绕地球两周了。”英文原文：When the 2004 Oscar for Best Animated Film was awarded, not to the latest computerised marvel from Pixar, DreamWorks or Disney, but to an old-fashioned hand-drawn animation from a Japanese magician of the moving image called Hayao Miyazaki, it was a rare nod from the Academy for filmmaking diversity, and the latest way-post in this native legend's 20-year journey to acclaim by the West. Like all his films, Spirited Away was steeped in wonder and wizardry, and more than any of his films it was a monster smash at home.<TABLE cellSpacing=0 cellPadding=0 width=300 align=center border=0 hspace="0"><TR><TD width=300><CENTER><IMG src="http://www.telegraph.co.uk/arts/graphics/2005/09/23/bfwynne23.jpg" border=0></CENTER></TD></TR><TR><TD class=caption><CENTER>Diana Wynne Jones has long admired Miyazaki</CENTER></TD></TR></TABLE>But if Miyazaki has until recently been a well-kept secret by his countrymen, there's nothing insular about his art, which borrows generously from European painting, literature and landscapes. Spirited Away replayed Alice in Wonderland in a ghostly Japanese fairground; his follow-up wears his imaginative travels even more overtly, adapting a novel, Howl's Moving Castle by the prolific British fantasy writer Diana Wynne Jones.It's a good match, since Jones too is an august conjurer of magical fancies, fêted by her legion of fans and yet curiously unsung by the wider world. The link between such fantasy-fiction past-masters as JRR Tolkien and CS Lewis (whose lectures she attended as an Oxford student in the mid-1950s) and the new wave spearheaded by JK Rowling and Philip Pullman, she's been a published author for more than three decades, with 40-odd books to her name. Miyazaki's attentions are likely to win her a whole new international readership.The film made its UK bow at the Cambridge Film Festival in July, where Jones was the final Saturday-night guest of honour. I almost expected her to arrive at the festival in a puff of smoke. Instead she hobbled in in a neck-brace, flanked by two bodyguards minding her brittle bones, and another whose role seemed to be to recce the town for a good ale come lunchtime.Howl's Moving Castle concerns a young apprentice hatter, Sophie, who takes refuge in a mercurial wizard's roving fortress after a witch spitefully turns her into an old woman. Though now in her seventies, Jones explains that she was inspired to write the story two decades ago, when her lactose-intolerant condition - a mystery to the medical profession, she says - first left her hobbling on walking sticks. "It's not been fun; in fact it's been a grotesque time," she sighs. "But if there's nothing else to be done, you get on with it."She's been getting on with it, and overcoming obstacles to it, from a precocious age. "It's awfully hard to describe, but when I was eight, in the middle of an afternoon, I suddenly knew I was going to be a writer," she says. "I was in the throes of dyslexia, and being left-handed didn't help, so it did seem like the most improbable thing in the world. I went downstairs and told my parents, who laughed, but I was right. And it does keep you going through lots of disappointments - it took me a long time to get published, too."Her first audience was her two younger sisters, with whom she grew up in rural isolation outside Cambridge. "My father was probably the meanest man I've ever met," she says. "He wasn't prepared to pay for literature, so we existed on books we scrounged." Scrawled across spare school exercise books, her maiden epics were a way to fill the void. "I discovered at that stage that actually writing something is rather akin to reading it, only slower. Unless you plan it out horribly in advance, which I can't do, you're finding out the plot as you go along."The match between her books and Miyazaki's art could hardly be closer. Both address themselves to children's struggles with self-belief in magical, mystifying and highly mutable other-worlds. Jones says she's been an admirer since catching a pirated version of his Laputa: Castle in the Sky at a science-fiction convention. "I was absolutely hit in mid-ships," she remembers, "to the extent of watching it whenever it was showing. It was the most amazing thing when nearly 20 years later I suddenly got these overtures saying Miyazaki would like to make a film of Howl."Miyazaki is notoriously elusive, and her first contact was when she signed away her authorial rights to his American envoy ("It did rather feel as if I were selling some of the characters into slavery"). An 18-month lull followed, before she was suddenly served notice that Miyazaki would be visiting her in Bristol, with a special screening arranged in her honour. "It was wonderful," she says. "I don't think I've ever met anyone before who thinks like I do. He saw my books from the inside out."We discuss the film's deviations from the book. One difference is in its attitudes to evil. Miyazaki doesn't do incorrigible villainy, and Howl the movie lifts that burden from the shoulders of Jones's Witch of the Waste, sharing it out among a number of warmongers and miscreants."There is a reason why anyone goes to the bad, I suppose," Jones grants of Miyazaki's rehabilitated reprobates. "My philosophy would say that they would go to the bad for some other reason, if they didn't have that one. I really do believe there are some people who are just irredeemable. But yes, Miyazaki is much more genial about the human race than I am."She agrees that the change muddies the drama, and seems no surer than anyone else what game Howl's new foil Madam Suliman, the king's sorceress, might be playing in the film. But perhaps Suliman, like the Witch and Sophie, simply has a hankering for the heart of Howl, a dandy who apparently casts quite a spell."Almost from the minute the book was published," Jones reveals, "I began getting letters asking 'Is Howl real? I want to marry him.' There's now a queue for his hand that must stretch twice around the world."来源：telegraph.co.uk

[此贴子已经被桃夭于2006-5-10 21:12:55编辑过]

洛蔄蓝 发表于 2005-10-11 20:22:24

作者长得有点像荒地女巫http://comic.boxbbs.com/Album/pic/17/179/050127031341968_4_l.jpg

721547 发表于 2005-11-18 15:39:00

好厉害啊　老大你英文真好

planetarium 发表于 2006-3-6 16:50:31

严重同意2楼观点

月夜的风 发表于 2006-3-27 18:08:13

真是太强了！！！！

步行云海 发表于 2006-4-1 08:59:19

我只能用帅这个字来表达我此刻的心情啊！

heerolee 发表于 2006-4-1 10:37:07

可以看出宫待人接物的态度，用真诚打动人，所以赢得尊重与敬仰……

多多啦 发表于 2006-4-9 18:26:53

2楼的话很搞笑

Pazu 发表于 2006-4-9 19:48:04

很像变慈祥后的荒地女巫！！！

vicy 发表于 2006-4-11 08:47:07

减肥后的荒地女巫~~~

尐魔囡琪琪 发表于 2006-4-29 19:59:57

在DVD上也有她的介紹..

jmmm 发表于 2006-4-30 10:45:21

一个人的作品可以反映出一个人的人格魅力，我相信很多人是被宫老的人格魅力所吸引的。

leeshawn 发表于 2006-8-26 18:38:00

2楼的观点哈。我严重支持

Aha 发表于 2007-7-30 17:31:39

:dance :jubilation 被他的人格魅力折服！~~~~~~

ROCKGTB 发表于 2007-8-7 22:46:18

有能耐！英个里司还真不赖！:dance

发表于 1970-1-1 08:00:00

对影独倾 发表于 2009-8-14 10:35:54

本帖最后由对影独倾于 2009-8-14 10:47 编辑

其中一点不同就是对邪恶的态度。宫崎骏把琼斯给荒地女巫的恶名分摊到到一群好战者和卑鄙恶劣的人身上。
没有绝对的善与恶的界限，宫老这样做真是大善，所谓对人类态度的宽厚呵......
在你的深入过程中情节会逐渐浮出水面没有切身体会，我想我无法理解，呵呵

Jue 发表于 2009-8-14 16:30:53

那段英文看得我头晕眼花，图没有看到:Maiaiai

折耳猫 发表于 2009-8-17 20:20:17

翻译的好厉害

imomo 发表于 2011-12-31 21:48:19

这部片子第一遍没看懂，找了影评看才明白好多隐喻:bye

sooling 发表于 2013-8-5 23:09:40

图看不了宫崎骏是很用心的在做动画

菜vcvcv 发表于 2013-9-19 19:07:08

其实很感谢宫崎骏先生把这部小说搬上大银幕:Mlove

发表于 1970-1-1 08:00:00

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[原创][翻译]《哈尔的移动城堡》原书作者安娜·温妮·琼斯访谈