斯諾登的好萊塢漫長奇異之旅 重磅大片
This January, I drove to Stone’s office in West Los Angeles to watch a rough cut of Snowden.
今年1月，我開車到斯通位於西洛杉磯的辦公室看《斯諾登》的粗剪版。
Stone works out of a discreet suite in a pristine office complex.
那是一片新辦公樓羣裏的一套不起眼的房間。
The décor is eclectic.
裝飾風格比較雜。
There are tribal masks, Indonesian throw pillows, a Che Guevara painting and a lone potted palm tree.
既有部落面具，也有印尼抱枕，還一幅切•格瓦拉(Che Guevara)畫像和一株孤零零的盆栽棕櫚樹。
Like Citizenfour, Snowden takes place in Hong Kong, but this time the story has the eerie feeling of a familiar scene re--enacted by skilled Hollywood actors.
與《第四公民》(Citizenfour)一樣，《斯諾登》的場景設定在香港，但是這一次，這個故事呈現出一種由技巧卓越的好萊塢演員重新上演熟悉場景的詭異感。
Stone was right about Gordon--Levitt.
斯通選高登-萊維特演斯諾登是對的。
His performance is not an interpretation so much as a direct replica of the whistle--blower’s even demeanor and intonation.
他的表演不像是在闡釋這個人物，而是直接重現了這位揭祕者平和的舉止和語調。
Quinto plays Greenwald with such intensity that he appears perpetually enraged.
昆圖扮演的格林沃爾德很有張力，好像永遠處於憤怒狀態。
Melissa Leo’s Poitras is in turn warm and protective, almost maternal.
梅麗莎•里奧(Melissa Leo)飾演的普瓦特拉斯則讓人覺得又溫暖又安全，如慈母一般。
Stone came in just as the credits rolled.
斯通在演職員字幕開始滾動的時候走了進來。
He was nursing a cold but was back on caffeine and asked his assistant for Bulletproof, the trendy coffee brand made with grass-fed butter.
他患了感冒還沒好，但已經恢復了咖啡因攝入，要助手給他來一杯Bulletproof，一種目前很受歡迎的咖啡品牌，用草飼黃油製作。
It’s supposed to be nutritional, Stone said.
應該會挺有營養，斯通說。
No radicals.
沒有自由基。
Since I last saw him, the film’s release had been pushed from December 2015 to May 2016 as Stone rushed to complete it, and then once more to September 2016.
自我上一次見到他，這部電影的上映時間已經從2015年12月推遲到2016年5月，接着又推遲到2016年9月。斯通在這期間趕着完成影片的製作。
The biggest challenge was pacing.
其中最大的挑戰是節奏。
Stone likes to structure his movies around a series of plot--pivoting, battlelike scenes — the concerts in The Doors, the football games in Any Given Sunday or actual warfare in Alexander.
斯通喜歡圍繞一系列情節轉折、類似戰爭的場景結構影片，比如影片《門》(The Doors)中的音樂會、《挑戰星期天》(Any Given Sunday)中的橄欖球賽，或者《亞歷山大大帝》(Alexander)中的戰爭場面。
A story in which the drama hinges on a tech specialist downloading classified documents was more subdued than he was accustomed to.
相比他以往習慣拍攝的影片，這樣一個劇情圍繞一名下載機密文件的技術專家展開的故事，顯得更加波瀾不驚。
Coding is not exciting, Stone said.
寫代碼不會讓人覺得興奮，斯通說。
At the end of the day, it’s a nerdlike behavior — it’s dull on a screen.
說到底，那是一種有點書呆子的行爲——在畫面上呈現出來是比較乏味的。
Stone got around the tedium of reality by turning his film into a cross between a cyberthriller and a love story, using Snowden’s relationship with Mills to inject emotional stakes.
通過將影片改成一個網絡驚悚與愛情元素交織的故事，斯通去掉了現實的乏味。
Cutting between Snowden in Hong Kong and flashbacks to his past, the film speeds through Snowden’s biography with the help of techno music, snappy explanations of N.S.A.
他利用斯諾登與米爾斯的關係，爲影片融入了一些情感色彩。
programs and tricky camerawork to build in the tension of surveillance.
影片在香港和對過去的閃回之間來回切換，通過科技舞曲，對美國國家安全局項目的簡要介紹，以及用複雜的攝影技巧營造出的緊張的監控場面，快節奏地介紹了斯諾登的經歷。
(There are scenes filmed from the perspective of tiny phone cameras — the modern peephole — and suggestive zoom-ins on eye pupils.)
（有些場景是透過微小的手機攝像頭的視角——也就是現代的窺視孔，還有引人聯想的推向瞳孔的鏡頭。）
But there are also unmistakable Stone-isms.
但是，它也明顯帶有斯通的風格。
I just don’t really like bashing my country, Gordon--Levitt says to Woodley as they stroll past a Bush--era antiwar protest in front of the White House.
我並不真的喜歡抨擊我的祖國，高登-萊維特對伍德蕾說。
It’s my country, too, Woodley says.
當時他們正漫步經過布什時代白宮前的一場反戰抗議活動。
And right now, it’s got blood on its hands.
它也是我的祖國，伍德蕾說，但是現在，它手上沾滿鮮血。
Snowden’s N.S.A. boss is unsubtly named Corbin O’Brian, after the antagonist in Orwell’s 1984.
斯諾登在國家安全局的上司在片中被稱爲科爾賓•奧布賴恩(Corbin O’Brian)，顯然得名於奧威爾(Orwell)《一九八四》(1984)中的那個反派。
Most Americans don’t want freedom, O’Brian tells Snowden. They want security.
大部分美國人不想要自由，奧布賴恩對斯諾登說，他們想要安全。
Snowden’s many storytellers all tell a similar hero narrative.
斯諾登故事的很多講述者都講述了一個類似的英雄故事。
But if Greenwald’s account is about journalism, Poitras’s is a subtle and artful character study and Kucherena’s is an attempt at the Russian novel — a man alone in a room, wrestling with his conscience — Stone’s is the explicit blockbuster version, told in high gloss with big, emotional music and digestible plot points that will appeal to mass audiences.
不過，如果說格林沃爾德的故事是關於新聞工作，普瓦特拉斯的故事是細膩、巧妙的人物研究，庫切列納的故事是俄羅斯小說的一種嘗試——一個男人獨自呆在房間裏，進行良心上的拷問——那麼斯通的故事明顯是一部商業大片，它以明亮的光彩、宏大動人的配樂和易於理解的情節要點吸引大衆。
As Wizner wisely anticipated, it is the narrative most likely to cement Snowden’s story in Americans’ minds.
就像維茨納聰明地預期得那樣，最可能把斯諾登的故事烙印在美國人頭腦中的應該是這個故事。
Snowden declined to comment for this article, but Stone told me he had seen the film and liked it.
斯諾登拒絕就本文作出評論，不過斯通對我說，斯諾登看了該片，表示喜歡。
At a screening at Comic--Con a few months later, Snowden would beam in via satellite to give his somewhat wary approval.
幾個月後，在動漫大會(Comic--Con)的一次試映會上，斯諾登通過衛星滿臉笑容地對該片表示略帶謹慎的讚賞。
It was something that made me really nervous, he said of Stone’s film. But I think he made it work.
它真的讓我緊張，他談到斯通的影片時說，不過我想他拍得挺好。
As Stone intended, Snowden shows up at the end of the film.
如斯通所願，斯諾登在片尾亮相。
He appears in a wood--paneled room in Kucherena’s dacha, a modest, foreign--looking space, with little to see except a vase of flowers and some curtains in the background.
他出現在庫切列納鄉間別墅的一個鑲着木板的房間裏，那是一個具有異國風情的樸素空間，除了背景裏的一瓶花和部分窗簾，幾乎看不到別的東西。
The Snowden who speaks is not the stoic version, but one who manages to deliver a Stone--caliber movie line.
講話時的斯諾登不是一名苦修者的樣子，而是努力想傳達出斯通標準的電影臺詞。
I no longer have to worry about what happens tomorrow, he says, because I’m happy with what I’ve done today.
我不必再擔心明天會發生什麼，他說，因爲我對自己今天做的事感到高興。
Just before the screen fades to black, Snowden is shown gazing toward a window, a faint, inscrutable smile on his face.
就在銀幕慢慢變黑之前，畫面中的斯諾登凝視着一扇窗戶，臉上露出淡淡的、神祕的微笑。
By this summer, whatever anxieties there may have once been seemed to have dissipated.
今年夏天，曾經有過的所有焦慮似乎煙消雲散。
With the film completed, Stone would officially beat Sony’s project.
電影拍完，斯通正式打敗了索尼的項目。
Open Road, the distributor he was worried about, had won an Oscar for Spotlight.
他曾經感到擔憂的發行商開路影業(Open Road)憑藉《聚焦》(Spotlight)獲得了奧斯卡獎。
After Snowden earned similar marks to that film during test screenings, everyone seemed optimistic, if a little surprised.
在試映階段，《斯諾登》獲得了與那部電影類似的評價，大家似乎因此感到樂觀，甚至有點驚喜。
At first I thought there must be something wrong, said Borman, who told me that he hadn’t seen such high scores in 25 years.
一開始我覺得這肯定是搞錯了，博爾曼說。他對我說已經有25年沒見過這麼高的評分。
Open Road had pushed for a fall release, placing it firmly among Oscar contenders. (Snowden will open in theaters on Sept. 16, the day after Stone’s 70th birthday.)
開路影業極力主張在秋季發行該片，把它穩穩置於奧斯卡參選影片之列（《斯諾登》將於9月16日在影院上映，也就是斯通70歲生日的第二天）。
Gordon--Levitt was so moved by Snowden’s story that he donated most of his salary from the film to the A.C.L.U. and used the rest to collaborate with Wizner on a series of videos about democracy.
高登-萊維特被斯諾登的故事深深打動，把自己從該片中獲得的大部分片酬捐給了美國公民自由聯盟，剩下的錢用於與維茨納合作拍攝一系列關於民主的視頻。
Wizner was preparing to petition Obama to grant Snowden a presidential pardon in the fall, and he hoped Stone’s film would help transform the public’s perception of his client.
維茨納當時正在準備向奧巴馬請願，要求在今年秋季給予斯諾登總統特赦，他希望斯通的電影能幫助改變公衆對他的客戶的看法。
Kucherena, meanwhile, had turned Time of the Octopus into a trilogy — in the sequel, the N.S.A. sends an assassin to Russia to eliminate Joshua Cold.
與此同時，庫切列納把《章魚時間》發展成爲三部曲——在續集中，美國國家安全局派刺客去俄羅斯清除喬舒亞•科爾德。
He hoped to come to the United States for the premiere of the film, in which he has a cameo as a Russian banker who encounters Snowden at a party.
他希望來美國參加該片的首映式，他在片中以一名俄羅斯銀行家的小角色出現，在派對上遇見了斯諾登。
If I can get a visa, why not? he said.
如果我能拿到簽證，那麼爲什麼不去呢？他說。
In July, Stone and Wizner joined forces for an A.C.L.U. event.
今年7月，斯通和維茨納聯手舉辦了美國公民自由聯盟的一場活動。
The evening was billed as a conversation with Wizner about surveillance and Edward Snowden, with Stone hosting at his Tudor--style home in the Brentwood neighborhood of Los Angeles.
那個晚上被標榜爲一場與維茨納進行的關於監視和愛德華•斯諾登的對話，活動在洛杉磯布倫特伍德社區斯通的都鐸風格宅邸中進行。
As several dozen West Coast supporters of the A.C.L.U. filtered into Stone’s backyard, the director sat camped out on a bench by the pool, taking the party in from a distance.
美國公民自由聯盟在西海岸的數十位支持者慢慢走入斯通的後院時，這位導演坐在泳池邊的一條長凳上，從遠處觀看這場派對。
He boasted that he had recently cut four more minutes from the film, bringing the run time to a lean 134 minutes.
他炫耀地說，前不久他把該片又剪掉了四分鐘，時長縮減至短短的134分鐘。
I asked if he would keep finessing until the end. No, it’s over, he said. This is it. Now I die.
我問他是否會一直不斷調整。不，結束了，他說，就這樣了。現在我死了。
Wizner roamed around, inspecting a meditation gazebo outfitted with a large gold Buddha.
維茨納四處閒逛，審視一個安置着金制大佛像的冥想露臺。
After several people inquired who was playing him in the movie, the lawyer came up with a pithy reply.
有幾個人詢問誰在片中飾演他，這位律師給出了一個簡潔的回答。
Kevin Spacey, reprising his role as Keyser Soze, he joked. The guy behind the guy behind the guy — hiding in plain sight. (Wizner is not a character in Stone’s film.)
凱文•斯佩西(Kevin Spacey)，重演凱撒•蘇爾(Keyser Soze)這個角色，他開玩笑說，那個傢伙背後的那個傢伙背後的那個傢伙——就藏在眼前（斯通的電影中沒有出現與維茨納對應的人物）。
That week, NPR ran an interview with a Russian security official who posited that Snowden is maybe, probably, most definitely cooperating with Russian intelligence.
那周，美國全國公共廣播電臺(NPR)採訪俄羅斯的一位安全官員，他認爲，斯諾登可能——很可能——肯定是在與俄羅斯情報機構合作。
This inevitably set Wizner off.
這無疑激怒了維茨納。
Of course, this is the same week that Snowden is blasting Putin on Twitter every day, Wizner said to Borman, who nodded along.
當然，就在這一週，斯諾登每天都在Twitter上抨擊普京，維茨納對博爾曼說。
The producer suggested that Snowden’s critics would claim it’s a cover.
後者點了點頭。
That’s what they say! Wizner said.
這位製作人表示，斯諾登的批評者會說這是幌子。
This is preapproved criticism so that it’ll seem like he’s free, but actually Putin is the master pulling the strings.
他們就是這麼說的！維茨納說，說這是提前審查過的批評，是爲了顯示他好像是自由的，但實際上普京一直在操縱。
Eventually, everyone moved to the den, a spacious, brightly lit room filled with family photos.
最後，大家來到會場，那是一個燈光明亮的寬敞房間，掛滿了家人的照片。
Matthew Weiner, the Mad Men creator, took a seat by a stack of DVDs, which included multiple seasons of his own hit TV show.
《廣告狂人》(Mad Men)的創作者馬修•韋納(Matthew Weiner)在一堆DVD旁坐下，裏面有他自己的熱門電視劇中的好幾季。
Others arranged themselves along wicker chairs that lined the room’s perimeter.
其他人在房間周圍的藤椅上坐下。
The whole thing had the feeling of a P.T.A. meeting, but without the stale cookies.
整場活動有一種家長教師聯誼會的感覺，不過沒有不新鮮的餅乾。
Wizner got up and spoke for some time about his efforts as Snowden’s lawyer.
維茨納站起來，講了一會兒他作爲斯諾登的律師所做的努力。
As he opened the room to questions, someone asked how long Russia could be relied on to keep Snowden safe.
在提問時間，有人詢問，我們可以信任俄羅斯能讓斯諾登安全地待多久。
Wizner turned the question over to Stone.
維茨納把這個問題交給了斯通。
Oliver is the Russia expert, he said with a hint of passive--aggression.
奧利弗是俄羅斯專家，他用帶點被動攻擊的口吻說道。
Since completing Snowden, Stone had become absorbed in his newfound interest in Russia and announced that he was making a documentary about Putin.
斯通拍完《斯諾登》後，全心投入到對俄羅斯新產生的興趣中，宣佈他在拍攝一部關於普京的紀錄片。
In recent months, he had accompanied the Russian president to a theater performance and a World War II Victory Day parade in Moscow.
近幾個月，他陪同這位俄羅斯總統去劇院看錶演，在莫斯科參加二戰勝利日(World War II Victory Day)閱兵。
He represents a different point of view that Americans don’t want to hear, Stone had told RIA Novosti, a Russian news service.
他代表着美國人不想聽到的一種不同的觀點，斯通對俄羅斯新聞機構俄羅斯新聞社(RIA Novosti)說。
When someone else asked about Stone’s experience of making Snowden, his answer was despondent.
當另一個人詢問斯通拍攝《斯諾登》的經歷時，他的回答非常沮喪。
It was really a horrible experience in every way, he said.
它從每個角度講都是非常可怕的經歷，他說。
Everyone laughed except for Stone.
大家都笑了，除了斯通。
As the guests dispersed, Wizner lingered in the foyer, admiring Stone’s art collection depicting important and mostly dead men.
客人散去後，維茨納在門廳逗留，欣賞斯通的藝術收藏品，它們描繪的是大多已過世的重要人物。
He thought that a print of Jean-Paul Sartre looked like Steve Buscemi and that a pained--looking Beethoven was actually Stone.
他覺得讓-保羅•薩特(Jean-Paul Sartre)的一幅照片看起來像史蒂夫•布西密(Steve Buscemi)，還說表情痛苦的貝多芬(Beethoven)實際上是斯通。
On the opposite wall was a sketch of Genghis Khan, the feared Mongolian emperor.
對面牆上有一幅成吉思汗的素描——那位可怕的蒙古皇帝。
Stone called him a liberal.
斯通說他是自由主義者。
Yes, Genghis Khan — misunderstood, Wizner teased.
是的，成吉思汗——被人誤解了，維茨納打趣說。
Stone smiled and cocked his head.
斯通微微一笑，仰起頭。
Listen, the A.C.L.U. should defend him!
聽着，美國公民自由聯盟應該替他辯護！
