放不上圖，圖片可以看這里：http://i.mtime.com/10312111/blog/7935369/

寫在前面
《神秘博士》第九季剛剛落下帷幕，有關(guān)咖喱星回歸和克拉拉命運(yùn)走向的結(jié)尾估計讓不少粉絲動容。而這一切都離不開導(dǎo)演雷切爾·塔拉里。無論是811/812，還是911/912，我們都能從中看出導(dǎo)演對于深度敘事和宏大場面的把握。在第八季正式上映前，《環(huán)球郵報》對雷切爾·塔拉里進(jìn)行了一次專訪。以下是本次采訪的所有內(nèi)容。*以下內(nèi)容均為本人自譯，版權(quán)歸原媒體所有，詳見鏈接*
 
The Globe and Mail 環(huán)球郵報
 
來源：
http://www.theglobeandmail.com/news/british-columbia/director-faces-british-pedestrians-fainting-cyberman-with-the-help-of-a-good-doctor/article19966559/
 
Q&A: UBC professor went from Doctor Who fan to director of this season’s finale
 
從《神秘博士》迷到季終集導(dǎo)演——不列顛哥倫比亞大學(xué)教授專訪
 

Director Rachel Talalay on the set of Doctor Who. 導(dǎo)演雷切爾·塔拉里在《神秘博士》片場。
(BBC Worldwide)（BBC環(huán)球）
 2014.8.8
 
Rachel Talalay, a University of British Columbia film professor, fell in love with the British TV series Doctor Who after it was rebooted. Some people might have just bought a DVD set, but Prof. Talalay put in a pitch to get work directing the show.
 

雷切爾·塔拉里，不列顛哥倫比亞大學(xué)電影教授，愛上了重啟的英劇《神秘博士》。有些人可能剛剛買了DVD播放機(jī)，但是塔拉里教授已經(jīng)決心要做這部劇的導(dǎo)演了。

And she eventually got the job.

最終她得到了這份工作。

When she’s not in the classroom, Prof. Talalay is on sets. She was a producer for U.S. filmmaker John Waters, produced some of the original Nightmare on Elm Street movies and directed the sixth film in the series. In 1995, she directed the cult sci-fi film Tank Girl. She has had a long run directing TV series, including work on Ally McBeal, and lately she has called the shots for episodes of Bomb Girls, Reign and Continuum.
 
塔拉里教授平常不是在教室里，就是在片場。她曾為美國電影人約翰·沃特斯做制片人，制作了幾部老版《猛鬼街》電影，并執(zhí)導(dǎo)了這個系列的第六部。在1995年，她制作了邪典科幻電影《坦克女郎》。她曾長期執(zhí)導(dǎo)電視劇，包括《甜心俏佳人》，Bomb Girls, Reign and Continuum是她最新拍攝的電視劇。
 
（此處有《環(huán)球郵報》制作的介紹短片，大家可到官網(wǎng)自行觀看）
 
Before all this, she was a child in England watching Doctor Who. A jewel in the crown of British pop culture, the series debuted in 1963, went off the air in 1989 and returned in 2005. The series chronicles the adventures of an alien being who travels in time, facing threats such as Daleks, Cybermen and the Weeping Angels.
 
在此之前，她只是個在英國看《神秘博士》的小孩。這部劇是英國流行文化的明珠，于1963年初次露面，1989年停播，并于2005年回歸。劇里講述了一個時間旅行的外星人的冒險故事，其中他要面對可怕的怪物，比如打雷，賽博人和哭泣天使。
 
The Doctor occasionally regenerates himself physically, which has allowed 12 actors to play him. The latest, cast last August, is 56-year-old Peter Capaldi.

博士由于身體原因偶然重生了，所以共有12位演員來陸續(xù)接演這個角色。在八月份，56歲的彼得·卡帕爾蒂接過了這個角色。

This summer, Ms. Talalay got the Doctor Who call and went to Cardiff, Wales, where the show is shot, to direct two episodes. On Aug. 23, the Space channel, in Canada, will begin running the first season of episodes featuring Mr. Capaldi. Ms. Talalay’s episodes will cap the season when they air in November.
Ms. Talalay spoke to The Globe and Mail from Cardiff.

今年夏天，塔拉里女士接到了《神秘博士》劇組的電話，她到了此劇的拍攝地——威爾士卡迪夫，來執(zhí)導(dǎo)兩集《神秘博士》。8月23日，皮卡將在加拿大的Space Channel開始這一季第一階段的拍攝。塔拉里女士的部分要等到十一月份再拍。

塔拉里女士在卡迪夫與《環(huán)球郵報》對話。

What can you tell me about the episodes you worked on?
I am doing the two-part finale. Both parts were written by Steven Moffat, which is fantastic. There’s so much action and effects and emotional material. It’s a Cyberman episode. We shot in London for two days. One day we shot outside St. Paul’s Cathedral. There were a billion tourists circling us while we were trying to film. Part of what we were tasked to do was replicate some classic shots – from the sixties show – of the Cybermen outside St. Paul’s. It’s a whole new story.

你能跟我講講你做的這兩集嗎？

我做的是個雙集結(jié)尾。這兩集都是魔法特寫的，非常精彩。會有很多場景、特效和情感部分。這兩集是關(guān)于賽博人的。我們在倫敦拍了兩天。其中一天我們拍了圣保羅大教堂的外景。在我們拍攝的時候有成千上萬的游客圍著我們。我們的部分任務(wù)就是重現(xiàn)一些六十年代的經(jīng)典場景——是有關(guān)圣保羅外的賽博人的。這是個全新的故事。

What was that day at St. Paul’s like?
We had a big scene with Peter Capaldi and Michelle Gomez – a dialogue scene. We had about seven hours of shooting and quite a bit of material to cover. I didn’t factor in that we were basically given five-minute periods to shoot, then we had to let pedestrians cross. So for every five minutes of shooting, we had about 20 minutes of moving pedestrians. It was very hot as well, which made it also very hard. The Cybermen were scorching hot in their suits. You’re all the time worried they’re going to pass out.

在圣保羅那天是什么樣的？

皮卡和Michelle Gomez有個比較大的場景——是一個對話場景。我們大概拍了七個小時，但是只拍到很少的素材。這還不算那些拍個五分鐘就得等行人通過的情況。我們每拍五分鐘，就要留出大約20分鐘讓行人通過。天氣也很熱，拍攝起來很困難。那些賽博人在殼子里都要烤糊了。我一直擔(dān)心他們會暈倒。

You’re trying not to have all your scenes prerecorded and posted on people’s iPhones and on the Internet before you have finished your own shooting. You’re trying your hardest just to keep focused. You just go, ‘Here are my priority shots. Here’s the absolute minimum we need to get, and let’s just stay concentrated on that.’

在拍攝完成之前我試圖不要讓人們拿iPhone錄下來傳到網(wǎng)上。我盡最大努力去集中精神。我就想：“這是我首要需要拍攝的場景。我們至少要完成這些，我們要集中精力。”

How did this gig come about?
I campaigned very specifically to get on Doctor Who. The minute I saw the reboot – which I was very skeptical about before I saw it – I saw how good it was. I have an agent in the U.K. I said to her, ‘Get an interview if possible.’ I had done The Wind in the Willows, which Mark Gatiss was in. I said to Mark as well, ‘Could you please put in a good word for me?’ I sent a reel full of effects and action to show I was not just any old filmmaker, but had experience in that world. As a woman, you have to remind people you do the things that you do. From the time my agent contacted me and said, ‘There are two episodes. Are you interested?’ to my leaving B.C. was nine days.
 
你是怎么得到這份工作的？
我為了《神秘博士》特意參加了競選。當(dāng)我看見重啟的劇集時——在我看以前我還嚴(yán)重懷疑——我發(fā)現(xiàn)它非常好。我在英國有個經(jīng)紀(jì)人，我跟她說：“如果可能的話讓我們碰個面吧?！蹦菚r我已經(jīng)拍完了《柳林風(fēng)聲》，麥哥也參與了。我也跟麥哥說：“能麻煩你替我說兩句好話嗎？”我寄了一盤我做過的場景和特效的膠卷，為了說明我不只是一個傳統(tǒng)的電影人，我也懂他們那些東西。作為女性，你必須提醒人們你確實(shí)能做些事情。后來我的經(jīng)紀(jì)人跟我聯(lián)系說：“這里有個雙集，你感興趣嗎？”
 
What did the Doctor Who team say about why they wanted you?
I said to Steven Moffat, ‘If I was to read the Internet I would believe you only hired me because you were pressured to hire a woman.’ He said, ‘I think they need to know I hired you because of your reel and your material and what we believed you would bring to it.’ I know that I brought effects experience, but I don’t know what makes anybody hire any director, really.

《神秘博士》劇組說過他們?yōu)槭裁催x你來執(zhí)導(dǎo)嗎？

我跟史蒂文·魔法特說：“要是根據(jù)網(wǎng)上的說法，我想你雇我來只是因?yàn)槟闶潜黄裙蛡蛞晃慌浴！彼f：“那我想那些人應(yīng)該知道我找你來是因?yàn)槟愕淖髌泛蛣?chuàng)意，并且我們相信你能夠做得很棒。”我知道我做出了一些成績，但我不知道一個人選擇一個導(dǎo)演是有著什么樣的原因，真的。

Visual effects. Is that a challenge many female filmmakers face in securing work?
I’ve been incredibly, incredibly fortunate. Early in my career when I did the Nightmare on Elm Street films, I was exposed significantly to visual effects and to action and to makeup effects and mechanical effects. There are many, many women filmmakers who are pigeonholed into women’s stories. I’ve never had that problem. I love visual effects. I love action. I love that kind of material. A lot of women filmmakers say, ‘How come you get those projects?’ You have to prove yourself. Women, more than men, have to prove themselves.
 
視覺特效對于許多女性電影工作者來說是一項(xiàng)挑戰(zhàn)吧？
我特別、特別幸運(yùn)。早在我做《猛鬼街》的時候，我在視效、場景、造型、設(shè)備上花了很多心思。有許多、許多女性電影工作者被束縛在了女性故事中。我從來沒有過這方面的問題。我愛視覺特效。我愛鏡頭。我愛那類的東西。很多女性電影工作者說：“你是怎么做到這些的？”你必須證明自己。女性——相對于男性來說，更需要證明自己。
 
What advice would you offer to starting female filmmakers on this issue?
To do whatever you can to get the experience even if it’s shorts and also to learn those crafts. Doing effects is really hard. You have to make certain decisions and you have to think in a certain way. Spending the time to really understand what’s required in the shooting of action and effects, getting that experience even if it’s shadowing or meeting with visual effects companies and going into the editing room. All those elements will help because it isn’t the same type of filmmaking as dramatic filmmaking. As I said, I was just lucky that I ended up on theNightmare films. I engaged so strongly with how you make these films as good as possible with so little money.
 
你在這方面有什么建議給女性電影工作者？
盡可能多去積累經(jīng)驗(yàn)，哪怕是很短期的也可以，并且要從中學(xué)習(xí)新技巧。做出成績挺難的。你必須有明確的目標(biāo)和明確的思路?；ㄐr間去真正領(lǐng)悟在場景拍攝和效果制作上需要做到什么，哪怕要承受或者說忍受那些視效公司、要在剪輯室里工作，也得去體驗(yàn)這份經(jīng)歷。所有這些東西都是有幫助的，因?yàn)樽鲭娪昂推胀▌∏槠闹谱鞑煌＞拖裎艺f的，我很有幸我做的最后一部電影是《猛鬼街》。怎樣用很少的資金盡量把電影做好曾是我的一大動力。
 
What did you see in the Doctor Who material that said to you, ‘I want to get in on this?’
It looked so amazing. What they did in every episode is totally different. Every episode is a small film. The great thing about time travel is past, present, future, fantasy. Everything and anything is fair game so every week you are going to go into a completely different world. There is only standing set in the BBC studio for Doctor Who and that’s the Tardis. Most shows run with, ‘Here’s your police station and here’s your apartment …” – all their standing sets. To start from scratch with ‘What world is it this episode?’ I thought, ‘How are they doing this? How are they accomplishing this and keeping this quality?’
And then why are these scripts so good? There’s so much humanity in them? Sometimes you are on shows that are very, very visual and then you can slack off on the acting. Sometimes you are on shows that are very, very dramatic and you can slack off on the visual. In Doctor Who, everything was equally important. The story itself. The acting. The emotionality. And the visuals. There was no room for, ‘Ah. This is good enough for this show.’ It was, ‘It has to be at its peak.’
 
《神秘博士》里的哪一點(diǎn)讓你決定“我要去做這個”？
很令人驚奇。他們做的每一集都是完全不同的。每一集都是一個小型電影。時間旅行最棒的就是涉及過去，現(xiàn)在，未來，幻想。每一個事物，任何一個事物都是精彩絕倫的，每周你都要進(jìn)入到一個完全不同的世界。這個只有在BBC《神秘博士》演播室，有Tardis才能實(shí)現(xiàn)。大部分節(jié)目都是“這里是你的警察局，這里是你的公寓……”——都是規(guī)定好了的。剛一開始我面臨的是“這一集呈現(xiàn)的是什么樣的世界？”，我會想：“他們?nèi)绾蝸沓尸F(xiàn)？他們怎么在保證質(zhì)量的情況下完成任務(wù)？”還有這些劇本為什么這么棒？是因?yàn)榘撕芏嗳诵曰臇|西嗎？有些時候你的片子側(cè)重于視覺化，你就可以忽略表演；有些時候你的片子側(cè)重于戲劇性，你就可以忽略視覺效果?！渡衩夭┦俊防锏拿恳粯佣纪戎匾?。故事本身、表演、情緒，還有視覺都是如此?！鞍。@個片子已經(jīng)夠好了。”這是絕對不行的。應(yīng)該是“它必須是最棒的?！?br> 
Did you watch Doctor Who when you were a child?
Yes. I grew up in the U.S. My first memories of watching science fiction were Outer Limits and Star Trek. Then we spent two different years when I was growing up in the U.K. My parents are British. That’s where Doctor Who became part of my vocabulary. Tom Baker was my Doctor when I was growing up. And I was fortunate to work with him on a show called Randall and Hopkirk (Deceased). That was my next Doctor Who exposure – getting to work with Tom.
 
你小時候看《神秘博士》嗎？
看。我在英國長大的。我對于看科幻故事的最初印象是《迷離檔案》和《星際旅行》。我在英國待了兩年。我父母是英國人，在英國我學(xué)會了神秘博士這個詞。在我小時候正趕上湯姆·貝克演的博士。我很幸運(yùn)在《Randall and Hopkirk》（抱歉，沒有譯名）這部戲里跟他合作。和湯姆一起工作，這就是我對于《神秘博士》熱愛的延伸。
 
Peter Capaldi is relatively new as a Doctor. Has he found the character or did you have to help him along?
He has very much found the character. Nobody had any doubts about his ability to act. The biggest challenge was he’s Doctor No. 12. He was constantly worried he had 11 Doctors he might be mimicking. Pretty much anything you do in some ways is going to mimic some other Doctor. Becoming completely your own Doctor is fine when you’re No. 2, but a much greater challenge when you’re No. 12 and you have the 50-year history. I think he was truly challenged by that concept. But even when I saw the very first footage from the first episode, which I was privileged enough to see as soon as I arrived, it was clear he knew exactly who he was as a Doctor. For me, David Tennant and Matt Smith, both of whom I absolutely adore, are these young, romantic Doctors. When I went to interview, before they had even announced Peter, they said, ‘We’re going to go back to the older Doctors.’ Not age, just a slightly grumpier, more complicated Doctor. They chose a different direction and different type of Doctor. For me, [Peter] is the Doctor now because that’s what I have been living with for the last four months.

彼得·卡帕爾蒂是新一任博士。他找到自己的表演方式了嗎？還是你幫助他去探尋？

他對于這個角色有很多體會。沒有人會去質(zhì)疑他的表演。最大的挑戰(zhàn)在于他是第十二任博士。他最近在擔(dān)心他可能會重復(fù)之前十一任博士的表演。在某些方面你總會有很大程度是模仿前人的。當(dāng)你是第二任博士時完全按照自己的路子來是沒問題的，不過當(dāng)你是第十二任博士，又參演了一部有五十年歷史的電視劇時，這就成為了一項(xiàng)巨大挑戰(zhàn)。我以為他會被這種想法嚇到。但是當(dāng)?shù)谝患牡谝粓鲩_始時，我迫不及待地進(jìn)入片場，我一入場就發(fā)現(xiàn)他很清楚作為博士應(yīng)該有怎樣的表現(xiàn)。對于我來說，DT和馬特這兩個我非常欣賞的演員，他們扮演的博士都是年輕而浪漫化的。我去約談時，那時他們還沒宣布是皮卡（演博士），他們就說：“我們想找一個以前那樣的博士?！辈皇且嗬希怯幸稽c(diǎn)點(diǎn)脾氣，更為復(fù)雜的博士。他們選擇了一個不同的方向，一個不同類型的博士。之前的四個月里我一直和皮卡在一起，現(xiàn)在我可以說，他就是博士。

What do you do as a director to help him ?
At one point, I said to him, ‘That scene wasn’t necessarily how I imagined it but it was so clearly your Doctor that it was a revelation to me how well it worked as your Doctor.’ And he said, ‘Thank you.’ Because what I had said was, ‘You are your Doctor.’ That was the most I could do. Peter is such an incredible actor and so vertsatile, you’re not telling him how to act in any way as a director. He also likes to give you a lot of variety in performance so there’s no difficulty to say, ‘Try it a different way.’ .

你作為導(dǎo)演都從哪些方面去幫助他？

就一點(diǎn)，我跟他說：“你扮演的博士令我驚嘆，你怎么能演得這么好，不過我這樣說都不足以形容你的表演。”他說：“謝謝。”因?yàn)槲以瓉碚f過，“你的博士是獨(dú)一無二的。”我最多只能做這些了。皮卡是個無可比擬的演員，很有才，作為導(dǎo)演你都不用告訴他怎么去演。他也喜歡給你好多表演上的建議，根本不用再費(fèi)心說：“換個方式試試吧?！?br>
How did people in the United Kingdom – customs officers, cabbies, waiters – react when they heard you were in the country to direct two Dr. Who episodes? He’s an icon in the United Kingdom.
They will either say, ‘I don’t watch it, often, because it scared the hell out of me when I was a kid’ or ‘My nephew or my uncle or my brother is the biggest fan.’ In terms of me, I am just known as the Tank Girl director. And there’s a lot of attention to the fact that I am a woman. There’s very little attention to the fact that I am North American. There’s a lot on the Internet, questions about the fact that there have been so few women – even fewer women writers than directors. There’s been attention to that. To my surprise, the Internet has been incredibly kind – so far. I should not jinx anything. It has been kind about it being offered to me.
 
在英國的那些人——海關(guān)人員，出租車司機(jī)，服務(wù)生，當(dāng)他們聽說你在英國拍這兩集《神秘博士》時有什么反應(yīng)？這部劇也算是英國的國寶了。
他們也會說“我不怎么看這劇，小時候可把我嚇壞了”或者“我的侄子，要么我的叔叔，要么我的哥哥是鐵粉”。至于我，大家只知道我是《坦克女郎》的導(dǎo)演。大部分人都注意我的性別身份。少部分人注意到我是北美人。網(wǎng)上有很多消息都在說現(xiàn)在女性影人很少——女性編劇比女性導(dǎo)演還要少。還是有人注意到這一點(diǎn)了。令我吃驚的是，網(wǎng)絡(luò)倒是特別的友好——至少現(xiàn)在是這樣。我不應(yīng)該有任何的負(fù)能量。我的經(jīng)歷一直都還是挺好的。
 
Mr. Capaldi, I am sure, will be the Doctor for quite some time but do you think it’s time for them to consider a female Doctor?
They should consider whoever seems right for the role at that moment and things changed. There were some definite discussions and rumours that it might be a woman this time and it didn’t come to pass. I’m not really privy to those conversations. I would embrace that absolutely, but I don’t think it needs to happen. I think it has to be true to who’s right to be the Doctor at that point.

我確信，皮卡總歸會成為博士的，可是你認(rèn)為現(xiàn)在是時候選出一位女博士了嗎？

他們應(yīng)該考慮的是誰最適合這個角色，但是時代總在改變。曾經(jīng)有一些確鑿的說法和傳聞?wù)f這一次可能會有個女博士，不過最后這個想法被否決了。我沒有真正參與那些討論。我會絕對擁護(hù)他們的選擇，不過我還是覺得沒有必要選女博士。我覺得博士該是誰就是誰。

Why has Doctor Who lasted for 51 years?
Time travel and science fiction are great topics. It allows for massive variety. They have been very smart on touching on elemental stories in a Brothers Grimm kind of way. There has been a love of the series itself that has just grown and grown. But it also has an incredibly strong human element. I am amazed, in my episodes, how much humanity is in there. I look through the episodes of this season and they’re so varied. That helps too. You don’t have to like every episode. There’s something for the boffins. There’s something that harkens back to 1963 and 1968 and there’s something that is entirely new but there’s very elemental themes.

《神秘博士》怎么能延續(xù)了51年？

時間旅行和科幻故事都是很棒的題材。它給出了很多的可能性。他們很聰明地用了格林兄弟那樣的模式來講述傳統(tǒng)故事。這些故事里所包含的愛不斷地增長。而且還有很強(qiáng)烈的人性的元素在里面。我很驚訝，在我做的幾集里竟然有這么多關(guān)乎人性的部分。我整個看了這一季的所有故事，它們的區(qū)別很大。這也挺有用的。你不必喜歡每一集。有些是給怪才準(zhǔn)備的。有的故事可以追溯到1963年和1968年，有的故事是全新的，但是仍用了古老的主題。

You said there’s something for the boffins?
That’s a British term for the nerds, for the people who want to know every single detail, everything about time and space and space travel and how that relates to every single episode of Doctor Who. There are the people who have watched every single episode and will analyze specifically how this relates to that. It’s a hard series. My parents who did not know Doctor Who because it’s actually after their time because they are elderly. They asked, ‘What should we watch?’ It’s hard to explain because it is so mythic, the size of it. You can dip into specific episodes but it means so much more if you have some history of the relationships, of regeneration and who was the Doctor before and how that relates to this. They are individual episodes with their own stories but they almost always touch on things that have happened in the past and who the Doctor was in the past. When the 50th anniversary episode came out at Christmas, Mark Gatiss did a docudrama about the first episode called An Adventure in Space and Time. That’s what I have given to everybody who said, ‘Where do I start?’ It’s a wonderful piece of work that tells you the history of the very first episode. That’s where I start people at.
 
你剛說有的故事是給怪才準(zhǔn)備的？
 
這是宅人的英國說法，就是說這些人想要了解每一處細(xì)節(jié)，了解關(guān)于時空和時空旅行的一切，還有這些內(nèi)容跟《神秘博士》的每一集有怎樣的聯(lián)系。有些人看過了每一集，又特地去分析這里那里的關(guān)系。這是個大工程。我的父母輩有的不知道《神秘博士》，因?yàn)樗麄兡昙o(jì)大了，這部劇已經(jīng)演過去了。他們會問：“我們應(yīng)該看什么？”這很難回答，因?yàn)樗摶昧?，大概是這么個情況。你可以深入到劇集中，但是如果你了解劇里的各種關(guān)聯(lián)，博士重生，以前扮演博士的人還有這一切和故事的聯(lián)系，這部劇就意味著太多了。每集都是獨(dú)立的，有獨(dú)立的故事，不過它們通常會觸及到過去的故事，過去的博士。50周年特輯在圣誕出來的時候，麥哥做了一個關(guān)于《神秘博士》起源的電視紀(jì)錄片，叫《時空大冒險》。這就是我想給那些說“我該從哪開始看？”的人所介紹的。這是一部杰作，里面會告訴你《神秘博士》是怎么開始的。我建議人們從這部片子開始看。
 
How much latitude, as a filmmaker, did you have to put your own stamp on the material and, in a way, on the Doctor as well?
I don’t think you put your own stamp on the Doctor. The Doctor is the Doctor. It would be wrong to come in with a whole new point of view. You have a dialogue with your actors, but it would be wrong to be creating something new. Because every episode is completely different – it’s its own world. Where is it taking place? Am I doing Victorian England? Am I doing the future? Am I doing a new planet? How am I presenting that? And they embraced that. My scripts were so wonderful. All I did was embrace such great writing.

作為電影人，你有多大程度會在你的作品里留下個人印記？在《神秘博士》里會有嗎？

我不認(rèn)為應(yīng)該在博士身上加印記。博士就是博士。提出全新觀點(diǎn)是不對的。你會和你的演員談?wù)?，但是?chuàng)造出全新的東西就是不對的。因?yàn)槊恳患际峭耆煌模鼈冇凶约邯?dú)立的體系。它是在哪兒發(fā)生的？是在維多利亞時期嗎？是在未來嗎？是在外星球嗎？我怎么去呈現(xiàn)？這些都包含在劇里了。我的劇本都特別棒。我要做的就是利用起這些好劇本。

How have you juggled your TV directing assignments with your responsibilities at UBC?
It’s a challenge. UBC has been quite flexible with me. In this case, I happen to be on sabbatical this year. It happened to all work out beautifully. I’ve had to definitely teach rather than direct. Sometimes if I have a local job – a regular TV episode is only three weeks – I’ll just bring my students and make it part of the class. That’s a great thing about production. Being on set is critical for them.

It’s interesting. I used to sometimes show clips of Doctor Who. You would always get people who would go, ‘Oh?’ Showing Doctor Who would always get a few people in class thrilled. It would be like, ‘Oh my God. My old prof is hip enough to be showing us Doctor Who.’ I like to give students specific scenes to break down. ‘How would you shoot this?’ And, after we break them down, ‘OK. How did I shoot this?’ What choices did the director make?’ When critics talk about things, they ascribe intent. Frequently, it has nothing to do with what you were trying to do. It’s what happened at that time. Ninety-eight per cent of it is problem solving. It’s great that it’s perfect in your head when you read it, but what happened on set? And how are you going to solve that? That’s your UBC education in a nutshell.
 
你是怎么來平衡電視導(dǎo)演的工作和學(xué)校里的工作的？
 
這是個挑戰(zhàn)。學(xué)校對我挺寬松的。這樣一來呢，我今年正好可以休假。所有事都完美解決了。我教書總得比導(dǎo)演時間要多啊。有時我要是接了個在本地的活兒——比如只拍三周的電視片，我就帶著學(xué)生到現(xiàn)場學(xué)習(xí)。對于學(xué)習(xí)制作來說是個好事。他們在片場體驗(yàn)也挺重要的。
 
這挺有意思的。我有時會給他們放《神秘博士》的片段。你經(jīng)常會看見有的人說：“哦？”放《神秘博士》的時候總能讓班上一部分人興奮起來。比方說，“哦，我的天哪。我們的老教授給我們放《神秘博士》，太時髦了?！蔽蚁矚g給他們看一些特別的場景，再打斷他們的情緒?！澳銜鯓优某鲞@樣的場景？”然后，這時我已經(jīng)打斷他們了，“好了。我應(yīng)該怎么去拍這個場景？導(dǎo)演應(yīng)該怎么做選擇？”當(dāng)他們討論起來的時候，他們就會專注于研究問題了?？赏ǔＪ?，你試圖去做并不能解決任何問題。課堂上就會這樣。百分之九十八的內(nèi)容都是解決困難。在你讀劇本時有個完美的想法是很棒的，但是你怎么把它拍出來？你怎么解決這個問題？簡單地說，這就是UBC（不列顛哥倫比亞大學(xué)）能教給你的。
 
Follow Ian Bailey on Twitter: @ianabailey
 
 
小貼士：以下為IMDb網(wǎng)站Rachel Talalay的個人簡介
IMDb
Rachel Talalay was born in Chicago Illinois. Her parents, Paul and Prudence, moved to Baltimore to work/teach at Johns Hopkins when she was 4 years old. After studying Applied Mathematics at Yale University, she worked as a computer programmer at Johns Hopkins University. During this time, she met Director John Waters and entered the movie business as a production assistant on his 'Polyester', starring Divine. Here she met Robert Shaye, head of New Line Cinema, and started a long relationship which led to her work on the "Nightmare on Elm Street" films, culminating her relationship with directing "Freddy's Dead: The Final Nightmare". From there she continued her directing career, moving into television, and working on a wide variety of projects from family entertainment "Wind in the Willows" to Horror "Supernatural" to Comedy "Ally McBeal". In 2014 she became the first American and seventh woman to direct "Doctor Who".
 
雷切爾·塔拉里出生于芝加哥伊利諾伊州。她的父母——保羅和普魯?shù)撬?，在?歲時搬到了巴爾的摩，并在約翰·霍普金斯大學(xué)工作/教書。從耶魯大學(xué)完成了應(yīng)用數(shù)學(xué)的學(xué)業(yè)后，她在約翰·霍普金斯大學(xué)擔(dān)任程序員工作。在此期間，她遇見了導(dǎo)演約翰·沃特斯，為他的電影《菠蘿脂》擔(dān)任制片助理，并出演Divine（存疑）。在這里她結(jié)識了新線影業(yè)的高管羅伯特·沙耶，開啟了與電影《猛鬼街》的長期之旅，也正是執(zhí)導(dǎo)《猛鬼街6》讓她的事業(yè)攀上了高峰。在那以后，她繼續(xù)著她的導(dǎo)演生涯，轉(zhuǎn)而進(jìn)軍電視業(yè)，執(zhí)導(dǎo)了方方面面題材的電視劇——從家庭劇《柳林風(fēng)聲》，到驚悚劇《邪惡力量》，再到喜劇《甜心俏佳人》。在2014年她成為了執(zhí)導(dǎo)《神秘博士》的第一個美國導(dǎo)演，也是第七位女性導(dǎo)演。

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因?yàn)轳R女王才開始看的doctor who ,完整的看了DT的，開始看馬特，PETER的完整看了這兩季。DT的doctor對人類充滿好奇和喜愛，"human is brilliant!"所以為人類痛失所愛，為人類出生入死，最后為一個最普通的人類老頭獻(xiàn)出生命。馬女王上了年紀(jì)并以幕后危機(jī)里的高智商潑婦幕僚形象走紅，所以他的doctor多少帶著對卑鄙人類的厭惡，一副死人類最好的表情，對人類缺乏正常情感溝通，但是他們都是貫徹著一個最基本的原則，對朋友，對生命有著不能辜負(fù)的責(zé)任，因此，這才是整個DOCTOR系列最虐的，曲終人散，只剩下他一個人在燈火闌珊處。doctor就像彼得潘，在時間的永無島里流浪，永不長大，但是小伙伴們來了又去。

doctor系列不能算嚴(yán)格意義上的科幻劇，有時候更像魔幻劇，小朋友依靠他們開啟想象力，大人們依靠他們維持想象力，不過這其中人文精神的科普作用更大吧。

這第九季，或者說從第八季開始，重生后的毒舌孤僻老頭和大眼睛美少女很多時候像父女，但是不也是有那種類似父女關(guān)系的戀人方式嗎，doctor說因?yàn)榕笥?，因?yàn)樵诤跄悖鋵?shí)是不能失去的戀人，如果必須失去你，那這次還是讓我來忘記吧，因?yàn)椴荒艹惺苁ツ愕耐纯唷?br>
這場離別持續(xù)了三集，clara死的時候doctor只是在身后站著，但是立刻他追了40.5億年，每一年里無數(shù)次的死去重生飽受驚嚇只為了死前幾拳頭砸在金剛鉆石墻上，砸了40多億年砸出通道，通向時間盡頭回到永遠(yuǎn)不能回去的故鄉(xiāng)尋找換取clara重生的交易。

clara說我并不害怕死去啊。這個圣母好討厭啊。她愛馬特的十一，愛mr pink,對父親年紀(jì)的doctor像母親帶小孩，但到底有沒有意識到自己也是愛他的，不是對親人或朋友，是對戀人，因?yàn)椴荒苋淌芡浰詫幙伤廊ァ?br>
peter的孤僻老頭doctor將繼續(xù)探險故事，clara退場了，下一個朋友是誰，帶來那寶貴的愛。

精衛(wèi)填海，夸父追日，也只是又一場曲終人散，獨(dú)剩他在燈火闌珊處。

以前總以為Clara的結(jié)局其實(shí)是好的，她太像博士，某種程度上，她也最后成為了接近博士的存在，有自己的Tardis，有自己的伴游，她的遺憾僅僅是告別了那個她一直以來小心維持的人類世界，也告別了她最最珍愛的舊友。她不像Donna忘記了一切，在經(jīng)歷了那么多奇妙的旅程后，又重新成為一個庸俗的大眾，過著日復(fù)一日的單調(diào)日子；她也不像Rose，就算心有遺憾，但終究在平行世界牽起了人類10的手；她不像Amy，選擇和愛人一起困在博士去不了的時空，永遠(yuǎn)和自己童年的英雄告別，卻又找到了自己新的人生；她也不像Martha，終于學(xué)會放下對博士的依戀，在地球繼續(xù)做著她該做的事情，并且永不停止戰(zhàn)斗。
她是Clara Oswald，極度控制狂，以教書育人為己任，甚至連比人類多活幾千年的時間領(lǐng)主在她面前也是個乖乖低頭查提詞板的好學(xué)生，她的雙眸為每一次冒險而閃耀著。
她失去過愛人，失去過信仰，曾經(jīng)崩潰過，曾經(jīng)退縮過，曾經(jīng)放棄過——那些軟弱標(biāo)明著她是個徹徹底底的人類，但她也曾堅(jiān)持過，曾勇敢過，曾含著眼淚和最愛的人告別過，曾為自己的有人犧牲過——那個直面渡鴉的女孩，只能是她Clara Oswald.
但現(xiàn)在想想，那個駕著Tardis和博士分道揚(yáng)鑣的女孩，還是Clara Oswald嗎？
她當(dāng)然是，她是Clara直面渡鴉前停滯的一幀，是真真正正那個時刻為朋友站出來，張開雙臂迎接死亡的女孩。
但她又不是了。她不再是人類，不再能感受新的感情，不再會萌生新的思想，那所有令她的種族在博士眼里熠熠生輝的特色，都隨著那凝固的時間凍在她的時間線，隨著她的尸體逐漸冰冷而揮發(fā)殆盡。
她只是一個留下的殘像，只是這個殘像太過美好，太過生動，以至于沒有人能夠說她是虛偽的存在。
她的確成了最接近博士的存在，甚至她連重生限制都沒有，她不會被殺死，不會被傷害——她只是時間流中的一幀，不是活物，而是存在。
她不再會遺忘，不再會愛，不再能享受身為人類所能感受到的一切。
她是Clara Oswald，甚至可以算整個宇宙最難以消除的強(qiáng)大存在，她就這樣駕著她的Tardis，去往每個博士去不到的地方——這個故事太過悲傷，以至于太多人不愿去想象她終有一天，會自己選擇回到那條時間線，永永遠(yuǎn)遠(yuǎn)的和這個世界告別。
她還是Clara，她永遠(yuǎn)都是純粹的Clara，卻已經(jīng)不再是Clara了，這讓人感到格外悲傷。
Me小姐從維京時代活到最后一顆行星隕落，她不斷蛻變，不斷遺忘，從一個單純的維京女孩，變成那個讓博士都提防三分的Me，她不記得自己的名字，不記得自己的經(jīng)歷，卻切實(shí)地活著，永久地活著，不斷的豐富著自己的精神和思想。
而Clara卻能在無限的時間里記住她身為Clara Oswald時的一切，她和博士的每一場驚險的旅行，她的每一次愛，每一次希望——她永遠(yuǎn)被凍結(jié)在那里，她存在著，卻再也沒有未來了。
以前單單是在為博士和Clara再也不能相見感到感傷，現(xiàn)在想想，大概某一幀的Clara很難再和博士走下去了吧……



以及，當(dāng)初看完直面渡鴉，我根本不敢點(diǎn)開下一集，我怕出來一個新伴游，和博士一起進(jìn)行以往的冒險，我怕我接受不了（當(dāng)時我就因?yàn)樘貏e喜歡amy而接受不了clara從而棄了第七季轉(zhuǎn)去看第一季，直到換伴游換習(xí)慣了amy情結(jié)已經(jīng)沒有了才撿起來看，慢慢喜歡上clara），但沒想到魔法特這個老賊居然選擇補(bǔ)刀！補(bǔ)刀！補(bǔ)刀！懺悔羅盤那集的博士看得我哭都哭不出來仿佛大卡車碾過全身……最后兩個人的分別又讓我惆悵老半天……說好的下次見面一眼就能認(rèn)出你呢嗚嗚嗚嗚嗚
還有在lft上看到一個太太的解讀是博士根本沒有忘記clara，因?yàn)橐婚_始那個消除記憶的機(jī)器就是針對人類用的，可能對時間領(lǐng)主并沒有用，但12C這對混血組已經(jīng)足夠引起宇宙重視，想要保全Clara兩個人就必須分開，但Clara是寧愿死也不愿意被消除記憶離開的，所以只能是博士裝作被消除記憶，算是和Clara進(jìn)行最后的道別…………………媽蛋全是刀子
最后再說一句——魔法特不是人！
不是人！

整一季的偏黑暗的畫風(fēng)都非常不錯。前十集故事一邊發(fā)展一邊埋伏筆進(jìn)行的都很不錯，第十一集層層推進(jìn)最后45億年的大揭底很燃，故事也很嚴(yán)密，是魔法特風(fēng)格下很經(jīng)典的一集。如果最后一集能在做提升讓整季達(dá)到一個高潮，這將是完美的一季。但是最后一集毀了。

一句話：博士不是這樣的人。他確實(shí)會為了一個同伴而用上45億年與她相見，他也會燃燒一顆恒星來說再見，但他絕對不會為此撕裂整個時間線，不會因?yàn)閭€人而影響到整個宇宙的安危。他知道如何抉擇。

魔法特，過了。