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《雪国列车》电视剧版首播:并非照搬电影版

《雪国列车》电视剧版首播:并非照搬电影版

Radhika Marya 2020年05月22日
与电影中地球剧变后14年的故事相比,剧集的时间框架有所压缩。

《雪国列车》(Snowpiercer)的电视剧改编版第一季在TNT首映。然而在此之前,该剧已经经过了数年的拍摄,也换了制片,就连在哪家电视台上映也是变卦了多次。

该剧集的演员包括詹妮弗•康纳利和戴维德•迪格斯,基于2013年由奉俊昊执导的同名电影,并参考了其前作1982年的法国连环画《雪国列车》(Le Transperceneige)。然而,就像《黑色孤儿》(Orphan Black)的制片人格拉美•曼森和第一季制作设计师巴里•罗比森指出的那样,该剧集的辨识度异常鲜明。

这两位主演都是该电影的粉丝;曼森承认,“与大多数人一样”,他也是看过电影才了解这个故事。曼森称,作为执行制片人的奉俊昊甚至在第一季期间来剧组访问过几次。曼森还说:“他对我的首部重拍作品表示了祝福。”

曼森称连环画“充满了想象力和幽默,让人浮想联翩,而且充满哲理。”然而,剧集更多的是以这部连环画为鉴,打造剧集中所呈现的世界。

罗比森向《财富》杂志透露:“格拉美、[导演詹姆斯•哈维斯]、TNT和工作室释放出了异常强烈的信号,他们并不希望照搬电影。我也有同样的想法。”他还说,除了自己“生动的想象”之外,他还阅读了原作。“在阅读连环画时,设计本身的强大之处以及我对这个劫后世界的理解能力真的是让我大吃一惊。”

戴维德•迪格斯与詹妮弗•康纳利,身后是萨姆•欧托与阿里森•怀特。TNT的《雪国列车》改编剧已于5月17日首映。图片来源:Justina Mintz—TNT

这部电视剧的背景设定在地球变为冰冻废墟7年之后,而幸存的人类则开着一列永恒运转的火车绕着整个世界疾驰。与电影中地球剧变后14年的故事相比,剧集的时间框架有所压缩。曼森解释说,这部剧集的时间线“给出了足够的空间,所有人依然仍处于悲痛之中,人们依然信守着旧社会中十分重要的理念,而且正处于抛弃一些旧观念的边缘,并在质疑未来的前进方向。”

由于《雪国列车》的重拍采用了长篇剧集的形式,因此人们有机会对角色(与电影中不同)进行更深的挖掘。这列火车有一个十分明确的等级系统,从正式划分的第一、第二和第三等级,一直到列车末尾最不被重视、等级最低的无票乘客车厢。

曼森说:“我们并没有模仿电影,从火车的最低等级车厢开始讲故事,然后一直向前,直到抵达引擎,而是循序渐进地介绍了所有的等级,这样我们便可以平等、彻底地了解火车中失衡的社会生态。”

等级的分类在场景设计中得到了更明确的体现。为了设计每个等级车厢的外观,罗比森对这个包含1001个车厢的整列火车进行了绘制。剧集采用了边界车厢的概念(限制人们在火车不同车厢之间的移动)。罗比森说:“我们希望火车尾部一片昏暗,充满灾难感。从第三等级到第二等级车厢则较为中性、单调。”他还说,第一等级车厢则有一种“身处天堂”的感觉。“而且在所有这些车厢中,尾部车厢没有照明,第二等级车厢的窗户要小一些……如果你就是要对比的话,有点类似于船舱的感觉。”

这里还有“夜车”,曼森将其描述为“火车的歌舞厅。”

他说:“它在某种程度上是一个安全空间,刚好位于火车的中间部分,就像是一个中立地区。” 

在夜车中的蕾娜•霍尔(左)和康纳利。图片来源:Justina Mintz—TNT

这也是罗比森最喜欢的场景,因为他“可以扭曲现实,但不会太明显。”

罗比森说:“这是一个非常成功的设计,因为它是第一等级车厢的餐厅。这些非常小的场景中充斥着大量的信息。”

罗比森说,整个剧组有10个实体车厢可供使用,他自己十分享受这个挑战,也就是在这个他描述为宽约3.6米、长约13米的空间设计场景里。有少数几个车厢,例如夜车,都是固定场景,但其他的车厢会随着故事的发展发生变化。

他说:“我们在温哥华动用了四个场景,而且都是相连的,因此车厢一直都在移动,随着拍摄的进行,基本上每天都动一次。”他还说,在特效团队的帮助下,人们会看见不同的列车车厢从门口经过。

为了让剧集中的火车和环境有真实感,我们做了大量的研究。罗比森说:“我们联系了加拿大铁路公司,不用说,他们很喜欢这个剧集。我记得他们提了几点建议,其中一条就是火车必须结实,外立面必须结实,而且配有厚甲板。”

但这个设计还必须“上镜”。

罗比森说:“有时候这些角色会离开火车。”原始资料上的一些概念在荧幕上是行不通的。“我认为在连环画中,人们穿着笨重的制服,例如戴着留着两个视线孔的铅头盔。不过,这样你就看不到詹妮弗•康纳利了,这可不行。” 

幕后花絮中的曼森(左),《雪国列车》场景。图片来源:Justina Mintz—TNT

曼森对于该剧集最终得以上映感到十分兴奋,“尤其对于演职人员来说更是如此”,因为“它的拍摄花了很长的时间。”

即便这个反乌托邦故事将在全球新冠疫情(疫情也干扰了第二季的制作)期间上映,他认为该剧集将引发观众的共鸣。他说:“人们正在观看很多科幻和灾后科幻剧集。”他同时指出,这个故事并非是流水账。尽管剧集探讨了类似于不平等这类更深层次的主题,但曼森将《雪国列车》描述为“各类色调和风格的大杂烩”。

他说:“剧里有黑色幽默,有音乐剧。但更重要的是,这是一部动作冒险片。”

《雪国列车》已于美国东部时间5月17日周日晚9点在TNT首播。(财富中文网)

译者:Feb

《雪国列车》(Snowpiercer)的电视剧改编版第一季在TNT首映。然而在此之前,该剧已经经过了数年的拍摄,也换了制片,就连在哪家电视台上映也是变卦了多次。

该剧集的演员包括詹妮弗•康纳利和戴维德•迪格斯,基于2013年由奉俊昊执导的同名电影,并参考了其前作1982年的法国连环画《雪国列车》(Le Transperceneige)。然而,就像《黑色孤儿》(Orphan Black)的制片人格拉美•曼森和第一季制作设计师巴里•罗比森指出的那样,该剧集的辨识度异常鲜明。

这两位主演都是该电影的粉丝;曼森承认,“与大多数人一样”,他也是看过电影才了解这个故事。曼森称,作为执行制片人的奉俊昊甚至在第一季期间来剧组访问过几次。曼森还说:“他对我的首部重拍作品表示了祝福。”

曼森称连环画“充满了想象力和幽默,让人浮想联翩,而且充满哲理。”然而,剧集更多的是以这部连环画为鉴,打造剧集中所呈现的世界。

罗比森向《财富》杂志透露:“格拉美、[导演詹姆斯•哈维斯]、TNT和工作室释放出了异常强烈的信号,他们并不希望照搬电影。我也有同样的想法。”他还说,除了自己“生动的想象”之外,他还阅读了原作。“在阅读连环画时,设计本身的强大之处以及我对这个劫后世界的理解能力真的是让我大吃一惊。”

这部电视剧的背景设定在地球变为冰冻废墟7年之后,而幸存的人类则开着一列永恒运转的火车绕着整个世界疾驰。与电影中地球剧变后14年的故事相比,剧集的时间框架有所压缩。曼森解释说,这部剧集的时间线“给出了足够的空间,所有人依然仍处于悲痛之中,人们依然信守着旧社会中十分重要的理念,而且正处于抛弃一些旧观念的边缘,并在质疑未来的前进方向。”

由于《雪国列车》的重拍采用了长篇剧集的形式,因此人们有机会对角色(与电影中不同)进行更深的挖掘。这列火车有一个十分明确的等级系统,从正式划分的第一、第二和第三等级,一直到列车末尾最不被重视、等级最低的无票乘客车厢。

曼森说:“我们并没有模仿电影,从火车的最低等级车厢开始讲故事,然后一直向前,直到抵达引擎,而是循序渐进地介绍了所有的等级,这样我们便可以平等、彻底地了解火车中失衡的社会生态。”

等级的分类在场景设计中得到了更明确的体现。为了设计每个等级车厢的外观,罗比森对这个包含1001个车厢的整列火车进行了绘制。剧集采用了边界车厢的概念(限制人们在火车不同车厢之间的移动)。罗比森说:“我们希望火车尾部一片昏暗,充满灾难感。从第三等级到第二等级车厢则较为中性、单调。”他还说,第一等级车厢则有一种“身处天堂”的感觉。“而且在所有这些车厢中,尾部车厢没有照明,第二等级车厢的窗户要小一些……如果你就是要对比的话,有点类似于船舱的感觉。”

这里还有“夜车”,曼森将其描述为“火车的歌舞厅。”

他说:“它在某种程度上是一个安全空间,刚好位于火车的中间部分,就像是一个中立地区。”

这也是罗比森最喜欢的场景,因为他“可以扭曲现实,但不会太明显。”

罗比森说:“这是一个非常成功的设计,因为它是第一等级车厢的餐厅。这些非常小的场景中充斥着大量的信息。”

罗比森说,整个剧组有10个实体车厢可供使用,他自己十分享受这个挑战,也就是在这个他描述为宽约3.6米、长约13米的空间设计场景里。有少数几个车厢,例如夜车,都是固定场景,但其他的车厢会随着故事的发展发生变化。

他说:“我们在温哥华动用了四个场景,而且都是相连的,因此车厢一直都在移动,随着拍摄的进行,基本上每天都动一次。”他还说,在特效团队的帮助下,人们会看见不同的列车车厢从门口经过。

为了让剧集中的火车和环境有真实感,我们做了大量的研究。罗比森说:“我们联系了加拿大铁路公司,不用说,他们很喜欢这个剧集。我记得他们提了几点建议,其中一条就是火车必须结实,外立面必须结实,而且配有厚甲板。”

但这个设计还必须“上镜”。

罗比森说:“有时候这些角色会离开火车。”原始资料上的一些概念在荧幕上是行不通的。“我认为在连环画中,人们穿着笨重的制服,例如戴着留着两个视线孔的铅头盔。不过,这样你就看不到詹妮弗•康纳利了,这可不行。”

曼森对于该剧集最终得以上映感到十分兴奋,“尤其对于演职人员来说更是如此”,因为“它的拍摄花了很长的时间。”

即便这个反乌托邦故事将在全球新冠疫情(疫情也干扰了第二季的制作)期间上映,他认为该剧集将引发观众的共鸣。他说:“人们正在观看很多科幻和灾后科幻剧集。”他同时指出,这个故事并非是流水账。尽管剧集探讨了类似于不平等这类更深层次的主题,但曼森将《雪国列车》描述为“各类色调和风格的大杂烩”。

他说:“剧里有黑色幽默,有音乐剧。但更重要的是,这是一部动作冒险片。”

《雪国列车》已于美国东部时间5月17日周日晚9点在TNT首播。

译者:Feb

After years in development, a change in showrunners, and moving back and forth between cable network homes before it ever aired, the Snowpiercer TV adaptation will finally hit our screens this weekend when its first season debuts on TNT.

The series, starring Jennifer Connelly and Daveed Diggs, is based on the 2013 film of the same name by Bong Joon Ho, as well as its predecessor, 1982 French graphic novel Le Transperceneige. But as showrunner Graeme Manson (Orphan Black) and season one production designer Barry Robison point out, the show has its own strong identity.

Both are fans of the film; Manson admits that “like most people,” it’s how he became familiar with the story. Bong, who has an executive producer credit, even came to the set a couple of times during the first season, Manson says, adding that “he gave his blessing to my rewritten pilot.”

But the graphic novel, which Manson describes as “full of imagination and humor, and flights of fancy and levels of philosophy,” served as a more of a springboard for building the world seen in the series.

“I got a really strong directive from Graeme and [director James Hawes] and TNT and the studio that they didn’t want a carbon copy of the movie. And neither did I,” Robison tells Fortune, adding that in addition to his own “vivid imagination,” he turned to the original source. “What really struck me by going back into the graphic novel was just the robustness of the design itself, and my ability to be able to interpret the postapocalyptic world.”

The TV series takes place seven years after the planet has become a frozen wasteland, while surviving humans ride a nonstop train that travels around the globe. The time frame is compressed compared with the film, which is set 14 years after the devastation of the planet. The show’s timeline “left enough space that everybody would still be grieving, that people would be holding on to the things that mattered in an old society and right at the sort of cusp of casting off some of those things and questioning the way we got on,” Manson explains.

And because this iteration of Snowpiercer is a long-form drama, there are opportunities to explore the characters—who are not the same as those seen in the film—more deeply. The train has a clear class system, from the formally designated first, second, and third classes all the way to the tail—the least desirable, lowest-class section for unticketed passengers.

“Rather than like the movie, beginning on the end of the train with the ‘tailies’ and moving relentlessly forward until we reach the engine, we spend time with all the classes, and we get to know the society of the train equally throughout in all its imbalance,” Manson says.

The distinctions in class are also more clearly illustrated in the set design. To come up with each section’s appearance, Robison mapped out the train, which consists of 1,001 cars. The concept of border cars, hindering movement between different parts of the train, was established. “We wanted it dark and claustrophobic in the tail. We wanted it somewhat neutral and dull in the third class into second,” Robison says, adding that the first class has more of a “heavenly” feeling. “And then throughout these cars where you’ve got no light in the tail, smaller windows in the second class…it’s not unlike a ship, if you really want to think about it.”

There’s also the “night car,” which Manson describes as “the cabaret of the train.”

“It’s sort of a safe space—it’s the exact middle of the train. It’s like a neutral territory,” he says.

It was also Robison’s favorite set because he “was able to bend reality without it being obvious.”

“It’s a very successful design, as is the first-class dining room. There’s a lot of information crammed into those very small sets,” Robison says.

The team had about 10 physical train cars to work with, says Robison, who enjoyed the challenge of designing sets he described as around 12 feet wide by 45 feet long. A few—like the night car—were fixed sets, while others were changed around as the story required.

“We were in four stages in Vancouver that were all linked together, so the cars were constantly moving, almost on a daily basis, as shooting was going,” he says, adding that the effects team helped make it possible to see different train cars moving through doorways.

A lot of research went into making the train and the environment on the show feel realistic. “We contacted Canadian Rail, and needless to say, they loved it. The few pieces of advice I remember them giving us was that the train had to be robust—the exterior absolutely had to be robust and thickly plated,” Robison says.

But the design also had to be TV-friendly.

“There are times when characters go outside the train,” Robison says, adding that the source material had a concept that just wouldn’t work on-screen. “I think in the graphic novel, you’re in a heavy suit, and then you’re, like, in a lead helmet with two round eyes. Well, you can’t see Jennifer Connelly, and that’s no good.”

Manson is excited for the project to finally debut, “particularly for the cast” as “it’s been a long time coming.”

Even though the dystopian tale is premiering during the global coronavirus crisis, which also disrupted work on the second season, he thinks the show will resonate with viewers. “People are watching a lot of sci-fi and postapocalyptic sci-fi,” he says, while pointing out that the story isn’t one-note. Though it tackles deeper themes like inequality, he describes Snowpiercer as “a mashup of tones and styles.”

“It’s got black humor; it’s got musical numbers,” he says. “But above all, it’s an action-adventure.”

Snowpiercer premieres on TNT Sunday, May 17, at 9 p.m. ET.

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