第一季第一集：我们就是我们

而你确实感受到了。

And you do.

那晚，我看着人们哭泣。

That night, I cried watching people.

我只是

I just

热泪盈眶地奔跑。

ran tears in my eyes.

我明白。

I know.

那些都是艰难的夜晚。

Those were tough nights.

是啊。

Yeah.

没错。

Yeah.

而你不得不持续这样做。

And you had to keep doing it.

要知道，做一次是一回事。

And see, it's one thing to do it once.

我不知道有几个人能达到你那样的水平，哪怕只做一次，但后来你是怎么做到反复做到的？

I don't know who very few people could do it to that level you did it even once, but then you got how do you how do you do it over and over again?

我是说，有些东西是我给自己的。

I mean, there's things that I give myself.

准确来说，对我来说就像家庭作业，比如：你生活中经历过类似的事情吗？

Mean, to be technical about it, the homework for me, the homework of like the as ifs of have you experienced anything like this in your life?

你当时是怎么表现的？

And how did you behave?

你观察过别人吗？

Have you watched other people?

他们又是怎么表现的？

How did they behave?

于是你开始思考不同人拥有的不同反应和工具。

So you start thinking about the different reactions and tools that different people have.

我在家做那些功课只是为了分析它，因为对我来说，在当天依赖想着你角落里死去的狗然后走过来是不可复现的。

I do that homework at home just to sort of analyze it, because for me, on the day, to rely on thinking about your dead dog in the corner and then coming over is not repeatable.

你不能一直那样做，而且如果你来自一个纯粹自我宣泄的状态，有时很难接受指导。

You can't keep doing that, and sometimes it's hard to take direction if you're coming from a place that's literally just self purging.

这只是针对我个人和工作方式而言。

That's just for me and how I work.

所以，我会给自己设定一些标记。

So, I'll then give myself some markers.

我会做的一件事是问自己痛苦存在于哪里，因为大多数时候当你对某事感到极度痛苦时，它会存在于你身体的某个部位，比如像一块咽不下的硬块，或是胸口的灼烧感，又或是感觉有人坐在你的横膈膜上，或者你的脸感觉发烫。

One of the things I'll do is ask myself where the pain lives, because most of the time when you're in extreme pain about something, it lives somewhere in your body, like it's a lump you can't swallow, or it's a burning in your chest, or it feels like somebody's sitting on your diaphragm, or your face feels like it's getting hot.

而我发现奇怪的是，作为告知身体我们处于何种状态的触发点，这种方式更具可重复性。

And I find that strangely to be more repeatable as the instigator to tell your body like, is where we're at.

然后我想，只要我做了这么久的工作，如果我理解了这个角色对另一个角色痛苦感受的看法，并且有幸得到一个像鲍勃和米里亚姆那样出色的场景搭档。

And then I guess just having done it this long, my job, if I have understood how the character feels about this other character being in pain, and I am graciously gifted a scene partner that is fantastic, as Bob was, as Miriam is.

通过我角色的眼睛看着他们让我产生那种感受。

Looking at them through the eyes of my character makes me feel that.

并不是说我失去理智以为自己就是另一个角色。

It isn't like I lose my mind and I think I'm the other character.

但你明白我的意思吗？

But do you know I mean?

只要你能从那里开始，我就能接着演这场戏并且投入其中，而不是四处游离。

As long as you can start there, I can then play the scene and I'm there, as opposed to wandering around.

我确实会在场景间胡闹，有时不得不这样，因为情绪太沉重了。

I do goof off between scenes, and sometimes I have to because it gets so heavy.

我想我告诉过你，有天晚上拍了几条后，我说需要缓一分钟，因为我的呕吐反射不断出现——我哭得太厉害导致窒息了。

I think I told you after a couple of takes one night, was like, I need a minute because my gag reflex kept going up because I was choking, sobbing so hard.

然后可怜的米里亚姆，一旦镜头对准她，她就止不住地哭。

And then poor poor Miriam, once she was on screen, she was she couldn't stop crying.

是啊。

Yeah.

对我来说。

For me.

我就说，你不能哭啊。

And I'm like, you can't be crying.

她当时就说，糟了。

And she was like, shit.

不过我们会用笑声来缓解气氛。

But we would have some laughs to relieve it.

比如当时天气特别冷。

For instance, it was freezing cold.

每次我们起身让大家休息时——我本来挺抗冻的，但那次也冷得不行，而米里亚姆本来就怕冷，那次简直冻僵了。

And every time we got up to give everybody a break, and I run pretty hot, but I got cold, and Miriam runs cold and got freezing.

她当时躺在那辆卡车的金属车斗上。

And she's on the bed of that truck, which was metal.

所以他们拿了一大堆暖宝宝，贴得到处都是——塞在她衬衫里、夹克里、裤子里。

So, they took tons of hand warmers, and they're all up and down, like in her shirt, in her jacket, in her pants.

每次她起身走动休息时，暖宝宝就会像拉肚子一样往下掉。

And every time she'd get up to walk and take a break, she would just be pooping hand warmers.

那些暖宝宝从袖口、裤腿里源源不断地掉出来。

They were just like tons coming out of sleeves, coming out of pants legs.

我笑得前仰后合。

I was laughing my head up.

这个故事我们反复讲，但越讲越难讲清楚，因为有些镜头是分两个晚上拍的。

And you try to tell the story again and again, and it gets harder because we shot parts of it over two nights.

所以当你第二天晚上回来时，你会来找我诉说——这理所当然，我需要你从昨晚的第十四点开始继续。

So when you come back the next night and you would come and tell me, rightfully so, I need you to start at fourteen where you were last night.

就像，我们不是从第一点到第十四点。

It's like, we're not going one to fourteen.

我们必须从第十四点开始。

We have to start from fourteen.

于是我会回家，记下那一刻你处于什么状态？

And so I would go home and I would make notes of where were you in that moment?

只是不同的标记点吗？

Is it just different markers?

就是那种感觉像被骡子踹中胸口的一刻吗？

Is this the moment where it feels like a mule kicked you in the chest?

就是那种你完全否认现实的时刻吗？这种否认本身也是身体对某事的反应。

Is this the moment where you're in absolute denial, which is its own kind of physical reaction to something.

我知道我们拍了几种不同版本，也清楚我们都认为必须让这场戏难以直视且撕心裂肺——毕竟场景这么少。

I know we filmed it a couple of different ways, and I know that you and I both thought it was imperative for it to be difficult to watch and wrenching because there's so few scenes.

这种悲痛及其对卡罗尔后续决策的影响，必须要有分量，才能在观众心中留下印记。

And this grief and what it does to Carol and her decision making moving forward needed to, you know, have weight so that it stays in people's minds.

完全同意。

Absolutely.

和专业演员合作真是太棒了。

You are so it's so great working with pros.

对于想当导演的听众来说，虽然仔细想想这是老生常谈——但从导演视角看，在这种大场面中必须尽可能保护演员。

And for the folks listening who want to direct, this is probably an obvious statement if you think about it, but from a director's perspective, you need to protect your actor as much as possible in a big scene like this.

所以我们从特写镜头开始拍。

So we started with the close ups.

这才是重点所在，知道吗？切入额头的那种，最极致的特写。

That's, that's where the money is, you know, cutting into the forehead, whatever the closest of the close-up.

从那些细节开始处理，因为我知道，在这种时刻，我们就要切换到特写镜头。

Started with that stuff, because I knew, you know, in a moment like that, we're going to cut to the close-up.

然后我们倒推回去，逐渐拉远镜头。

So, then we worked backward from there and get wider.

这真的很有帮助。

Which was really helpful.

你在向我解释拍摄计划方面也做得非常出色。

You're also really great with explaining to me how we're going to shoot.

倒不是说我要保存体力，但根据当天是拍十小时还是两小时，我需要采取不同的身体保护措施。

And it's not that I save it, but there are different things I have to do to physically protect myself if I know we're doing it for ten hours versus two hours or whatever we're doing that day.

有件事我觉得听众可能会感兴趣，不知道你们是否知情——Trina和Jen可能知道——拍摄第二天你来找我说：有件事一直让我很在意。

Something that I thought was very interesting that the listeners might think was interesting, and I don't know if you guys were privy to it, Trina and Jen, probably, but you came to me on the second day we were shooting it, and you said, There's something that keeps bumping me.

我说：我也一直在想同样的事。

And I said, It's the same thing that keeps bumping me.

这就是为什么她要离开海伦的尸体，从卡车里出来跟踪那些人。

And it was why she leaves Helen's body to get up out of the truck and go follow these people.

我们不断交换想法，而你总是房间里最聪明的人。

And we both kept tossing around ideas, and you're always the smartest person in the room.

最让我惊喜的是我们偶尔会合作探讨：这个角色到底是谁？整体基调应该怎样把握？诸如此类的问题。

But it's been really incredible for me that we have had collaboration at times on, Let's figure out who this character is and what the tone is and all that.

我记得那晚我们想通了：正是看到别人都起身而自己妻子却毫无动静的愤怒，促使她站起来去寻求答案。

And I remember that night, we figured out that her anger almost, that why are these people getting up and my wife isn't, is what makes her get up and go like, I got to get some answers.

就像在说：这他妈到底怎么回事？

Like, the F is going on?

我们可爱的后期音效总监凯瑟琳·马德森。

Katherine Madsen, our lovely post sound Supervising sound ender.

后期音效总监。

Supervising sound ender.

她和不少看过试播集的人都提到过，在我下车前看向海伦的那毫秒间的眼神，他们说这简直要了我的命。

She and quite a few other people that have seen the pilot have mentioned that millisecond look that I do down to Helen before I get out of the truck, and they're like, It kills me.

我当时就觉得，这让我非常开心，你们知道，大家会把事情想到极致，但总有些意外会在拍摄当天发生，你没想到会这样解读或那样表现。

And I was like, That makes me so happy that, you you know, guys think things through to the nth degree, but there's still the thing that happens on the day that you didn't know this was going to not read this way or this was that and that was that.

能有这样细微到极致的叙事时刻，你们在片场给了我们足够的空间去关注和揣摩。

And to have tiny, tiny, tiny storytelling moments like that, that you give the space on set for us to care about and to figure out.

然后看到观众能领会这些细节，对我来说真是莫大的回报。

And then to have an audience follow it was really rewarding for me.

那场戏很艰难，但也非常值得。

That was a tough scene, but a very rewarding scene.

能有你来演这场戏我太幸运了，因为完全不用为你担心。

I was so lucky to have you doing it because I didn't have to worry about you.

我记得那场戏最让我焦虑的是，虽然所有群演都很棒，表现得很好，但我不太确定该怎么调度他们。

The thing I remember worrying about the most during that scene is, and all the extras were great, they did a very good job, but I didn't quite know what to do with them.

确实。

Right.

就是他们出场后，很多人就站在那里看着火花——不是真的火，是救护车冒出的火花。

As in, they come out and a lot of them just stand there and look at the fire, look at the sparks coming, it's not a fire, the sparks coming from the ambulance.

这个问题不仅困扰着拍摄现场，更让我提前好几周就开始焦虑。

And this bothered me, not just on the set, but weeks and weeks ahead of it.

我记得当时一直在想：他们到底该做什么反应？

I remember thinking, what are they doing?

后来我想通了，他们应该知道救护车顶上有通电的电线，碰到就会触电。

And then I thought, well, they're smart enough to know that you can't touch the ambulance without getting electrocuted because there's a live wire on top of it.

但这类后勤问题有时候比表演更让人头疼，因为我知道你肯定能演好。

But yeah, stuff like that, the logistical stuff is the stuff that gets you sometimes more than the because I knew I could trust you to pull it off.

我一点都不担心你。

I wasn't worried about you.

但你担心的这些事情真是挺可笑的。

But it's just funny the things you worry about.

这些临时演员在做什么？

What are all these extras doing?

我不想让他们像木头一样站在那里太久。

I don't want them standing there like a bunch of lumps, you know, for too long.

他们真的做到了。

They really pulled it off.

做得很好。

Did a good job.

你们面试过群演吗？

Did you audition background people?

我们面试过。

We did.

我们举办了公开试镜。

We had we had open auditions.

好的。

Okay.

无论是演员、群演还是其他任何人，真的都行。

For actors, for background, for liter anybody, really.

我们让他们去舞厅或剧院之类的地方，他们会以5到10人为一组与Nido见面。

And we had them show up to like a dance hall or theater and they would meet with Nido, I think in like groups of five or 10.

嗯哼。

Uh-huh.

要知道，我们用了很多群演。

We, you know, we we use so many background.

好几百人呢。

Hundreds.

数百个。

Hundreds.

数千个。

Thousands.

哦，那真是太棒了。

Oh, And it was great.

我想，你知道，我确信你做过背景工作。

I think, you know, I'm sure you've done background work.

我做过背景工作。

I've done background work.

很多时候就像，从这里开始，拿起这个文件夹穿过房间，然后你看着某某，你知道，你可能会看到你衬衫的小飘动之类的。

And a lot of times it's like, just start here and just grab this folder and walk across the room and then you watch so and, you know, you you see maybe your little flutter of your shirt or something.

所以我认为这对背景表演来说很棒。

So I think it was great for the background to act.

是啊。

Yeah.

当然。

Like Sure.

没错。

Yeah.

他们感觉自己像是场景的一部分。

They felt like they were part of the scene.

他们是节目的一部分。

They were part of the show.

这给了他们，你知道，他们就是

It gave you know, they were

他们确实如此。

They very much are.

对此感到非常兴奋。

Thrilled about it.

是啊。

Yeah.

是啊。

Yeah.

他们对此感到非常兴奋。

They were thrilled about it.

而且他们做得非常出色。

And they did a fabulous job.

我们确实有过一些非常棒的

We had some really good

他们那次做得很好。

They one did.

雷，你做过一件我从没见过其他人做的事，就是在第一集拍摄时，你会对着背景演员发表讲话。

Thing you did, Ray, that I I have never seen anyone else do was you would give during that first episode, especially you would give a speech to the background.

你会把大家召集起来，对他们讲话，感谢他们的参与。

You would gather everybody up and you would talk to them and you would thank them for being there.

你还会提醒他们，他们的工作对故事至关重要，他们和你一样都是这个世界的一部分。

And you would remind them that what they were doing was so critical to the story and that they were part of the world the same way you were.

这激励着他们熬过那些寒冷的夜戏拍摄。

And it inspired them to get through some of those very cold night shoots.

没错。

Yes.

正如你所说，他们出现在每个镜头里。

As you said, we were they were in every shot.

后来还有些非常炎热的拍摄。

And there were some very hot ones later.

哦，确实如此。

Oh, indeed.

谢谢。

Thank you.

是的，我想每次我们有一个大团队和我一起时，我都做到了。

Yeah, I I think I did every time we had, like, a large group that was with me.

你知道，文斯和我常告诉他们，这档节目有大量出色的后期制作，因为需要如此。

You know, Vince and I would tell them we we have a lot of fabulous postproduction on this show because it requires it.

但总体而言，在人员安排上你们尽量保持了实用性。

But by and large, you kept things as practical as possible when it came to the people.

他们没有用瓷砖贴图和CGI特效那些东西。

They're not tiled and CGI'd and and all that.

我知道这很重要，对这些演员而言，他们被重视——他们以同步的方式作为一个整体表演，但仍是独立的个体。

I know that was important, you know, to these people that they were being valued as you are acting They're acting in a synchronized way and as a unit, but they are individual people.

他们不是机器人，所以各有不同的步态、手势或细微表情，但都完美呈现。

They are not robotic, so people have different ambling walks or ways of gesturing or slightly different facial expressions, and they were all doing it.

然后他们为我表演，我告诉他们，是的，他们是我的场景搭档，他们正在创造这个世界，完全由他们决定让观众理解这是什么。

And then they're for me, and I told them, you know, yeah, they were my scene partners, and they were creating this world that is completely up to them for the audience to understand what is this?

我们看到的究竟是什么？

What is this thing we're looking at?

看什么？

At?

无言地。

Wordlessly.

我确实想感谢他们，我自己也做过背景演员的工作。

And I did want to thank them, and I have done background work.

我认为，感受到对他们出色完成这项艰难工作的尊重只会越来越——

And I think feeling respected for how hard that job is to do well is only going to get

我们感到被关注。

us Feeling seen.

感到被关注，因为他们

Feeling seen, because they

非常

are very

和其他人一样是场景的一部分，没有他们就不会有这一切。

much a part of the scene as anyone else without them, it would not have.

百分之百。

100%.

千真万确。

Absolutely true.

而且你知道，这很有趣。

And you know, was interesting.

这是个演变过程，克里斯，关于做决定。

It was an evolution, Chris, about deciding.

我们确实在我很久以前写这个东西时就决定了，因为我开始写这个东西已经是好多年前的事了，我当时认为每个人都应该完美地齐声说话。

And we did when I wrote the thing a long time ago, because I started writing the thing literally years and years ago, I thought everyone should speak in perfect unison.

每个人都应该完美地移动，就像我想象中看过的一些场景，比如太阳马戏团的表演，非常优雅，非常不完美，或者海军陆战队操练队，如果你见过那些家伙的话，太神奇了，把M1步枪抛向空中，后面的人看都不看就接住，诸如此类的动作。

Everyone should move in perfect, you know, like I was picturing some stuff I'd seen like Cirque du Soleil do, and very graceful, very imperfect, or the Marine Corps drill team, if you've ever seen those guys, amazing, throwing M1 rifles in the air and the guy behind it catches it without looking and all this kind of stuff.

我知道这是人力可及的，但你确实需要花上数年时间练习。

I know it's humanly possible, but you literally got to spend years practicing.

而我们做不到，我们没那么多时间。

And we can't, we can't spend years.

看起来好像可以，但实际上不行。

Seems like we can, but we can.

但我们逐渐意识到，我认为人们说话过于完美同步其实并不令人愉悦。

But it came to dawn on all of us, I think that people speaking too much in perfect unison is actually not pleasing.

比如在混音时，我们最终让人们的对话稍微错开一点，因为如果完全同步，反而达不到想要的效果。

We wound up in the in the sound mixes, for instance, staggering people talking all at once a little bit because if they're too perfectly in unison, it's somehow it doesn't have the effect you want.

需要这样。

Need them.

有意思。

Interesting.

你需要它们不完全同步。

You need them not so perfectly in unison.

有点像是恐怖谷效应。

That uncanny valley a little bit.

对。

Yeah.

感觉哪里不对劲，这会让你的大脑感到困扰。

Something's not right about this and it bothers your brain.

没错。

Yeah.

那你们在第一次他们对我说话时也这样处理了吗？

So did you guys do that even on that first time when they speak to me?

在那个场景里？

In the cells of that?

音轨。

Track.

对吧？

Right?

哦，在第一次外面的场景

Oh, in outside the first

在医院里是他们第一次对我说话的场景。

in the hospital is the first time I think they speak to me.

是的。

Yes.

对啊。

Yeah.

确实有，但关键在于，尽管那些临时演员表现不错，但你要知道，深夜11点那么冷的天，他们毕竟不是海军陆战队的操练队。

There was but but the other thing is they especially a bunch of people as good as those extras were, bunch of people, you know, in hour 11 of the night, when it's that cold outside, they're not the Marine Corps drill team.

永远不可能是。

Never will be.

没错。

Right.

他们做不到完全同步。

They can't do it in perfect sync.

不过后来我们在后期制作中增加了更多声音，可以说让场面更宏大些，还在后期处理中稍微错开了些节奏。

But then I think we added more voices in post and made it a bigger crowd, so to speak, in post and staggered it maybe a little more still.

对。

Right.

因为我们希望它感觉更人性化。

Because we want it to feel human.

这几乎是我们关于'其他人'所有决策背后的指导原则，你不觉得吗？

That's been the sort of guiding thought behind almost every decision we make about the others, wouldn't you say?

因为他们也是人。

Because they're people.

他们不是机器人。

They're not robots.

他们不是外星人。

They're not aliens.

他们是人类。

They're human.

然后让声音错落有致，人们用各自的口音说话，还有人跛着脚走路。

And then staggering the voices and people speaking in whatever accent that they have and people walking with a limp.

如果他们跛脚，那就不是超人。

If they have a limp, they're not superhuman.

他们是普通人。

They're they're people.

没错。

Right.

他们动作稍微同步点的地方是在美国AMRID的零号病人区域。

One place where their movements were a bit more synchronized was sort of in the Patient Zero area at the US AMRID.

我知道时间快不够了，但我想谈谈那部分，那些防护服，正压系统...正压

And I know we're going to run out of time, but I just wanted to get into that section because those clean suits, what are the positive pressure Positive pressure

防护服。

suits.

那些真的太酷了。

Those are so cool.

他稍微讲了讲我们当初为什么要建造这些，而且那里还有

He talked a little bit about the cause we, those were constructed and there's

什么时候会完全用来降温？

a When are they fully used to cool?

那些高温防护服。

The hot suits.

太空服。

The space suits.

你们讨论的那些东西确实很特别。

They really are something you guys talk about then.

它们确实又酷又昂贵。

They were they were cool and expensive.

这些服装是根据真实制服设计的。

They are based off of real suits.

我们不仅要为演员制作服装，还得让特效团队往服装里充气，好让他们能呼吸。

We had to make the suits for the actors, as well as have our special effects team pump air into them so that they could breathe.

实际上他们穿的是密闭服装，所以我们在里面装了微型风扇。

They're actually in closed suits, so we had little mini fans in there.

特效组在天花板上铺设了气管，这样接通后就能真正供气。

Special effects had air tubes running across the ceiling so when they plug in it actually does.

还得担心面罩起雾、温度问题，如果里面热外面也热，你就没法让他们在里面待太久。

Also you have to worry about the masks steaming up, the temperature, if they're hot inside it's hot out, you it was, you couldn't keep them in there for too long.

是啊，怎么了？

Yeah, why?

最多只能断电十分钟，但服装必须立即解封。没错。

Could only be unplugged for ten minutes, but the suits had to be popped Exactly.

所以必须保持供气。

So you needed the air running.

我们还需要使用特殊麦克风与他们沟通。

And we needed to use special microphones to communicate with them.

如果你穿着服装站在别人旁边，对方是听不见你说话的。

If you were standing next to somebody while the suit was on, they couldn't hear you.

所以文斯必须对着麦克风说话，好让他们能互相听见。

So Vince had to speak into a mic to give his They could hear each other.

我正想说呢，他们本来能互相听见，直到你亲自示范。

Was gonna say, they could hear each other until you did the own.

是的，为此我们得提前和他们排练，确保他们能在服装里活动。

Yes, and then we had to rehearse with them ahead of time so that we knew that they could move in the suits.

他们必须经过适应性训练，你懂的。

They had to be expungtion and, you know.

真酷。

That's cool.

我们有技术顾问吗？有的。

Do we have technical advisors on that yes.

相当不错的一个。

Quite a good one.

是的。

Yeah.

我们做到了。

We did.

在那个场景中，我们有一位科学家艾琳·麦克唐纳，她在蒙太奇设计和确定人物行为方面发挥了关键作用，并在前期制作期间与我们进行了沟通。

For that sequence, we had a scientist, Erin McDonald, who was instrumental in the montage and figuring out what people are going do also talking to us during preproduction.

希望可以这么说，文斯，你最初设计的场景里实验室只有一位科学家。

Hopefully it's Okay to say, Vince, that in your first iteration of the scene, was one scientist in the lab.

艾琳告诉我们的一点是，在生物安全四级实验室里，绝不会只有一个人。

And one thing Erin said to us is, in a biosafety level four lab, you would never have just one person.

于是你重写了场景，加入了第二位科学家，我觉得这样好多了。

And you rewrote the scene to have a second scientist, and I think it's so much better.

是啊，太棒了。

Yeah, that's awesome.

很棒。

It's great.

我只是沿用多年前从《X档案》学到的经验——单独一人会更恐怖。

I just went with my old X file learning from years ago, a person by themselves is going to be scarier.

所以我原本是这么设计的。

So that's the way I intended it.

但后来艾琳指出，实际情况并非如此。

But then, yeah, Aaron said, you know, it just doesn't work that way.

我和往常一样，在瞬间的思考后决定：好吧，艺术创作需要自由，就保持这样吧。

And I thought for a microsecond as I always do, well, you know, artistic license, let's just keep it this way.

接着我又想，这个选择从未让我失望过。

And then I thought, it's never steered me wrong.

它始终将我们凝聚在一起，作为一个团队，当我们力求技术上的精确或尽人类所能达到的准确时，这种态度总能让我们立于不败之地。

It's always held us in me and us, you know, as a group, it's held us in good stead when we get things technically accurate or as accurate as we humanly can.

这种做法从未给我们带来损害。

It never has harmed us.

反而总能带来丰厚回报。

It has always paid dividends.

所以我们采纳了她的建议。

So we listened to her.

我根据她的意见，还有来自VLA技术顾问的建议，重新编写了对白并调整了结构。

I wrote dialogue, restructured things based on what she said, and based on what our technical advisor from the VLA said.

对，就是布莱恩·斯沃博达。

Yes, Brian Svoboda.

在VLA那场有20位科学家的戏里，那些都是真正在那里工作的科研人员。

And in the scene where we have the 20 scientists at the VLA, those were all real scientists who worked there.

我们发出邀请后，报名人数太多，最后不得不通过抽签来决定——大家都想参与《接触》的拍摄。

We put the call and said anybody who wants to and then we essentially had to do a lottery because so many folks wanted Wow, to be part of I

是啊，谁不想参演呢。

wanted to be in it, yeah.

那些可都是真书呆子，不是群演。

Those are real nerds, not fake

太棒了。

That's awesome.

说真的，和我们这些人在一起，他们算是找到组织了——确实如此。

Actually They're in good company with all of us, for Exactly.

那个小拖车里的智商水平肯定创下了世界纪录。

IQ level in that tiny trailer must have been must have set an all time world record.

他们就像

They're like

比整个团队加起来更像小丑。

a clown than the whole crew put together.

但小丑 团队的

But a clown The crew's

也很出色。

brilliant too.

就像，这辆天才的小丑车。

Like, this clown car of geniuses.

是的。

Yes.

实验室也是。

And the lab too.

我们做蒙太奇时用了真正的实验室。

We used real lab when we did the the montage.

对。

Yeah.

我们

We

当他们做拭子检测那些的时候？

When they're doing the swabs and all that?

背景演员们。

The background performers.

不是他们之后和Nito的蒙太奇，你知道的，是科学蒙太奇。

Not the montage with Nito after they, you know, but the science montage.

科学

The science

蒙太奇。

montage.

还有PSL2。

And the PSL2.

哦，好的。

Oh, okay.

对，对，对。

Yeah, yeah, yeah.

我们确实向所有有科学背景的群众演员发出了邀请。

We did put the call out to anyone who, any background performers that had a background in science.

当天拍摄时，艾琳会问，这是某种离心机吗，诸如此类的问题。

And then on the day, you know, Erin would say, oh, was this is this type of centrifuge, or whatever.

然后助理导演或其他工作人员就会问，有人知道怎么操作这个测试吗？

And we'd say the assistant director or whoever would say, does anyone know how to run this test?

然后会有六个人举手。

And six hands would be raised.

因为我们希望找会使用设备的人。

So because we wanted people who knew how to use the equipment.

艾琳本人也出现在那个场景中

And Erin herself is in that scene Oh as

是的。

yeah.

而且

And

布莱恩也在VLA的场景里。

Brian's in the scene at the VLA.

是的。

Yes.

穿着那件绝妙的毛衣。

With the fabulous sweater.

对，没错。

Yes, that's right.

但是尼托那段，他们擦拭的场景，演员们动作完全同步，那真的吓到我了。

But and Nito, scene where they're doing the swabbing, the actors doing the swabbing in perfect unison, that scared me.

不过尼托确实...我告诉尼托我想要什么，他就实现了，然后我去吃了个三明治，结果...

But Nito really, I said to Nito what I wanted and Nito made it happen and I went and had a sandwich and it was was

总是三明治或者

It's always a sandwich or

热狗。

a hot dog.

我们还应该提到他的助手，因为玛丽莎也发挥了重要作用

And we should mention his assistant too because Marissa did also play a big role

玛丽莎做得非常棒，但我特别欣慰和感激他们能完成那部分，因为我完全不懂编舞。

in she's Marissa did a wonderful thing, But I was so pleased and grateful and relieved that they made that work because I don't know anything about choreography.

结束前，让我每次看都感到惊讶的是——当屏幕上出现戴维斯·塔夫特勒和凯伦们时，我总会放声大笑，你知道的，《你的人生属于你自己》那段...

Before we wrap up, something that surprised me the first time and every time I see it is how I'm laughing out loud with Davis Taftler on the screen and the Chirons on the, you know, Your Life Is Your Own and

我们不是外星人。

We're not aliens.

我们不是外星人。

We're not aliens.

是啊。

Yeah.

那些部分太搞笑了，在经历完这场末日般的恐惧后——卡罗尔此刻仍在承受，虽然我们观众没有亲身体验——结尾处竟能有这样的基调转变。

That stuff is so funny to me and that there could be this this, like, tonal shift right at the end after this sort of apocalyptic terror that Carol has just experienced and is still experiencing, even though as an audience, because we're not experiencing it physically.

我就是太爱这部分了。

I just I love that part so much.

我超爱那种狂野的调性转变。

I love that that that like wild tonal shift.

我也是。

I do too.

我不知道具体是怎么运作的。

I don't know how how it works exactly.

我很难从指导他人的角度来解构它。

I'd have a hard time deconstructing it in terms of telling people how to do it.

但这一切始于优秀的演员。

But it starts with great actors.

始于人。

Starts with people.

这就是真相。

And it's the truth.

而且，你知道，我了解到这是可以做到的。

It and it and also, you know, I learned that it could be done.

是的，在好多年前的《X档案》里。

Yeah, on the X Files years and years ago.

《X档案》本是非常严肃的剧集。

X Files was very serious show.

但一位叫达伦·摩根的编剧——他非常出色——向我们证明了这部剧也可以很搞笑。

But a writer named Darren Morgan, wonderful writer, kind of proved to all of us that the show could be funny.

因为在某个阶段之前，只有零星的黑色幽默片段。

Because up to a certain point, there was a couple of dark humor moments.

但达伦是第一个写出真正完整搞笑剧集的编剧。

But Darren was the first writer to write a really full out funny one.

而且非常棒。

And it was great.

从那以后——或许更早，但肯定是从那时起，我就一直着迷于故事的弹性：在黑暗程度上能走多远？

And ever since then, maybe even before, but but ever since then, certainly, I've always been intrigued by how elastic a story can can be in terms of can how dark can you go?

在戏剧性上能走多远？

How dramatic can you go?

然后又能多快转换基调？

And then how quickly can you shift gears?

而这档节目做到了。

And this show does that.

它始于演员们的真诚演绎，单是幽默与喜剧部分就足以再聊上一个小时。

And it starts with the actors being honest and never we could do a whole other hour just about humor and comedy.

你甚至可以为此开一门课程，关键在于节奏的把握。

And you could teach a course in it, but the timing.

不，我也这么认为。

No, I think so.

还有喜剧节奏。

And comic timing.

即使角色极度严肃时，也要清楚笑点所在。

And knowing even when your character's deadly serious, knowing where the laughs are.

是啊。

Yeah.

你知道，感觉但是

You know, feeling But

不去刻意制造笑料。

not playing the laugh.

这很有意思。

It's an interesting thing.

是的。

Yep.

确实如此。

It sure is.

彼得·伯格曼演得太棒了。

And Peter Bergman was so great.

彼得·伯格曼，我必须承认。

Peter Bergman, I gotta give it.

太棒了。

So great.

扮演

Playing

塔夫勒。

Taffler.

戴维斯·塔夫勒，美国农业部。

Davis Taffler USDA.

彼得·伯格曼，我妻子霍莉和我认识他很多年了。

Peter Bergman, my wife Holly and I have known him for years.

他和他的贤内助玛丽·艾伦，是由布莱恩·克兰斯顿和他妻子罗宾·迪尔登介绍我们认识的，后来彼得加入了《不安分的青春》。

He and his wonderful wife, Mary Ellen, and they were introduced to us by Brian Cranston and Robin Dearden, Brian's wife, and Peter wound up on The Young and the Restless.

他在那部剧里已经演了，我想大概有四十多年了吧。

He's been on it over, I think around forty years now.

哇。

Wow.

他是最亲切的人。

And he is the sweetest guy.

他人特别好。

He's so nice.

他和他的妻子都是非常非常好的人。

He and his wife are wonderful, wonderful folks.

他当时真的非常有趣。

And he was it was so much fun.

那并不是预先录制好的。

And that was not a burn in.

你当时是真的在电视上看着他。

You were really watching him on TV.

是的。

Yes.

'预先录制'的意思是，我们分别拍摄，然后通过数字合成到你的电视上，在卡罗尔的电视场景里。实际上你当时看的是实时直播。

Burn in meaning, you know, we shot it separately and then and then digitally composited on your TV and your in your set on the Carol's TV on the That was you were actually watching a live TV.

他在另一个摄影棚里。

He was in the other soundstage.

这需要解决很多技术问题，是的，

It took a lot of technical figuring Yeah,

我之前不知道这个。

did not know that.

菲尔·帕默设计了一种耳返系统，让彼得和我在不同舞台都能使用，而且不会干扰我们各自的声音录制。因为你不想从他的麦克风里听到我的声音，这样能互相配合真的很有趣很酷。

Phil Palmer figured out earwigs that both Peter could use on the other stage and I could use that wouldn't interfere with the recording that you're trying to do of our voice separately, because you don't want to hear his voice coming on my mic from my ear, which was really fun, really cool to be able to play off of each other in that way.

有次你的耳返掉出来了。

And at one point, your earwig fell out.

是的。

Yes.

我们后来用数字技术把它从你耳朵上抹掉了。

And we digitally erased it out of your ear.

抱歉。

Sorry.

呃，不，我是说，那是

Well, no, I mean, it was

你的表演从未中断过。

You never broke performance.

不，是的。

No, yeah.

而且你的表演太出色了，我们采用了耳夹掉出来的那条镜头。

And your performance was so good, we used the take where the earwig fell out.

说到耳夹掉出来，我们的耳夹现在正从耳朵里掉出来，我都不知道这意味着什么。

Well, speaking of earwigs falling out, our earwigs are falling out of our ears right now and I out of our don't even know what that means.

就是这样。

That's thing.

这周我们的时间就到这里。

That's all the time we have for this week.

不过，是的，谢谢大家来参加。

But, yeah, thank you guys for coming and being here.

感谢收听。

Thanks for listening.

耶。

Yay.

太有趣了。

Was so much fun.

耶。

Yay.

太棒了。

Awesome.

很好。

Great.

非常感谢雷·西霍恩、珍·卡罗尔、特里娜·西奥佩和文斯·吉里根。

Thank you so much to Ray Seahorn, Jen Carroll, Trina Siope, and Vince Gilligan.

同时感谢您收听《普瑞布斯》的首期节目，这是由Highbridge制作公司和索尼影视电视联合制作的Apple TV官方播客。

And thank you for listening to the first episode of Pluribus, the official podcast, an Apple TV podcast produced by Highbridge Productions and Sony Pictures Television.

请务必在Apple播客上关注我们，以便在订阅中获取下一集，并在Apple TV上观看《普瑞布斯》（视地区而定）。

Be sure to follow on Apple Podcasts to get the next episode in your feed and watch Pluribus on Apple TV where available.

我们的剪辑和混音师是尼古拉斯·蔡。

Our editor and mixer is Nicholas Tsai.

主题音乐由戴夫·波特创作。

Theme music by Dave Porter.

联合制片人包括阿兰娜·霍夫曼、贾斯汀·维比斯特和尼古拉斯·蔡。

Associate producers are Alana Hoffman, Justin Verbeest, and Nicholas Tsai.

执行制片人是珍·卡罗尔和我，您的主持人克里斯·麦卡莱布。

Executive producers are Jen Carroll and me, your host, Chris McCaleb.

请在Apple播客上关注并收听。

Follow and listen on Apple Podcasts.