1L Alan

Hollywood Freeway (Daily News of Los Angeles - July 22, 1988)
HOLLYWOOD FREEWAY
Frank Swertlow
Los Angeles Daily News - July 22, 1988
The Royal Shakespeare Company's Alan Rickman, who co-stars in and nearly steals Die Hard from Bruce Willis, admits, "I have absolutely no time for margaret Thatcher's England. I think she is a narrowwing pernicious influence. I think worrying things are going on in England - a real apathy." Rickman, who plays a German terrorist in Die Hard, says, "Anything to do with the arts is of little importance to a government of (her) kind. Small theater companies die. The voice of dissent is quietly killed off. Young actors have to make their mistakes on the West End stage or in film because there isn't a training ground any more. The West End takes fewer and fewer risks."
Does this mean Rickman would rather move here? Only if he could jump back and forth between the States and England. "If you could build a house on a trampoline," he says with a laugh, "that would suit me fine."
Rickman, who makes his film debut in Die Hard, has been drawing solid reviews for his role as the commando who takes over the Fox Plaza in an attempt to steal hundreds of millions of dollars in negotiable bonds in Die Hard. But he will not be playing another role that he created on Broadway - that of the decadent Marquis de Valmont in Les Liaisons Dangereuses, currently being filmed in two versions by Milos Forman and Stephen frears. "I think there were all sorts of cances of all sorts of people doing the film," he says. "It felt like (there was) a really good chance when I left new York. I think it's all for the best."
Rickman acknowledges that making his film debut was "exciting and worrying and nerve-racking. It was like going to a new school, or the first day on a new job. The people were very nice."
How about Loose Bruce?
"He's just the best, he's very good at looking after the atmosphere on the set. He's very funny - kind of what you expect. But he's also very skilled in front of the cameras; he knows exactly what he's doing."
Now, Rickman has begun work on the new John Patrick Shanley/Norman Jewison flick, The January Man, the Oscar-winning team's first project since Moonstruck. "it's a comedy-murder-drama thing. It's about Kevin Kline being dragged out of 'retirement' as a fireman to go back to being a policeman to solve serial murders that have been going on in New York. I'm his next door neighbor - an English painter and computer expert. It's odder than Moonstruck; it's got a darker edge. There are all sorts of twists and turns. It was wonderful - I came off a huge-budgeted Hollywood movie and went to a place where you could hear yourself think."


Free Spirit (Knight-Ridder News Service - June 5, 1991)
FREE SPIRIT
by Steve Rea
Knight-Ridder news Service - 6/5/91
It's the Voice.
You're phoning up from the hotel lobby - Carlyle, that bastion of New York's Upper East Side affluence - to Alan Rickman's room.
"Hello?" The Voice intones.
Whoa. This is a hello unlike any you've ever heard. Two puny syllables infused with a swirling conflation of emotion: at once seductive, disdainful, imperious.
Upstairs, in the British actor's $550-a-night, no-view suite, you realize why the 40ish Rickman has, in a few short years, become the man Hollywood calls upon when it needs a bad guy. The arch terrorist of Die Hard, the snide Australian of Quigley Down Under, and, June 14, the dark, door-kicking Sheriff of Nottingham opposite Kevin Costner in Robin Hood: Prince of Thieves.
It's not just the voice, you realize - it's his look, his manner. Dry, ironic, honey-coated contemptuousness. Hawklike features. He's the Basil rathbone of the '90s, and, alas, he's already in danger of the typecasting that mired Rathbone in villainy for a score of Hollywood productions.
Rickman's obviously aware of the precarious position. How else to explain his trip stateside to talk up his starring role in the romance, Truly, Madly, Deeply?
In Anthony Minghella's sugary first feature, Rickman is cast as a sensitive cellist who, dispatched to the beyond, returns to haunt his lover's life. Juliet Stevenson (who appeared opposite Rickman in the London production of Les Liaisons Dangereuses) is the grief-stricken woman.
You suggest it may have been a nice change of pace, playing a sympathetic character for once.
"Inevitably, I get asked that," he says with strained patience, "and it so isn't what my experience is. It's just that certain things that one does get more focus than others, but in actual fact, if you look at the movies that I've done, it's like three good guys to three bad guys - and one unnameable."
Good guys: The January man (1989), Truly, Madly, Deeply and Close MY Eyes (a small English film, yet to be released). Bad guys: Already noted. One unnameable: the fascist interrogator in the torture drama Closet Land.
"It's just that the three bad guys I've done have been in big, Hollywood expensive things, and the good guys are in small movies - small budgets, at least," he says.
For the time being, the villainous image lingers. It is said, from those who have seen bits of Robin Hood, that Rickman, as the neurotic lord of the shire, chews up the film sublimely.
"Yeah, why not?" he says of playing the villain. "It's fun being naughty."
Rickman, smiling, says he harbors no core of evil that might explain his charismatic sinisterness on the screen. His success in imparting such malevolence, he observes, can be traced to matters more mundane. Like camera angles.
"If a camera is placed endlessly on the floor in all your shots, and looks up your nostrils - you know, it's not just me."
Rickman concedes that he does have "certain features, that if they're lit from certain angles" take on a look of menace. "it's out of story books, it's out of The Wizard of Oz. Somebody with Debbie Reynolds' features doesn't get cast as the Wicked Witch, although maybe they should."


In Truly, Madly, Deeply, Rickman's features assume, appropriately enough, a ghostly glow. The film, made for British television but blown up to 35mm, has been described as "the thinking person's Ghost." But there are those who think comparing Truly, Madly, deeply to Ghost might scare off as many moviegoers as it attracts.
"It's just sort of a strange world we describe when we think people are saying, 'Well, I saw Ghost. I'm therefore not going to go to see this other movie.' You know, 'I saw Anna Karenina, so I ain't going to see Boris Godunov.' It's so different, and I hope that people tell each other that it is. Then they'll go see why."
Rickman's scenes with Stevenson are particularly affecting. The two have worked together often - in Liaisons (Rickman as the Vicomte, Stevenson as Madame de Tourvel) and other Royal Shakespeare Company endeavors - and the actor remains in awe of his colleague. For Rickman, one scene in Truly, Madly, Deeply confirms Stevenson's power. It comes early on, when her character, Nina, wracked by the loss of her loved one, breaks down and cries. And cries. And cries. And cries.
"That scene earns the movie," Rickman observes. "I think you need to have that scene to ground the film in reality, and for her to be as uncompromising as she is with it. Everybody gets a purging. It's a bit like an emotional car wash that she gives you - and then you can get on with the movie, really. You've got to see her grief, and so Anthony (Minghella) really lets you see it, and so does Juliet."
Rickman was born in London, where he still resides. Nonetheless, he calls himself a "full-blooded Celt" - his parents were Irish and Welsh. And "they certainly didn't have anything to do with the theater. I'm some kind of accident."
That accident occured when Rickman was still in grade school. "I was 7, and I remember being given a part in a play and thinking, 'This is exciting.' "
Art school and five years in a graphics studio got in the way, however, and it wasn't until his mid-20s that Rickman turned to acting.
An audition at the Royal Academy of Dramatic Art led to his appointment to the Royal Shakespeare Company, where he essayed a gamut of roles. His portrait of the sinister Vicomte in Liaisonswon him accolades in London and on Broadway.
After Robin Hood: Prince of Thieves, the actor will be seen in Close My Eyes, slated for fall release.
"It's another love story," he reports. "I'm part of a triangle. It's me, my wife and her brother. I discover a little later - rather a lot later than the audience does - that she's having an affair with her brother."
Alan Rickman, victim, not villain. Hollywood, please take note.


其它部分的..........等擅长翻译且有时间翻译的人，英语好的先自己看吧，英语不好又想看的可以先用翻译器

度娘你不让我发链接就罢了！！！！！！！！！粘贴文章用测试器测试过还说有河蟹内容，你到底要怎样啊？！！！！！！！！！！！！！！！

Difficult, what me?
by Dennis Fallowell
The Observer Review - 15 January 1995
Alan Rickman has become famous for being insufficiently famous. The man who stole Die Hard from Bruce Willis, who stole Robin Hood from Kevin Costner, who will probably steal the forthcoming An Awfully Big Adventure from Hugh Grant, who dominated the ensemble casts of Anthony Minghella's Truly, Madly, Deeply and Stephen Poliakoff's Close My Eyes with a fascinating, slightly reptilian authority, should be a world star by now. Why, in his late forties, he isn't quite, is only one of several puzzles about him.
Maybe it is because he's always doing different things - the media lovea man to be one thing in one place. Maybe it is because he's intensely private. 'Journalism' is almost thedirtiest word in his vocabulary and he is giving this interview less because he has two new films about to appear and more because he is trying something different again, as the director of a play which he was partially responsible from commissioning. It is The Winter Guest by Sharman MacDonald and has its world premiere at the West Yorkshire Playhouse before coming down to the Almeida in London.
Mr Rickman is standing in the Almeida wine bar after rehearsals dressed in a navy blue donkey jacket, red tartan trousers, and black boots which are simultaneously lace-up and elastic-sided. He is going through a few script points with a couple of incredibly young actors while 'high life' music skips in the background. Too noisy. We transfer to the profound quiet of the empty Almeida Theatre.
First, some background to place him in contest. What sort of family does he come from? Long silence. Very long. Then utterance. 'I never talk about my home life.'
I don't mean his life now (he lives in Notting Hill with Rima Horton, an economics lecturer; they have no children). Just his origins. Because I'm trying to place the voice, a rather sloppy sleepy chewing-gum voice off-stage, off-set, but it does have the actor's resonance.
'I think it's unfair on one's family to see themselves written about in newspapers. They have their lives to live and why should they be dragged into this?'
'I don't want to drag anybody anywhere. But where were you born?'
He eases a little. 'My whole life's been lived in west London - born, schooled, art-schooled, drama-schooled.'
After the Chelsea School of Art, he worked as a graphic artist for three years, then went to the Royal Academy of Dramatic Art at the age of 27. Why the sudden switch to drama?
'It never felt like a sudden switch to me. The curse of our times is that you are supposed to decide your life at 16 and stick to that.'
'Do you have a theory of acting?'
'I do - but I wouldn't ever talk about it because it looks stupid in print...' I wait. '...It's not that I'm being closed. But you interrupt your instincts by explaining. I took one look at Stanislavsky and closed the book very quickly.'
He has generally worked in the serious rather than the commercial theatre and his big break came playing Valmont in the Royal Shakespeare Company's production of Les Liaisons Dangereuses in 1986 in London and New York.


'Your most recent stage part was Hamlet. How do you renew Hamlet?'
His jaw drops slowly, hangs there for a while, then slowly lifts: 'Well...when did it get old?'
'I see. Yes. A great play is always new. Um...what qualities do you admire in an actor?'
'It's unnamable...but one thing an actor has to be is a fit instrument. The thing that wanders out of a Tube station and onto the stage, I mean, it's not in the case like a violin. An actor has to protect himself a bit. And yet be very open. To be both fit and open is a hard balance to achieve - in fact it's impossible. I hate putting this into words because it sounds so...wanky.'
'Aren't you a member of health club? Are you a fit instrument?'
'Less fit than I was. Yeah, I'm a member...Actually I go in secret and dutifully bore myself rigid on the machines. My problem with Hamlet was how the hell do you do this thing physically, how do you breathe it? Not only is the play very long but you discover that this bastard Shakespeare has put three huge soliloquies one almost directly after another.'
He has never directed a play before but presumably the transition from acting is as smooth as was that to acting from art.
'No!' he exclaims out of his lugubriousness. I think he's thawing. 'It was troubled from the very first day! And the main trouble is that as an actor you've got too many memories of horrible rehearsals.'
'How do you direct? Layman's guide. How to direct a play.'
'The play makes the rules. This play is about couples who swim in and out of focus so...'
"Do you hope to direct more? Or are you at heart an actor?'
'I think it's unnecessary to make a decision like that. This is to do with [the lip curls] journalism, not with me.'
But I defend my question: 'No. It's to do with the idea that in order to be really good at something you have to be wholly absorbed by it. Life is short, there's not time to do everything, one must focus. I'm a writer. There's no time for me to be, for example, a symphonist as well.'
'That's very different,' he replies. 'That's creative. As a writer you are involved in a much more mysterious process. An actor or director is an interpreter. One thing I will say - my job gets harder and harder. The more you understand about what you are capable of, the less the instrument can do it physically. It's an inverse equation, if that's the right phrase. I just slammed those two words together. It sounded right.'
Meanwhile, his film career continues to leapfrog in its eccentric fashion.
Mesmer (about the 18th-century precursor of hypnotism, filmed largely in Hungary, with a script by Dennis Potter) is Rickman's first official film lead - but its release has been arrested by a row. The distributors, Mayfair, dislike it and are refusing to accept delivery on the grounds that it is not the film they paid for. This is unprecedented and the film-makers are appealing against the decision.
It must be painful for Rickman, but he responds in a typically elliptical manner:'...I had a letter today from a German director whom I was supposed to be working with on another brave, independent movie which in the end they couldn't get together. He finished his letter with, "If only life could be a little more tender and art a little more robust". That seems to be relevant.


Difficult? What, me? (The Observer Review Jan. 15, 1995)
以及
好几篇度娘怎么都要河蟹...没办法，傲娇就是这样

到底为什么不让我发啊？》》！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！

大段的英文，好吧，看这个总比看阅读理解好玩

翻译这个工作量太大...........而且还有好多篇度娘英文版都不让发！！！！~

先顶，后看~~

看的过程会比较痛苦.........

用和谐器试试看？

我试了我试了.........但度娘，啊啊啊啊啊啊啊啊...................以及，我不能在Alan吧发任何链接，不知道为什么！！！

LZ可以试试截图.........
度娘经常抽啊TUT

先MARK，等翻译

收藏了~谢谢