一楼给度受，访谈很长不要吞了我的贴

先把原文贴上~~
Randall Miller has a three-paneled
photo stored in his phone. On the left is a profile shot of Hilly Kristal, the
late owner and operator of legendary New
York punk club CBGB. In the center, a similar profile
of British actor Alan Rickman.
The final frame shows Rickman,
sporting Kristal's mop of curly hair and unruly grey beard.
The resemblance is uncanny. Miller
can't help but smile every time he looks at it.
In a little over a week, production
will begin at Meddin Studios on CBGB,
the film written and produced by the California-based Miller and his wife Jody
Savin.
CBGB,
which Miller will direct, is not
only the talk of Savannah, it's buzzing like a Texas chainsaw in the movie and
music industries.
Rickman heads a cast that includes
his Harry
Potter co-star Rupert Grint, Malin Akerman
from Rock
of Ages, Ashley Greene from Twilight, TV stars Stana Katic (Castle) and Johnny Galecki (The Big Bang Theory) and Foo Fighters drummer Taylor Hawkins.
Miller took a few minutes to talk
with us about the project that he, Savin and their co-producer Brad Rosenberger
(a longtime fixture in the music publishing business) have been losing sleep
over for many months.
Where
did the idea for the film come from?
Randall
Miller: Jody and I got to know Brad over the
years because invariably, on an independent movie, you don't have the finances
to pay for music. And the only way you can get music is to become friends with
the publishers. So we became pretty good friends with Brad. On our movie Bottle Shock, we had like 17 cuts of Doobie Brothers and Foghat,
all this great old stuff.
We always ask people, "What's a
great story you'd want to tell, if you could tell a story?" And Brad told
us the story of Dennis Wilson, the drummer from the Beach Boys. We thought it
was great and said maybe we can do something with this ... but what we'd like
to do, Brad, is we'd like you to be our partner on it. And furthermore, we'd
like for you to leave Warner-Chappell, and get into the lucrative and
non-moneymaking business of doing independent films!
He had to convince his wife, but
he's like us, we're middle-aged and we're sort of doing things because we love
‘em. That's basically our life. He decided, since the music business has been
taking all the turns it's taken lately, it was time for a change. And so he
joined us.
We were sitting there working on The Drummer. And I'm always spinning for more ideas, and I was
saying "Maybe we need to do another music kind of thing, that also has
some connection to Warner Brothers, that you're familiar with. But maybe on the
East Coast. What could it be?"
I always loved CBGB. And I thought,
rather than do another bio-pic, per se, let's do one about a scene. About a
moment in time. And that's how we arrived upon CBGB.

Is
this when Lisa Kristal, Hilly's daughter, got involved as a co-producer?
Randall
Miller: It was very tough because Lisa and
the family and CBGB had financial difficulties, so there were all these
different people claiming they had the rights, and bankruptcy, and stuff like
that. And it took us a while to figure it out, that it was Lisa that had the
rights. We made a deal with Lisa.
As we were putting our movie
together, it turned out that these other guys in New York came in, and they
made a bigger deal to buy the rights to CBGB. We already had our rights, so it
worked out great because they've now become involved with us. Because they see
this as a great thing for them as well. They're planning a music festival in
New York, and eventually, there might be a club.
So
that didn't preclude you from doing your thing ...
Randall
Miller: Not at all. In fact, it made it
even better because they're helping us, in the fact that they have all these
artifacts of the club that they sent. So that brings the memory back, and it
helps them because they're trying to get this music festival going.
So
the artifacts from the actual club have arrived from New York? How does it all
look?
Randall
Miller: It's good stuff! We got the bar, we
got the phone booth - the phone booth is a character in the movie because
there's lots of stories that happen in the phone booth. His desk, where you
pull out the drawer and there are the numbers of all the people who were there,
all their details ... I opened up one of the drawers, and there was a local
deli menu, with his matzo ball soup circled. On the back of one of the
playbills in his desk was the lineup for the night that he had written out.
So
... everybody's talking about the CBGB toilets.
Randall
Miller: Yeah, they're here.
Why
was that important? Just trying to build as much atmosphere as you could?
Randall
Miller: The funny thing is, all the books
will say "It was an amazing scene ... and the toilets were so
disgusting!" Everybody says it, from Joey Ramone's book, Cheetah Chrome
says it. Everybody. So it seemed kind of ... right to do that.
There was an exhibit a couple years
ago where they made the bathroom of CBGB, and it traveled around the country.
So it felt like, if we're gonna do this, we have to have at least a couple
scenes in the bathroom.
You're
assembling quite a cast.
Randall
Miller: The cast has just gone phenomenally
well. Everybody's working for scale and all that, so you never really know
what's going to happen - but I think once Alan signed on, and Malin Akerman
signed on, then it became kind of a cool thing. And as cool things go, other
people signed on ...
What
about the music? Will it be live vocals, or pre-recorded with the actors, or
lip-synching?
Randall
Miller: There's going to be a little of


each. For the most part, we're finding live recordings that were either
recorded there, or were recorded other places that sounded like that. We're
going to use those, and then at the beginning of the song we'll blend the real
actor in. And then it'll become the real recording.
It's not like a Ray Charles movie -
"oh, it's the actor singing" - it's more about the scene. So it's
more about the authenticity of the music, and the way the set looks, and how
the people are.
How
pivotal of a role does the music play in the film? Is it more of an actor-y
thing, or are there set pieces like "Now, here's Television doing a
song!"
Randall
Miller: It's part of the tapestry. It's not
the set piece. Because if you do that, you're doing Rock of Ages or something. It's not that. It's not like where
people stop and sing ... it's like, they're singing and the stage falls apart.
Or, they're singing, and Joey Ramone steps in dog crap. That's what's happening
in the movie, because these are the famous stories.
The narrative of the story, the
thing that connects it all, is what's happening to Hilly the whole time.
Can
we address the criticism you've received for reproducing New York City in
Savannah, Georgia?
Randall
Miller: Well, the thing is, you have to
build the club. And unfortunately, it's very expensive to build sets. So we're
building the sets where we can get the most bang for our buck. Where we can get
tax credits and everything else - that's why Georgia's so great. And I got to
know these guys (at Meddin), and I really liked them. So that's how that came
about.
But we're planning to go to New
York. In the end, we're going to New York and shooting streets and stuff.
Because you need the authenticity. For credibility, but also it's not going to
look right if you don't have some New York.
During
the writing process, what was the research like?
Randall
Miller: Huge. Tons and tons of books. I'd
been there in the ‘80s, but not during the early period. And my wife lived in
New Haven, and had her very lean years in New York. Jody was a poet and a
playwright. And she frequented CBGB, so she was familiar with the scene. But we
didn't really know the story behind Blondie, and the story behind Talking
Heads, and the Ramones and the Dead Boys. Dead Boys are a big character in the
movie.
And even Hilly; we only knew that
there was this club, and that it was significant in rock ‘n' roll history, and
we knew the story after - the ‘80s, the ‘90s and the 2000s. We didn't know
where it started. That's where you have to dig in and figure out the facts.
And everybody has a great story to
tell. They're all colorful characters, these guys.
Have
you had cooperation from the people who were there?
Randall
Miller: Of course. Taxi was the soundman;
he's a character in the movie. He spent hours and hours talking to us. And then


John Holmstrum, the guy that created Punk Magazine,
he's involved - a lot of the illustration in the movie comes from John and Punk. He'll be here and doing stuff.
The guys from Blondie are very
involved. They're really into it. Tommy Ramone. Seymour Stein. The people from
Talking Heads, not David Byrne but Chris and Tina, they're really involved.
How
about the music community in general?
Randall
Miller: It's pretty amazing, the managers
that want their artists in the movie, to just be a cameo. Which is always sort
of a double-edged sword. You don't want "Oh look, there's Mount
Rushmore." You want it to feel like it's real.
So Taylor Hawkins is in the movie
playing Iggy Pop, but he's playing him as an actor playing him. He's not
playing him as a rock ‘n' roll guy. He's playing that character - he's one of
the guys.
You can do a few of those, but you
can't do too many because it starts to become like Disneyland or something.
I
don't want to ask after any trade secrets - tell me what you want to tell me -
but is there a story arc?
Randall
Miller: Hilly was a two-time loser. He'd had
other failed clubs. Gone bankrupt. And he basically had this dream, as
ill-conceived as it may have been, to start a country, bluegrass and blues
place in New York. In the ‘70s. And he couldn't book any of those bands - he
booked Wayne County, but he thought he'd heard "Wayne Country."
Somewhere in there, he realized that
this was a scene unto itself, and that he could really support the artists. And
that's what he was doing.
So the arc is about a guy who starts
out one place - much like Bottle Shock, our other movie from a couple years ago. That's
something that appeals to us, the underdog that has this idea ... he thinks
he's doing one thing, but it turns into something greater. And it's not what he
expected. Which is kind of what life is about.
I
hear you're using a lot of local crew?
Randall
Miller: Tons of people. Let's say the crew
is 80 people, at least 40 are from here. Probably more. All the guys working
the set are from here.
And the actors from SCAD ... it's an
amazing collection. For some of these young actors, it's pretty cool. The great
thing is, these young guys get to act against Alan Rickman. So if I was a young
actor, I'd be like "Wow, that's amazing." So I'm excited.
So
what's going on with The Drummer?
Randall
Miller: The plan is, we're going to try to
do it in the fall. This thing came together, and we decided to jump on this.
There were some actor-scheduling things; we had Alan, we really wanted to do
this, so we just jumped on it.
The
Drummer has some really big set pieces in
it, so it was really difficult to schedule that. This was more manageable.
Did
I hear that some of it will be shot here?
Randall
Miller: I haven't decided yet, really. The
plan was to do it here, during this time frame. So now I have to decide what
we're doing in the fall. It might mean I'm going to be here for a year.


问：那个。。。现在大家都在讨论CBGB的厕所
miller：是的。
问：这个很重要吗？这么做事为了尽可能的营造气氛吗？
miller：有趣的是，所有的书都会这么写“这是令人震惊的场景，而这些厕所很恶心！”每个人都这么说，Cheetah Chrome在Joey Ramone的书中也这样说，每个人都在谈论，所以貌似我们这么做事对的。（弄点恶心的果然吸引眼球）
几年前在他们建CBGB的浴室那里有个展览，并且在全国各地巡回，所以如果我们要这样做的话，我们至少要在浴室里弄几个场景。
问：你网罗了不少优秀的演员啊！
miller：演员阵容好得惊人，而且每个人都认真做着自己的那部分工作，你永远也不会知道会发生什么。但是我想一旦alan签约了，Malin Akerman也签约了，那这件事就很酷了，而且当事情变得很酷的时候，其他人也会被吸引来。（那当然了有alan嘛）
问：音乐呢，是现场真唱还是事先给演员录好还是对口型？
miller：每种都会有一些。大部分情况下，我们发现在这里录的跟在其他地方录的听起来差不多，我们会用那些，然后在歌曲的开头插入真的演员演唱进去，这样歌曲就变成真实录制了。
它不像Ray Charles电影那样——“哦，这是演员真唱”——它更多的是关于一个场景的，关于音乐的真实性，布景方式，以及人们是怎样的。（这段有点晕，实在不知道怎么翻译，求指教）
问：音乐在这部电影里有多重要？它更多的是那些演员之类的东西，还是有特别的场景设置，类似于“现在，电视里正表演着一首歌”
miller：音乐只是电影的一部分，没有那种特殊的场景设置。因为如果你那么做的话，你就是在做像摇滚年代（rock of ages）了，我们的电影不是那样的，不是普普通通的人们停下来唱歌，而是人们唱着歌然后舞台陷落分崩离析。或者，人们在唱着歌，然后Joey Ramone踩在了狗屎上。。。总之是那些只发生在电影中的情节，因为那些都是非常有名的故事。而故事的叙述，把一切联系起来的，是发生在hilly身上的所有的事情。
问：我们可以问一问关于你“在 Savannah, Georgia重建了一个纽约”而受到的批评吗？
miler：事实上，你不得不重建这个俱乐部。不幸的是，建造场景非常贵，所以我们得把场景建造在能让钱花的最值的地方，在我们能得到税务减免和其他一切有利条件的地方。这就是为什么Georgia在我们看来那么好。而且我了解了在Meddin的那些人，我真的喜欢他们。但是我们还是计划去纽约。最后，我们打算去纽约拍摄街道还有其他的东西。因为你需要真实性。这是为了信誉，也是因为如果没有点纽约的东西的话看上去就不对头了。
问：写作的过程中，关于整个故事相关的调查进行的怎么样了？
miller：成果巨大，成千上万的书。我在80年代就在那里了，但是没经历过早起。我妻子住在纽黑文，在纽约度过了非常艰苦的时期。jody是一位诗人和剧作家，而且她经常光顾CBGB，所以非常熟悉那里的场景。但是我们并不知道blondie和talking heads背后的故事（这是两个乐队）也不知道关于Ramones和Dead Boys，Dead Boys是电影中非常重要的角色。
甚至于hilly，我们也了解的不多。我们只知道那里有这个俱乐部，并且它在摇滚史上非常重要。我们知道这个故事后来的部分，80年代、90年代、2000年前后，但是我们不知道它开始的那部分。那是我们必须去挖掘并弄清楚的真相。
人人都有非常棒的故事要讲，这些人都具有各种各样鲜明的个性。
问：你有没有跟那里的人一起合作呢？
miller：当然了。Taxi是音效师，他是电影中的一个角色。他花了很多时间跟我们交谈。还有John Holmstrum，他创立了庞克杂志。他参与了电影中源自John和庞克的很多场景，而且还会在这里工作。


Blondie乐队的那些人也很投入。像Tommy Ramone. Seymour Stein。talking
heads的人，不是David Byrne 而是Chris和Tina也非常投入。
问：音乐社区怎么样？
miller：非常好。电影里想要他们的艺术家们的经理是客串，电影中的音乐一把双刃剑。你不想要“哦看哪，Mount Rushmore在那里！”，你想让它看上去是真实的。
所以Taylor Hawkins在电影中扮演Iggy Pop（朋克音乐的教父），但他是作为一个扮演他的演员去表演的，而不是作为一个玩摇滚乐的人。
对于电影中的音乐你可以表现一点但是不能做过头，否则就会像迪斯尼乐园之类的东西。
问：我不想追问任何的商业秘密，告诉我你想说的，是否有个故事线呢？
miller：hilly是个有两次失败经历的人，他还有其他破产的俱乐部。他基本上已经有了一个明确的梦想，在纽约建立一个兰草音乐和蓝调音乐的帝国，但是这个想法考虑的不够周全。在70年代，他没法订到乐队。他订到了Wayne County，但是他本以为他会听到Wayne County，在某个地方他意识到那是自成一体的场景。（这句真不明白he booked Wayne County, but he
thought he'd heard "Wayne Country." Somewhere in there, he realized that
this was a scene unto itself）他可以去支持那些艺术家们，这也是他在做的事。
所以故事线索是关于一个人从一个地方开始，这个非常像我们几年前的另一部电影《bottle shock》，那就是吸引我们的，有这个主意的失败者。。。他想着他在做这件事，结果这件事变得更好了，但不是他期待的，这个主题有点像生活是什么。
问：我听说你用了大量的当地人？
miller：是的，很多人。全部是80人，有40人是当地的，可能更多。所有布景的这些人都是当地人。
萨凡纳艺术与设计学院的那些演员。。。非常令人惊奇。对于一些年轻演员来说非常酷。最棒的事情是，这些年轻人要跟Alan演对手戏。所以如果我是个年轻演员我会觉得“哇，太棒了”，因此我非常兴奋。
问：鼓手（the drummer）进行的怎么样了：
miller：计划是这样的，我们尽量在秋天做。事情撞到一起了，所以我们打算开始作这个，有一些演员时间的问题，我们有了alan，我们真的想做这个，所以我们把握住这个机会。
鼓手有些很大的工程，所以时间表很难制定，这话更易于管理。
问：我听说有些镜头要在这里拍，是吗？
miller：我还没想好呢，真的。计划是在这里拍，在这段时间，所以我必须决定秋天我们做什么。看样子我可能得在这里待上一年了。

啊好长的一篇报道。。。。感谢LZ的翻译！！！

天啊……看着都晕了……谢谢Lz翻译！！

唔好长，感谢楼楼翻译
太到位了又有原文，翻译也那么筷 出来了，辛苦~~~

谢谢楼主翻译

翻译不错！懒得看原文，就直接看译文了！

表示没看原文直接看的翻译

我看到前面那一长串的英文头都大了想点红叉叉了，但是往下就看到了翻译 哈哈哈 谢谢LZ

楼主好强大
好想LT啊

谢翻译！！好强大

嗷嗷~LZ辛苦了~~

赞叹翻译，而我必须要讲的是，我跳过了英文，直接看中文，迫切而仔细的查看，很紧张很期待，当看完最后一句之后，我失望的发现alan没有说一句话...