《破碎的王国》（KINGDOM COME）在英国举办首映式，以叔以婶及演职人员纷纷出席
帅气以叔及美丽以婶
镇楼

二楼先**问视频

http://www.buzzinefilm.com/interviews/film-interview-kingdom-come-red-carpet-11272012
Online Distribution, Tireless Efforts & Daniel Gillies Bring Indie Documentary To Life
By: Team Buzzine November 27, 2012
Getting a film made requires that all the project’s pieces come together in just the right way. Often, the most arduous aspect is financing - studios don't seem to want to take risks on unknown projects. Even for famous actors and husband and wife duo Daniel Gillies (The Vampire Diaries, Saving Hope) and Rachael Leigh Cook (Psych, Perception), the task is an arduous one. On the path to writing and directing his first feature film, Gillies set out on a five-year filmmaking journey that not only resulted in the culmination of his ideas, Broken Kingdom, but a documentary about the independent movie-making process, Kingdom Come.
Featuring interviews with indie darlings Mark Ruffalo, Don Cheadle, Edward Burns, Tim Roth, Selma Blair, Kevin Smith, and more, Kingdom Come was distributed online, along with Broken Kingdom, another route that is picking up speed with more and more independent films. At the red carpet premiere of both films, Buzzine’s Nicole Rayburn got a chance to speak with the filmmakers about the long road to financing Kingdom Come.

Daniel Gillies
Nicole Rayburn: The long hair and beard that you have while shooting is great. Was that a personal choice to not cut it until the project was finished?
Daniel Gillies: Absolutely, that's what it was.
NR: Did you get anyone to join you on that?
DG: No, actually I was the one. I was the one. I had acting gigs that I could potentially go to, and I felt like the one thing that was a giant ... to actually acting ... was to grow... to look like the Unabomber. Because if I hadn't done it, I would have made the choice to go back, you know? Now, it's kind of cool to have a beard. It's kind of hipster. But no, it was a decision.
NR: I really get that. I love these surprising answers I'm getting. I think people don't think about what it takes to actually overcome ourselves to do the things that we want to do.
DG: What a beautifully poetic way of putting it, yeah. I totally agree with you.
NR: Our site supports humanitarian efforts – Buzzine is “where the good goes.” Your efforts are exactly our material.
DG: I love you guys for supporting us; thank you so much.
NR: At what point did you decide to start doing a documentary, along with trying to get your film made?
DG: It was about halfway through, and I think it was somewhere in the mid-, late-2009. I think we'd failed so many times that we were like, "Look, we need to create a situation here where we're going to be victors either way. So let's be victors even if we fail." You know? So why not film this—like, look, "What's the worst-case scenario?" is what we asked ourselves, and we were like, "Well, the movie never gets made, I lose Rachel somehow, God forbid." And I'm like, "Well, what's the way to make that a win?" And the way to make it a win is make a documentary about it because no matter how profoundly disastrous it is, it's still a victory. It's still a triumph. You know what I mean? And that kind of was the inception of it.
And thank God I was a little bit drunk when John and I thought of it because it really could have only come from that place. Like, there was sort of a nihilistic turn to it. And also too, we didn't want to compromise. People kept telling us, "You got to put your famous friends in the movie. If you put your famous friends in, then you'll make the movie... Then we will finance this movie" is what people said.
And we were like, "We don't want to compromise the movie." You know? "We don't want to compromise it."
NR: That's brilliant; I love it. How do you think this will speak to, the common household—you know, the housewife in Idaho—that has some major obstacle that she needs to overcome? She doesn't know anything about the film industry, but how do you think this will relate to her?
DG: It's a really good question. I think it's a call to arms to artists, this movie. It's the Don Quixote tale, really. It's just saying, "Look, no matter what you do, you have to pursue that dream with everything that you are." And it doesn't matter if the housewife sitting in Idaho wants to open a cake kitchen or whether or not she's interested in taking up carpentry. The movie just sort of takes you on the quest, and I think that that will resonate with people.

John Lyons Murphy
Nicole Rayburn: Let’s talk a little bit about the direction of this project. Does co-directing become a battle, an obstacle in itself, or did you two work pretty seamlessly together?
John Lyons Murphy: I think it certainly can be. Paiman and I are both pretty reasonable human beings, though, and we really wanted to do what was best for the movie as opposed to our egos. So we definitely had long discussions about very trivial things, but we don't have, like, knock-down, drag-out fights about anything.
Paiman's great because he was also—I mean I'm in this thing, with Daniel, and it's hard to be objective at that point, so he had to come in and definitely tell me when I should be doing something else, which you would understand if you see the movie.
NR: No, I get that. Since this was a five-year process, were there times that you didn’t know when to stop, or doubt that it was ever going to come together?
JLM: Yeah, absolutely. You never know. I've never done an indie film that you knew, you already had all the money, or... It's just never happened. You're usually cobbling it together over the course of a long time. This one just happened to take a bit longer than most.
NR: Generally when working on a film, even if you don’t have your funding yet, you have a set timetable of when you’re going to finish shooting. It doesn’t’ seem like you guys had that luxury – what do you do while you’re figuring that out?
JLM: Pray. Broken Kingdom we actually shot the first half of, and then we had money secured for, and then we went to shoot the rest and our money disappeared... so we had half a movie at that point. And then, we actually ended up getting the rest of the money and then shooting the rest of the movie, and then we ran out of money.
We were supposed to get tax rebates back from Columbia where we shot it, which we didn't get, and so we had no money for post-production. So there's always a way to run out of money at any point. We ran out of money doing this stuff too, so yeah, we're always running out of money and that's how you do it. You just have to figure it out.

Paiman Kalayeh
Nicole Rayburn: So you’re co-director on this project. Have you been involved for all five years?
Paiman Kalayeh: The documentary. Yeah, I came on about year two. I've been on it [phonetic] for three years, but John Murphy, my co-director, has been doing this for about five years, yeah.
NR: From the beginning, did Daniel say, "I know I'm going to document this because I know it's going to be quite a journey?"
PK: No. Actually, they were trying to raise money for the narrative film, Broken Kingdom, and they basically got to a point where they
realized all these amazing experiences they were having, how hard it was; they should be capturing this. So they started capturing it and they started realizing, "Maybe we can use this as a sales tool to, like, incite investors to give us money." So that's when they started doing it.
They pulled me in as an editor at first. They were like, "We need somebody to cut this together," and they knew I cut. So I came in, and I was like, "Guys, we should get some more people. You guys got some good people, I got some friends; let's really make this into something bigger." So then, I brought some friends in as well as... They needed somebody with an outside perspective, because they're in the film. So you can imagine watching yourself in a movie, and trying to direct that and trying to edit that—you're not going to have a— So that's where I came in.
NR: Everyone’s contribution to this project clearly took a lot of blood, sweat and tears – and now it’s finally completed. How does it feel, to finally have completed this massive achievement?
PK: It's amazing. I've dreamed about being in the world of indie film and to meet all these amazing people that we interviewed, and to be sitting here and be sharing it with the world. It's been in my living room for the past three years of my life, in a dark room. And I joke around, me and John just sitting there and, like, thinking no one will ever see this thing, and we're just doing this, and who knows? This is just overwhelming to see all these people here. I just feel very grateful right now. Feel very blessed.
NR: Absolutely. It's heartbreaking to hear that, and to have those moments where you think, “No one’s every going to see this.” And now, you’re premiering it!
PK: And that's a lot of what the movie's about. Indie film has changed a lot. Though there are many avenues and different ways of distributing it like we're doing tonight, indie film has really changed so much from the '90s and the days when people went out and saw movies. So it is getting harder to reach audiences, but this is hopeful.
NR: What is one of the greatest accomplishments you've had to overcome personally, outside of the film industry?
PK: I'm also a TV writer, and just being in this biz alone, you know—you're going to fail a lot more than you're going to succeed. I think there's a byte in the film; it's like if you can't take that, like...
But I think that goes for life, too. Life is not going to be this trajectory that's constantly going up; it's just up and down, and you got to be able to roll with the punches. And if you can't, like...
So yeah, that, for me, a personal experience—definitely writing, hustling, trying to get my art out there, trying to get to a level where I feel like I'm successful. I'm sure everyone can relate to that in everything that they do, yeah.
NR: Kingdom Come is being distributed online, and it see***ike more and more independent projects are going that route. What are your thoughts on pushing films and TV shows online, to get it out there?
PK: I think it's awesome. I think it's great. I was actually really hesitant. I was like, "Oh my God, we're not going to be in a theater? I don't know about that. We're doing screenings like this? We're going out and promoting the film?" I was very apprehensive to the idea of selling it for $5. But then, what changed me was what Louis C.K. and Aziz Ansari did, the $5 thing. And then we hooked up with that company that did Aziz Ansari's thing, VHX.tv, and just how easy it was and how I've been watching more stuff just at home, streaming it to my Apple TV, and realizing, wow, I'm still connecting with the material that's out there. Doesn't mean I have to go out and drive an hour to the only art house in town. You know?
So I'm very open to it and I think it's the future, man. I'm glad we embraced it.

Dan Harmon
Nicole Rayburn: First off, we’re huge fans of the work you’ve done on Community… we’re sad to see you go. It seemed like
Community was on the verge of cancellation, but everyone I know watches the show. Do you think making shows – and documentaries like Kingdom Come – available online is the next stage in the process?
Dan Harmon: --Hulu paid a tremendous amount of money, God bless them, for episodes of Community, because they know where their bread's buttered. They know how many people are watching what things over there. They're the new way of measuring it. It was a pretty interesting show to be a part of because, in a lot of ways, it's like this sort of lungfish that represents a transition from the old world to the new.
We were constantly compared to Arrested Development—in a bad way—by the suits, meaning that it's a critical darling, but it's not going to make anybody any money. It's not really true. It was a critical darling, and that turns out to be a somewhat lucrative option for studios these days.
NR: You're a genius to talk to. Did they get to interview you for this movie?
DH: They will afterwards.
NR: So you're not actually in the documentary?
DH: I remember Daniel asked me and I was probably busy at the time. I was probably doing Community at the time.
NR: Well, I read your article and I loved your viewpoint ever since. You explain so much and you come from such a sane viewpoint.
DH: You're a very minority opinion on that point.
NR: You’ve said that Community was developed in a very organic way. But what were some of the trials you had to go through to get there?
DH: It really started with the crass realization that I was getting up there in the years. I wasn't a 25-year-old writer with a lot of crazy ideas anymore. I was now a 36-year-old writer with a lot of crazy ideas, and I was getting increasingly hard to hire, and getting closer and closer to the day when one of my kidneys or a spleen or something blows out. It was just crass materialism. I was like, "I need one of these jobs that gives me a nest egg. I want to buy a house so I can get married and be sick one day."
So I signed a blind deal with a mainstream production pod, which was Krasnoff/Foster on Sony's lot, and we pitched the big networks a very mainstream idea that Krasnoff kind of picked and developed with me, which was based on me going to community college when I was 32, and how I had warmed up to these strangers there that didn't have anything to offer me financially or industrially, but emotionally, kind of made me realize what a dick I had been for half of my life. So it was kind of a slam-dunk as a mainstream, single-camera comedy idea.
We pitched to all the big networks and NBC bought it in the room, so that's the mainstream process as I'm describing it.
NR: You were way ahead of the curve in casting Donald Glover. How did you come across him? Was that your idea?
DH: The big credit for Donald goes to Joe Russo. Those guys shared, at the time, a manager, I think. But Joe Russo, who co-directed the pilot with his brother Anthony, he knew about DERRICK Comedy. We were racking our brains trying to find this kid to play this Troy character. It just wasn't clicking. It wasn't the funniest character in the world. It was just supposed to be a kind of, like, corn-fed kind of Podunk former quarterback. I felt like that was an archetype of community college that people would miss if they didn't see, was sort of the "fallen from grace" high school superstar. It shows what I knew about why the show was going to be successful.
We kept looking for this kid, and then Joe said, "I have an idea. Why don't we forget about who's right for the role and just cast someone that's going to be a star? And then when he becomes a star, he'll be in your show." And he was talking about Donald Glover and showed me his DERRICK video stuff online. I was like, "You're right; what an easy way to do things: just go look for someone who you know is going to be Jim Carrey in two years and who won't return your calls," and have him on your show.

@ Irinia @ 前朔
猫猫，朔朔～～你们有空时大体给翻译一下吧，谢啦～～

这真的是英国吗？　不是美国首映么　丹哈蒙不会跑去英国吧

感觉是刚发　以前的那个啊

那就是美国首映存货　刚发

@前朔 朔朔 跟你说个事儿 能不能DG吧给始祖吧一个友联 

@俯身为蓝y
妹子 这篇采访你有兴趣有时间接么
我在翻另外一篇长的
如果有兴趣有时间的话
这个周日之前翻完就行
那个。。。我会帮你校对的


@俯身为蓝y
的确有点长
你先看看再决定吧
不急
也不强求 

以叔！！！

Rachael Leigh Cook （以嫂接受访问）
Nicole Rayburn：在预告片中，有一个你说“他竭尽全力了”的片段，这部纪录片为大家展现了Daniel 的付出，但是，作为他的妻子，你在制作这部纪录片的过程中都作了哪些工作呢？看他努力完成这部作品的过程你是不是很心疼？
Rachael Leigh Cook：它确是一段很艰难的路，但是我好像觉得对Daniel来这只能是大部分。对我来说最艰难的部分是只能去感觉“我是在尽我所能么？我是在像我想象的那样支持帮助他么？我不知道具体应该做些什么，不知道应该怎样去帮助他。我这样做是对的么？” 由于你总想要为你所爱的人去铲平一切铺平道路，所以有的时候我真的会因为我达不到那种程度而心碎。
Nicole Rayburn：你是怎么决定“你知道么，我们应该着手用相机（用镜头）把这些记录下来。”
的？
Rachael Leigh Cook：起初创作纪录片这个主意是因为人们总是对我们说：“你为什么不把你们的好朋友放到你们自己的电影里呢？”但是我们不能啊，电影里没有那个部分，即使如果那样做是恰如其分的。而且我们确实也想将Daniel在剧本中所写的东西还其原貌（还是 我们确实要像Daniel在剧本中所写的那样？），所以我们想：“好吧如果想要让这部电影更完整，我们需要召集一些我们的好朋友——即使那会使我们俩奉承——而且我们也试着让他们以及他们的朋友在镜头中说出他们在独立电影中的经历。”在这个过程有的人说：“好吧，好消息是如果所有东西破裂的话（...什么意思..?）,它们也组成一个很好的纪录片的。”跟那一样恐怖的是，我不知道会怎么样，也许会更糟。但是我们都在这里挺着。
Nicole Rayburn：我认为大家都想当然的认为因为你是一位名人所以你可以使任何作品畅通无阻。但是纪录片似乎正是关于这种想法——事实上，打造一部电影绝对没有那么简单。
Rachael Leigh Cook：不过，绝不像那样。我的意思是，如果三个或者四个人在整个城镇是担保融资的，而且我们与这些有很远的距离。我们只是演员，而且我们为此而骄傲，我们仅仅是想将我们能做的做好。但是如果人们认为：“Rachael可以得到任何她想做的，”也许我是理解他们那种概念的，但是事实上是当前提不涉及到经济问题——甚至说在此之前——对于独立电影来说，一如Selma Blair所言，生计问题，我真的就无法从TV里找到方向了（求助...这些怎么译？）。它并不是因为我才发生，所以我需要去寻找其它的道路来重新开始。所以我的职业完全是飘忽不定的，我的经济状况和未来看起来并不是超级有前途，所以正如我已经为这部电影所付出的那样，是理所应当的。（呃...最后一句话什么意思？？求助..）

Daniel Gillies
Nicole Rayburn：你在拍摄时留的长发和胡须很棒。直到电影完成才剪掉它们是你个人的选择么？
Daniel Gillies：当然啦，就是那样。
Nicole Rayburn：有没有人跟你一起（留头发胡须）呢？
Daniel Gillies：没有，实际上只有我一个，我是唯一一个。我曾经有过我很有可能参加的（？？？could potenially go to?）短期表演工作，而且我觉得有一件事情是很伟大的，去实际的演绎，去成长，去看起来像智能炸弹客。因为我以前没有完成那些，所以我笨有可能决定回到原地你知道吗？现在，有胡须很酷，看上去像是在赶时髦，但是实际上是一种决定。
Nicole Rayburn：我知道了。我很喜欢得到这些令人惊喜的回答。我觉得人们不会去考虑真正克服自己去做想做的事情需要付出什么。
Daniel Gillies：你叙述的真有诗意呢，我完全同意你。
Nicole Rayburn：我们支持博爱的精神和努力——Buzzine（记者的名字）总会向往善良和美好的。（在赞赏DG嘛？）
Daniel Gillies：我爱你们。非常感谢支持我们。
Nicole Rayburn：你是怎么决定在努力完成电影的同时制作一部纪录片的呢？
Daniel Gillies：当时已经完成了一半了，我认为大概是在2009年的中后期吧。我觉得我们好像已经失败了很多次，“听着，我们需要去创造一种我们也是成功者的情景，所以即使我们失败了，还是成功者。”你知道吗？所以说为什么不拍成这样，“最差的一次情节是哪个？”这是我们自我发问的，我们就像是“好吧，这电影永远也不会完成饿了，我莫名其妙的失去了
太太
，上帝不准这样。”然后我是像这样的，“让电影成功的方法是什么？”而让电影成功的办法就是制作一部关于它的纪录片以为无论那是一种怎样深刻的灾难性事件，它某种意义上仍是一种成功。它仍能凯旋。你理解我的意思么？（小蓝画外音：真心不理解。）这就算是它一种开始吧。感谢上帝当John和我在考虑它的时候我有点喝多了，因为只有在那种情况下可能才会有这个结果。（是这个意思么？？？）比如说，曾经这种想法是有点虚无的，而且我们确实也不想妥协。人们总是不停的告诉我们：“你应该把你出名的朋友安排在电影里。如果你把他们放进去的话这电影就能完成了，然后我们就会投资它。”这是人们所说的。你知道么，我们就像是，唉，真的不想妥协。
Nicole Rayburn：太厉害了，我喜欢。你怎么知道这就能够惊醒普通家庭呢——你知道的，比如说爱达荷州的家庭主妇——有较多的障碍需她要来克服？她对电影业毫不知情，但是你怎么就知道这会跟她有关呢？（这问题什么意思？？）
Daniel Gillies：这确实是个有意思的问题。我认为这部电影是一个对于艺术家的战斗号令。它是一部堂吉诃德的童话。它只是说：“无论你做什么，你都要不懈的追求你的梦想。”生活在爱荷华州的家庭主妇想干什么对它来说无关紧要。这部电影仅仅是带着你去追寻，我认为这会与人们产生共鸣。

John Lyons Murphy
Nicole Rayburn: 我们来谈论一点关于这部电影的执导问题。请问一起指导会不会比较困难呢？还是说你们都能够配合的天衣无缝？
John Lyons Murphy: 我认为当然会有一点（分歧）。然而，我和Paiman都是讲理的人，我们当然会尽最大努力使整部电影做到最好，而不是只顾自我。所以对于一些相对琐碎的事情我们会有一些讨论，但是我们并没有比如说互相排挤之类的事情发生。Paiman这个人很好的，因为他...我的意思是说，我与Daniel一起都投入到了这个电影里，所以又的时候并没有那么客观，所以Paiman就会过来然后很明确的告诉我对于一些事情我应该怎样处理，如果站在观众的角度应该怎样理解这部电影。
Nicole Rayburn: 我理解这个。在这五年的过程中，有没有一些时刻你完全不知道什么时候才算完成，或者说会怀疑所有的努力最终不能形成一个整体？
John Lyons Murphy: 当然会有。你永远都不会知道，我从来都没有完成过一部你所知道的独立电影，或者你拥有全部的资金...这些从来都没有发生过。在很长的一段时间里你总是去修补它们让他们能够结合在一起，而这个恰好是最需要时间的。（不太理解...）
Nicole Rayburn: 一般来说，在致力于制作一部电影上，即使你并没有基金，一般也有一整套什么时候完成拍摄的时间表。但是看起来你们并没有过那样的享受——当你们弄清楚那些之后会怎么做呢？
John Lyons Murphy: 祈祷吧。实际上我们先拍摄了《破碎的王国》的前一半，然后等我们确信有了资金才开始剩下部分的拍摄，但是我们的钱后来不见了...所以那会我们是有一半拍好的电影的。然后我们放弃攒剩下的部分的钱而继续拍摄电影剩下的一半，所以之后我们就把钱用完了...我们本来应该从电影拍摄地哥伦比亚得到退税的，但是却没有得到，所以当时我们并没有钱进行后期制作。因此总有什么时候钱是会用完的，你只需要弄清楚这些。

@Irinia 还剩下一段 我明天翻译好不好？今天状态不好啊~刚翻译的两段觉得特别别扭...可能还得需要你修改好多...真抱歉啊啊啊

Dan Harmon
Nicole Rayburn: 首先，我们都是你的作品《社区大学》的狂粉——我们很伤心你离开它了
，似乎《社区大学》正趋于被砍掉的边缘，但是每个我认识的人都看这部作品。你认为
制作在线剧集——还有像《王国归来》这样的纪录片们——是这个过程中的下一阶段吗？
Dan Harmon: Hulu出了很大一部分钱，上帝保佑他们，至于《社区大学》的剧集，因为
他们知道这部剧是在演什么，他们想要看到什么。它用一种很有意思的全新的方式来展
现这部剧，就像是这类表演者（？？还是肺鱼？无力了..什么意思..）呈现出一种由旧至
新的转变。（这一段求助！！） 我们不断和《发展受阻》作比较——用一种比较另类的方式——通过衣服套装来比较，意味着这是一种新的评判宠儿，但是这也不能就让任何人赚任何钱。事实上这并不完全真实，它曾经只是一种评判标准，而现在不知怎么的却成了一种有利可图的选择。
Nicole Rayburn: 你真是一个谈论的天才呐。对于这部电影他们有没有给你做过采访？
Dan Harmon: 之后他们会的。
Nicole Rayburn: 所以这么说你没有出现在纪录片中了？
Dan Harmon: 我记得Daniel问过我，但是当时我比较忙，可能在做《社区大学》的相关工作吧。
Nicole Rayburn: 好吧，我曾经读过你的文章，一直很欣赏你的观点。你能够解读很多，
并且总是处于一种很理智的心态。
Dan Harmon: 关于这个问题你算少数会这么认为的人之一哦。
Nicole Rayburn: 你曾经说过《社区大学》一直是各方面有机协调发展的。但是对于这些你都做了哪些努力和尝试呢？
Dan Harmon: 事实上这是从有一年我忽然茅塞顿开开始的。我已经不再是一个充满疯狂想法的26岁作家了，我已经是一个36岁的充满另一种疯狂主意的作家了。而且随着年龄的增长我已经越来越难找到工作而且正在一步一步向着死亡走去。这确是一个粗俗的物质主义观点。我只是想着：“我需要一个可以让我休养生息的地方颐享晚年。” 所以我随便签署了一家有索尼份额的主流出品公司。然后我们以主流思想扎营在一家大型的广播电视网，我认为基于我32岁时上了社区大学，我会随着这家公司一起发展。可无论怎么样与这些陌生人套近乎我始终得不到他们的资助，但是情感上他们却让我意识到了我这半辈子过得真像个混蛋。所以这个主意很戏剧化，就像给了我当头一棒。（不大理解是不是这个意思..求助！..）后来在我们扎营的广播公司里只有NBC买了它，所以正如我描述的那样那才是我们主要的进程。（什么意思？？）
Nicole Rayburn: 你在选派演员Donald Glover上很有先见。你是怎样偶遇他的？那是你原本的打算吗？
Dan Harmon: 我是从Joe Russo那里知道Donald Glover的，他们两个一起做经理，我认为。但是Joe Russo和他的兄弟Anthony,一起负责试镜工作，他了解 DERRICK Comedy。我们绞尽脑汁想要去找这么一个孩子来出演Troy这个角色。它并不是那么简单就能驾驭，也不是最有趣的那个角色，他应该仅仅是一名皮肤不好的前任小镇橄榄球四分卫。我觉得那就像在社区大学中容易被忽视的一类人的原型，像那种“误入歧途”的校园焦点（明星）。它展示了我所理解的关于为什么这部剧集能够取得成功的东西。我们一直在寻找这么一个孩子，然后Joe说：“我有一个想法。为什么我们丢弃到底谁合适这个角色的想法然后去找一个即将成名的人呢？一旦他出名了他就会出现在你的剧里。”然后他开始谈论一些关于Donald Glover的事情并且让我看了他的一些在线DERRICK之类的东西。我就觉得：“你说的对，这样多容易啊，只用去找一个在两年内能像Jim Carrey一样出名然后不会回你电话的人。”于是他就出现在剧集里了。