太长了，实在没有翻译的动力，总结两点大家可能关心的吧：
1. B&B感情走向：编剧同志说了，他们是属于对方的。（ I think the Booth and Brennan love story that we all want to see play out此处省略一百字...It’s like, “Hello? Guys, wake up! You belong together!”)
道路是坎坷的，前途是光明的。（ I think their journey is about the rocky road to a happy ending, if you know what I mean. /We just hope they get there eventually, you know? ）
2.Micah是真实的还是幻觉？这个问题国外论坛上讨论很火，这里好像没这么热烈？答案是，编剧们内部有争议，最终也没有定论，留待观众想象。（太不负责了！！！）
我个人对于Bones和Booth在不在一起无感，因为对Booth无感。只要Bones开心就好，她想要Booth，俺就支持BB赶紧在一起，她想move on找个更好的（不用继续暧昧纠结到全剧终）俺更加支持。不过看起来，后面一个是无望了。只能耐心等待剧组把Hannah写没，让BB修成正果了，哎~
BONES fans, how intense was “The Doctor in the Photo”?
The best episode of the season thus far, right?
Emily Deschanel’s amazing performance as Brennan spiraling out of control coupled with Carla Kettner’s fantastic script and Ian Toynton’s unique direction made for one heck of an unforgettable hour.
In fact, I was so impressed by the episode, I sought Kettner out to chat about how the Brennan-centric hour came to be, whether Micah was real, the very important car scene in which Brennan revealed her big regret and much more…
Congratulations on an episode very well done. How did you get tasked with the job of writing it?
Carla Kettner: Well, it started when [BONES creator] Hart [Hanson] had all of the writers over at his house for lunch at the very beginning of the season. And it was this wonderful relaxing lunch, and he was talking about his hopes for season 6, and one of the things he said was that he wanted to take some chances, which we were all super excited about because the tricky thing about a series once it reaches the mature point of [year] 5, 6, 7, is keeping it fresh — both for us as writers and the audience. So we left that lunch and just kind of let the notion brew, and then one morning, I woke up and had the super clear image in my head of a tree falling over at night and revealing a skeleton. I don’t know if it was a dream or if I just woke up with that image. And a line of dialogue accompanied that image, and that line of dialogue was Brennan saying, “I’ve made a terrible mistake.” And I went to Hart that morning and went, “Look, I’m going to pitch you something crazy. I want a tree to fall over and for our guys to find a woman’s skeleton and I want Brennan to look at that skeleton and basically describe herself. And I want her to feel through the episode that she’s looking in a mirror. And I want to push her to the precipice and push her to the point where at the end of the episode, she says to Booth, ‘I’ve made a terrible mistake.’” And Hart was really excited by the notion and we were really excited that he was serious when he said he wanted to take some chances. And that’s how it came to pass.
Do you wake up regularly with these types of clear, decomposed bodies in your mind for inspiration?


CK: [Laughs] Well, you know, sometimes, yeah. Sometimes, absolutely. I remember last year thinking, “I really want Santa’s head to explode.” [Laughs] But I think there was a certain — in this instance — it wasn’t so much the gruesomeness of the image, as the emotional impact on Brennan. We all love her, we all care about her like we care about a sister or a friend. And to me, it was my wanting a character I cared about to get back in touch with her heart.
It’s certainly a look at Brennan we’ve never gotten before. The tone and the entire feel of the episode was unlike anything we’ve ever seen on the series. Did that make the writing process more difficult?
CK: No. I wouldn’t say difficult, I’d say challenging. Usually, I get in the BONES part of my brain when I’m writing an episode. In this case, I got in the Brennan part of my brain, because I wanted it to be entirely from her point of view. And in fact, at the very, very, very beginning of the script, we put a note to production that this episode is weird. And instead of seeing the world through the omniscient view, we’re seeing the world through Brennan’s eyes. So approaching it from that point of view made it possible.
Was there anything you learned about Brennan that you perhaps weren’t anticipating when you first began writing the hour?
CK: I guess there were things that I felt about Brennan that I wanted the audience to [feel]. I wanted to open some doors into her character — doors that we wouldn’t ordinarily open. That was the reasoning behind the night watchman character, Micah. You know, I think we understand people and characters through their relationships with others. We used Micah to broaden our insight into Brennan because it’s a relationship you wouldn’t have expected her to have! She’s usually quite…intolerant of people. [Laughs] And here’s a guy, a humble night watchman — even though he’s super smart — and [he brings out] a different side of her. I think all of us — the fans, the writers and certainly Hart — we all know that Brennan has an incredible depth of emotion. It was just finding the opportunity to show that in a way that would be consistent with everything we know about her.
Fans are going to ask if Micah was real or not. I thought by the end of the episode that he was real, but did you intend to leave it vague?
CK: Yeah. There is an internal debate about whether Micah is real or not. I know how I feel about it, but others disagree. So… [Laughs]
Can you say which way you leaned?
CK: We’ll leave that up to your imagination!
I want Micah to be real, if only because that means you can bring him back.
CK: Yeah! Enrico [Colantoni (Micah)] is fantastic. I’ve loved him ever since VERONICA MARS. He was fantastic.
Was it difficult to balance the supporting cast in this episode, given how Brennan-centric it was?
CK: Well, in terms of the supporting cast, I think each of the characters was chosen because the whole notion is we’re meant to get the sense that feeling love is painful, but not feeling it is worse. That’s why we had Mike Dworsky, the dad of the sick boy, and Chris Markham, the helicopter pilot whose love for Lauren never came to be. They all played a part in Brennan’s emotional journey. It was different because we didn’t have our usual suspects in the sense of people with motives and means and opportunity — the [supporting cast] played important roles in the emotion of the episode. And yeah, we spent less screen time with our regular cast members because it’s all about Brennan and everybody is a reflection of her emotional journey.


And that led us to the car scene, which was the culmination of Brennan’s journey — not only in the episode, but one could argue of the season and perhaps the series overall. Was there a reason why you felt that conversation should take place in the car?
CK: Well, to be honest, that was also much discussed and it came to be more a production choice. In my perfect world, the scene would have taken place right there on the rainy, dirty street. But it became a little bit of a production issue and it actually turned out that I was quite happy it took place in the car because there is a certain sense of you can’t escape, because it’s in the confines of a small space. So I almost feel like — well, huge kudos to Ian Toynton for how he directed that scene. I think, in the end, it worked out better that it was in the car because they can’t get away from each other.
Literally and figuratively.
CK: Exactly! I guess that’s one of the examples of production limitations actually adding to the impact of a scene.
I know you’re the writer on record for this episode, but I assume it wasn’t solely your choice to have Booth turn her down, correct?
CK: Well, no, I wouldn’t say that. I think the Booth and Brennan love story that we all want to see play out, I don’t think we want there to be any sudden moves in that. I think their journey is about the rocky road to a happy ending, if you know what I mean. To me, I feel like if you have a friend or a loved one, you absolutely positively know what the best choice for them is, but they’re like too lost in their own issues to see it? We all know that’s the most frustrating thing on the planet, but I think the same way for Booth and Brennan, because we’ve all come to know them so well, they’re like family members. It’s like, “Hello? Guys, wake up! You belong together!” But if that came to pass in a sudden way, it wouldn’t be organic, it wouldn’t be right. At this point, in the world of the show, they’re real people and it’s hard and it’s a struggle to get to your true love in life and in BONES. I don’t think anybody believed that it would be as easy as Brennan declaring herself and Booth accepting, because it shouldn’t be. It wouldn’t be honest. To me, I get that people want it to happen and to me, that’s kind of a testament to the humanity of the show — that people care so much. It’s like caring about a friend or a family member. We just hope they get there eventually, you know? [Laughs]
Not to mention that Booth has a girlfriend. I know some fans will probably be annoyed he turned Brennan down, but the Booth that we’ve come to know and love over the past five seasons wouldn’t just say, “Bye, Hannah, it was nice knowing you!” He is an honorable man.
CK: Yes! That is actually what people have to [realize]. You hit it on the head. People have to remember that he’s a man of honor and a man of honor doesn’t do that. He’s the best side of the best kind of man. And it would be wrong for him to just throw off a woman that he was in a committed relationship with.


Right, he is living with her. There is a level of commitment there.
CK: Exactly.
How careful were you with the words that were used between them in that scene? Booth never explicitly said “I love you” to Brennan in the 100th episode and Brennan didn’t use those words in this scene — is that something that is being saved for the right time?
CK: [pause] You know, I think that in life, again, you have to choose your words carefully. And we all know how much those words mean. We debated the language in the scene and it was adjusted a bunch of times to try and get it to the truest possible point. And if it feels a little bit frustrating, that’s because it’s meant to.
I actually thought it was a great testament to their relationship because there have been parts of this season where it has seemed like Booth was really disconnected from Brennan, but in that scene, he knew exactly what she meant.
CK: Yes! I’m so glad!
It was really, really well done.
CK: I think everybody really came together in a remarkable way on this episode. There was little stuff. Whit Vogel, our art department coordinator, I walked into one of the early meetings and she had actually made a model of the tree, because the art department was so committed to getting it right. And here in the middle of the table is an incredible box with a miniature tree growing out of it. And she pulled a cable and the top of the box lifted off to reveal the tree’s root ball and the skeleton entangled in it. The amount of work that girl put in… Everybody was just totally on their A-game. There’s a scene early on in the episode when Brennan’s first leaving the hospital, when she’s first looked at Dr. Lauren’s photo and seen herself, she gets into the elevator and there’s that incredible shot of her descending. For sure, I did not script that scene. Ian, who I think is an absolutely brilliant director, I said to him, “In that one image, you captured a visual of her entire emotional journey in the episode.” Now I can’t imagine the episode without that scene. We see her and it’s like we see her descending into this interior world that she normally completely avoids and Ian just — I think it’s one of the most beautiful images we’ve ever had on the show. It visually defines the entire journey of the episode for me.
For sure. And Emily. I don’t think we can say enough about how amazing Emily was in this episode.
CK: Beyond amazing. We all know she’s one of the most amazing actresses on television, today and maybe ever. But in this episode, she just went past that. There’s such truth and beauty to her performance, I hope that it gets acknowledged far and wide.
I completely agree. There’s no way you can watch this episode and not feel for this woman and be amazed by the range she shows.
CK: And the rawness. Usually you don’t get that in a television performance. There’s usually a certain kind of slick quality to network television performances and Emily, she blew me away. She completely blew me away. And we’re just incredibly honored to work with her. I knew she was that good. And I hope she gets the acknowledgment she deserves.


Her tears in the car scene, that was such a shock to see.
CK: Didn’t that just break your heart?
Absolutely. And I was a little bit disappointed that Fox used that in the promo for the episode, because it was such a shocking moment for the character. Do you wish it had been held back?
CK: If it gets more people to watch because they see something big is going to happen for the character, I’m okay with it. I think that it’s still a surprise when you get to the actual [moment]. Even though I know it’s coming when I watch the episode, it’s still a surprise to me because the performance is so amazing. We don’t really have any input [regarding] what goes into the promos, so I have to sort of hope that the promo department [gets it right] — it’s their job, so they must to know more than I do! I don’t think [the promos] will ruin it for anyone.
Now that you’ve seen the episode, is there anything you wish you could have done differently or is there anything you wish you could add?
CK: No. I mean, there were some things that were changed or trimmed because of time considerations or because of other considerations, but in the end, it’s exactly what I hoped it would be that morning when I woke up with the image of the woman in the tree and Emily saying, “I made a terrible mistake.” It’s the episode I hoped it would be. And that’s all any of us can ask for!
That’s good to hear. Just to clarify, is this supposed to take place before or after “The Twisted Bones in the Melted Truck”? I know this was the 8th episode shot [it was the 9th episode aired] and it almost felt like “TTBitMT” had some scenes which could have been explained as lingering implications from this hour.
CK: You know, it’s funny, a couple of people have asked that and the truth is we always intended it to air after that episode. Again, it was production concerns and for production reasons why they were originally shot in a different order. But it was always meant to be the last episode we aired before Christmas, before we went into reruns because we wanted to leave people thinking about change before they go off for the holidays. [Laugh]
And now you all have to deal with a little bit of a change because you’re going to be on after AMERICAN IDOL. Does that alter anything for you, or is everything still the same as usual in the writers room?
CK: It’s the same as usual. I guess there’s a little bit more biting of finger nails and a little bit more anxiety. [Laughs] Other than that, we’re just making the BONES show we love to make. I hope to heck a whole bunch of people, who for whatever reason haven’t seen the show, will leave their TV set on Fox and discover us because that would be fantastic, but I don’t know. We’ll see what happens!
Are you doing any more scripts this year?
CK: I may do another one a little later in the season, if time allows. We’ll see. No final decision on that. I have my plate full at the moment. I hope so. It’s a super fun show to write. We have some fantastic stuff planned for later in the season. Whoever is writing it, it’s going to be great!


顶一个！
编剧们真的是很用心啊~~

强烈要求给翻译一下~~

回复：6楼
确实是一丝不苟，字斟句酌啊，也难怪某些剧走下坡路的时候，这部剧越看越好看。

回复：7楼
太长了啊，汗~ 哪位高手有空把关键的翻译下？俺只能读，翻译……水平不够啊@@

我的妈呀 ，真让我后悔当初学英文时，我神游到哪去了。

骨粉们，“照片里的博士”（The Doctor in the Photo）这集有够扣人心弦吧？   本季目前为止最棒的一集，对吧？   Emily Deschanel对Brennan失控的精彩表演，加上Carla Kettner绝妙的剧本和Toynton独一无二的执导，共同谱写了令人难忘的一个钟头。   真的，这集真不是盖的，我把Kettner抓出来聊聊这个以Brennan为中心的时刻是怎么来的，Micah（译注：那个夜班保安）是不是真实的，Brennan展现真心懊悔的那个重要的车内场景，还有好多好多……

我觉得那个保安应该是Bones自己虚构的
第9集至少Bones终于迈出去一步，向Booth坦白了

早上就度过了=D=。
所以说官配还是BB，但是就如每一出电视……不到最后都不能到一起的OTL【……不然没戏看？

——恭喜，这集真棒。你是怎么被安排来写这集的？
——CK:呃，开始是（BONES的缔造者）Hart（Hanson）把所有写剧本的都叫到家里吃午餐，那是在这季刚开始的时候。就是这个绝妙的放松午餐，他那会儿正在谈对第六季的希望来着，他说到他想抓住一些机会，说到机会我们都很兴奋，因为一个剧拍到五六七年的成熟阶段，想让它还有新鲜感就会有点难搞——不管是对我们还是对观众来说。所以我们吃过这顿午餐后差不多就琢磨这事儿，然后有一天早上，我醒过来，脑子里有一幅超清晰的画面，深夜，一棵树倒下，一具骨架露了出来。沃野不知道是梦到了还是醒过来脑子里就有这个画面。然后一句对白伴随着画面响起，Brennan说“我犯了大错。”那天早上，我跑去找Hart，说“瞧我的，我要给你来点儿疯狂的。我想让一棵数倒下，让咱们的人看见一个女人的骨架，然后我要Brennan看到骨架，基本上是描述她自己。然后我想让她在整集都觉得在照镜子。我还想让她忽然觉悟，把她逼到这集最后不得不跟Booth说‘我犯了大错。’” Hart真的很兴奋，他说想抓住些机会的时候我们才兴奋呢。就这么怎么来的。

回复：13楼
是啊，主角的暧昧是吊观众胃口的大诱饵啊~
就好像看house的时候，我一直坚定的认为house和cuddy在一起绝对不会减少我的观看忠诚度，并始终捶胸顿足的呼吁编剧们挺直对大叔永无止境的虐……但是，但是当H和C真的在一起了，还是寻常恋人的甜蜜吵架纠结，我发现剧集真的没有以前那么有吸引力了，我每周翘首盼望的对象不知不觉全变成了Bones……
所以，我现在强烈呼吁，Bones的编剧们，你们放开手脚继续虐吧，只要能让我们一直追下去，虐的吐血也没关系！！！

——你早上起来经常看到这种腐烂的尸体激发灵感吗？
——CK:（笑），呃，你知道，有时候，是的，有时候，绝对。我记得去年我想“我真的很想圣诞老人脑袋爆炸啊”。（笑）但是我想肯定——在这种情况下——那画面的恶心程度不会向Brennan受到的感情冲击那么大。我们都爱她，我们都像关心姐妹或朋友那样关心她。对我而言，这是我想让一个我关心的角色恢复和自己内心的联系的做法。
——这绝对是让我们看到了一个之前从没发现的Brennan。整季的基调和整体感觉都和这个剧之前的不同。这是不是让写作过程更加艰难了？
——CK：不是。我不会说艰难，我会说是一个挑战。通常我写某一集的时候都会进入到我脑中的“骨头”（BONES）部分。这回，我跑到了脑中的Brennan部分，因为我希望这次完全从她的视角出发。事实上，在脚本最最开头的地方，我给摄制组留了个言说这集会很诡异。这次我们没有用全知视角来看待世界，而是试图从Brennan的眼中来看待世界。所以通过这个视角接近它使它变成可能（译注：咱也不知道it这里指的是什么）。
——有没有什么对Brennan的了解是你一开始写这集时没有预料到的？
——CK：我猜我有一些对Brennan的感觉是我希望观众能（感觉到）的。我想要为她的角色打开一些们——一些我们通常不会打开的门。这就是那个守夜人Micah角色背后的道理。已知道，我们通过角色和他人的关系了解他们。我们用Micah来扩展我们对Brennan的了解，因为这是一种你们想不到她会有的关系！她通常是不太能容忍别人的。（笑）而这儿有个家伙，一个低调的守夜人——虽然他极其聪明——（这家伙带出了）她不同的一面。我想我们所有人——粉丝，编剧当然还有Hart——我们都知道Brennan有令人难以置信的感情深度。这只是在找一个契机展示这点，用与我们所了解到的她的一切相符合的方式。

——粉丝们要问Micah是不是真是的。我看到这集最后认为他是真实的，不过你们是不是打算让这点继续模糊下去？
——CK：是啊。我们内部对于Micha是不是真实的有争论。我知道我的感觉，不过其他人不同意。所以……（笑）——能说说你的倾向不？
——CK：我们还是留给你们想象吧！
——我希望Micah是真实的，只要这意味着你们会让他再出现。
——CK: 会！Enrico (Colantoni (Micah))棒极了。我自打VERNOICA MARS就爱上他了。他真是棒。
——以Brennan为中心，这集的辅助角色是不是很难平衡啊？
——CK：呃，关于辅助角色，我想每个角色之所以被选出来都是因为我们的要传达【感受爱是痛苦的，但是没有感受更糟】的宗旨。这也是我们有Mike Dworsky，那个生病的小男孩的爸爸，Chris Markham，那个暗恋Lauren的直升机飞行员这两个人物。他们在Brennan的情感之旅中都占有一席之地。这跟以往不同，引文我们没有以往那些带着动机、手段和机会的嫌疑人——辅助角色在这集的感情内容上具有重要的地位。当然，我们给常规角色的出镜时间减少了，因为这集全是关于Brennan的，每个人都是她情感旅程的一个折射物。

回复：16楼
牛啊，膜拜~ 好多我看的时候不知道该怎么用中文表达的东东都被你表述出来了！
辛苦啦！！加油！！！

得···这下有的虐了~~~

每次看他们的采访，都一个感觉，说了跟没说一样……