关于《神奇动物在哪里》的十大幕后故事

　　事实上，魔法这东西很容易上瘾，而提起JK.罗琳笔下错综复杂的魔幻世界更是让人欲罢不能。

　　To celebrate the release of Fantastic Beast and Where to Find Them, a number of books on the making of the film have consequently been published, including Ian Nathan's behind-the-scenes guide Inside the Magic, and The Case of Beasts, which explores the wizarding world shown in the film.

　　为庆祝电影《神奇动物在哪里》上映，一系列描写该片制作过程的书籍已经上架，其中包括伊恩.纳森的电影幕后指南《魔法探秘》，以及揭开片中呈现的魔法世界的《神奇动物居住的手提箱》。

　　We had a look through, to see what we could glean³ about Fantastic Beats, its cast, and Rowling's script.

　　为了搜集关于电影、演员以及剧本的信息，我们已经阅读了这些书。

　　Here are some of the things we learnt:

　　以下是我们的收获：

　　1.Eddie Redmayne wound up "sobbing⁴" after reading the script for the first time

　　1.埃迪.雷德梅尼第一次看完剧本后难过得哭了

　　In Yates-ian style, the director held a "slightly clandestine⁵ meeting" with Redmayne near Christmas in the basement of "a hidden little club in Soho", next to a roaring fire. He later went to safari⁶ parks to meet real zoologists⁷ and meet experts in animal breeding to learn about these people cared for exotic creatures.

　　圣诞节临近时，导演叶茨在Soho区一家隐秘俱乐部的地下室里与雷德梅尼在熊熊燃烧的火堆旁“秘密小聚了一次”。这是他一贯的作风。随后，他到野生动物园拜访了真正的动物学家以及动物育种专家，了解这些照料外来生物的人们。

　　2.JK Rowling wrote the script in two-day chunks⁸

　　2.JK.罗琳两天重写一遍剧本

　　Fantastic Beasts and Where to Find Them is Rowling's debut⁹ screenplay, and she said that, in comparison to writing a novel, she really, really, really enjoyed it.

　　《神奇动物在哪里》是罗琳的电影剧本处女作。比起写小说，她认为自己真的、真的很喜欢写剧本。

　　Rowling was in constant communication with Yates and serial¹⁰ Potter-producers Steve Kloves and Lionel Wigram. She would then: "depart for her hotel and spent two nights at her keyboard, returning having not slept but rewritten huge portions of the script, sometimes producing an entirely¹¹ new draft."

　　罗琳与叶茨、哈利.波特系列电影制作人史蒂夫.克劳夫和莱昂纳尔.威格拉姆不断沟通后，便“赶回酒店，花上两晚不眠不休地码字，又将剧本的大部分重写，有时还会创作出全新的剧本初稿。”

　　3. Redmayne made sure that Newt's wand was animal-free

　　3.雷德梅尼坚信纽特的魔杖没有动物元素

　　Prop¹² modeller Pierre Bohanna wanted Newt's wand to include an "animal component¹³", such as Fawkes's phoenix¹⁴ features that can be found in both Harry¹⁵ Potter and Lord Voldemort's wand, but Redmayne refused: he was "insistent¹⁶ there would be no leather or horn involved. Newt wouldn't stand for that. "

　　道具师皮埃尔.博哈纳希望在纽特的魔杖中加入“动物元素”，就好比哈利.波特和伏地魔的魔杖中有凤凰福克斯的尾羽。但雷德梅尼拒绝了该想法。他“坚持认为魔杖不应该包含任何皮革或者动物犄角成分。纽特不会支持这种做法。”

　　4.The crew built 1920s New York on set at Leavesdon Studios

　　4.工作人员在利维斯登制片厂搭建出上世纪20年代的纽约城

　　It took just 16 weeks to create Manhattan's Lower East Side, TriBeCa and the Diamond District in 1926 in a studio an hour north of London. The set needed constant re-dressing by an army different teams of designers and dressers during the five months it was used for filming.

　　距伦敦以北一小时车程有一间制片厂，工作人员仅用了16周就在那里搭建起1926年时的曼哈顿下东区、特里贝克地区以及钻石区。在用于电影拍摄的5个月间，这处电影布景需要一大批设计和化妆团队不断对其重新修饰。

　　The same attention to detail was given to the office space of the MACUSA, where Tina and Queenie Goldstein work - 80 bespoke¹⁷ desks were designed and built and chairs were imported from the US for the set.

　　工作人员对美国魔法国会布景的细节处理同样一丝不苟，他们为蒂娜和奎妮的办公室设计制作了80台定制桌子，而椅子是从美国进口的。

　　5. Queenie is the most attractive female character Rowling has ever created

　　5.奎妮是罗琳笔下最有魅力的女性

　　She wrote as much in the script: "The most beautiful girl ever to don witch's robes".

　　罗琳在剧本中这样写道：“她是有史以来最美的女巫”。

　　6.The extras really earned their money

　　6.群众演员真的很辛苦

　　To recreate the chaos¹⁸ of 1920s Manhattan, there needed to be a lot of extras and a lot of costumes. The problem was that Fantastic Beasts was set in December, so the cast were dressed up in overcoats, scarves and gloves - and the crowd scenes were shot in August 2015. Everyone was sweltering, remembers crowd costumer Gary Hyams, and "tended to undo¹⁹ their coats or take their scarves off and tuck them into their pockets."

　　为了重现上世纪20年代曼哈顿地区的混乱场景，需要大批穿着戏服的群演。问题是电影的时间设定是12月，演员们都穿着大衣、戴着围巾和手套，然而群演画面的拍摄时间是2015年8月。一位扮演顾客的群演盖瑞.海厄姆回忆道，所有人都很热，“他们都想解开大衣、取下围巾塞进口袋”。

　　7.There are a lot of deliberate similarities between Harry Potter and Credence²⁰ Barebone

　　7.哈利.波特和克雷登斯.拜尔本有很多刻意为之的相似之处

　　Both are orphans²¹, adopted into loveless families and thrown into the paths of a struggle between good and dark magic.

　　他们都是孤儿，都被冷漠的家庭收养，都被卷入正义和黑暗魔法之间的较量。

　　"It's rare that fantasy can touch on something this painful and delicate," said actor Ezra Miller²², who plays Credence.

　　饰演克雷登斯的埃兹拉.米勒表示，“魔幻故事很少能触及如此痛苦而细腻的情感。”

　　Producer David Heyman indicated that Credence's character and the struggles we see him go through in the film are a metaphor²³ for the dangers of repression²⁴.

　　制片人大卫.海曼表示，克雷登斯这个角色以及片中他的遭遇都象征着压抑情感的危害。

　　8.Tina's trousers were designed to show that she was a modern, forward-thinking type of woman

　　8.蒂娜穿裤子的设定是为了表现她是一个前卫而有远见的女人

　　Costume designer Colleen Atwood made the decision to put Katherine Waterston's character in trousers (something that was not all that common for women in the 1920s) as a way of demonstrating Tina's independent side.

　　服装设计师柯琳.阿特伍德决定让凯瑟琳.沃特斯顿饰演的角色穿着裤子（女人穿裤子在上世纪20年代并不常见），通过这种方式展示了蒂娜独立的一面。

　　9.The Demiguise was 'babysitting' the young Occamy

　　9.隐形兽是小鸟蛇的“保姆”

　　Ever wonder why, in Fantastic Beasts, Dougal the Demiguise escaped?

　　想知道电影中的隐形兽为什么逃跑吗？

　　We always assumed that the mysterious ape-like creature with a talent for invisibility just saw his chance and decided²⁵ to make a run for it. But the truth, it turns out, is a lot more aww-inducing.

　　我们一直认为，这种会隐身的神秘猿类生物是看准了机会决定逃跑的。但事实上，真相比这有爱。

　　According to Redmayne, in the script Dougal ventures out solely²⁶ in order to protect the lost young Occamy.

　　根据雷德梅尼的说法，在剧本中，隐形兽只身冒险是为了保护走失的小鸟蛇。

　　JK Rowling apparently²⁷ came up with the idea that the Demiguise should show a caring instinct while the creature was still in the design stage.

　　显然，罗琳在构思阶段就想到要让隐形兽表现出充满爱心的本能。

　　10.The chilling MACUSA execution pool was inspired by a Saatchi Gallery installation

　　10.美国魔法国会令人胆寒的死刑执行池灵感来自萨奇画廊的一件装置艺术品

　　According to the film's VFX supervisor²⁸ Christian²⁹ Manz, the disturbing, memory-absorbing pool seen in the film was designed to resemble a Saatchi Gallery artwork "where there was oil with a perfect reflection on the surface".

　　据电影特效总监克里斯汀.曼茨称，记忆吸收池的设计模仿了萨奇画廊的一件艺术品，它利用油映射出完美的镜像。

　　Although the installation in question isn't named, it sounds as if Manz is referring to artist Richard Wilson's 20:50, a permanent piece in which an entire room at the gallery is filled with smooth black engine oil.

　　虽然曼茨没有提及这件装置作品的名字，但是他所指的似乎是理查德.威尔逊的《20:50》。这件永久作品将画廊中的一整间房间注满黑色机油。

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