本日大雨據說有颱風，其實應該是很好讓我寫東西的天氣。
我只要看雨絲從窗外掉下來就覺得我好想寫東西這樣(你等等)
不過我不小心看到了Bourne Legacy 的大圖劇照。
本日PST，5:30 pm，新預告片釋出。
為了紀念這件事我決定還是跳回來翻譯以下這兩篇我翻到的導演訪談。
來吧新預告片連結牽一下。
FUCKING COOL。
有種，啊啊，對GILROY的自信印象加分的感覺。
--
a-wider-horison
By Jack Giroux on May 2, 2012
The Bourne Legacy is not only one of the most highly-anticipated films of the summer, it’s a unique chance to revisit the blockbuster franchise with a different star at the helm. Meanwhile, co-writer/director Tony Gilroy, one of the key creative voices behind the original trilogy, is preserving the series’ lore while giving its events a broader and more epic context.
The Bourne Legacy並不只是最令人期待的夏季檔，也藉由導演和演員的大換血，成為回顧這系列大作的特別機會。導演兼編劇Tony Gilroy，前三部曲的元老創作者之一，打算在保留原作精神的情況下，進一步拓展故事的布局。
As the film’s trailer observes, “Jason Bourne was just the tip of the iceberg,” and Gilroy’s insights about the direction he took the franchise in, for the first time as both writer and director, suggest that this expansive view of the world of Bourne was part of his plan all along. But as if embodying the director’s perspective, Jeremy Renner’s character Aaron Cross isn’t an unknown entering a larger world, but an experienced agent who knows exactly who he is and what he’s meant to do.
從預告片中可以看出。「Jason Bourne的故事只是冰山一角。」Gilroy首次身兼導演、編劇二職，這部戲採取的視角是：之前Bourne系列作展現的世界，只是一個更大計畫的一部分。而他也安排Jeremy Renner的角色Aaron Cross確實了解這個更大的計畫，和之前主角的一無所知相反，他是名知道一切，確實了解每一個環節的探員。
Speaking to the Academy Award nominated filmmaker recently, Gilroy talked about reviving the franchise via The Bourne Legacy, revealing how he paid tribute to longtime fans even as he looked to a broader horizon, and the organic approach he and cinematographer Robert Elswit approached the picture with.
我們訪問這位獲奧斯提名的影片製作人，Gilroy，他告訴我們他打算如何透過The Bourne Legacy再現這系列的精髓，如何對系列的忠實影迷們展現他更大的世界觀，以及他和攝影師Robert Elswit在鏡頭處理手法做的改變，和保留原本的風格。
With the scope of the film mostly likely being bigger than Duplicity and Michael Clayton, did that change your process at all?
這是一部場面架構比你之前的作品Duplicity和Michael Clayton更大的作品，這會影響你的處理手法嗎？
You know, it still has to haul ass in its own way. Everything that’s unworthy falls apart in its own way, and we’re very ruthless…I don’t know. I mean, it’s fun to cut action. It’s very familiar. I’ve spent 20 years in the room as a writer, and it’s the closest thing to writing that there is.
你知道，它遲早會把自己拖上正軌的。而那些不重要的東西也自然就會被淘汰，我們在這方面不會手下留情……我不確定。我是說，剪接動作場景很有趣。我對它很熟悉。我有二十年寫作劇本的經驗，而它可以說是和劇本創作最相近的東西了。
I imagine the action isn’t quite as fun when you’re shooting it.
不過你拍攝動作場景的時候，我想就沒那麼好玩了？
Uh, no [Laughs]. You know, the hard work pays off; it’s one of those things that gives back, if you throw the money, attention, and effort at it. I worked really close with Dan Bradley on this and his whole team. It’s one of those things that gives back when you throw, and we had opportunities to throw a lot of stuff [Laughs].
喔，不好玩。(笑) 不過你知道，努力還是能得到回報的。你投入了資金、心力，全心下工夫在上頭，而能從中得到一些回饋。在這方面我和Dan Bradley及他的團隊合作密切。這是我投注心力得到的回饋之一，而重點是，我們有機會能夠投注這些，這麼多東西下去。(笑)
[Laughs] Based on the few glimpses of action you get in the trailer, the camerawork seems very smooth. Was it a deliberate choice taking a difference stylistic approach versus what Paul Greengrass did?
(笑)從預告片的動作場景看來，鏡頭的銜接相當流暢。有打算特意和Paul Greengrass的鏡頭風格做出區別嗎？
I think every picture dictates what it wants to look like, and I really mean that. You know, it really served those last two pictures well. You don’t want to lose the balls, man. You don’t want to lose the visceral stuff. I’m not sure that visual style is always the way to get energy out of stuff. Look, I think they’ll be some very recognizable things that go back even before that… Everything Robert Elswit and I did was very considered. There’s a lot of different flavors in the movie, so there’s a lot of things that have different tempos and hopefully an organic feeling approach.
認真的說，我想鏡頭有它自己的生命，決定它自己的風格。而你知道的，前兩作的鏡頭風格非常成功，而你不會想失去你的優勢。你不會想失去它的精神。我不確定是否非得採用相同的手法來呈現這點，鏡頭的力道等等。恩，我想我們會表現出更深層的，標幟性的東西。我和Robert Elswit每個鏡頭都下足了工夫。這部影片多了很多新的元素，因此也會採取很多不同調性的處理手法，但我們仍希望能保存原本的精髓。
*我猜是手搖鏡頭風格的東西……但我對前三作，有人說很晃什麼的但我沒太在意這個。(不死忠觀影者(喂
Did you ever see a balance in keeping the familiar aspects people loved about the first three films and you personally bringing something new?
保留前三作大受歡迎的場景，和你為這部片添加的新元素之間，你如何取得平衡？
I’ve seen the genesis of the whole thing for 13 years with a pretty good seat. To make it live, we had to go wider and have a wider perspective. I guess it’s well known now it’s a much wider story and a much wider horizon, and that has a whole bunch of different demands. A part of the fun is playing on the lore of stuff that happened before. You have to make a movie people can see for the first time and not know what happened before, but you also want to payback people who have been paying attention along the way. I had the advantage of knowing what I think those things are.
從創始到現在，我看著這系列成長13年。要再接續它的生命，我們就得拓展視野，進到更上一層的層面。我想大家都知道我們有個更大的故事，更大的局；而那就代表全盤截然不同的訴求。再現之前的梗是我們的拍攝樂趣之一，你得同時滿足第一次接觸這系列的觀眾，和之前一直支持這系列的影迷們。而我的優勢是，對這系列的深刻了解。
How would you compare Aaron Cross to Jason Bourne?
Aaron Cross和Jason Bourne的差別？
Cousin programs, different skill sets, and different attitudes. I’m not going to get into it, but both have a need, a different need. That was the only reason I would jump on this, otherwise you’re just knitting together an action movie, and that’s not that big a deal. To do something as thematically strong as what we had before and have as much motivation… Why else would I put two years of my life into it if I didn’t have something driving me? There’s something really driving me here. He’s certainly not the same guy; he doesn’t have amnesia and is not trying to figure out who he is, he knows exactly who he is, but he has a big problem. This character has another problem, one that is hopefully just as fundamental and mythic.
相似的計畫，不同的專業技能，不同的面對態度。我不會透露太多，但他們同樣在追求某些事情，雖然追求的東西不一樣。這是我之所以接手這工作的唯一原因，不然你就是單純把那些東西拼成一部動作電影，沒什麼了不起的。它吸引我的點是，它和前幾作同樣具有強烈主題、強烈的動機……如果沒有這個吸引我的點，我幹麻把兩年的生命投在製作它上頭？它擁有某些深深吸引我的東西。這部的主角當然是個全新的角色，他沒有失憶症，用不著拼湊回自己的身份，他清楚自己是誰，但他還是碰上了大問題。困擾他的是其他方面的問題，我們希望讓它看起來實際並且神祕。
*有的時候，我覺得，Gilroy講話，還滿帥的。「如果沒有吸引我的點，我幹麻花這麼多時間在上面？」
You shot Duplicity anamorphically, and it looked fantastic. Did you shoot The Bourne Legacy in anamorphic?
你在作品Duplicity中用3.5mm膠片拍攝寬螢幕的處理手法，效果相當不錯。你在The Bourne Legacy也會用到這樣的處理方式嗎？
*anamorphically，維基
我……不很清楚這是什麼，太專業了(orz)；然後暫時懶得去研究(喂)
所以下頭這段不是很確定……
You know, we thought a lot about it. We really did. I’ve had the chance to do it twice with Robert Elswit, and I don’t feel like we’ve completely exhausted the frame yet. There’s so much balls out action through this thing. We knew what the four or five set pieces were. It’s very hard to swing an anamorphic camera around. It’s very hard to swing two anamorphic cameras around. With four or five, it’s really hard. It’s hard to get everything to work out. The other movies were not shot in anamorphic, so there’s a consistency. You know, super 35 turned out to be great. We’re still the same frame, but slightly different glass and slightly different smell. We shot it on film, though, man! Film, film, film… film! You know what? There were only two pictures where we were shooting…they told me there were 26 shows shooting east of the Mississippi, and only two shows were shooting on film, us and Lincoln. It’s going to look great, it’s a great look.
我們認真考慮過使用它。很認真的考慮。我和Rober Elswit試過一、兩次，而我覺得我們還沒讓自己昏頭。要執行它是個大工程，我們掌握了那四個或五個拍攝的角度，但要讓拍攝鏡頭繞著那幾組布景轉非常困難。當你有四個到五個場景要拍的時候，而同時操作兩台攝影機拍攝，難度很高，也很難達到你要的效果。其他部作品沒有用這種手法拍攝，所以我們決定保留這樣的一致性。而成果也很不錯，同樣的鏡頭，但有一點微妙的差異，調性上。我們用影片膠卷拍攝它，影片膠卷！而你知道嗎？我們大概只拍了兩幕，他們告訴我大概在東密西西比有26場拍攝，但拍在影片膠卷上的只有兩組，我們，和Lincoln。我相信成果會非常棒，它看起來非常棒。
*……清醒一點記得修這段。猜一半(喂)
—
we're Mission:Plausible
BY OLIVER LYTTELTON | 五月 11, 2012
With the summer movie season underway after the opening of "The Avengers" last weekend, there's one movie that's taking a stealthier approach: "The Bourne Legacy," the fourth film in the blockbuster Robert Ludlum spy franchise, and the first without star Matt Damon in the lead role. Bringing in writer-director Tony Gilroy, who penned all three films to date before he went on to find his own success as a helmer with the Oscar-nominated "Michael Clayton," the film sees Jeremy Renner star as Aaron Cross, an operative from a CIA program more advanced than Operation Treadstone, with new cast members Edward Norton, Rachel Weisz, Oscar Isaac and Stacy Keach joining the returning Joan Allen, David Strathairn and Albert Finney.
"The Avengers"上週開啟電影夏季檔之後，另一部強檔影片的上映日期也默默逼近了。"The Bourne Legacy"，Robert Ludlum的間碟小說大作第四部，而首部沒有麥特戴蒙主演的作品。由Tony Gilroy執導兼編劇，他參與了前三部的劇本創作，之後轉向導演掌鏡，以"Michael Clayton"獲得奧斯卡提名(喬治克隆尼主演的《全面反擊》) 。本部作品由Jeremy Renner飾演主角Aaron Cross，一名CIA探員，參與比之前的墊腳石計畫（Operation Treadstone）更大更進階的行動。加入的新演員有Edward Norton，Rachel Weisz，Oscar Isaac和Stacy Keach；前作再參與的演員有Joan Allen，David Strathairn和Albert Finney。
The film debuted an impressive teaser trailer a few months back, but with an August 3rd release date still a ways off, Gilroy and the studio have been keeping their cards close to their chest on the project. A few weeks ago we spoke to Tony Gilroy about "The Bourne Legacy," and he gave us a few insights into his approach to the project, its scope, and how it'll be, true to its title, honoring the legacy of the three excellent actioners that came before it.
幾個月前，預告片已經釋出，但離正式上映日期8/3還有一段距離，Gliroy和製作公司依舊保持神祕。我們幾週前訪問了Tony Gilroy，他告訴我們他對這部影片的觀點，它的故事架構，走向，一如它的片名：繼承前三作的精髓，也向前三作的完美表現致敬。
Gilroy acknowledged that his involvement with the earlier films had put him off a little, saying "That's more of a reason not to come back." But as he relates, Universal were left a little adrift when Damon and director Paul Greengrass elected not to return. "There were no traditional good ways to go," he told us "they were pretty much out of road. So it was a blank piece of paper." And once he started to think of possibilities of where to take the franchise, he found himself excited about the prospect: "It started as kind of a fun math problem. What do you do? Where do you go? It wasn't a real thing to me at the time, so I said 'You could do this!' And they went for it, and I went for it. That's the other side of it. You dig a lot of holes in the ground, and 98% of what you come up with you throw away, and every so often you come up with something, and go, this has all the things that could interest me for... it's two years of my life, by the time I'm done."
參與前幾作的製作的確有些影響，Gilroy表示：「為什麼不回來呢？」
不過就像他提到的，環球製片在Damon和導演Paul Greengrass表示不再續拍之後，的確有點手足無措。「延續傳統已經行不通了。」他告訴我們：「已經沒有路可以走了。所以就像從零開始。」而當他開始考慮怎麼接續這系列的時候，他對它可能的發展性感到興奮。「就像解決有趣的數學題一樣。接下來怎麼做？要去哪裡？當時它感覺起來還很不實際，而我告訴自己：我能做到！然後他們放手去做，我也放手去做。這是它的另一面了。你找了很多條出路，而98%你想到的點子都沒辦法用，你摸索著前進走一步算一步，我投注了所有心力，寫出讓我自己能感興趣的劇情……而我足足花了兩年的生命來完成它。」
As for continuing the series, while the title came from an existing Ludlum book (which has a very different plot), Gilroy says that it fit perfectly with his plan. " 'Legacy' was utterly appropriate. It could have been 'The Bourne Aftermath,' 'The Bourne Consequences,' anything like that." And it will follow on directly from the events of previous films, including some overlap. " 'Ultimatum' is sort of playing in the background in the first 10-15 minutes," Gilroy said. "The events of 'Ultimatum' trigger what happens in this film."
這部續作的電影片名來自於Ludlum的另一部小說(不過完全是另一版的劇情)，Gilroy表示這正符合他的需求。「『Legacy(遺產)』這個形容完全貼切。它可以是"Bourne續集"，"Bourne之後的影響"等等之類的，而它也會繼承前作的故事，重疊一些片段。"Ultimatum(上一部作品)"的劇情會在前十到十五分鐘出現，做為背景交代。」Gilroy說：「Ultimatum發生的事情成為引發事件的導火線。」
By all accounts, 'Legacy' has a truly global scope that's barely been hinted at by the marketing so far, with shoot locations including "Korea, Abu Dhabi, a long time in Manila, way up in Canada, we shot in New York for a bunch of different places." But despite the giant nature of the production, Gilroy felt confident, because he had a concept he believed in. "The idea is king. Once the story drops, you know where it goes, and you've got a reason and a theme, you can stand back and know that everything from then on is going to be about effort and taste and luck and money...But the idea is king, and whether that's easy or hard [to come up with] I don't really know. But the making of the movie is physically taxing."
各方面來說，這部電影都走向全球性的大架構，從他的行銷手法和取景地點能夠感覺出來。拍攝地點包括「韓國、阿拉伯的阿布札比(Abu Dhabi)，在馬尼拉花了不少時間，再轉到加拿大，最後在紐約城各個不同的地方拍攝。」對於如此大手筆的製作，Gilroy充滿信心，他有充份的理由相信這部電影。「構想才是王道。當一個故事展現在你面前時，你會知道它會往哪裡走，你會讀到它背後的理由，它的基調，你可以站得遠遠的然後知道接下來發生的事情，會關於努力、品味、幸運，和金錢……但構想才是真正的關鍵，不論它是很難完成的構想還是很輕易就能完成的構想，我其實也不知道，但拍攝這部電影就是它的具體實現。」
Of course, the film will be chock full of action, and although he's not directed in the genre before this, Gilroy thinks he's in a good place to pull it off. "I wrote a lot of action," he told us. "I've seen a lot of action, I've watched a lot of action being directed, Dan Bradley [2nd unit director on the original trilogy, as well as 'Quantum of Solace' among many, many others] is on this picture -- the legendary asset that he's been to so many directors, we worked really, really closely together. And you have to have the money, if you're really going to do the kind of things that make people wake up. They have to be so different, and so specific, and so enormous, and all of those things require economics. And you've got to be into it. I don't think you can direct action if you're not into seeing it done well."
當然，這部電影會有很多的動作場景，僅管之前從未執導過動作影片，Gilroy仍覺得自己狀態不錯。「我寫了很多動作場景的劇本。」他告訴我們：「我也看過很多動作場景，它們的拍攝和執導方式，Dan Bradley(前三作的第二小組導演，作品有"Quantum of Solace"等等)也參與了拍攝工作--他有和非常多好導演的合作經驗，是傳說中的王牌。我們非常密切的合作。而你必需擁有足夠的資金，如果你真的想拍出那些不讓人睡著的大場面。這些鏡頭必需要很不一樣，很特別，夠大手筆，而這一切都需要資金。你也得置身其中。我不認為置身拍攝片場外能導出什麼好鏡頭。」
Perhaps most importantly, as someone who's been involved since the franchise was born over a decade ago, Gilroy hasn't forgotten what makes the series stand out from the competition. "I was there right at the very beginning, with Doug [Liman], advocating for chamber action and not orchestral action. The continuing thing is that we have very deep, complex characters with real behavior and real problems, and that [sense] that they have a life off the screen, and you take those real people, and put them in extreme, visceral situations, and then you have something that's motivated, in real locations, with real gravity and physics, and things go wrong," he explained. "We always say we're 'Mission: Plausible,' not 'Mission: Impossible.' It's the spectacularity of the specifics that was always the DNA here. And how you shoot it and how you cut it and what music you put against it is almost secondary to that idea."
或許對一個從十年前，這系列創始就參與其中的Gilroy而言，最重要的是他並沒有忘記是什麼讓這系列影片脫穎而出。「我從一開始就參與了，和Doug[Liman]，只是幾個人的小組討論，還沒發展到大規模的製作團隊的時候。我們一直以來維持的特色是：我們擁有很有深度的、複雜的角色，採取貼近真實的行動，面臨具真實感的問題。而那樣的場景在鏡頭前，會擁有自己的生命，而你把這些真實角色推到極限，讓他們面臨巨大的內在掙扎，然後你會感受到那股趨動力，那些真實的元素，推動你前進的力量，然後，碰，問題就發生了。」他解釋：「我們總說我們是"撲溯迷離的任務"，而不是"不可能的任務"。在種種細節上的用心刻畫，埋的梗安排的驚喜才是它的精髓所在。其他東西都是次要的：你怎麼拍攝它，怎麼剪輯它，採取什麼樣的配樂，這些都不是最重要的主軸。」
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嚴禁不知會我轉走。
推廣我很歡迎，但是不要不告訴我，不附出處，無斷轉載。
所有我要求的，也不過就是告訴我一聲而已。請維持最基本的尊重。
===========
譯完覺得，有種，沒有bonus的感覺。XDDD(喂)
所以沒太大感想就是個練習過去。
Mission: Plausible，很有意思的詞。(思)
我還是覺得Gilroy講話利利的。
欸你問我對劇情興奮不興奮，其實還好。
我曾經因為心靈捕手喜歡上Matt的時候追過一，追過二，然後劇情都忘光光。
後來就覺得它就是個popcorn movie....那類的。但我記得心靈捕手是沒錯的。
但我一直很想看到Edward Norton和Jeremy Renner對戲。
就像Red Dragon當中看Edward Norton對上安東尼霍普金斯，劇情，我覺得還好但就喜歡看他們對戲。喜歡他們的表演帶來的劇情張力。有的時候那是穿越劇情的，情緒，你會嚇一跳然後被深深的帶到那個場景，那幾句台詞，那幾句對話，那幾個表情裡頭。
鏡頭的靈魂。
總之你不用太在意劇情是啥，光看這兩個人演戲就很過癮。你甚至會這樣想。
當然導演還是關鍵啦(點菸)
這東西是絕對很主觀的。
===== 以 下這串和本文一點關係也沒有，不想看我碎碎念的人請上一頁 ======
邊譯邊玩就不小心寫太長……又覺得分出去怪怪的。(喂)
我倒是被Edward Norton嚇了一跳。
恩我認識Edward Norton從《Fight Club》開始。
然後一路順回去他的電影作品，發現意外的都很好看。
那種好看到我覺得我會想收的影片。
《Primal Fear》中李察吉爾的優雅，和他演的那個天使一般的純潔的男孩。
《American History X》
《25th Hour》
《Red Dragon》
《The Illusionist》這部其實看不大出來但看完之後你會印象很深刻他的那股優雅從容不迫和他眼裡的哀傷。
我非常非常非常喜歡《Fight Club》，然後我大概看過Edward先生是那種高學歷，耶魯畢業，拿了雙學位的樣子(？)，家世非常不錯的感覺……等等等的資料掃過去。
但我沒有很努力的去爬他的東西，就只是因為他的影片不錯看，他的演技賞心悅目，我其實滿挑影片的，太純娛樂的東西會讓我覺得很空虛，但太有個性的東西我或許會看不下去，我喜歡有深度的影片，喜歡打打鬧鬧刺激的影片，喜歡很黑色很血腥很特別的東西，我承認電影是娛樂的大眾文化，但我還是想要它言之有物。(真麻煩啊這人)
很少會碰到一個演員這樣剛好，順下來他的電影作品都還合我胃口。
你可以把自己默默沉在故事裡，思考很多東西，得到一個，新的生活角度。
然後我才覺得，喔耶我被娛樂了。(真難取悅…)
然而可怕的東西是，我已經多多少少習慣演員和角色之間的反差，不管是什麼樣的反差。後來我甚至喜歡比對一下，他們本人的氣質和，他們的角色之間的關聯。那很好玩。
這有時候像是一個意象。某人給你一個「感覺」，他是什麼型的，外向、內向、親切、幽默、粗淺的一個……大概的氣質感覺。
我多多少少想抓把這個感覺清楚的說出來，能說得越清楚，你的角色塑造功力就越強。我是這樣想的。不管你用什麼樣的描繪方法。像拿筆在紙上試圖描出那個人的，輪廓線條。
但Edward Norton這人，欸，我抓不到他的角色感覺。
單是角色感覺就抓不出來。描起來總是一片黑影。=_____=+
一是他最深註我心的那個角色本身就是雙重人格。
二是他常常演雙重人格不然就是三重四重多重人格(沒有那麼多好嗎)，甚至自己跟自己對手戲都演出來了，到最後我乾脆放下筆，一丟，雙手托腮瞪著螢幕上那傢伙心想，先生你到底可以變出幾種人格來？
戲中戲中戲中戲中戲，你看著鏡子裡的鏡子的鏡子的鏡子多重鏡影一路下去的那樣。
而且那種人格轉換是根本的，徹底的人格轉換，不是「這個人演一個雙重人格的人」，而是「真的有兩個人住在眼前這個人身體裡」那種逼真的戰慄感。
一個人，等化成兩個人，你到底怎麼做到的？
最後我只剩下「強大」這個詞來形容。
所以我一直覺得他是個強大的人。
掃過一些照片，對他的印象是優雅，再加上高學歷、家世等等會覺得有點像貴族那樣的感覺。但是，沒想到。我也是偶然再加上腿很久才去翻了他的訪談影片，突然想看這個人說話起來是怎樣的。
靠杯啊，這個人，竟然，竟然很………害羞！？
那個緬腆樣是怎麼怎麼怎麼回事！？！？！？
斯斯文文的然後有點不習慣鏡頭的樣子，偶爾有一點點結巴，活脫十足是《Primal Fear》中那個清純像天使一樣的男孩，OMG。
這麼強大的人，擁有如此強大的演技，和這麼高的知識，這麼良好的家教(看得出來家教良好沒有錯)……竟然如此，羞澀的樣子！！！我萬萬想不到這麼多人格(並沒有)當中竟然Primal Fear那隻才是本色！！！！！
這，到底。……到底。我都詞窮了找不出正確的詞。
我看過有人說他擅長「變臉」，也有人用「千面小生」這個微妙的詞來形容他。
而就連訪談中，訪問者都還要問一下「你等下會不會轉換人格」？之類的……XD
而他……他就那樣溫溫的原地害羞。
偶爾靜下來的時候可以發現人格切換的部分……(他不專心的樣子對我而言非常萌…)
比如下頭我翻到的fight club訪問，會想截圖因為覺得這兩位在這隻訪談裡都非常…Good Looking。而大部分講話的人是Edward。
這光影看起來跟油畫一樣，嘖嘖。
偏頭，我截到了很好玩的小布表情XD
看圖這樣子完全不覺得他會害羞對吧完全不覺得吧……
發呆的時候也不覺得啊啊啊啊啊啊XD
草草爬過個三隻，三隻影片都有人討論人格轉換的問題。
先生你真的是個謎。
不過是很優雅的謎就是了……(思)
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