Via：ssimplykendall.tumblr.com
這，張，照，片。
知道嗎我常常莫名奇妙被Edward Norton殺到，就他並不是一眼特別亮眼的那種類型，他真要說帥不是特別帥，但常常他的照片會存在某些莫名奇妙的魅力，一眼盯上去然後那個氣質那個氛圍我就覺得哇喔，就會一直看下去。真的就忘記我本來要做什麼，就完全被拉進那個氛圍裡去。
就像之前有些有印象的角色、有印象的戲、在腦袋裡徘徊的聲音，
甚至我也不知道是他，後來才發現：呃怎麼又是你啊？XDDDD
然後這張照片我覺得他好修長，腿修長，手指修長，這人整個就是長的！！！！(這什麼形容)然後，那種沉靜感。
我看圖就會激動想配文字，所以看照片突然就覺得應該要配訪談。
所以有這篇。
然後他換個眼神又是完全不同的感覺。
Via：fanegraffii.tumblr.com/
這篇大概是他最近一次的雜誌專訪了。高級西裝感覺很適合這男人。
他的那種獨特的沉靜感。
Menswears雜誌2012年6月號，標題：The Edward Norton Legacy
Measwear 2012雜誌圖
訪談原文出處
報導記者：MATTHEW LYNCH
==============
picture via：Related.com ，照片裡就是The Pershing Square Signature Center.
The Pershing Square Signature Center sits on a relatively quiet block of 42nd Street in Manhattan, on the westernmost edge of what could still conceivably be considered the Times Square Theater District. The ambitious new playhouse is all blond wood and glass. It is the kind of open space that inspires hushed tones from its inhabitants, which at 5 p.m. on a Wednesday in early May means all of six patrons. Seven if you add Edward Norton, distinguished alum of the Signature Theatre company and champion of its gleaming new space, who is sitting at a café table sipping a late-afternoon latte.
Pershing藝術活動中心（The Pershing Square Signature Center），座落於曼哈頓42大街上，勉強可歸入時代廣場所謂的「電影院區」最西側，和繁華的鬧區比起來相對安靜不少。這棟新落成的影視活動中心展現出雄大的企圖心，建材選用大量的淺色木頭，再搭上大面玻璃，這是那種屬於當你踩入其中，會想跟著現場的氛圍一起安靜下來的公共空間；我的意思是，現在是五月初的某個星期三傍晚，下午五點，而你環視周遭會發現只有六個人在這裡。而如果把我跟前的Edward Norton算進去，就是七個人，這名電影公司Signature Theatre的焦點人物，同時也是這座閃亮亮新落成的活動中心的最大投資者，正坐在角落的咖啡桌前啜飲拿鐵，他晚了很久的下午茶。
*有人能建議我比「藝術活動中心」更好的名詞嗎，想破頭想不出來，直譯感覺很不親民，雖很想把公司名字加上去但又不知道怎麼加。糾結下去我就沒有翻譯速度了= =
He’s got a two-day beard, and his black dress shirt is two buttons undone. He has the faintest of bags under his pale blue eyes, the ones that on-screen almost always seem to be somewhere between sad and intense but today just look a little tired.
他有點憔悴，你可以看得出來他大概兩天沒刮鬍子了，而他的黑襯衫扣子鬆開到兩顆；他的眼睛下可以看出些微的眼袋，那雙在螢幕上給人感覺帶點哀傷又帶著銳利感的淡藍色眼睛，今天卻只讓人覺得他有點疲倦。
*我跟你說其實訪談看多了他常常不喜歡扣扣子而且總是會開到兩顆…另外這篇的記者好像在寫小說…
It could be that he’s still recovering from his trip to the Met gala, and an ensuing late night, earlier in the week. “My girlfriend says I have a crush on Anna [Wintour],” he says with a laugh. “It’s possible.”
大概因為他還沒從出席本週稍早的時尚晚會Met Gala的忙碌行程裡恢復過來，想必會需要熬夜到很晚的大型活動。「我女友說我一定會愛上Anna Wintour，」他微笑說：「的確有可能。」
*時尚晚會Met Gala，宅新聞的介紹：連結
*Anna Wintour，時尚界女王，雜誌《Vouge》總編，電影《穿著Parada惡魔》影射的那位傳奇人物。有興趣的話她的介紹：連結
Or it could be that he handed in his years-in-the-works screen adaptation of Jonathan Lethem’s Motherless Brooklyn the week previous and is still in the post-file daze. “Sometimes a deadline actually helps,” he says.
或者是因為他花了數年心力籌備，改編自Jonathan Lethem原著小說的作品《Motherless Brooklyn》，這幾週終於釋出最初預告動畫，但後續詳情依舊不明。「有的時候給它設條死線，會滿有幫助的。」他這麼說。
Or maybe it’s just the weight of the building around him.
或者，單純只是因為這個空間，一手建立起這座活動中心要承擔的重量。
Norton has spent the last several years leading the capital campaign to raise the nearly $70 million in funds needed for the center. With its three stages, subsidized ticket prices, public café and bookstore, and mission to keep theatergoing from becoming a “rarefied experience,” the Signature Center is a shiny new Frank Gehry-designed jewel of the New York arts world. It has also been central to Norton’s recent midcareer turn as New York City civic crusader.
過去幾年來，Norton積極為建立這座活動中心籌款，累積到的募款金額將近七千萬美元。這座活動中心共有三個表演舞台，門票販售補助，公共咖啡廳，書店，並且設立「不讓電影產業的精神消失，成為微不足道的體驗」的理念；整體空間設計由建築設計師Frank Gehry操刀，這座Signature新設立的活動中心，是紐約藝術界的閃亮新星。這也是Norton最近的職業發展重心，從演藝圈的影視表演，轉向努力替紐約市民謀取福利。
“This,” he says, considering the space around him, “in the last three years, represented a much, much more thrilling and terrifying and vital and crushing personal challenge to me than a lot of creative work at this point.”
「這個地方，」他說，指了指他周遭的空間，「在過去三年來，對我而言是比現階段許多影視工作都要來得更緊張刺激，更令我畏懼，更重要，但壓力也更大的個人挑戰。」
*看完因為感想太多反而不知道怎麼說起。有種…這個人果然很有本事啊，和一種，他果然很可怕呢，的感覺同時並行。
Norton is 42 now and almost 20 years out from his first big off-Broadway break, when Signature founder James Houghton cast him in a 1993 production of Edward Albee’s Fragments. Three years later, he earned an Academy Award nomination for his screen debut in Primal Fear, a performance that presaged an unrivaled run of late Nineties and early Aughts prestige pieces: The People vs. Larry Flynt, American History X (another Academy Award nomination), Fight Club, 25th Hour.
Norton現在42歲，從他令人印象深刻的初試啼聲開始，在演藝圈已經差不多待了20年，Signature影視公司創始人James Houghton在1993年，Edward Albee的作品《Fragments》中看出他的才華。三年後，他以《Primal Fear》裡的出色表現獲得奧斯卡獎提名，他展露的才華預示了他在九零年代末期的大放異彩，他的其他出色作品如：《The People vs. Larry Flynt》、《American History X》（這為他又贏得一次奧斯卡提名）、《Fight Club》和《25th Hour》。
In the last 10 years, though, his work has come in more concentrated bursts as he’s taken the time to pursue his interests outside of acting. He got his pilot’s license. He’s been an activist for causes as varied as solar energy and the Maasai Wilderness Conservation Trust. He earned an appointment to the President’s Committee on the Arts and the Humanities. Before he was selling donors on the Signature Center out of his downtown apartment, he was a very public advocate for Manhattan’s instantly beloved High Line park. In fact, Norton has had only two leading roles since 2008 and, before May’s Moonrise Kingdom, hadn’t been on-screen since 2010.
不過，近十年來，他在螢幕前比較沒那麼頻繁出現了，他分了比較多時間給影視工作以外的事情。他拿到了他一直想要的飛行駕駛執照。他參與各項環境保護活動，從太陽能提倡節能運動到支持馬賽野生動物保護基金會。他在政府的資助藝術人文的特設企劃案（the President’s Committee on the Arts and the Humanities）中爭取到和政府的對談機會。而在他致力為設定活動中心募款前，他大力提倡曼哈頓設立High Line公園，這項公共建設落成後，立即成為市民喜愛的活動場所。事實上，2008年之後，Norton只主演過兩部電影；並且從2010年到在五月上映的《Moonrise Kingdom》，他幾乎沒再出現在螢幕上。
*這人說他如果不當演員，會想去開飛機喔XDD (還真的去了…) 所以恭喜他拿到飛行駕駛執照！
Sitting in the café, it's suggested to him that perhaps such spectacular success so early meant that he’s had to work harder to stay interested in moviemaking, that maybe his more careful role selection and involvement in New York civic projects is an outgrowth of some sort of creative ennui. Norton responds with a long and pretty persuasive discourse, excerpted only briefly here, on the economics of Nineties filmmaking and the import of realizing your historical moment.
現在，看著跟前坐在咖啡桌前的這個人，或許他在太年輕的時候就獲得那麼耀眼的成就，導致他也得加倍努力才能繼續把注意力放在影視圈的發展上；或許他變得更加謹慎的選角、投入紐約市民權益的社會運動，這樣的多元走向是為了尋找某種新鮮感，某個更值得他投注精力的目標。Norton做了長而詳盡、說服力十足的回應，這裡只摘錄片段，談到九零年代的電影製作經濟環境，和了解什麼是你生命中的關鍵時刻的重要性。
“In the last few years, I’ve worked harder on things, on different sorts of things, than [what] I was working really hard on when I was 26, 27,” he says. “I really was willing to prioritize finding things that I thought had something to say that were particular to my generation, what people I knew felt like. You only get a certain amount of time to do that. In the late Nineties, there was an opportunity; there was something going on in the film business….You could get American History X made at a studio. You could get Fight Club made at a studio.”
「過去幾年來，我試著更努力的去完成手邊的事情，但目標是不一樣的，和我26、27歲時拼盡全力想達到的目標不同。」他說：「我希望能優先考量傳達出屬於我這一代的聲音，找出能傳達這個聲音的事情，我認識的人們的感覺是什麼。你能運用的時間總是有限的。在九零年代末期，環境還提供了一定程度的機會；而現在影劇界的生態不一樣了……之前，你還可以讓大製片公司拍像《American History X》那樣的電影、像《Fight Club》那樣的電影。」
*還好你沒有放全段對話，不然我半個字都想不出來……Norton的話非常難還原(死) 我都只聽的懂然後要想很久才能確定。感嘆自己文學素養太低……之類的。
Norton’s most impressive personality trait is his ability to craft these classroom-ready cultural narratives. He does it again when talking about his work with the Signature Center and the High Line, name-checking Joe Papp and Jane Jacobs and offering up asides like this: “I’ve become totally sure that all the best things we all look back on and go, ‘Wow, that’s amazing,’ felt completely half-baked for at the least the first quarter.…There’s a certain power in that.”
Norton最令人印象深刻的個人特徵是，他有本事能把話說得好像課堂做報告一樣文雅嚴謹。就算他講的是他建立活動中心的過程、支持High Line公園的設立，他也可以做出同樣的表現，他提起Joe Papp、Jane Jacobs，和其他一路支持的合作伙伴，用詞是這樣的：「我能非常確定的是，這些讓我們能回顧然後說「哇喔，我們做得真棒」的美好成果，在一開始的時候，至少前三個月，我們都完全覺得它只能算是半成品……不過那行動本身是存在力量的。」
*最後一句不確定…||||| 我覺得自己沒能很精確的翻譯過來，但對Norton的說話特質抓的超準……
It’s as if the golden age of the Hollywood-backed “indie,” or the cultural landscape of post-9/11 New York, are chapters in an unfolding novel, and he knows exactly where to slot himself as a character. In an hour and change of talking to Norton, one gets the sense that had things broken another way, he might not have made a bad city-desk editor on a daily newspaper, or maybe an assistant professor of urban studies at a progressive liberal-arts college.
如果這樣看，發生的一切是一本現在進行式的小說，把好萊塢的「獨立製片黃金年代」當小說中的一個章節，911影響下的紐約文化生態又是另一個章節，而Norton就是那個能精確掌握整個故事梗概，知道要怎麼把自己完美的安插進去，給自己安排什麼樣的角色的人。和Norton一個小時的對談裡，你會總錯覺想把他擺到其他行業裡，或許是非常厲害的報社總編，或是名列前茅的藝文大學的助理教授，主修城市文化。
Norton’s family background sheds some light on all of this. His mother taught English; his father worked as a U.S. attorney under the Carter administration and was an early champion of the environmental movement. His maternal grandfather was James Rouse, the real estate executive and urban planner (who, in a nice little historical daisy chain, was an early patron of Gehry's). Raised in Columbia, Md., Norton grew up in a town built by his grandfather.
造就現在的他，一部份也跟他的家庭背景有關。他的母親是英文教師，他的父親在Cater總統執政時是白宮律師，也積極支持早年的環境保護運動發展。他的爺爺（母系這邊的），James Rouse，是地產管理者兼都市建設規劃者（同時，奇妙的因緣際會，也是他請的活動中心設計師Gehry之前的雇主）。Norton在馬里蘭州的哥倫比亞長大，就住在他爺爺規劃建設的城市裡。
*我的印象裡這傢伙一直是個貴公子之類的……每讀一次他的家世就覺得…恩，果然啊。
“Edward as a storyteller is very much part of who he is,” says Signature founder Houghton, who has known Norton since his early days in New York. “And that storytelling takes hold in a multitude of ways. Sometimes as an actor, sometimes it’s as a writer. Sometimes it’s both. And sometimes it’s as an activist and an advocate.”
「說Edward就是個『說故事者』一點也不為過。」從Norton早期到紐約闖蕩時就認識他，Signature影片公司的創始人Houghton這麼說：「而且他會用各種的方式試圖說好那個故事；有的時候以一個演員的身份，有的時候以一個劇本寫作者的身份，有的時候兩者都是。有的時候則是一個積極的、有主見的行動者。」
Of course, his narrative confidence has also informed some of the more peculiar episodes in Norton’s acting career. American History X director Tony Kaye famously attempted to have his name taken off the film after complaining that Norton had too much of a hand in its final edit. More recently, after declining to have Norton back to play the Hulk in this summer’s Avengers film—despite his starring role in The Incredible Hulk in 2008—Marvel Studios took the extraordinary step of explicitly stating that it was looking for a more “collaborative” actor. (Norton posted a gracious, high-road response on his Facebook page.)
而也不難預料，他在故事敘述上的強而有力的主見，會為他的演藝事業章節帶來不那麼平順的發展。《American History X》導演Tony Kaye就是個廣為人知的例子，他抗議Norton對電影的最後剪輯干涉太多，表示想把導演這個頭銜從自己的名字前方移除。而最近的事件，Marvel公司換掉他的角色，拒絕他出演暑期動作大片《Avengers》中的浩克一角－－僅管在2008年的浩克電影《The Incredible Hulk》是他演的－－Marvel非常明確的表達拒絕，並且在聲明中明確宣稱他們要的是「合作性更高」的演員。（Norton在他的臉書上做了有禮貌的、相當正向的回應。）
*High-Road：Link
*其實關於Marvel換角這件事，我在網上看過三種說法。
*Marvel的官方聲明表示他合作性太低所以把他換掉，他的經紀人表示其實是片酬問題，說合作性太低這件事是嚴重的毀謗；也看過有部落格寫手分析他跟導演Whedon相處融洽並且談得很好完全是M家突然丟了個炸彈，也有寫手說他就是個太有主見的人，處不來是一定的，然後也有說反正絕對一定是片酬問題……巴啦巴啦巴啦。
*我覺得這反正不是重點，恩哼，大家想相信什麼自由心証。但覺得有必要把我知道的提出來排一下。
Norton is returning to acting this summer in two films from very singular directors. Last month he figured as an all-right-angles scoutmaster in the ensemble of Wes Anderson’s Moonrise Kingdom. In August, he’ll play a nefarious CIA handler in The Bourne Legacy, Tony Gilroy’s reboot of the series, starring Jeremy Renner. Both projects appealed to Norton, he says, in part because they are the product of directors with crystal-clear sensibilities.
今年夏季檔會看到Norton回歸電影圈，他參演了兩部作品，兩部作品都由相當出色的導演執導。上個月釋出的《Moonrise Kingdom》，由Wes Anderson執導，他在裡頭飾演一名嚴肅按規矩行事的童子軍總監。八月，他會在《The Bourne Legacy》裡飾演反派CIA幕後籌畫者，導演是Tony Gilroy，參與Bourne系列前三部製作，這次自己掌鏡再開續集；由Jeremy Renner主演。而吸引他參演這兩部作品的理由，Norton說，一部份是因為這兩位導演擁有能洞察事理的敏銳觀察力。
“I think the very best filmmakers kind of make the same movie over and over again,” Norton says. “Wes’ movies all have young people trying to figure out who they are. They all have people who are hunting to feel that they belong. And he’s always got something in there about the paradox of family: that family makes you feel at home and also ruins your life….Tony Gilroy falls into that camp, too. I’m not sure that I would have at first blush said I’m going to [appear in] this series, but I’ve gotten off my own snobbery…because I had really fun experiences on things like Red Dragon.”
「我覺得那些頂尖的影片製作者，某方面來說一直在重覆他們的影片模式。」Norton說：「Wes的電影總是會有試圖思考自我定位的年輕人，總是有角色不斷尋覓自己的歸屬，他也總會探討家庭的衝突矛盾：你的家是你的歸屬之地但同時又是毀滅你人生的存在……Tony Gilroy也有他自己的模式。其實在第一時間面對這個片約時，我還不確定自己要不要接下這個角色，但之後我放棄用勢利的角度衡量它……我得到很棒的工作經驗，就像參演《Red Dragon》時一樣。」
*at first blush：link
*譯這個人說話真的會死掉耶XD
By now, Norton’s latte is all but downed and the pre-curtain rush is starting to pick up. The early idlers have multiplied sixfold. The room seems as populated by young actors, playwrights and theater techs as it is by the neighborhood’s rent-stabilized sixty- and seventy somethings, the sort of people who have exceedingly fewer public spaces to read a Sue Grafton book. It feels a bit like the midday rush in a particularly grandiose New York Public Library branch, which perhaps is the point.
現在，Norton的拿鐵喝完了，而預示著下班尖峰時刻的人潮也開始湧入。活動中心裡的人大概多了六倍，有年輕演員、有劇作家，也有舞台工作人員，把這個地方當做社區中一個只要付大概六十美元到七十美元左右的租金，就可以自由使用的創作空間，提供給那些越來越找不到地方讀一本Sue Grafton作品的人。湧入的人潮讓這裡感覺變得有點像午餐尖峰時刻，或許像特大型的紐約公共圖書館的早午餐時段，這大概也符合了設立者的用意吧。
“I’m not rushing to tackle more stuff like this,” Norton says of his to-do list now that the center is complete. He may direct Motherless Brooklyn, though he’s still a little unsure. Otherwise, he says, he’s ready to not have “so much left-brain-heavy obligation, high-pressure kind of stuff” on his plate.
「在這方面我沒有其他再急著想完成的事情了。」Norton說他的待辦事項清單上最重要的那項已經完成了。現在他可能就投入《Motherless Brooklyn》的執導工作，雖然他還是有點不大確定。另一方面，他說，他打算「不要那麼多理智思考、那麼多義務責任、那麼多壓力承擔」，他打算把這樣的思考從他的計畫裡移除。
“Part of the reason I thought it was worth anteing up that special effort is that I don’t expect to see that many things like the High Line, or many things like this,” he goes on. “They kind of show and you go, ‘OK, this is one of those moments. It’s worth rolling up the sleeves and doing something.’ ”
「一部分是因為，我覺得它（這些社會活動）值得我特別投注心力於其中；我得到從未想過的收獲，像High Line公園，像這座活動中心，展現給我的都比我預想的更多。」他繼續說：「就像在告訴你：對，就是現在這個時間點你應該行動，它值得你捲起袖子起身參與，去做些什麼。」
Norton is shortly off to meet a friend up the street, but before he goes, he recalls taking Barry Diller, who with Diane von Furstenberg eventually underwrote the center’s showpiece staircase, to see the space while it was still under construction.
我們的對談即將結束，Norton要離開去街上和朋友會合。不過在他走之前，他談到在活動中心還沒建設起來前，帶建商Barry Diller來看工地的情形，Diller最後和Diane von Furstenberg共同接下了樓梯的建築工程。
“This place was literally poured concrete and electrical ductwork, and Barry walked around and said, ‘This is forever.’ ” Norton says. “It made me feel good, because if you can get a few things like this done, you know, that’s the way this city keeps remaking itself into the place you want to stay.”
「當時基本上還什麼都沒有，就是水泥牆和基本的電路管線架設而已，而Barry看過一遍工地之後說：我們會蓋起一個永遠存在的建築。」Norton說：「而這讓我感覺很驕傲，當你成功做出像這樣的建設的時候會有深刻的感觸，城市就是透過這樣的建設不斷進步，而讓它提供的居住環境成為你所希望看到的樣子。」
At that instant, the café’s PA system happens to be pumping in Frank Sinatra singing “New York, New York.” If he notices it, Norton doesn’t let on.
同時，咖啡店的音樂播放系統正好響起Frank Sinatra的歌聲，唱著「New York, New York.」；我不確定Norton有沒有留意，但如果他注意到了，他也沒表現出來。
*Let on：link
1. To allow to be known; admit: Don't let on that you know me.
2. To pretend.
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*這是個在演藝圈近乎傳奇一樣的存在，最後跑去建設紐約市的男人。居家環境大延伸嗎？XDDD 我看《the 25th hour》的時候就想到紐約情結了，現在又覺得好像有一點點觸動…
*仔細想想他也是個太有個性的存在啦XDDDDDD
好累所以沒有後記。這篇請不要隨便轉出去我譯到快死了XDDD
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