Person Of Interest，CBS秋季美劇。
S2EP1開播，倒數中。
Promo：水管Link
編劇介紹版：水管Link
在POI的Facebook上發布了S2的首播花絮照片。連結走這，兼照片出處
其實我很久以前有自己譯過一篇短短的訪談。
然後呢，然後我後來自己練到後來覺得自己譯得不好，我自己把它砍了。
現在覺得有點笨啊……=_____=+
其實專業的新聞應該很多，我只是想把手感找回來。
也是因為太喜歡我反而也不知道怎麼跟別人介紹這部劇，就用我擅長的(恩，應該說習慣)的方式吧。以下短短的翻譯。
(一)
collider.com的訪談 訪問編劇Jonathan Nolan，這是第一季播出時候的事了
Jonathan 其實長得滿帥的，我得說Nolan家兄弟都長得不錯帥，只是Chris發福之後我就覺得哥哥比較好看。(喂)
Jonathan Nolan Interview PERSON OF INTEREST; Talks About the Connection to THE DARK KNIGHT and Working with J.J. Abrams
by Christina Radish Posted: August 7th, 2011 at 10:56 pm
記者Christna Radis報導，2011年8月7日
The upcoming CBS drama Person of Interest, premiering on September 22nd, is a crime thriller about presumed dead, former-CIA agent Reese (Jim Caviezel), who teams up with a mysterious billionaire named Finch (Michael Emerson), to prevent violent crimes by using their own brand of vigilante justice. While Finch is a software genius who invented a program that uses pattern recognition to identify people about to be involved in violent crimes, he does not have the ability or skills necessary to solve the crimes before they happen. But, it is Reese’s actions that draw the attention of the NYPD, and most specifically Detective Carter (Taraji P. Henson), who becomes curious about the mystery of it all.
During the CBS portion of the TCA Press Tour, show creator/executive producer/writer Jonathan Nolan (The Dark Knight, The Dark Knight Rises and Man of Steel) talked about his first time doing television, the process of developing an ongoing idea for television, as opposed to a finite story for a movie, what intrigues him about the way cameras provide surveillance of our every day lives, and why J.J. Abrams was the perfect person to produce this series. Check out what he had to say after the jump:
即將在9月22日首映的CBS新犯罪驚悚劇《Person Of Interest》，故事圈繞一名被認為已死亡的前任CIA特工Reese(Jim Caviezel飾演)，和一位背景神祕，自稱Finch(Michael Emerson飾演)的億萬富翁合作，用他們自己的特殊執法系統阻止犯罪的發生。Finch是天才程式設計師，他設計出的程式能夠分析人們的行為模式，找出即將涉入犯罪事件的對象，但他沒有相應的技能阻止犯罪發生，這部分的工作就由Reese負責。但另一方面，Reese的行動也引起紐約警方(NYPD)的注意，特別是Carter警探(Taraji P. Henson)飾演，她對Reese背後的謎團深感興趣。
電視劇評論協會巡迴媒體訪問(Television Critics Association Press Tour)活動上，我們在CBS參與的部分有機會訪問本劇創造者兼特別製作人兼編劇的Jonathan Nolan(作品另有《The Dark Knight》、《The Dark Knight Rises》和《Man of Steel》)，請他發表第一次參與電視劇創作的感想，相對於電影的時間限制，在電視劇能無限發展的格局下如何把這些想點子延伸出去，是什麼啟發他讓他認為周遭有一套大監視系統無時無刻在監控我們，以及為什麼J.J. Abrams是本系列製作人的最佳選擇。以下延伸閱讀訪談內容：
Question: What was your process for developing an idea that can be applied to different plots every week, as opposed to a finite story for a movie?
相對於電影得在有限的時間內說完一個故事，你怎麼處理電視劇每週必需推出一個新的點子，發展出新的一集？
JONATHAN NOLAN: Well, I didn’t set out to create a show that was this type of show or that type of show. We really started with the idea, and the idea seemed to suggest a case-of-the-week structure. I’ve always loved shows that combine both approaches — that have a mythology and a set of characters, whose stories develop and change, and where the relationships evolve and fracture. But, I grew up watching shows like Magnum, P.I. and The Equalizer, and I loved them. They had a case-of-the-week structure that was natural to them. With this, we started with the idea of irrelevant information falling out of some part of the national security apparatus that would simply go unheard, unless someone was listening for it, and that seemed to lend itself really well to a case-of-the-week structure. Television is very different than working on film. With films, you get to develop a set of characters, and then, at the end of the film, you have to throw them away. I’ve been lucky enough to work on a franchise set of films, where we continue to go back to those characters. For me, the attraction of TV is that you continue to get to tell those stories and refine those characters. The other thing is that TV, in the last 10 or 15 years, got really, really, really good. There is some fantastic drama on TV, so I was hoping to swim in those waters.
Jonathan Nolan：恩，我並不沒有為這部作品設定它是「這種類型」的電視劇或「那種類型」的電視劇。一開始我們只是有一個點子，一個似乎能發展出「一週一案件」的點子。我一直都非常喜歡這樣的戲劇作品：可以結合這兩者－－角色塑造和神祕的謎題。它的故事會慢慢成長，改變走向，角色的互動也更多元，可能演化出更進一步的關係，也可能拆伙。我小時候是看《Magnum》、《P.I.》和《The Equalizer》這些戲劇長大的，我非常喜歡它們。它們的基本架構就是一週一案件，很自然的使用這樣的模式。以這個為前提，我們從這樣的點子開始：從用於國家安全的偵測設備中得知某些被國家判定為「不值得重視」的消息，因為不值得重視所以自然沒有人去理會它，直到某個人再度把這個資料撿起來，這樣的點子似乎很適合用來發展一週一案件的模式。製作電視劇和製作電影是完全不同的兩回事。製作電影時，你塑造出主角群的形象，然後，故事結束的時候，這些形象就結束了，你得把它們丟開。我很幸運能得到參與系列電影製作的機會，所以我們可以再發展那些角色的故事。而對我來說，製作電視劇對我的吸引力就是你可以不斷的延續那些故事，不斷精煉那些角色讓它們更完整。另一點是電視劇在近10到15年來發展的非常、非常優秀。非常多相當出色的電視劇作品，我也很希望能參與這個優秀的圈子。
*電影是一次性角色，電視是延續不斷的角色。我喜歡這個說法，但電視劇拖長了會怕OOC啊XDD 不過我想這件事應該不大可能發生在Nolan身上。
Why do you think the interest in this show is so high?
覺得對大家對這部戲劇高度關注的原因是？
NOLAN: I think our kick-ass cast is a big part of that. I think we have the best cast on TV, and we’re really excited to share that with audiences. I don’t really know. It’s very gratifying to hear that, of course. It’s always gratifying to hear that people are excited by something that you’ve been excited to make. I think we had a great experience making the pilot, and we’re having a great experience right now, making the next episodes, and I think that comes across. We’re really excited to get it out to that big CBS audience, to see what they think.
Nolan：我們強大陣容的卡司佔了頗大一部分。我想我們擁有電視圈最好的卡司，我們也迫不及待想跟觀眾分享他們的精彩表演。真的要說我其實說不上來，當然，我很高興大家如此期待這部作品，當你滿心期待的端出一部作品，而知道大家也非常期待你的成品，這一直都是非常令人高興的。我們的首播拍攝非常成功，現在我們進行之後劇集的拍攝，也進行的非常順利，我想這是我們目前的情況。我們非常期待在CBS的廣大觀眾前呈現這部作品，也很期待他們會怎麼看待這部戲。
*原因……原因我聽到製作人掛Nolan和J.J. Abram才會掉坑，強者出手XDDD
*comes across what ?(呆)
What is the appeal of this story and these characters?
介紹這個故事和角色吸引人的地方？
NOLAN: I don’t know. I love crime procedurals. I always have. I love cop shows. But, I was more interested in writing something that was a little more dangerous. There have definitely been shows like this. I’ve just always been more drawn to characters who were on the periphery, or who had an arm’s-length relationship with law enforcement. That suggests a natural drama to it. I think Americans have always enjoyed these kinds of stories, but I haven’t seen so many of them on TV lately.
Nolan：其實我說不上來耶，我喜歡犯罪劇，一直都喜愛這個主題，我喜歡警探劇。不過我更感興趣的是寫出更危險一點、刺激一點的情節。我想一定有其他部戲劇也採用這樣的手法。不過比較吸引我的總是那些在邊緣打轉的角色，或是那些和執法單位維持若即若離關係，亦正亦邪的角色。這些角色本身就有其戲劇性存在。我認為美國人也一直喜愛這樣的故事，不過我最近接觸的電視劇不多。
How did Jim Caviezel come to this show?
選Jim Caviezel加入劇組的原因？
NOLAN: I first got excited about Jim when I saw a film he made with Terrence Malick, 13 years ago, called The Thin Red Line, which is one of my all-time favorite movies. His performance in it is just unbelievable, and he’s done some amazing roles since. When we heard that he might be interested, I was just amazed and thrilled to be working with him.
Nolan：我第一次注意到Jim是在13年前，看到他和Terrence Malick合作的作品《The Thin Red Line》，這部是列在我「喜愛一輩子」名單上的作品之一。他的演出好到令人不可置信，之後他也有非常優秀的表現。所以當我們聽到他可能加入劇組的消息，就像個驚喜，我非常興奮能和他合作。
Is there any kind of through-line with this show and elements from The Dark Knight, where you had Bruce Wayne/Batman setting up that vast surveillance network in Gotham City? What is so interesting about that?
這部作品中有什麼和《The Dark Knight》的共通元素嗎？你在電影裡也讓Bruce Wayne，也就是Batman建立起高譚市的監視系統網路。這個主意有什麼特別吸引你的地方？
NOLAN: I’ve just been fascinated by it, since I was a kid. That was a small feature of The Dark Knight. It was part of a storyline that ran in the comic books, when they examined Batman and the lengths to which he would go, and there are some connections there. I’ve always been drawn to those stories and drawn to that aspect of Batman. I was a kid in England, in the 1970’s, and cameras started going up everywhere. In fact, at that point, there were already a lot of cameras up in London. It was during the Troubles and the IRA attacks in and around the UK and Ireland, so the response was to put up cameras everywhere. And then, when I moved to the States, when I was 11 or 12 years old in Chicago, there weren’t cameras everywhere, but 20 years later, they started popping up. After 9/11, you started seeing cameras everywhere. I’ve always been fascinated by the idea of a surveillance state. Who’s watching? What are they doing with that information? I felt like it was a really rich story to tap. I have a lot of questions and ideas about it, that I think will give us some really fertile ground for storytelling.
Nolan：我單純深愛這個想法，從小時候開始就喜歡了。這個設定是《The Dark Knight》想表達的一個小小重點，延伸出去它能連接漫畫的主線故事，當故事劇情審視Batman這個存在，和他可以做到什麼程度的時候，這多少能連接上電影裡的安排。這樣的劇情總是對我很有拉力，那個情況下呈現出的Batman形象和角色層次也非常吸引我。我小時候待在英國，1970年代的時候，他們正開始四處架設監視器。事實上，那個時候他們就已經在倫敦架了不少監視器了。當時正值北愛爾蘭解放軍的動蕩事件，軍隊攻擊英國本土和愛爾蘭，而英方政府採取的相應動作是在四處架設監視器。之後，我搬到美國芝加哥，大概11或12歲左右，走在街上不再四處都是監視器了，但二十年之後的現在，又開始到處都是監視器了。911事件後，你可以看到四處都架起監視器。我總是著迷於這個「誰在監視著」的想法：誰在鏡頭後看著？他們又怎麼處理他們看到的資訊？我認為這當中有很多的故事可以說，我有很多想法，也想問很多問題，我想這個主題可以提供我們豐富的故事發展背景。
*其實就連鏡頭，這部也時不時覺得有TDK的影子啊啊。
*他小時候在英國長大，所以覺得他講話有點英國口音，但是軟軟的很好聽XD
Are you using any actual surveillance cameras around the city to film this?
拍攝中有用到任何實際監視器的鏡頭畫面嗎？
NOLAN: One of the ideas behind this was that the look of the show should help remind the audience of the concept of the show. You want to be feeling a little bit like you are peering through layers, spying on people, or that our cameras were spying on our actors. Actually, this is the first project that I’ve worked on that hasn’t been shot on film. My brother is a huge believer in film, and probably will always remain an advocate of shooting on film. Television went digital a couple years ago, almost exclusively, so for me this was a really cool opportunity. I said, “If we’re going to shoot on digital, we’re going to embrace it and we’re going to find radical new ways to take advantage of the fact that you can now find cameras on virtually anything, and that you can shrink cameras down to infinitesimally small size. I don’t want to reveal too many ways about how the show is made, but the prevalence of cameras in this city and elsewhere gives us some interesting production techniques. I always love it best when you have a project where there is this commingling of the subject matter and the way in which you’re recording that subject matter. It’s been great fun, in that regard.
Nolan：我們的拍攝想法之一，是讓觀眾透過畫面也能感受到我們想表達的概念。你會想多少感受一點你站在重重幕後觀察人群，監控大家，或是透過監視器監控劇中的主角們。老實說，這是我第一個不是以電影的方式拍攝呈現的工作。我弟弟非常相信電影的表達力量，他大概會一直積極的投入電影拍攝。電視劇，幾年前走向數位化的發展，數位化的拍攝應用到電視劇上，幾乎可以說是獨家創舉，所以對我而言，這是個很酷的工作機會。我說：如果我們要用數位化的方式拍攝，那麼我們就熱情的擁抱它，並且以最先進的處理方式傳達我們的優勢：事實上，你在現實裡任何事物上都能找到監視鏡頭，你也可以把監視鏡頭無限縮小。我不想透露太多我們的拍攝方式，但監視器侵佔這個城市和其他地方的程度，啟發我們設計出很有意思的科技設備。我一直都很喜歡進行這樣的主題，交錯綜合你的拍攝對象，又交待出你怎麼拍攝這個拍攝對象。這樣的情況會讓它變得很好玩。
*其實他們也常常想出一些怪怪的又酷炫的尖端科技……一直都是他們的強項。XD
*比如Inception……還有種種帥到不行的Batman裝備。
*POI的大機器主意我非常喜歡，重點是他還可以讓機器非常之萌……w 實在強。
How much will you delve into the machinery behind the numbers?
會多深入的討論背後的機器運作機制？
NOLAN: Following the J.J. [Abrams] rules, we’ll do it one piece at a time. But, because I’m so interested in the machine, its inception, and how Michael’s character put it together and the backstory of that, we’re pushing ahead and exploring a little bit more of that. It gets to some of the questions of the show that I’m most fascinated by, which is the case with everything I work on. It’s set in a real world. It’s New York City. It’s right now. But, you imagine there’s something just a little more interesting and a little bit secretive happening underneath it. We explore the way in which technology has started to become odd and the way all of this information is swirling around. The hardware is very much in place. Everyone has a device in their pocket, which the police now use more than anything else to determine what happened when something goes wrong. It’s your phone. It’s a live microphone for the government, should they choose to turn it on. It’s a location tracker. All this information is out there. We’re at this very odd moment, standing on the precipice of seeing what happens when you start harnessing all that information, which is why it’s not really a science fiction show. It’s more science fact. We really are planning on exploring that a little bit, but of course, not to the exclusion of kick-ass explosions and amazing, soulful relationships and character moments.
Nolan：依照J.J.[Abrams]的慣列，我們一次只揭露一小部分。不過因為我實在對這部機器太好器了，它的起源，Michael的角色又怎麼把它架構起來的，又有什麼樣的背景故事，我們把進度提前，在劇中多提到一些相關劇情。它會觸及到這部作品中最讓我著迷的問題，也是我在這部戲中努力架構出的東西。它的背景設定在真實世界裡，想想這點，就是現在，就在紐約市。看上去平凡的生活，但你可以想像某件事情正默默發生，某件多了那麼點有趣也多了那麼點神祕的事情。我們呈現科技開始以不大對勁的方式進入我們的生活，而且這些情節就發生在我們周遭。這些硬體其實早就在我們的生活中，每個人的口袋裡就有一個小的硬體裝置，現在警方偵辦案件找人主要也依賴它：你的手機。組合起來就是現成的監聽系統，一個迷你收音麥克風，只是政府要不要進行監控而已。它也是你所在地點的追蹤器。所有關於你的資訊都在裡頭。我們目前面臨的情況相當微妙，站在那條決定要不要利用你所監看到的消息的邊界上。所以這就是為什麼這部作品其實不能算做是科幻架空戲劇，它比較接近科幻現實劇。我們認真準備往這方面多發展一些，不過當然不會忘記帥氣的動作場面，和精彩動人的角色互動，以及角色的形象塑造。
What’s it been like to develop this series with J.J. Abrams?
和J.J. Abram共同合作這部作品的感想？
NOLAN: One of the things that I love about J.J. is that he’s not precious. He creates material. He likes to work. He likes to put kick-ass shows out there. The nature of the TV format is that it’s a big risk. This is my first time doing it. It’s not like a movie where you put it out there and people judge it on its merits. Sometimes it finds an audience later, but it’s a one-shot gig. TV is, as I’m discovering now, a marathon. You have to keep going and going and going. Personally, I think J.J.’s track record in film and TV is unsurpassed.
Nolan：我喜愛J.J.的一點，就是他不以用過份珍重的態度工作。他創造出素材。他熱愛工作。他喜愛呈現出帥氣的動作場面。電視劇的生態裡，每一部新戲都要承擔很大的風險。這是我第一次接觸電視劇製作。這不像電影，你把作品丟出來，然後觀眾會決定它的好壞。有的時候它得過一段時間才找到正確的觀眾，不過它是一次定生死的。而電視劇，現在我參與的心得是，它像個馬拉松。你得不斷的推進、推進，再推進。而在我看來，我認為J.J.不論是電影或電視劇的表現都是不可限量的。
*not precious....其實我沒有很懂這代表的是什麼。XD||||
*這部相關的東西總是會談到電視和電影的差別，這比較也滿有意思的。但我總覺得POI像是「電視版的電影」，格局、卡司、手法等等。特別是畫面。
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本來預定有三篇，不過時間之下……
先看完這篇就好了。XD
我不是很想去參與這部的討論，但是我喜歡看一些幕後訪談等等。
我說過我多愛POI嗎？XD
好演員好編劇好角色，表達我的期待啊啊。順道把看英文的速度抓回來。(默)
下頭這場是很期待有沒有視頻。
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