因为本人英语水平尚停留在初中阶段，所以求各位翻译官帮我翻译下面的一些采访和新闻。可以吗？ 我真的很急用这些文章
第一篇文章。
described as “an examination of a New York family as seen through the eyes of a
charismatic, self-destructive Broadway composer.” We know that Kathryn Bigelow — fresh off
her Academy Award win for The Hurt Locker — will helm the pilot, and the cast has filled
out rather nicely with Eddie Redmayne, Norbert Leo Butz, Hope Davis, Frank Langella, and
Patti LuPone. Now EW has word that Lee Pace (Pushing Daisies), Linus Roache (Law & Order),
and Stark Sands (Generation Kill) have joined the cast, though details on their specific
characters were not mentioned.
HBO certainly doesn’t show any signs of slowing down their delivery of top-notch cable
television. Bringing in Bigelow to direct the pilot should kick start The Miraculous Year
with a bang, and until then Martin Scorsese’s Boardwalk Empire should be quite a satisfying
series to sink our teeth into if the fantastic trailer is any indication of the show’s
quality. As far as the new cast additions go, I’m most looking forward to see Lee Pace find
a fantastic new series after Pushing Daisies was unfortunately cancelled a little while
back.
第二篇。
Tell me what it was like to play Mandy’s love interest in this, even though it was for a
very short while.
It was really more of a first date. But I did get to hold her hand and look lovingly into
her eyes – and her, mine – so I can’t say that that wasn’t cool. You know what I mean?
She’s a sweet girl, really beautiful, and really great to work with. It was awesome.
This film has a lot to do with breaking away from your parents. What was your first act of
rebellion?
Oh gosh. One time my mom, whom I love very much – she’s always very protective, and it got
to a boiling point one time and I was so angry that I just left the house. It was a school
night and I left the house at 11 at night. I just went for a walk because she, being
protective, had put a bug in my car. We all knew about it – me and my brother and sister.
We knew that we couldn’t drive anywhere because she could just call and find out where we
were. So I went for a walk until about 5 in the morning. I wasn’t going to do anything
wrong. I just wanted to make her worry and show her that I was like already a junior in high
school, you know, I just wanted to show her… I don’t know what I was trying to do.
Did you make her worry?
Yeah. I came in and she was sitting on the steps waiting for me.
You also have “Shall We Dance” coming up soon. What's your role in that movie?
I play Richard Gere and Susan Sarandon’s son.
Do you do any dancing?
I do a little dancing in the film. It’s not the ballroom style dancing. I have a scene
where I take my dad to a hip-hop club with my friends. It’s at a point in the movie where
he’s kind of given up on pursuing dance. He sees me dancing and I’m supposed to be this
uninhibited, free spirit of a dancer. It inspires him to go back and continue his classes.
Who do you play in that movie?
I play the bad guy. I play the jerk older brother of one of the kids. It was really fun.
第三篇采访。
American Idiot, an exhilarating new musical inspired by the Green Day CD of the same name,
is the closest thing to a shot of adrenaline you can get on Broadway these days. The story—
co-written by director Michael Mayer and Green Day frontman Billie Joe Armstrong—follows
three young men (John Gallagher Jr., Michael Esper and Stark Sands) searching for meaning in
middle-class Middle America during the post-9/11 era.
After getting a quick start in film and television in 2002, snagging his first professional
acting job (in HBO's "Six Feet Under") just months after graduating from the University of
Southern California, Stark Sands made his professional theater debut in 2007 in the
acclaimed Broadway revival of Journey's End. Sands received a Tony nomination for that
performance. Since then, he's focused primarily on his stage work. Most recently, he starred
as Clyde in the musical Bonnie & Clyde (Frank Wildhorn-Don Black-Ivan Menchell), which may
head to Broadway after its upcoming Florida run.
A week after American Idiot opened to widespread acclaim, I interviewed Sands by phone.
During our conversation, the extremely likeable and talented actor spoke not only about the
show but about his family, his career and his creative process.
Beth Herstein: You are from Dallas, from a prominent Texas family. It sounds like you were
raised in a very tight knit family as well.
Stark Sands: I have a very supportive family. It's also a big family. My father was one of
five kids and all of them had at least three kids. I have twenty-something cousins. Now all
my cousins are having kids ... It's a special feeling to come home to Dallas and have so
many family members who are supportive of my doing this. And it's exciting for them, because
I'm the only one who happens to do this.
BH: I read that your mother and aunt encouraged you to try acting in high school.
SS: My mom, more than anyone, was the most supportive. She has always pushed me, and I
think noticed the performer in me at a very young age. Her sister worked at my high school,
and she noticed that the performing arts gifted and talented class had students of every
age. I was new to the school, and she was trying to help me assimilate. Mom was really the
one who encouraged me to pursue theater.
BH: What did she notice in you that made her think you would enjoy it?
SS: When I was around five, we had books that are still popular today. The "Little Miss"
and "Mister Men" series ... They had audio tapes so you could read the words as they read
the story. I have a twin brother and a sister who's a year older. We used to make videos [of
the stories]. My dad would film, and my brother and sister and I would stage them. I was the
one who always seemed to know all my lines, and was really into it as a five-year-old, when
my sister and brother were just little kids playing along. I was really passionate about it.
BH: That was insightful of your mom to realize that was more than a five-year-old's phase,
that it was something you might really latch onto.
SS: Absolutely. Also, I've been singing since high school—I had a band in high school ...
and my mom has always told me, as soon as my acting career started after college, "Stark,
you have to do musicals someday. Do they know you can sing?" I thought, well, she's my
mother, she loves the way I sing no matter how I sound. [laughter]
BH: You started working just six months after your graduation from University of Southern
California.
SS: I graduated with my BFA from USC and six months later I got a job on "Six Feet Under."
Which was great. It was my favorite show. Even at the audition I was excited ... Also, it
put me on the map, at least in Los Angeles in the world of television specifically. The
episode I was on aired just after the show won a Golden Globe for best drama. So everybody
tuned in just in time for my episode.
BH: Shortly after that you worked on the movie Die Mommie Die with Charles Busch, which
gained you a loyal new audience.
SS: It was a wonderful way for me to segue from working in theater to working in film
because Charles is a theater person and Mark Rucker who directed it is a theater person. We
all spoke the same language ... We shot that little movie in fourteen days, and it's lasted
so long. I still get wonderful little compliments [about the film] ... It's neat to be a
part of something that's gaining underground cult status.
BH: During the filming of that movie you lost your father, and I know you were very close.
SS: On the first day of work my dad was diagnosed with terminal pancreatic cancer. He hung
on for nine months and for the first seven months he was perfectly able to get around and
live his life. The first day of work, though, was the day he told me. It was tough. Anthony
Edwards [a producer of the film] is an incredible man. The day that I found out I was unable
to work [at first]. By the end of the day, Anthony Edwards handed me two tickets, basically
round trip to Dallas, so I could go home and see him. It's not every day that you work with
people who are that generous, especially when you're shooting an independent film on a tight
budget.
BH: That's what should matter, but sometimes people lose perspective. In preparing to talk
to you, I started watching the television series "Generation Kill" and I love it. Can you
talk a little about that show?
SS: It was shot in 2007. That was the busiest year I've ever had and one of the most
satisfying. I did Journey's End from January until June. That was my theater debut, and it
really set me up in a way I never imagined that it would. My dream was always to make my
name in the world of film and then maybe be lucky enough to transfer over and do something
on Broadway. It happened so much sooner than I ever thought it would. The final performance
of Journey's End was the afternoon of the Tony Awards. So we closed the show that we'd been
running for five months. It was a very emotional moment. Then we all went to our dressing
rooms, changed into our tuxedos and went straight from the theater to the Tonys. For me it
was an amazing experience to go, but I also was going as a nominee. That was something I
never imagined would happen. Maybe in my wildest dreams, but not with my first job.
BH: You've also talked about your friendship with the whole ensemble.
SS: Everyone's been great. We all go see each other's shows—as a group. We still get
together to support our Journey's End friends, and it's neat. It's great when I walk out of
a show I'm doing and there's my old cast members, who all came together to show their
support. So we went to the Tonys and the show won the Tony for best revival. It was a great
celebration but it was also goodbye. The next morning I got on a plane and flew to Africa
for seven months to shoot "Generation Kill" ... I had a big part, a very good part, and that
required a lot of work for me. But it was another wonderful job. And it was another military
job. [laughs] Which is something I'm becoming very familiar with. It's a great show, and I
really am proud to be a part of it. So many soldiers of different branches of the military,
of different countries, have approached me in the streets, the subways, you name it, and
said, "I just want to let you know, that was legit." That's the word that I hear a lot from
soldiers. I think there are war movies that come out that are not realistic to the guys
who've actually been there. They are Hollywood versions of what it's really like.
"Generation Kill" is a close-to-true account of what it's like over there. It's not always
exciting, it's not always explosions and guns going off. There's a lot of down time, and
that's what the series is. There are only two episodes in the [seven show] series that have
big fire fights in them. Most of the time you're on the road, you're moving. It's boring.
There's bureaucracy and frustration. It was just really neat to have that experience and to
continue to have that experience, because people are continuing to buy it on DVD and catch
up.
BH: How was it to work with David Simon?
SS: He was great. Also, "Generation Kill" is another show where I am still very close with
all of those guys. That was like being sent off to summer camp for seven months with a bunch
of guys. There were very few girls in that series, so it was like a fraternity almost. We
stayed in a hotel during the shoot, and there were so many of us that we took up the whole
hotel. There was nobody in the hotel but us, so we were running around the halls and horsing
around and it was a blast. They are still some of my best friends, all of them. But David is
great. He is very smart and he is very particular. He has a very particular style. You know
you're watching a David Simon show if you see the first episode and you are lost for the
first half hour ... He doesn't waste your time doing a lot of exposition or introducing the
characters. He just says, "Here's the beginning of the story. Pay attention because it will
pay off."
BH: You were in an excellent production of Twelfth Night in Central Park last summer. What
was that like?
SS: That was great on so many levels. It was a great place to work. It was great just to
get paid to hang out in Central Park every day. [laughs]. I've never had an audience like
that. The vast majority of those people paid with their time, waited around all day.
Sometimes waited through the rain because they wanted to see this show. If they were lucky
enough to get tickets, they already were rooting for you, they already were on your side.
Just on paper Twelfth Night is a fantastic play. But the cast that [director] Daniel
Sullivan assembled was amazing, people I was lucky enough to work with and have basically an
acting lesson from every day.
Stark Sands, John Gallagher, Jr.
and Michael Esper
BH: Just before you started working on American Idiot you were in the new musical Bonnie &
Clyde at La Jolla Playhouse with Laura Osnes. That may head to Broadway.
SS: I was involved in Bonnie & Clyde from the beginning. We did two readings in New York
about six months apart, and then we took the show to La Jolla. I built the character and I
love all the people I got to work with. The creative team is just fantastic. What happened
was a timing issue. When we finished at La Jolla, the future of the show wasn't concrete. We
knew there was a good chance it would live again but nothing was in stone. I'm in the
position as an actor that I have to continue searching for work. With my fingers crossed for
Bonnie & Clyde I went on an audition for American Idiot. Two weeks after I got American
Idiot we found out that Bonnie & Clyde was going to Florida. Hopefully from Florida it will
go to Broadway. I will not be part of the Florida cast and it guts me but it's just the way
things are.
I'm so excited for them. It's such a wonderful production and it's a really strong piece.
[Director] Jeff Calhoun and [composer] Frank Wildhorn and [book author] Ivan Menchell and
[lyricist] Don Black, that whole team is outstanding. But there's a give and take. I created
that role and though I will not be able to continue with it at least on the next phase, on
the flip side, I've taken a job that I did not create. I didn't originate this role in the
Berkeley Rep production and I have weird feelings about taking this job, because I know what
it's like. There's a bittersweetness about the whole thing.
BH: I was reading an article about Bonnie & Clyde which mentioned that the story taps into
the populist anger of our time. It occurred to me that American Idiot does the same thing,
although in a very different way. Any thoughts?
SS: With Bonnie & Clyde I was playing a real guy, so I had a lot of research material. I
got to read a lot of books and interviews and watch specials from the Discovery Channel and
build my version of who Clyde Barrow was. He was an angry guy. He was angry at society and
the police and the culture—the banks and the poverty and people who wouldn't give him a
chance.
In American Idiot, the character I'm playing is more fluid. I sat down with Michael Mayer to
talk about the character and together we got to create him. Michael's idea was, "I want you
to be the angriest guy on the stage at the beginning. Over the course of the show I have a
very specific arc and there's something very satisfying as an actor and I think as an
audience member about starting in one place and having a journey so that you end in another.
It's kind of essential to a story. So, he let me run with it. I created all this back story
which is useless for anyone but me. There's no dialogue in this show to explain why I have
twelve tattoos all over my body, or why I'm angry, but as long as I know why that's fine.
I've got my made up stories from this kid's childhood and stories involving his father and
mother which help me connect the dots from song to song in the show. But he is angry at the
world, he is angry at himself, and he's angry at the time that he has wasted. He's angry at
the crappy little town that he's stuck in. I do see some similarities, now that you bring it
up. It's funny. I switched off from Clyde and switched onto Tunny once I got this job, but
you've made me realize that there are some connections there.
BH: You come to your parts very well prepared. I read that by the first rehearsal for
Journey's End you already knew all of your lines. You did a lot of reading in preparation
for Bonnie & Clyde and for Journey's End as well. Here, you were a big fan of Green Day,
coming into this show, and of course you were around during the time period in which the
show is set. What additional research did you do to prepare for this part?
SS: It made sense to me to start with the music. I asked the band and others what kind of
music this kid would have listened to during his teenage years. [Then I immersed] myself in
hard core music and early punk music, like Black Flag and Minor Threat and Bad Brains.
Seventies punk all the way through to Fugazi and bands that I avoided when I was a kid. I
[preferred] Green Day, Pearl Jam, more melodic music. It's been really enlightening because
what I thought was just angry music is so much more than that. If you sit down and listen to
the lyrics of some of these songs, they are really intelligent. It helped me tap into the
frustration that somebody like this would have.
Also, this is the first time I've played a character who joins the military. I've played
military a lot, but always somebody who's already in. This time I'm a guy who's actually
been anti-military his whole life, but something happens during the show that makes him
join. Those are some of the feelings that I explored, just in my head walking around and
thinking about it. What would make somebody want to join up? I know that when September 11
happened I went through the typical emotions of a lot of young men at the time, to the point
where I almost went, "Where do I sign? What can I do to make this stop?" It was a scary
time.
BH: What else do you do to bring the character to life on stage?
SS: There's an album by Iggy Pop called "Raw Power" that I wasn't aware of until we started
performances. My castmate Theo Stockman asked me if I'd heard it, and he said, "This is
going to change your life. This is going to be your thing for what you've created." If I'm
ever in a different place and if I'm ever distracted, I put on my headphones and listen to a
song from that album called "Search and Destroy." That's all I need. There's something
magical about that song, its pure rage and power. It will always get me into the right mind
set. The lyrics are "I am the world's forgotten boy." That right there will get me in the
right mind place.
BH: The show has been described as being about disaffected youth who were disgusted with
Bush, the news media and authority figures. It struck me that the reaction of the characters
is more visceral. They are barraged with images, frustrated with the world that they're
given, but I don't know if they've articulated or defined their anger so precisely.
SS: I've been asked the question, "Which character in the story is the American Idiot?" You
just listen to the lyrics of the title song, which starts with the line, "I don't want to be
an American Idiot" [and you realize that's not what the title means.] The first thing you
see in our show before the music starts is a bunch of people laying around looking at TV.
People in my generation grew up with so much technology. There are things that I couldn't
even imagine having when I was a kid. A cell phone? Text messaging? Now an iPad? My kids
will not know what it's like to not be connected at all times. The direction we're moving is
this immediate satisfaction and media saturation, where it's very easy to get sucked into it
and get distracted by it and not do anything. So disaffected—maybe that's what they used to
be, and these three guys finally get the impetus ... to get away from being disaffected.
They challenge themselves to find out what the point is, why they're around and what they're
meant for.
BH: Here, you tried to get in touch with Tunny's anger. You also talked about trying to
understand Clyde when you did press for Bonnie & Clyde. I interviewed Frederick Weller when
he did Glengarry Glen Ross, and he said he always had to find something with which to
sympathize in his characters. Do you feel the same way?
SS: The last two shows, with Bonnie & Clyde and American Idiot, are the parts I've played
that are farthest from myself. Most of my career has been built upon playing those earnest,
innocent, nice guys. And that's sort of who I am in real life. That's how I carry myself.
I'm laid back and not really angry. I don't have twelve tattoos. I'm not that guy. But at
the end of the day I can't play a character unless I can find a shade of myself inside it.
Specifically, the way I've been able to find the rage in this guy is, well, in reality I did
lose my dad. I loved my dad, my dad and I had a great relationship. But I know what's it's
like to lose your dad. I know that sometimes I get angry about it and I think it's unfair.
But always I can say it's alright because I had time with him and I was able to tell him
everything I ever wanted. I have no regrets about not saying something.
But, what if I hadn't? And that's where I got this character. What if my dad had wanted me
to be something else and I was never good enough ... if he kept pushing and pushing, and I
could not give him what he wanted, I decided to do everything the opposite of that, and get
twelve tattoos and hang with the wrong guys, and drink and do drugs and do everything to
push his buttons and shove it in his face. What if it ruined my relationship with him, and I
was stubborn about it, and we stopped speaking ... because he's stubborn too, and then one
day he died? And my attitude was all a front, all of it was a mask just to make him angry
and it was a complete waste of time. Now, I don't even know who I am because I've done all
of this for years, and we've never had the chance to apologize to each other. That's sort of
where I'm coming from with this guy. Built upon the fact that I know what it's like to lose
my dad.
I will say again, just so it's clear, this is not my story. Both my mom, who is still
around, and my dad were always supportive. I love my parents and my family. I know my dad
would be proud of me and I have no regrets. Also, it's not Michael's story. I created this
back story for myself and he signed off on it.
BH: You've said you love the repetition of performing the same show night after night. What
helps you keep the performances fresh?
SS: I do, I still do. What makes it fresh for me is that, especially in a show like this,
there always is something new. The audience, without fail, is new every night. Sometimes
there are good audiences, sometimes they are quiet, sometimes they are raucous. But they're
never quite the same. Another thing is that in a show like this there are so many moments
that are intentionally random. There's a moment toward the beginning of the show, when Mary
Faber, who plays Heather, is looking at a home pregnancy tests and all the guys in the cast
start moving around her. They never set that scene, they just said, "Don't bump into each
other, but do it however you want." So that's different every night. In the flying [where
Tunny is suspended in the air], it's always different because I don't have control. However
I prep for that jump, for that flight—that's what's gonna happen. Also, as an actor and a
singer, sometimes my voice feels different and I have to adapt to it. Sometimes there's more
emotion in my body than I thought I would have, other times less. It just doesn't get old.
That's one of the reasons I love it.
BH: What else should people know about American Idiot?
SS: I don't read reviews and I try to stay away from blogging and user reviews about my
shows. But my understanding is that there are Green Day purists who are against the idea of
a Green Day musical, and theater purists who think a Green Day musical is not a legitimate
thing. I want to encourage people who are skeptical about the show to come see it. I'm not
saying they're all going to be convinced, but don't make up your mind yet. See the show.
There are $32 seats in the balcony so you can give it a try.
BH: You've said that you enjoy screen and stage work but since Journey's End have felt
pulled toward theater.
SS: I studied theater in high school and my degree is a BFA for acting in theater. I got
into film and television because I was in Los Angeles. And I was really lucky. I worked a
lot. But once I started doing this—I'm drawn to it. On the flip side, it seems to be
pulling me here. Since Journey's End, the momentum has been here, and it's hard to walk away
from it. I'm certainly not going to give up on my pursuits as a film and television actor.
Still, it's a scary thing to walk away and say, "Everything's going great in the world of
theater, but I want to go to LA and start over."
I live in Los Angeles and I keep an apartment in New York, ever since Journey's End, but
I've spent probably 75% of my time since Journey's End living in New York working on plays.
This is my second Broadway job, but I did The Tempest at the Classic Stage Company [in
2009]. I went to the McCarter for The Seagull in the Hamptons [in 2008]. I did Twelfth
Night. Then I went to La Jolla for Bonnie & Clyde. There's something immediately satisfying
about theater. It feels like home.
虽然看了觉得很多，可是英语高手应该看得很溜德的吧
我本人能翻译一些，但是因为生词太多查（谷歌）得太辛苦，，所以恳请各位帮忙了 .如果需要报酬也可以和我商量 |
发表于 2010-8-22 12:55:52
楼主
发表于 2010-8-22 14:44:56