Name: 為什麼不可能再拍一部好的侏羅紀電影？ (Why Is It Impossible To Make Another Good Jurassic Movie?)
Uploaded: 2022-08-03T21:01:20.000Z
Duration: 9 min 50 s

不、不、不，你沒有說通關密語。

- Uh-uh-uh.  - God damn it, I hate this hacking crap!

- 不、不、不。 -該死的，我恨透這些黑客鳥事了！

"Jurassic Park" has defined, for decades, what we call a blockbuster.

《侏羅紀公園》定義了我們數十年來所謂的「賣座鉅片」。

It's as near a perfect film as you can find.

這是你能找到最接近完美的電影。

And yet, in the five attempted sequals, despite almost a billion dollars being spent, none of them possess even a shred of the imagination and ingenuity of the original film.

然而，在經過五部續集的嘗試、儘管花費近 10 億美元，沒有任何一部電影擁有首部電影的一絲想象力和獨創性。

Released in 1993, directed by Steven Spielberg, with a screenplay by David Koepp, and based on Michael Crichton's 1990 novel of the same name, "Jurassic Park" became the quintessential summer movie.

在 1993 年上映、由史蒂芬·史匹柏執導、大衛·柯普編劇、改編自麥可·克萊頓同名小說的《侏羅紀公園》 成為暑期電影的典型。

And all the parts were there to make the engine run:

An expert filmmaker at the top of their game, top-tier effects studios ILM and the Stan Winston company,

一個處於事業巔峰的電影製作專家、頂級的特效工作室「光影魔幻工業和斯坦溫斯頓公司」、

John Williams writing the score, two lead actors who embodied their characters in Laura Dern and Sam Neill,

約翰·威廉斯創作配樂、完整體現角色性格的蘿拉·鄧恩和森·尼爾兩位主演、

and two future cultural phenomenons in Jeff Goldblum and Samuel L. Jackson.

以及兩位未來電影界的奇才傑夫·高布倫和塞繆爾．傑克遜。

It was the amber-encased thrill ride that movies would pull from for decades, including its own franchise.

《侏羅紀公園》由被琥珀包裹的蚊子展開的刺激冒險在數十年來讓包括其續集在內的無數電影汲取靈感。

Everything about this movie just works, and audiences responded.

這部電影的一切都很成功，而觀眾們也給予迴響。

It was the highest-grossing movie of the year, beating out the number two, "Mrs. Doubtfire", by over $100 million.

它是那年票房最高的電影，以超過一億美元的優勢擊敗了排名第二的《窈窕奶爸》。

They wanted something only the original movie has delivered⏤spectacle and wonder.

他們想要的東西只有首部電影做到，也就是壯觀的場面和奇蹟。

The wonder of "Jurassic Park" is really such a simple idea that it's almost impressive none of its sequels have been able to replicate the formula.

《 侏羅紀公園》的神奇其實不過是個簡單卻又令人印象深刻的概念，卻沒有任何一部續集成功複製它的模式。

Present the audience with a relatable idea or memory, say, a theme park, maybe, then introduce your lovable and slightly naive characters to the familiar setting.

向觀眾呈現能引起他們共鳴的想法或記憶，假設是一座主題公園，然後在那熟悉的場景當中介紹可愛且略帶天真的角色。

Only in this world, their wildest dreams are true.

只不過，在《侏羅紀公園》這個世界裡，他們最瘋狂的夢想會成真。

Let the audience revel in their awe and wonder.

Then let them see what happens when that wonder becomes a horrific nightmare.

然後讓他們看看當奇蹟轉變可怕的噩夢時，會發生什麼事。

And "Jurassic Park" definitely and precisely steers that question, whereas the sequels seem not to have as much of an interest in asking you questions as much as cheering along with the audience.

《侏羅紀公園》確實且精準地引導了這個問題，然而比起朝著觀眾拋出這些問題的興趣，續集似乎更想跟觀眾一起拍案叫絕。

After the worldwide success of "Jurassic Park", Michael Crichton agreed to write a sequel in 1995 that went directly to the studios and was loosely adapted into "The Lost World: Jurassic Park".

在《侏羅紀公園》獲得全球成功之後，麥可·克萊頓同意於 1995 年撰寫續集，後來直接由電影工作室製作，並被草率地改編為《侏羅紀公園2：失落的世界》。

"The Lost World" was the first hint at the franchise's future, bending over backwards to accommodate us, not inspire wonder.

《失落的世界》是暗示了這部系列電影未來的第一個暗示：極力迎合觀眾，而非引發驚嘆。

Screenwriter Koepp has often told a story about receiving a letter from a fan saying,

編劇大衛·柯普經常分享有封粉絲來信寫著：

"Don't have a long, boring bit at the beginning that has nothing to do with the island."

「不要在片頭加入冗長、無聊又和島嶼毫不相干的橋段。」

The writer has spoken often of keeping that letter while he wrote the sequel, a sort of anchor to remind him of the audience's wants.

這位作家經常提到自己在寫續集時，會將那封信放在心上，作為提醒自己觀眾需求的基礎。

So, Koepp starts us on the island, but then quickly bends to trends of the time.

因此，柯普以這座島嶼作為故事開端，但很快地便向時代潮流屈服。

With disaster movies running rampant in the box office in the mid-to-late '90s, "The Lost World" was borderline pushy to tack on a rampant dinosaur lose in the city.

因為 90 年代中、後期，災難片在電影業中橫行，《失落的世界》的劇情被迫往這個方向發展，讓不受控制的恐龍肆虐城市。

Where the first film showed something comfortable and then warped the idea to engage us, "Lost World" finds itself tethered to its own success, afraid to venture into the uncharted waters of uncertainty.

第一部電影先展現讓人熟悉的概念，然後進行反轉讓觀眾投入其中，但《失落的世界》卻因為害怕探索未知領域而束縛了接下來的成功。

Released in 2001, "Jurassic Park III" was directed by [a] friend of Spielberg, Joe Johnston.

2001 年上映的《侏羅紀公園 3》由史匹柏的朋友喬·約翰斯頓執導。

In another attempt to latch onto what it thinks made the original important, "III" focuses on familial connections.

企圖要與其自認為首部電影之所以重要的核心呼應，《侏羅紀公園 3》以家庭連結作為重點。

It lays its thesis of "everyone needs family" front and center by having Grant visit Sattler and her nuclear family at the movie's opening.

透過在電影開頭讓 Grant 拜訪 Sattler 和她的核心家庭，它提出了「每個人都需要家庭」的論點。

Then there's the usual setup of "Grant needs money for science", which makes him agree to a flyover of the island that turns into a rescue mission.

接下來便是 Grant「需要錢進行科學研究」的慣例設定，促使他同意參與一場最終變成救援任務的島嶼檢閱飛行。

It's for a separated couple to find their lost child.

為一對分居的夫婦尋找走失的孩子。

Of course, through "III's" narrow vision of family, the couple must get back together to save their child, and not just co-parent.

當然了，透過《侏羅紀公園 3》對家庭的狹隘理解，這對夫婦要挽救孩子，必須復合，而不只是共同養育。

Only "Jurassic Park" was never about blood family⏤it's power laid in found family.

只是《侏羅紀公園》從來就不是在講有血緣關係的家庭，它力量在於因選擇而獲得的家庭。

We saw people work with one another and survive for each other all out of a shared love, a feeling that brought those people together and made us cheer for them.

我們看到人們彼此合作，並為對方而生存，這是出自於共同的愛，一種把這些人凝聚在一起的情感，讓我們不禁為他們喝采。

Whether you believe Sam Neill's Dr. Alan Grant and Laura Dern's Dr. Ellie Sattler had been romantically involved in the first film,

無論你是否相信森·尼爾所扮演的 Alan Grant 博士和蘿拉·鄧恩扮演的 Ellie Sattler 博士曾否在第一部電影中墜入情網，

this movie almost demands that Grant pines over a memory that was never stated as existing, only inferred by some fans.

這部電影卻幾乎要求讓 Grant 沈迷於一段從來沒有被主張存在過、單由某些粉絲推斷出來的記憶。

- Look at the extrao⏤  - What'd you do?

- 看看這非同尋常的──  - 你做了什麼事？

He touched it. Dr. Grant's not machine-compatible.

他摸了它。Grant 博士和機器不合。

For a while, it seemed like that might be it, until "Jurassic World" in 2015.

有一段時間，一切似乎都已經畫上了句點，直到 2015 年的《侏羅紀世界》。

Spielberg had said he originally had an idea for a fourth installment in 2005 but was too busy.

史匹柏曾說，他原本是有在 2005 年製作第四部作品的想法，但他太忙了。

The film was delayed and rewritten again for almost a decade until Colin Trevorrow helmed the reboot sequel, based on none of Spielberg's original ideas.

該片因而被延後，並花近十年的時間來改寫，直到由柯林·崔佛洛重啟該續集，並不基於史匹柏任何原本的想法。

"Jurassic World" is a movie that goes out of its way to shoehorn the idea that "Jurassic Park" happened, and therefore, all its equals.

《侏羅紀世界》這部電影竭盡一切傳遞《侏羅紀公園》確實發生過的想法，所以所有續集也都是真實。

Whereas the first movie contemplates whether or not that was a good idea, "Jurassic World" says, "We know it's a bad idea, but shut up. Dinosaurs."

雖然首部曲探討了恐龍存在是否為好主意，《侏羅紀世界》傳達的想法是：「我們知道那是壞主意，但閉嘴吧。有恐龍呀！」

When "Jurassic Park" showed the dinosaurs, there was a reverence in Dean Cundey's cinematography.

當恐龍在《侏羅紀公園》出現時，迪恩·康迪透過電影的拍攝手法表達對恐龍的敬畏。

Both Spielberg and Cundey are on record having said they wanted the camera to be a character, so Cundey put the camera low.

史匹柏和康迪都曾說過他們希望攝影機成為電影中一個角色， 所以康迪把攝影機放得很低。

Dinosaurs walked past almost godly in their indifference to man, and we felt small around these creatures, not scared.

恐龍幾乎像神一般地經過人類身邊，對於他們的存在毫不關心，而我們在這些生物周遭感受到的不是害怕，而是人類的渺小。

但《侏羅紀世界》想讓你感到害怕。

Not because it wants you to question your own place in orbit of these dinosaurs.

不是因為它要你懷疑自己在恐龍眼中的地位。

It wants you to feel powerful when you inevitably learn: They can be tamed.

它希望你在最終了解「牠們是能夠被訓服」時，感受到自身的強大。

Which brings us to our main character, Owen, an animal trainer whose sole characteristic seems to be making dinosaurs submit.

我們這就可以提到主角 Owen，他是一個馴獸師，唯一的特點似乎是讓恐龍屈服。

Where the first movie gives us endearing scientists, mathematicians, and eccentric millionaires with childlike joy,

首部曲介紹了可愛的科學家們、數學家們以及和保有童真童趣的古怪百萬富翁，

"Jurassic World" gives us a shockingly ripped member of "Parks and Rec" racing dinosaurs on a motorcycle.

《侏羅紀世界》則是介紹了影集《公園與遊憩》渾身肌肉的男子在摩托車上與恐龍賽跑。

It is, again, hammering home the idea that joy and wonder are gone from the franchise.

它再次地讓大家請楚地知道，系列電影已經失去了原本的趣味與驚奇。

Our introduction to Owen is witnessing a weak, scared employee being eaten by a raptor.

我們初次見到 Owen，是在目賭一個軟弱、害怕的員工被一隻迅猛龍吞噬的場景。

We're shown the danger of these creatures, but the movie insists we are in safe, reliable hands when Owen subdues the creature.

我們看到了這些生物的危險性，但電影堅稱 Owen 會制服這個生物，給我們安全且可依靠的環境。

"Jurassic Park" raised questions about humankind's responsibility and power.

《侏羅紀公園》拋出了關於人類責任和力量的問題。

"Jurassic World" seems to think the power rests in dominance.

《侏羅紀世界》則似乎認為力量關鍵在於支配能力。

It is genuinely offensive to be told by the movie: This is you; this is what you want, right?

當電影跟你說：「這就是你，這就是你要的，對吧？」時，真的是非常冒犯人的。

There's definitely no wonder or blanks to be filled.

絕對沒有什麼奇蹟或需要填補的空缺。

Where we once had characters in awe of what they see, here, we have characters who insist on control.

我們曾經看到對所見一切充滿敬畏的角色，但在《侏羅紀世界》中的角色卻堅持有掌控權。

They will absolutely be helpless when another action scene is needed despite any previous information or character traits.

不管先前是否有任何訊息或性格特徵，當需要又一個動作場面時，他們絕對會變得束手無策。

The movie wants us to empathize with these people not because it has put in the work, but because the movie says so.

電影希望我們能與這些人產生共鳴，不是因為他們有努力營造，而是因為電影說我們必須如此。

Then we have "Jurassic World: Fallen Kingdom."

然後我們便有了《侏羅紀世界：殞落國度》。

In an attempt to course-correct again, "Fallen Kingdom" revisits horror.

為了試圖重回正軌，《殞落國度》重溫了恐怖情節。

They hire J.A. Bayona, director of "The Orphanage" and "A Monster Calls".

他們聘請了《靈異孤兒院》和《怪物來敲門》的導演 J.A. 巴亞納。

Only in the original, Spielberg deftly managed the horror with awe, where "Fallen Kingdom" doesn't have anything to say about the majesty of these creatures, just the terror.

只不過在首作中，史匹柏熟練地運用敬畏之心營造恐怖氛圍，而《墮落國度》除了恐懼外，對於這些生物的崇偉就沒有多加著墨了。

"Jurassic Park" genuinely pondered the delicate balance between humankind and nature.

《侏羅紀公園》真正思考了人類與自然間的微妙平衡。

It wondered how those ideas coexist in a delicate symbiotic relationship.

它想知道這些想法是如何在一個微妙的共生關係中共存。

But there's no balance in "Fallen Kingdom".

We're left with the idea of power, and that power rests solely on humankind, represented by animal trainers and business managers.

僅僅剩下權力概念給觀眾，而這樣的權力完全取決於人類，由動物訓練師和企業家做為代表。

Trevorrow has stated that he believes the main character is Claire Dearing, played by Bryce Dallas Howard, as the park's operation manager.

崔佛洛曾表示，他認為主角是公園的營運經理 Claire Dearing，由布萊斯·達拉斯·霍華德飾演。

Dearing is given the familiar trope of a workaholic who has no time for a family without exploring the ideas of whether she wants a family or what family means to her

Dearing 被賦予我們熟悉的工作狂形象， 她無暇組成家庭，也沒有探討過自己是否想要擁有家庭或是家庭對她的意義，

other than the rigid traditionalism the movie thrusts on her more often than the high heels she's forced to wear the entire time.

在她身上出現的僵化傳統主義只體現在整部電影中強迫她一直穿著高跟鞋。

But why, then, did the writing, directing, and audience itself push Owen to the forefront?

那為什麼後來的編劇、導演和觀眾本身把 Owen 推到第一線？

Honestly, it seems to be the new movie's fear of questions.

說實話，原因似乎在於新片對提出問題的恐懼。

It can be complicated to talk about family, parenthood, and relationships.

要談論家庭、親子關係和人際關係可能很複雜。

There's subtext and nuance around these ideas, and, by the movie's own marketing, it's a lot easier to focus on the hot guy riding a dirt bike.

這些想法隱含了弦外之音和細微差距，而就電影的行銷手法來看，將焦點關注在騎著越野車的帥哥要容易得多。

"Jurassic Park" did become the cautionary tale Crichton set out to write, even if it wasn't the caution he necessarily intended.

《侏羅紀公園》在克萊頓的筆下確確實實地成為了警世故事，即使這未必是他本身有意傳達的告誡。

That movie is more than the sum of its parts.

那部電影的意義比其各部分的總和還要多。

It exists as a creature feature, a thriller, a scientific morality play, an unapologetic story of found family, and most importantly, it's the story of characters in wonder of the world they have found themselves.

它是一部生物長片、一部驚悚片、科學道德片、發現家庭真正真諦的故事，以及最重要的，它是關於身處這個充滿驚奇世界的各個角色。

The original "Jurassic Park" was released in 1993, and as we approach 2023, the world is a different place.

原版《侏羅紀公園》於 1993 年上映，而隨著我們邁向 2023 年，世界已經和當初不同。

We genuinely hope the new "Jurassic World: Dominion" will use the wonder and awe of "Jurassic Park".

我們真心希望全新《侏羅紀世界：統霸天下》能夠重現《侏羅紀公園》中那些讓人驚嘆連連的奇觀。

Quite honestly, it's something we need right now.

說實話，這正是我們現在所需要的。

The world can feel big and scary with leathery skin and large teeth, but the answer isn't "Lost World's" cynicism, it isn't "III's" insistence on genetic family, and it sure isn't something you can bend to your will.

這個世界還是會對於恐龍的皮囊和獠牙產生壓迫以及恐懼感，但不是因為《失落的世界》中的憤世嫉俗、 不是《侏羅紀公園 3》對於原生家庭的堅持，更絕對不是可以按照你意願執行。

And "Dominion" seems, at least on the surface, to agree.

而《統霸天下》似乎至少在表面上同意這點。

With Sam Neill, Laura Dern, and Jeff Goldblum returning to revive their characters, maybe we will get the deft slight of hand of the original blockbuster, but...

隨著森·尼爾、蘿拉·鄧恩和傑夫·高布倫回歸扮演他們的角色，也許我們將會看到原版大片的精髓，不過⋯⋯

while this is the first time all three have been together since the original, it's not the first they've appeared.

雖然這是繼首集以來，三個人的第一次重聚，但這並不是他們在這系列電影中首次出現。

There was an optimism for the world through Spielberg's lens, a question posited and answered very simply.

這部電影在史匹柏的鏡頭下產生了一個樂觀的前景、提出一個問題，且被簡單地回答。

When you see something so beautiful, so fantastical, even if it seems big and scary, how can you look upon it with anything other than wonder?

當你看到這樣如夢似幻的生物，即使它看起來又大又嚇人，你的眼中怎麼可能存在驚嘆以外的東西呢？