-Yo, what's up with your shoes bro, if you're going to be a clown the least you could be is a good one, you know that right? -Nice outfit man.

-嘿老兄，你鞋子不錯喔，如果你想當小丑，至少要好好當，你知道的吧？ -衣服很水喔！

Grab it!

把它搶走。

Go go go!

快跑、快跑、快跑！

Hey!

嘿！

The main job of a director, even all this stuff we talk about, cameras and depth of field and sets and wardrobe, I think really what a director is, is a purveyor of tone and I think the thing I'm most proud about this film is that unsettling tone.

導演主要的工作是，即使我們提過其他東西像是攝影機與景深、取景和服裝等，我覺得導演其實是「氣氛供應商」，而這部片我最感到驕傲的部分就是詭譎的氣氛。

That sort of slow, ramp up into insanity.

那種慢慢迭起至發瘋的感覺。

It's day 18 of the garbage strike, with 10,000 tons of garbage piling up everyday, even the nicest sections of the city are looking like...

今天是清潔員罷工的第 18 天，每天堆積了一萬噸的垃圾，即使是城市內最好的區域也看起來像...

So I always obsess over the opening shots of movies.

我一直以來都很在意電影的開場戲。

My movies, the movies I watch, I think it's a great way... it's a great storytelling device, the very opening of a film.

我的電影以及我看的電影，我覺得那是一個訴說故事很好的媒介，就在電影的開頭。

We have the benefit in this scene of the local news playing underneath it and we meet Arthur there alone at the mirror as he's putting on his makeup.

這個場景的優點是背景正播放著當地新聞，而我們看見亞瑟獨自在鏡子前化妝。

So this was scene was shot pretty early in our schedule and it's a practical location, meaning it's not a build, we're in a real second floor storage facility up in Harlem on the far west side of Manhattan.

這一幕蠻早就安排在我們的拍攝進度裡，而且這是實體地點，代表它不是搭建的場景，我們人真的在哈倫區某個倉庫的二樓，在曼哈頓的最西邊。

It was a beautiful space with this very sparse view of the underside of the West Side Highway, this sort of structure that holds up the West Side Highways, these things we're seeing out the window there.

那是一個很美的空間搭配西側公路下方很寥落的景色，那是支撐西側公路的某個建築，從窗戶看出去的那些東西。

And we thought it was a great place for Haha's, which represents the agency that kind of rents out clowns and strippers and magicians and it's where Arthur works and we find him at the beginning of the film.

而我們覺得這非常適合 Ha-Ha's 公司，出租小丑、脫衣舞孃和魔術師的公司，那是亞瑟工作的地點，也是我們在片頭看見他的地方。

It affects my business when customers can't get in here because of the garbage situation.

影響了我的生意，因為客人被垃圾堵住進不來。

I'm not out there long enough to smell it, but I think to look at it it's terrible.

而且他們獨自在外面聞到，但我覺得看著就糟糕。

Everything in the movie is meant to be unsettling.

電影中的一切都應該讓人感到詭異。

So anytime we kind of move the camera intentionally, like this, it was always to give off this kind of unsettling vibe of this guy who's pretty much separated from everybody else, even in this locker-room space.

所以每次我們像這樣故意晃動攝影機都是要表現出這個人身上詭譎的氣氛，他幾乎算是被其他人隔離，即使在更衣室內也是

You hear the voices of four or five guys over here playing cards and talking about whatever and Arthur's here, alone, kind of not part of the group, figuring out how to keep a smile on his face.

你會聽見四或五個人在打牌和聊天的聲音，而亞瑟獨自在這裡，不屬於那個團體，並在想辦法維持臉上的笑容。

And one of the themes in the film is smile and the idea of putting on a happy face, his mother told him that he was born to bring joy and laughter into the world.

這部電影裡其中一個主題就是笑容，以及假裝自己很快樂，他的母親告訴他，他生下來就是給世界帶來喜悅與歡笑。

And is something that Arthur wrestles with throughout the movie.

而這也是亞瑟在整部電影中掙扎的一件事。

So in this scene we find him as he's literally pulling up his mouth and putting down his mouth, sort of fighting the comedy, tragedy that is his life.

因此在這一幕中我們看見他將自己的嘴巴往上與往下拉扯，抗拒著他半喜劇與悲劇的人生。

It was really important to me and Lawrence Sher, my cinematographer, that the movie have a handmade feel.

對我和攝影師勞倫斯謝爾來說重要的是，這部電影要有手作的感覺。

We wanted it to feel, we thought that would lend itself to the intimacy that we're trying to get with this character study of Arthur.

我們認為這個手法更能私密地刻劃出「亞瑟」這個角色。

So you'll see in this scene, you can feel there's an operator there and that's all really intentional, and we also loved these kind of extreme close-ups on Arthur.

所以在這一幕中，你會感覺那裡有位操作員，而那確實是故意的，我們也很喜歡這些近拍亞瑟的鏡頭。

The idea of the National Guard moving in and cleaning up is a good idea.

讓國民兵進來清掃是一個好主意。

In other news, the building industry and landlords today...

另一則新聞是，今天建築產業與地主們...

That by the way, right here, that tear, it just happened in one take.

順道一提，這裡出現的淚珠，居然一次就拍成功。

Joaquin has a really interesting process.

瓦昆有一個很有趣的入戲流程。

He's not as, a lot of people always assume Joaquin would be a method actor and that, people use that term loosely, but where he's lost in the part.

很多人總以為瓦昆是「方法派」的演員，而且大家對這名詞的定義頗為鬆散，不過他會沉浸在角色裡。

The beautiful thing about Joaquin is we, we were shooting this movie and we'd spend half the time just laughing off set and having a good time.

瓦昆厲害的一點是，我們在拍電影時，我們有一半的時間都在場外大笑和玩耍。

But he's so amazing that he's able to then sit down, action gets called, and we do this slow push in and if I think I remember it right, in this particular scene I was playing the score for him, in the room, because we had Hildur Gudnadottir who is our composer, I had her write music before we shot the movie, which isn't done very often.

但他厲害的是之後能淡定地坐下，有人喊了「開拍」，我們就會慢慢進入狀態，如果我記得沒錯，特別在這一幕中我在房內播放配樂給他聽，因為我們有請作曲家希爾杜古納多提瑞，我請她在電影開拍前作好配樂，這點並不常見。

And she wrote it based on the screenplay and I wanted that because I wanted the music to really affect and infect the set in a way.

她便根據劇本做好了配樂，我想這麼做是因為我希望配樂能夠影響並感染整個片場。

Really kind of even, the camera operators, the set dressers, the wardrobe, everybody to feel this music, and if I remember correctly we were playing her score when we were shooting this.

甚至連攝影機操作員、佈景人員、服裝部與大家都感受到音樂，若我記得沒錯，我們拍這幕時正播放她的配樂。

And all of a sudden as Joaquin is struggling with Arthur's smile and his frown and figuring out again if his life is a comedy or a tragedy, this little tear appears and we just had the scene and we moved on.

結果突然，當瓦昆在演亞瑟掙扎的笑容與愁容，並試圖決定自己的人生究竟是喜劇還是悲劇時，這顆小淚珠就出現了，我們就拍好這場戲並進行下一幕。

We called this set Gotham Square.

我們稱這個片場為「高譚市廣場」。

And this is sort of our version of Times Square, the busy kind of market of Gotham in 1981.

這算是我們版本的「時代廣場」，1981 年高譚市熱鬧的市場。

And this is interesting because we shot this in Newark, New Jersey and here's Arthur down there, this little clown in this big, imposing world.

而這很有趣，因為我們是在紐澤西州紐瓦克市拍攝，然後亞瑟在這裡，這名身在偌大世界裡的小丑。

I would say pretty much everything from here [to] back here is CG world building.

我會說大概從這裡到後面，都是 CG 數位造景。

The only real stuff is what you see here in the foreground.

唯一真實的東西就是在前景這裡。

We put up things like that, you know we built this theater, changed it into a porn theater of this time, practically we did all that, but yeah, all this deep background stuff, even those cars and the buildings, that's all put in later in post.

我們建造了這種東西，我們打造了這間劇院，把它改造成當時的色情電影院，這幾乎全部都是我們蓋的，不過這些遠景，甚至連車子與建築物，那些都是後製上去的。

I always think this shot is particularly beautiful and helps in just setting the stage of Arthur's world.

我總覺得這個鏡頭特別漂亮，並有助於打造出亞瑟的世界。

And this is really where Arthur is at home.

這也是亞瑟最舒適的狀態。

He's got a mask on, he's pretending to be somebody else and he gets lost in his work.

他戴上了面具，他假裝自己是別人，並且沉浸在自己的工作裡。

It's also where we learned that Arthur has music in him.

觀眾也在此發現亞瑟具備的音樂才華。

Something I conveyed to Joaquin was that Arthur is a guy that has music in his soul and that will continue when he transforms in Joker.

我和瓦昆溝通的其中一點是，亞瑟是一個內心充滿音樂的人物，這點在他轉變成小丑後也會保留。

And this is one of the visual representations of him having that music.

而這就是展現他音樂性的一個畫面。

Joaquin probably practiced with this sign for about two or three days.

瓦昆大概拿著招牌練習了兩、三天。

It was more complicated than it looks.

這做起來比看起來還要複雜。

Grab it!

把它搶走！

Go go go!

快跑、快跑、快跑！

Hey!

嘿！

And then the other complicated thing is running in these giant clown shoes.

然後另一件複雜的事情是，穿著巨大的小丑鞋奔跑。

Like every movie, you know, we spoke a lot about every element of the movie, and Mark Bridges, who's a fantastic costume designer, designed all the wardrobe in the movie.

跟每部電影一樣，我們經常討論電影中的每個元素，而馬克布里吉斯是一位優秀的服裝設計師，他設計了電影中所有的服裝。

And we spoke about this particular outfit for Arthur a lot.

我們經常討論亞瑟的這一套服裝。

And also these shoes and how big can these shoes be, for him to run through the streets of Gotham and how big can this sign be for him to actually pull off being able to do this, like one of those sign guys you see on the street.

還有這一雙鞋到底能做到多大雙，讓他能在高譚市的街道上奔跑，還有招牌能做到多大讓他能完成這個動作，就跟平常在街上甩招牌的人一樣。

And his costume is inspired a little bit by Charlie Chaplin.

還有他的服裝靈感稍微來自卓别林。

There's a grace to Arthur that if he would just let go and take off the mask, he would find.

亞瑟具備著一種優雅感，若他卸下心防並拿下面具就會發現它。

And that's kind of what happens when he becomes Joker, ironically, it's Arthur taking off the mask, even though he's putting on white face paint and dying his hair green.

諷刺的是，他成為小丑時就是如此，那是亞瑟摘下面具的樣子，即便他塗上了白色顏料並將頭髮染成綠色。

Go!

快跑！

We got the sign!

我們拿到招牌了！

Stop them!

阻止他們！

One of the complicated things about doing a period film is actually all these picture cars.

拍時代劇電影的其中一個難題其實是這些復古車。

All these cars have to be of the time.

這邊所有的車都必須來自那個年代。

We basically had to take over this whole street in Newark, so this is what I mean, this is a big shot actually with a ton of real, practical picture cars and it goes pretty deep and again, I would say probably all that is CG back there, it's world building.

我們基本上必須佔據這整條紐瓦克的街道，所以我的意思是，這其實是個很大的場景，包含許多真實的復古車，而且遍及蠻遠的，同樣的我會說幾乎從這裡之後，都是 CG 數位造景。

A lot of our visual references were movies that were late 70s, early 80s films.

我們有許多畫面都是參考 70 年代末至 80 年代初的電影。

Larry and I really chose to shoot a ton of this really long lens so you have that real shallow depth of field that you see in some of those old school movies.

我和賴瑞選擇用長鏡頭拍很多幕，讓你能看見一些老電影中所拍攝出的淺景深鏡頭。

So something like this shot is a perfect example of how blurry everything is back here in the background and really the only focus is one, two, three, four, where the guys you really want in focus.

像這個鏡頭就完美地示範出背景的一切都很模糊，實際只有聚焦在一、二、三、四，這幾個需要聚焦的人物。

Everything else is kind of blurry, and that's one of those things with those old films that used to basically steal shots on live streets, right?

其他東西都有點模糊，而老電影的一個特點就是在真實街道上拍攝，不是嗎？

"The French Connection", you know the camera's over here and they're just following a car in real time.

像是《霹靂神探》攝影機在這邊，他們只是即時地跟拍一輛車。

And we tried to give it that look and it gives it a visceral feel.

我們也試著呈現那個畫面，而這個手法能賦予它一種本能反應。

Joaquin has a great stunt double, named Steve Izzi, we call him Izzi, and Izzi did all of Joaquin's kind of near misses and things like that.

瓦昆有個很棒的替身叫 Steve Izzi 我們都叫他 Izzi，Izzi 做了所有瓦昆的驚險畫面等等。

I like the scope of this shot.

我喜歡這個畫面的視野。

Again, this is all live done by Mark Friedberg, except weirdly, because I'm obsessive, I didn't like the blank space, so this building's back here, that's all put in.

同樣地，這都是由馬克佛雷堡現場指導，除了這裡很奇怪，因為我很執著，我不喜歡留白，所以這後面的建築物都是後製的。

Because I wanted it to feel really oppressive and Gotham is always over Arthur and we just didn't love any kind of blank spaces in the skyline, so to speak.

因為我希望它非常有壓迫感，彷彿高譚市總是籠罩著亞瑟，我們就是不喜歡天際線有任何空白的區塊。

Get out of the way!

別擋路！

Stop them!

阻止他們！

I remember when I was making a movie called Starsky and Hutch with Ben Stiller, I wanted Ben running in this opening thing, I forget what it was, and Ben kept saying, why is he running so much?

我記得我和班史提勒合拍《警網雙雄》這部片時，我想讓班在開場戲奔跑，我忘記是什麼場景，班卻一直說：「他為什麼要一直奔跑？」

And I said, I feel like you never really know somebody until you see them run.

我就說，我覺得看見某人奔跑的樣子才算真正認識他。

And there's something about Arthur running in the opening that really, the way Joaquin runs, cause 99 percent of this running is Arthur, the only thing really that Izzi did there was that slip,

而亞瑟在開場戲奔跑的樣子很特殊，瓦昆奔跑的方式，因為有 99% 都是亞瑟本人在跑，Izzi 唯一做的部分就是滑倒的那一幕。

And it's funny because when we tried takes with Izzi running, it just never worked, because he just didn't have Arthur's run.

很有趣的是，當我們試著拍 Izzi 奔跑的樣子，卻老是拍不好，因為他沒有做到亞瑟奔跑的模樣。

Joaquin is so specific in the way Arthur's run looked, I thought it was really something.

瓦昆有特別著墨出亞瑟奔跑的樣子，我覺得那非常特別。

So the slide, which is tough to do, and impossible for Joaquin to have pulled off, Izzi came in and did, but everything else is really Joaquin.

所以那個很難做到的滑倒動作，是瓦昆無法做到的，便由 Izzi 代替，但其他部分都是瓦昆做的。

Come on!

快過來！

Beat his ass up!

揍扁他！

Come on, this guy is weak, he can't do nothing.

這人在流血，他什麼也做不了！

Harder, harder!

用力點，再用力點！

Beat him up!

揍扁他！

This shot is very particular because Larry and I felt early on, and we don't do this a lot in the movie.

這個鏡頭很特殊，因為我和賴瑞起初就覺得，而且我們在片中也不常這麼做。

But we wanted the frame to feel out of a graphic novel, and we don't do this framing a ton, but this felt like a frame of any kind of graphic novel, that you know, you would read and it's not a normal necessarily movie angle, to me it feels very graphic novel.

但我們希望這個鏡頭感覺出自一本漫畫，我們也不常使用這種構圖，但這感覺像出自任何一本漫畫中的畫面，而且這不是一般電影中的視角，我覺得非常像漫畫的畫面。

That was an important shot for us to get.

這對我們而言是一個重要的鏡頭。

So this is one of my favorite shots in the whole movie.

這是整部電影中我最喜歡的鏡頭之一。

And it obviously depicts his loneliness and his pain.

它也明顯勾畫出他的孤獨與痛苦。

But really the important part of this shot, so first he's trying to reach for the sign, like maybe I can still fix this.

但這個畫面重要的部分是，起初他試著伸手拿招牌時像在說，或許我能補救它。

And then he rolls over.

然後他翻了身。

And he pushes that little button and the water comes out of the flower.

接著他按下那顆小按鈕讓水從花裡流出來。

Because what we're saying there with the water coming out of the flower, flower, is he's still Joker, he's still there to make people laugh, he's still seeing comedy in this moment of pain.

因為這裡讓水從花裡流出來的意思是，花，他依舊是小丑，他依舊想讓大家歡笑，他依舊在痛苦中看見玩笑。

We shot these titles on film and then filmed them out, and put them back onto the digital negative.

[小丑]

You see this little bleed you get on the edges of the letters and those, you see the grain in the letters as the film moves, you see the grain, because again, we wanted this movie to feel like it could have come out in the summer of 1979.

我們用底片相機拍了字幕後再將它印出來，並將它放回數位負片。

So little details like that, like going back and shooting it on an animation stand, the way they shot film titles in the old days was really important to us and all the titles were filmed out that way.

你會看見字母邊緣有小小的出血，電影播放時你也會看見字母中的顆粒，因為同樣的，我們希望這部電影感覺像是 1979 年暑假上映的片。

Joaquin's performance is so nuanced, so as he shifts from Arthur to Joker, it's not like Clark Kent walking into a phone booth, and he comes out he's Superman, this is something that happens over two hours.

所以這樣的小細節，像是用他們以前在動畫攝影台上拍字幕的方式，這些對我們來說都非常重要，而所有的字幕都是那樣拍攝而成。

And when you rewatch the film, I think you really get an appreciation for the work that Joaquin did to slowly turn that dial up the whole movie, and I just tried to match it with our directing style.

瓦昆的表演非常細緻，所以當他從亞瑟轉變成小丑時，並不像克拉克肯特踏進電話亭後就變成超人一樣，而是歷經兩小時才發生的事。

So "Joker" is that sort of wild stallion running without a rider.

在你重看電影之後，我想你會非常欣賞瓦昆，慢慢將整部電影的情緒帶至高潮的演出，我只是配合他執導而已。

Does that make sense?

所以《小丑》算是少了騎士的野馬。