Guillermo del Toro has always been terrified and captivated by the supernatural.
陀螺一直对超自然又恐惧又着迷。
This story first appeared in the September 29, 2015 issue of Variety.
His latest big-screen endeavor , “Crimson Peak,” marks the ninth movie in which the director explores otherworldly phenomena, and incorporates a recurring element of what he calls “horrible beauty.” The opening scene of the film, which hits theaters Oct. 16, was inspired by a ghostly encounter his mother had as a child, and was undoubtedly drawn from his own fears.
“猩红山峰”是他的第九部探索超常现象的电影，体现了他一直说的“可怕的美丽”。电影开头的一幕，是启发自他妈小时候的一次遇鬼经历，也毫无疑问是从他自己的恐惧里提取出来的。
Born and raised in Guadalajara by a poet mother and businessman father, del Toro had his first spectral experience at around age 12. While in a room that once belonged to his late uncle, the boy heard the older man’s voice. Though the young del Toro was already deeply interested in the supernatural, and had even told his uncle to send him a sign if there was something beyond death, he wasn’t prepared for an occurrence. “I got very scared,” he admits. “I ran away.”
诗人母亲，商人父亲。陀螺的第一次遇鬼是在十二岁。在他死去的叔叔的屋子里他听到了这个老人的声音。尽管年轻的小陀螺对超自然现象一直感兴趣，甚至在叔叔生前让他传个话是不是有超越死亡的东西（23333原来是自己作死）但他并没有做好收到这个死人传话的准备。“我很怕，跑走了”陀螺承认。
Since then, the supernatural has been a favorite on-screen subject for del Toro, be it embodied by vampires (“Cronos,” “Blade II,” his current FX series “The Strain”) or other fantastical creatures (the Oscar-winning “Pan’s Labyrinth,” the “Hellboy” movies). Even in real life, he courts spirits. “He searches for haunted places,” reveals “Crimson Peak” star Jessica Chastain. “Every time he goes to a hotel, he asks for the haunted room.”
从此以后，超自然事物一直是他最爱的电影主题。包括吸血鬼（魔鬼银爪，刀锋战士2，血族）以及其他的神奇生物（潘神的迷宫和地狱小子）。甚至在现实生活中他也追寻精灵，杰西卡查斯坦说“他找寻闹鬼的地方，甚至每次去宾馆都要求闹鬼的房间”。(*/ω＼*)

After filming was over, Chastain says she emailed del Toro. “I told him I was really drained and it was tough on me,” she recalls. “But I would never take anything back.”
查斯坦拍完给陀螺email说我很累很艰难不过并不后悔
Wasikowska agrees: “It was long hours, and he does not let you phone it in. You want a director who pushes you, but doesn’t bully you. Guillermo has the perfect balance of being incredibly supportive but also making sure you’re on top of your game.”
米娅:导演要能推动你但是不是欺负你。吉尔莫就能完美平衡非常支持演员但是也保证让演员保持最佳状态。
Del Toro loves to give his cast ownership of their roles. In pre-production, he hands each actor a backstory of about 10 pages. “We go over it and agree or disagree on points until we have a common biography, and everything is guided by that,” he says. “I want that all done in pre-production, because the last thing you want to be doing on set is discussing a theory when you’re shooting. On set, you want to tell them in 20 words or less what they need to do to adjust the performance.”
陀螺喜欢在开拍之前写好角色背景跟演员讨论好之后才开拍，省得在拍摄过程再做这些讨论，在片场只要跟他们说很少的话让他们调整表演。
The writer-director also isn’t precious about making script changes. Hiddleston took on Thomas after the role was vacated by Benedict Cumberbatch, and del Toro says the character changed dramatically. “Tom brought a layer of almost childlike vulnerability to a character that was originally going to be so much colder, so much more aloof,” says the filmmaker. “I did a rewrite after meeting him, and Thomas became so much more.”
bc版本的托马斯更冷漠，汤姆嘿逗囤来了之后修改剧本给角色带来了一种儿童般的脆弱。
Hiddleston recalls a climactic scene where Thomas and Edith trade impassioned monologues. “They were eloquent and poetic words,” he says. Del Toro requested a read-through, and asked for feedback. “We both agreed it was a little speechy,” Hiddleston notes. On the spot, the two reduced the dialogue to less than 20 words. “It was something we just rewrote in the moment, because we realized it was all that was needed.”
抖森说一次现场改台词，改短了一段对话。
“Hellboy” star and frequent collaborator Ron Perlman says there’s a reason actors endure so much for del Toro. “The brilliant directors, that’s what they do,” he notes. “They transform you into a world that very few people could even conceive of, much less create the architecture to depict on screen. And it’s going to be challenging, it’s going to be a place that’s very unknown to you and could be uncomfortable to you, but if you take the journey, you’re going to go on a ride that you would not normally get to take.”
郎普尔曼说为什么我们都喜欢跟流弊导演长期合作。

The director says it’s unlikely he’ll ever make a film without monsters. “I need an element of horrible beauty in most of the movies I make,” he muses.
陀螺说估计永远也不会拍没有怪兽的电影。“我需要一种可怕的美丽的元素在我的电影里”
But if he did try a change of pace, he says he’d still want to maintain a sense of dread. “It would probably be about World War II or a crime noir, he explains. “I’m not easily scared in real life, but I’m scared of crime and politicians.”
就算他改变主意了，他也会需要保持一些敬畏，“可能是二战题材或者犯罪黑色电影，我在现实生活中很少被吓到，但是我害怕犯罪和政治”。

完

我陀螺和我渣导都是宅男逆袭的成功典范

可怜的一棵树，砍了吧

前排

他拍的电影总赚不到钱，这也是很麻烦的事情啊。

神似马胖

看到内容，就猜到楼主是谁了

挽

楼主自己的翻译?真素辛苦

可怕