克拉克盖博吧 关注：2,555贴子：23,912
有趣的几点（不知是否有理解错误，请指正）：
1.盖博否认与费雯丽在拍摄期间和拍摄结束不和，并解释说在好莱坞凡是男女明星合作拍戏，媒体总会传他们有绯闻或者是不和。而他和费雯丽各自心有所属，所以媒体只能传他们不和。
2.盖博第一次在塞尔兹尼克家见到费雯丽时认为她很害羞，有怀疑她是否能演好斯嘉丽。
3.盖博在见费雯丽之前看过费雯丽的《牛津风云》。
4.盖博子喜欢的场景是瑞德晚上独自喝酒，斯嘉丽下楼他叫她一起喝的那一场。这场戏让他看到了费雯丽的优秀演技。
5.盖博在拍摄中最喜欢的一天是1939年3月31日即他与隆巴德婚后第二天。那一天原本应该拍摄监狱探望那场，被维克多弗莱明临时改为瑞德和斯嘉丽的结婚场景（电影中没有）。
6.盖博在拍摄前从来没见过莱斯利霍华德和奥利维亚德哈维兰。
7.盖博觉得拍摄很累，他也说费雯丽的工作量是他的两倍却从未听她抱怨过。
1.盖博否认与费雯丽在拍摄期间和拍摄结束不和，并解释说在好莱坞凡是男女明星合作拍戏，媒体总会传他们有绯闻或者是不和。而他和费雯丽各自心有所属，所以媒体只能传他们不和。
2.盖博第一次在塞尔兹尼克家见到费雯丽时认为她很害羞，有怀疑她是否能演好斯嘉丽。
3.盖博在见费雯丽之前看过费雯丽的《牛津风云》。
4.盖博子喜欢的场景是瑞德晚上独自喝酒，斯嘉丽下楼他叫她一起喝的那一场。这场戏让他看到了费雯丽的优秀演技。
5.盖博在拍摄中最喜欢的一天是1939年3月31日即他与隆巴德婚后第二天。那一天原本应该拍摄监狱探望那场，被维克多弗莱明临时改为瑞德和斯嘉丽的结婚场景（电影中没有）。
6.盖博在拍摄前从来没见过莱斯利霍华德和奥利维亚德哈维兰。
7.盖博觉得拍摄很累，他也说费雯丽的工作量是他的两倍却从未听她抱怨过。
来源网站：dearmrgable
Vivien Leigh, Rhett Butler and I
Photoplay magazine, February 1940
To begin with I’d like to state that despite what a lot of papers said there was never any feud between Vivien Leigh and me during the filming of “Gone with the Wind” or at any time thereafter.
Hollywood goes just as much to extremes when it comes to male and female stars cast together as it does on any other subject. Get a man and a woman in a picture together and you are immediately reported as either fighting or romancing. The fact that in eighty per cent of your pictures you have no emotion about the beautiful creature opposite you, other than an interest in her acting ability, is never printed. Yet that’s the truth more often than not.
Vivien Leigh, Rhett Butler and I
Photoplay magazine, February 1940
To begin with I’d like to state that despite what a lot of papers said there was never any feud between Vivien Leigh and me during the filming of “Gone with the Wind” or at any time thereafter.
Hollywood goes just as much to extremes when it comes to male and female stars cast together as it does on any other subject. Get a man and a woman in a picture together and you are immediately reported as either fighting or romancing. The fact that in eighty per cent of your pictures you have no emotion about the beautiful creature opposite you, other than an interest in her acting ability, is never printed. Yet that’s the truth more often than not.
As for any possibility of Vivien Leigh’s falling in love with me I knew that was out from our first glance. For never have I seen any girl more completely in love than that one is—with Laurence Olivier. It’s as visible as a Neon sign that she can’t think or talk of or dream about anything or anyone else on earth—except when she’s on the set. When she’s on the set, she’s what a good actress should be. She’s all business.
As for my falling in love with her, I’m sure that could have been plenty pleasant except that, added to her lack of interest in me, I didn’t have any heart to give away, either. Mine was staked out to that Lombard girl who is mighty beautiful and brainy. Carole and I weren’t married when Vivien and I first met, but we did marry while I was working on the picture and there’s a story about our wedding that has never been told and which I’ll get to presently.
As for my falling in love with her, I’m sure that could have been plenty pleasant except that, added to her lack of interest in me, I didn’t have any heart to give away, either. Mine was staked out to that Lombard girl who is mighty beautiful and brainy. Carole and I weren’t married when Vivien and I first met, but we did marry while I was working on the picture and there’s a story about our wedding that has never been told and which I’ll get to presently.
I’ll be truthful about it, however; I’ll confess that the first time I saw her I doubted that Vivien could really play Scarlett. That reaction shows I’m no casting director. But, accustomed to the more abandoned and superficial personalities of Hollywood girls, Vivien seemed too demure to me, at that first meeting, for the vivid, relentless Scarlett.
David Selznick introduced us to each other at a dinner party at his home. Vivien was wearing a very plain, tailored dress. She’s much tinier in real life than she appears on the screen, and since she uses little make-up she has a very young, unsophisticated air. Besides, she had all the fires banked that evening and that Olivier guy was her escort.
Now I know I should have stopped to consider all that. But having seen Vivien only in “A Yank at Oxford”, in which she didn’t have a lot to do, I just looked at her that first evening at David’s and wondered if that keen-minded producer had gone haywire when he signed her.
I knew he hadn’t the first day Vivien and I got on a set together. (David doesn’t go haywire, anyway, which is another thing I should have thought about—but as a profound thinker I’m a good duck-hunter.) The best alibi I can offer for my thickheadedness is that my mind was preoccupied with Rhett Butler. He had me plenty worried, so worried that I didn’t want to play him.
David Selznick introduced us to each other at a dinner party at his home. Vivien was wearing a very plain, tailored dress. She’s much tinier in real life than she appears on the screen, and since she uses little make-up she has a very young, unsophisticated air. Besides, she had all the fires banked that evening and that Olivier guy was her escort.
Now I know I should have stopped to consider all that. But having seen Vivien only in “A Yank at Oxford”, in which she didn’t have a lot to do, I just looked at her that first evening at David’s and wondered if that keen-minded producer had gone haywire when he signed her.
I knew he hadn’t the first day Vivien and I got on a set together. (David doesn’t go haywire, anyway, which is another thing I should have thought about—but as a profound thinker I’m a good duck-hunter.) The best alibi I can offer for my thickheadedness is that my mind was preoccupied with Rhett Butler. He had me plenty worried, so worried that I didn’t want to play him.
We started the picture early last March. I discovered Rhett had been pruned of most of his cuss words and much of his force, but apparently that had to be for the censors. Still, he had every scene he actually had in the book. I was signed for six months (and be it said here that it was a honey of a contract. Selznick had offered me a flat rate for the picture. MGM played very fair with me and let me make my own deal. I put it on a week-to-week basis. Six months at that rate was mighty sweet sugar and I ate it up, for I know I’ll never get such a chance again, and the ranch needed a lot of landscape gardening.)
Actually in production, however, I discovered that Rhett was even harder to play than I had anticipated. With so much of Scarlett preceding his entrance, Rhett’s scenes were all climaxes. There was a chance to build up to Scarlett, but Rhett represented drama and action every time he appeared. He didn’t figure in any of the battle scenes, being a guy who hated war, and he wasn’t in the toughest of the siege of Atlanta shots. What I was fighting for was to hold my own in the first half of the picture—which is all Vivien’s—because I felt that after the scene with the baby, Bonnie, Rhett could control the end of the film. That scene where Bonnie dies, and the scene where I strike Scarlett and she accidently tumbles down stairs, thus losing her unborn child, were the two that worried me most.
The problem of Rhett, to me, was that although he reads like a tough guy and by his actions is frequently not admirable, actually he is a man who is practically broken by love. His scenes away from Scarlett make him a heavy and his scenes with her make him almost a weakling. My problem was to make him, despite that, a man people would respect. In that scene where Rhett knocked Scarlett down stairs and learns later that the baby is dead, while Scarlett hovers between life and death, Rhett has to show remorse and suffering.
The scenario, in fact, has him hanging to Melanie’s
Actually in production, however, I discovered that Rhett was even harder to play than I had anticipated. With so much of Scarlett preceding his entrance, Rhett’s scenes were all climaxes. There was a chance to build up to Scarlett, but Rhett represented drama and action every time he appeared. He didn’t figure in any of the battle scenes, being a guy who hated war, and he wasn’t in the toughest of the siege of Atlanta shots. What I was fighting for was to hold my own in the first half of the picture—which is all Vivien’s—because I felt that after the scene with the baby, Bonnie, Rhett could control the end of the film. That scene where Bonnie dies, and the scene where I strike Scarlett and she accidently tumbles down stairs, thus losing her unborn child, were the two that worried me most.
The problem of Rhett, to me, was that although he reads like a tough guy and by his actions is frequently not admirable, actually he is a man who is practically broken by love. His scenes away from Scarlett make him a heavy and his scenes with her make him almost a weakling. My problem was to make him, despite that, a man people would respect. In that scene where Rhett knocked Scarlett down stairs and learns later that the baby is dead, while Scarlett hovers between life and death, Rhett has to show remorse and suffering.
The scenario, in fact, has him hanging to Melanie’s
In the scenes with Bonnie, I tried to show a mature mans transfer of love away from a woman he knows doesn’t love him to their child whom he adores. I’ve played only a few scenes with kids so these were a new experience to me, too. A new type of love scene. They were exciting but the scene in the whole picture that I enjoyed playing the most was the scene where I come in late at night, drunk, and Scarlett comes down and joins me, getting a little drunk herself. That’s the scene where I knew what an actress Vivien is because while I intended nothing of the sort, she took the whole shot neatly away from me.
The greatest day on the picture to me was March 31, 1939. That was two days after my wedding to Carole.
The greatest day on the picture to me was March 31, 1939. That was two days after my wedding to Carole.
The greatest day on the picture to me was March 31, 1939. That was two days after my wedding to Carole.
It has been written since then that Carole and I had that wedding day planned out for months in advance, but that’s not true. It happened this way. On the afternoon of March 28, I was finished with my scenes about three in the afternoon. While I was taking off my make-up, the assistant director came over and said I didn’t need to work the next day. I called Carole at once and with the aid of a close friend, we headed put that night to Kingman, Arizona. We took Otto along, not only to untangle any difficulties we might get into, but because he had a new car without license plates which meant we wouldn’t be spotted.
We were married at three-thirty that afternoon and left at five-thirty, getting home the next morning at three. Carole’s mother was there, all excited, which kept us up till five. Finally we got to sleep, only to be awakened at nine to discover forty cameramen, three newsreel men and twenty reporters waiting out in the front yard to interview us. Under the circumstances, David gave me another day off.
It has been written since then that Carole and I had that wedding day planned out for months in advance, but that’s not true. It happened this way. On the afternoon of March 28, I was finished with my scenes about three in the afternoon. While I was taking off my make-up, the assistant director came over and said I didn’t need to work the next day. I called Carole at once and with the aid of a close friend, we headed put that night to Kingman, Arizona. We took Otto along, not only to untangle any difficulties we might get into, but because he had a new car without license plates which meant we wouldn’t be spotted.
We were married at three-thirty that afternoon and left at five-thirty, getting home the next morning at three. Carole’s mother was there, all excited, which kept us up till five. Finally we got to sleep, only to be awakened at nine to discover forty cameramen, three newsreel men and twenty reporters waiting out in the front yard to interview us. Under the circumstances, David gave me another day off.
But the next morning when I reported at the studio, ready for the prison sequence, I discovered Vic had switched things on me and was prepared to do the wedding scene, only this day my bride was Vivien. David had engaged a full orchestra which was gurgling through the wedding march and whole I knew it was all a rib on me, I blew up in the first take. The stage hands all groaned, Vivien asked solicitously what was the matter with me, and Vic said, “It’s just that Clark has always been shy of girls.”
Despite the kidding I got that day, however, we did precious little fooling on “Gone with the Wind”. I, for one, was a stranger in a strange studio. Somehow, I’d never met Olivia de Havilland or Leslie Howard before. The crew, who are the ones who put over the gags in any studio, were all new to me. And Technicolor is too expensive to play tricks with. Besides, David, having three million dollars invested, was down on that set all the time fixing is with his eagle eye. So we worked, day after day and hour after hour, for those six exciting months. It took all the stamina I’ve got, which is enough, but I can’t imagine what it must have taken out of Vivien, who worked twice as much as I did. I only know that never once did I hear her complain.
Despite the kidding I got that day, however, we did precious little fooling on “Gone with the Wind”. I, for one, was a stranger in a strange studio. Somehow, I’d never met Olivia de Havilland or Leslie Howard before. The crew, who are the ones who put over the gags in any studio, were all new to me. And Technicolor is too expensive to play tricks with. Besides, David, having three million dollars invested, was down on that set all the time fixing is with his eagle eye. So we worked, day after day and hour after hour, for those six exciting months. It took all the stamina I’ve got, which is enough, but I can’t imagine what it must have taken out of Vivien, who worked twice as much as I did. I only know that never once did I hear her complain.
As for me, when I finally was released, and they let me cut my hair again, the MGM gang sent me a turkey. They named it Rhett Butler and it was a male bird. The card said, “This is just to assure you that even if a turkey, Rhett can’t lay an egg.”
That leaves me nothing to do now but wait until after the picture is released, to read the critics and to see if I have to go out to the chicken house and tell that gobbler to move over.
That leaves me nothing to do now but wait until after the picture is released, to read the critics and to see if I have to go out to the chicken house and tell that gobbler to move over.
费雯丽关于不和的回应：
“
Who could quarrel with Clark Gable? We got on well. Whenever anyone on the set was tired or depressed, it was Gable who cheered that person up. Then the newspapers began printing the story that Gable and I were not getting on. This was so ridiculous it served only as a joke.
”
英语渣大致翻译：
“
谁会和克拉克盖博吵架？我们相处得很好。每当有人在拍摄的时候感到劳累和压抑的时候，是盖博让那个人变得开心起来。后来报纸编故事说我和盖博不和。这只是一个荒谬的玩笑。
”
（来自dearmrgable：Vivien Leigh and Laurence Olivier Appreciation Blogathon）
“
Who could quarrel with Clark Gable? We got on well. Whenever anyone on the set was tired or depressed, it was Gable who cheered that person up. Then the newspapers began printing the story that Gable and I were not getting on. This was so ridiculous it served only as a joke.
”
英语渣大致翻译：
“
谁会和克拉克盖博吵架？我们相处得很好。每当有人在拍摄的时候感到劳累和压抑的时候，是盖博让那个人变得开心起来。后来报纸编故事说我和盖博不和。这只是一个荒谬的玩笑。
”
（来自dearmrgable：Vivien Leigh and Laurence Olivier Appreciation Blogathon）
下面这张照片就是盖博接受完上面访问（访问是次年登的）时和费雯丽聊天。
据费雯丽的助理兼好友Sunny Lash回忆，当时盖博拿着一个瓶子从她身边走过，喊道“一瓶40年的威士忌！”费雯丽正坐在椅子上看剧本。盖博走到她身边，吻了一下她的脸颊，然后咬开瓶盖，递给费雯。她拒绝了，说十分钟后还得接着拍摄，他们简直就把她当做一头佐治亚的驴子。
盖博笑着说，就像你把老维克多当做一头驴那样吗？他一边说，一边在旁边的椅子坐下，伸展他的双腿。
费雯丽递给他一份好莱坞报道，问有没有看报纸登出的莱斯利关于战争的评价-“一场可怕的不会持续太久的展览。”
盖博叹息：“也许米高梅会把我借出去打仗。。。哦，我刚接受了一个关于我们的采访。”
“哦，那你有没有说你总是输给我？”费雯丽翘起眉毛，一下子来了兴趣。
“额，没有。我说无论报纸如何写，我们之间没有不和，也没有在恋爱。”
“你真的有说我们没有打架也没有偷情吗？”
“当然，只是不是用这些字眼。”
（转自tumblr，原文很有趣，两个人都是很幽默又直接的人。渣翻译，望谅解）
据费雯丽的助理兼好友Sunny Lash回忆，当时盖博拿着一个瓶子从她身边走过，喊道“一瓶40年的威士忌！”费雯丽正坐在椅子上看剧本。盖博走到她身边，吻了一下她的脸颊，然后咬开瓶盖，递给费雯。她拒绝了，说十分钟后还得接着拍摄，他们简直就把她当做一头佐治亚的驴子。
盖博笑着说，就像你把老维克多当做一头驴那样吗？他一边说，一边在旁边的椅子坐下，伸展他的双腿。
费雯丽递给他一份好莱坞报道，问有没有看报纸登出的莱斯利关于战争的评价-“一场可怕的不会持续太久的展览。”
盖博叹息：“也许米高梅会把我借出去打仗。。。哦，我刚接受了一个关于我们的采访。”
“哦，那你有没有说你总是输给我？”费雯丽翘起眉毛，一下子来了兴趣。
“额，没有。我说无论报纸如何写，我们之间没有不和，也没有在恋爱。”
“你真的有说我们没有打架也没有偷情吗？”
“当然，只是不是用这些字眼。”
（转自tumblr，原文很有趣，两个人都是很幽默又直接的人。渣翻译，望谅解）
