评论
打印
So many child actors do go off the rails. So how did you manage not to do that?
很多童星都会脱离正轨。那你是怎么做到一直在正轨上?
Well, a lot of it had to do with them.
嗯，这跟他们（父母）有很大关系。
They were fairly strict, not in any kind of harsh way.
他们相当严格，不是那种很严厉的方式。
Before that was a thing. Before that was a thing. And of course, I was well known, and I think they had a lot of anxiety about security and other things.
在那之前是这样的。在那之前是这样的。当然，我那时很出名，我认为他们对安全和其他事情非常焦虑。
But at the same time, we always lived in the home he could afford.
但与此同时，我们一直住在我爸爸能负担得起的房子里。
And as a struggling workaday actor, that meant we were in neighborhood of three bedroom, one-bath houses there in Burbank, California, and not gated communities or anything like that.
作为一个努力工作的平凡演员，这意味着我们住在加州伯班克的三室一卫的房子里，而非住在封闭式社区或类似的地方。
But I just grew up enjoying it. I enjoyed being around the process.
但我从小就很乐在其中。我很享受这个过程。
You come to understand the art form, you understand the discipline involved, but you also understand this kind of comradery.
你会理解这种艺术形式，你会理解其中的纪律，但你也会理解这种团结友好。
And for me, it was a lot of energy that I could observe, even on The Andy Griffith Show, around this creative problem-solving, which was fun.
对我来说，我能观察到很多能量，即使是在《安迪·格里菲斯秀》上，围绕着这个创造性的解决问题，很有趣。
And I could see the grownups really hustling, straining, arguing to try to get things right, even on a show that looks as kind of relaxed and down-home as The Andy Griffith Show.
我观察到大人们真的在忙碌、紧张、争论，试图把事情做好，即使是在一个看起来像《安迪·格里菲斯秀》这样轻松朴素的节目上。
In fact, there was a lot of laughter, but there was also a lot of hard work.
事实上，有很多充满欢笑的工作，但也有很多艰苦的工作。
I was lucky in that I did not have this adolescent confusion that a lot of kids who do go off the rails have.
我很幸运，因为我没有那种青春期的困惑，而很多孩子确实会有越轨行为。
And even when work was a little less forthcoming for me as I got older and went through the “awkward” adolescent stage, which kid actors go through, where acne and child labor laws are not your friend, at that point.
即使当我的工作变得有点不那么容易得到的时候，因为我长大了，经历了儿童演员所经历的“尴尬的”青春期阶段，在那个阶段，青春痘和童工法并不是你的朋友。
They can hire somebody who’s over 18, who looks kind of like you and they don’t have to restrict their work hours and things like that, I knew I wanted to continue with it.
他们可以雇佣18岁以上的人，长得像你的人，他们不需要限制工作时间之类的事情，我知道我想继续演下去。
And by the time I was 15, I also knew I wanted to be a director.
在我15岁的时候，我也知道我想成为一名导演。
So I had this advantage of never feeling cheated by this experience. I always felt advantaged by it.
我有一个优势，那就是我永远不会被这种经历欺骗。我总是觉得自己很有这方面的优势。
And I think that was a huge step in the direction of having as a constructive, a sort of mental health outlook as one can have in that wacky business.
我认为，这是朝着拥有一种建设性的、某种精神健康前景的方向迈出了一大步，就像人们在这个古怪的行业中所能拥有的那样。
And I definitely want to get to your transition to directing, but let me first ask you, as that child working with all of these amazing actors and directors, who did you learn the most from? And what did they teach you?
我当然想了解你向导演的转变，但我想先问你，作为一个孩子，你和所有这些优秀的演员和导演一起工作，你从谁那里学到了最多? 他们教会了你什么?
I learned a lot around The Andy Griffith Show, not from any one director, but most of the directors had been actors, and had a very comfortable way with the actors.
我从《安迪·格里菲斯秀》中学到了很多东西，不是从任何一个导演那里，但大多数导演都曾是演员，他们和演员相处得很融洽。
And so the scene direction, the problem-solving was built around character.
所以场景指导以及解决问题的方法都是围绕着角色建立的。
It wasn’t that sort of broad sitcom, hit the marks and say the jokes and belt them out loud, kid.
它不是那种普通的情景喜剧，直截了当地讲笑话，大声讲出来。
It was much more about the truth in the scene, which is what Andy Griffith always advocated.
它更多的是关注情节中的真相，这是《安迪·格里菲斯秀》一直倡导的东西。
It was born out of a place of honesty, and his kind of recollection of what it was like growing up in the South when he was a boy.
它在诚实之处诞生，他回忆起小时候在南方长大的情景。
And I think that was great training for me.
我认为这对我来说是很好的训练。
