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There was a guy named Robert Totten who directed me in some stuff at Disney, not any kind of household name, but he had directed his first film at age 21. That was an inspiration for me.
有一个叫罗伯特·托滕的人在迪斯尼的一些作品中指导过我，不是任何家喻户晓的名字，但他在21岁时执导了自己的第一部电影。这对我来说是一种鼓舞。
There was a director on The Andy Griffith Show named Bob Sweeney, who would take me to task.
《安迪·格里菲斯秀》里有个导演叫鲍勃·斯威尼，他会批评我。
I mean, he actually expected a lot of me, in a very loving, respectful way, but he was teaching me kind of the power of concentration and focus.
我的意思是，他其实对我有很多期待，以一种非常关爱和尊重的方式，他那时教给我专注的力量。
At what age?
几岁?
Eight, nine, you know.
八岁、九岁。
That’s pretty cool.
这很酷。
Yeah, it was. And my dad was there a lot, and he was teaching me basically the simplest version of the method, Stanislavski.
是的，确实很酷。我爸爸经常去那里，他大体上是在教我最简单版本的方法，斯坦尼斯拉夫斯基式表演法。
It was all about putting yourself into the character, into the situation, and understanding it on a kind of personal emotional level as much as you could.
这种方法讲的是把自己融入到角色中，融入到情境中，并在个人情感上尽可能地理解。
And then executing the written material through that lens.
然后通过无数镜头来执行这个书面材料。
He never explained it that way, but he was helping me build the bridge between whatever Opie the character was going through or any other part that I might be playing, and me, Ronnie, and how I would feel and what it might be like.
他从来没有这样解释过，但他帮助我建立起一座桥梁，让奥佩这个角色或者我可能扮演的任何其他角色将要经历的事情与我的感受相连接。
So to this day, I feel like I’ve got almost a hypersensitive, empathetic pathway.
所以直到今天，我觉得我几乎建立起了一条高度敏感、强同理心的心理路径。
It drives my wife Cheryl crazy, because even when people piss her off and are clearly in the wrong, and I’m saying, “Yeah, but you never know what they might’ve gone through today.”
这让我妻子谢丽尔抓狂，因为即使有人惹她生气，而且明显是那个人错了，我也会说“是啊，但你永远不知道他今天经历过什么。”
And so we have some funny conversations that way.
我们用这种方式进行了一些不友好的对话。
And it’s not like you ever played villains, but you still know how to do that.
虽然你没演过反派，但你还是知道怎么演。
You know how to tap in. So you said that at age 15 you knew you wanted to direct.
你知道如何开发。你说在15岁的时候你就知道自己想当导演。
Yeah.
是的。
Why?
为什么?
Well, at age 10, one of the directors on The Andy Griffith Show who had been an actor said, “I see the way you’re looking at the camera and I see the way you’re following the rehearsals, even when you’re not in the scenes. I have a feeling you’re going to be a director.”
在我10岁的时候，《安迪·格里菲斯秀》的一位导演曾是一名演员，他说: “我注意到你如何注视镜头、如何跟着排演，即使你不在镜头里。我有预感你会成为一名导演。”
And I began to fall in love with, when I was around 12, yeah, that’s about right, 1966, with the movies.
在我12岁的时候，对，大概是1966年，我开始喜欢上了电影。
And this was a time kind of cinematic revolution, The Graduate, Zeffirelli’s Romeo and Juliet, Bonnie and Clyde.
那时正经历一场电影革命，《毕业生》，泽菲雷利的《罗密欧与朱丽叶》，《雌雄大盗》。
These films were sort of a little bit neo-realist, borrowing a bit from Europe. They had a bit of anarchy and rebellion.
这些电影有点新现实主义的味道，从欧洲借鉴了一些东西。带有一些无政府主义和反叛精神。
And I began to understand that there was this other thing beyond half-hour sitcoms that was filmmaking.
我开始明白，除了半小时情景喜剧，还有一件事可做，那就是电影制片。
And the person behind that was, first and foremost, the director, and I wanted to play in that sandbox.
幕后工作的首要人物是导演，我想在这一行干。
