监狱小报13期 Prison Gazette: Issue 13

尖叫、鲜血和娱乐——《午夜电锯狂想》作者专访

Screams, Blood, and Entertainment — An Exclusive Interview with the Creator of Midnight Chainsaw Rhapsody

由葛瑞迪自编自导自演，阿斯德纳监狱历史上的第一部电影，《午夜电锯狂想》目前已获得超过百万的观影人次。值此之际，我们特地找到了导演葛瑞迪先生，希望能分享他的成功经验。

Written, directed, and starring Grady himself, Midnight Chainsaw Rhapsody makes history as Asdana Prison's first film, now boasting over a million viewers. On this occasion, we tracked down director Grady to discover how he achieved such remarkable success.

记者：梦泡电影的制作，是一项划时代的技术。在监狱里，想要完成这样的发明则更加困难。请问，您是如何从无到有，开创这门全新的技术的？

Reporter: The creation of dream bubble movies is a revolutionary technology. Developing such an innovation in prison seems especially challenging. How did you create this entirely new technology from scratch?

葛瑞迪：这个点子源自一次洗脸的经历。我在镜子上发现了残留有梦境的忆质，那时候我意识到，虽然梦境是难以把握的东西，但承载它的忆质却是可控的。

Grady: It all started when I was washing my face. I spotted dreamscape memoria residue on the mirror and had a revelation — dreams might be hard to grasp, but the memoria that hold them can be controlled.

如果能有一种机器，让忆质稳定在记录了梦境的状态，并将其捕捉，不就能够制作出梦境专属的摄像机了？正好，我在入狱前学过些机器修理的技术。把监狱里废弃的零部件组装起来，鼓捣了大概有一两年吧，终于做出了这个小玩意儿。

If I could build a machine to stabilize memoria while they held dream imagery and then capture them, I'd essentially have a dream camera! Luckily, I knew a little about machine repair from before my imprisonment. I collected discarded parts from around the prison and spent about a year or two experimenting until I finally created this little contraption.

记者：您是怎么想到在监狱拍摄电影的？还是恐怖片。

Reporter: What inspired you to make movies in prison? And why horror films specifically?

葛瑞迪：最开始，我也就只是用这个机器来记录一些梦里的画面，但时间久了之后，也就无聊了。这时候███突然向我提议，「要不你拍部电影如何？反正闲着也是闲着。」一个人自娱自乐终究是无趣的，但如果能给沉闷的监狱生活带来些激情……

Grady: Initially, I just recorded dream scenes with my device, but that got old pretty fast. Then █████ suggested, "Why don't you make a movie? You've got nothing but time." Entertaining yourself gets dull eventually, but bringing some thrill to our dreary prison life though...

起初在联觉梦境里的拍摄并不顺利，本以为梦里能够随心所欲地组建场景和动作，但忆质往往会处于两种极端状态，要么过于稳定，和现实一样，只有老老实实地进行道具制作和场景布置。要么过于紊乱，像块果冻，演员的脸一秒钟能变九次。因为梦境太难控制，好多画面甚至是在现实的监狱里布景拍摄的。

Filming in the Synesthesia Dreamscape proved tricky at first. I thought dreams would let me create anything I wanted, but memoria typically behaved in one of two extremes. They're either too stable, just like reality, forcing us to manually create props and sets, or, too chaotic, like jelly, where an actor's face could transform nine times within one second. Dreams were so unpredictable that we ended up shooting many scenes on physical sets in the actual prison.

至于恐怖片，首先是成本比较低，对拍摄的限制没那么高。其次，长期在监狱和噩梦之间生活，我认为大家在娱乐方面可能需要更刺激的内容。最后嘛，不怕大家笑话，我在入狱前做的最后一件事，就是去影院看恐怖电影，电影看了一半，人就被公司狗架进了飞船，拍摄这种类型片，可能也是想延续那场没看完的电影吧。

As for why horror films: First, they're relatively cheap to make with fewer technical demands. Second, after toggling between prison life and nightmares for so long, I figured people needed something more thrilling. And honestly, the very last thing I did before imprisonment was watching a horror movie in a theater. I only got halfway through before IPC Dogs dragged me onto their ship. Perhaps making horror films is my way of finishing that interrupted movie.

……

...

（在监狱时代流通甚广的粗糙小报，在奥扎卡贿赂监狱管理人员后获得了发行权）

(A roughly produced newspaper, widely distributed during the prison era, secured publishing rights after Ozaka bribed prison officials)