Bob Giraldi，Beat It導演，1983
中文來源：mjjcn.com 編輯翻譯：stroller
你怎麼找到真正的黑幫成員來演出？
是Michael幹的。他出去把他們找了來。我猜他是找到警察局的組織犯罪分隊，跟他們說，只要有足夠的警力，這會是一件聰明而慈善的事情，可以讓他們互相友愛，在一起渡過兩天拍攝時光。我並不喜歡這個主意，因為給這些演員和舞者當導演就已經夠難的了，更別提黑社會了。
他是想用錄影來促成他們之間的和解嗎？
Michael一直都關心和平，他總是想要創造和平。這是他的主意，員警同意了，而結果是開工後的第一晚差一點就要停工。因為，你知道，劇組成員總是在第一個小時以後開始覺得枯燥無聊。
我想Crips和Bloods（兩個黑幫的名字）們互相已經劍拔弩張了——他們是死敵——當時已經發生了一些小摩擦，兩個員警過來跟我說希望停工。我以為那傢伙只是想要我快點拍舞蹈部分。本來舞蹈是打算放在第二天晚上拍的。我說：“我能想到的唯一辦法就是把音樂放起來。我覺得這能讓大家安靜下來。讓我試試，也不會有更糟的結果了。”那個員警太酷了，他看著我說：“行，別再出花樣了。”我能做的不多，因為緊張氣氛顯然一觸即發，有些嚇人。於是我們進到那間倉庫，將拍攝計畫改為跳舞，把Michael從露營車裏請出來，開始了！
Bob Giraldi, director of Beat It, 1983
How did you cast the real gang members?
It was Michael. He went out and he got ‘em through, I guess, the LAPD’s gang squad and he convinced them that, with enough police presence, this would be a smart and charitable thing to do; get them there to like each other and hang with each other for two days doing the video. I didn’t like the idea because it was hard enough to direct actors and dancers, let alone hoods.
So he tried to use the video to foster peace between them?
Michael was always about peace. He was always about some sort of peace offering. That was his idea and the cops did go along with it and as history has it, we were almost shut down the first night because, as you know, film sets get to be very boring after the first hour.
I guess the Crips and Bloods started to get on each other’s nerves – they are mortal enemies – and we had a few incidents and two cops came to me and said they wanted to close it down. I somehow convinced the cop squad guy to just let me [shoot the] dance. I was gonna hold the dance for the second night of shooting. I said, ‘The only thing I can think that’ll save this is to let me just blast the music. I have a feeling it’ll calm everything down. Can’t get any worse, just give me a chance.’ And the cop was cool, he looked at me and said, ‘OK, not much more.’ I couldn’t go much more because it was volatile – no question about it – and scary. So we were in that warehouse, change of plans we’re going to do the dance, get Michael out of the camper, here we go.
What happened next?
The gang members couldn’t dance so they formed the ring and watched. And the [dancers] all started to dance with Michael Peters and Vince Paterson. When Michael Jackson comes down and does what he does, I remember looking at the faces of all the Crips and Bloods lined up and their expressions as they listened to that music and watched those kids dance. Those kids were basically, most of them were gay… and when they started to dance, the Crips and the Bloods had that look like, ‘You know what? With all our wars and vendettas and stuff, that’s cool right there. That’s something we’ll never be able to do.’ And that’s what made that evening work.
What impact has “Beat It” and working with Michael Jackson had on your career?
I met a man who I have total respect for. One of the most interesting things he ever said to me, I’ll never forget, we were arguing, he said to me in that very high-pitched voice of his, ‘You use the F-word to much’. That always stuck with me. I thought that was smart to say at a time like that.
I watched a man dance better than anyone I’d ever seen in my life and I watched a man talk softly and carry a tremendously big stick, get what he wanted and get his way. And as we know now 25 years later, perhaps he got his way too much. But nonetheless, I watched him get his way but always using the softest, quietest approach you could possibly have used. I was influenced not only by his talent, but by his personality.
是Michael幹的。他出去把他們找了來。我猜他是找到警察局的組織犯罪分隊，跟他們說，只要有足夠的警力，這會是一件聰明而慈善的事情，可以讓他們互相友愛，在一起渡過兩天拍攝時光。我並不喜歡這個主意，因為給這些演員和舞者當導演就已經夠難的了，更別提黑社會了。
他是想用錄影來促成他們之間的和解嗎？
Michael一直都關心和平，他總是想要創造和平。這是他的主意，員警同意了，而結果是開工後的第一晚差一點就要停工。因為，你知道，劇組成員總是在第一個小時以後開始覺得枯燥無聊。
我想Crips和Bloods（兩個黑幫的名字）們互相已經劍拔弩張了——他們是死敵——當時已經發生了一些小摩擦，兩個員警過來跟我說希望停工。我以為那傢伙只是想要我快點拍舞蹈部分。本來舞蹈是打算放在第二天晚上拍的。我說：“我能想到的唯一辦法就是把音樂放起來。我覺得這能讓大家安靜下來。讓我試試，也不會有更糟的結果了。”那個員警太酷了，他看著我說：“行，別再出花樣了。”我能做的不多，因為緊張氣氛顯然一觸即發，有些嚇人。於是我們進到那間倉庫，將拍攝計畫改為跳舞，把Michael從露營車裏請出來，開始了！
接下來發生了什麼？
那些黑幫成員不會跳舞，於是圍成一圈觀看。舞蹈演員們跟著Michael Peters與Vince Paterson一起跳了起來。Michael下來，開始跳他的部分。我記得我環視了一圈所有Crips和Bloods的臉部表情，他們聽著音樂，看著舞蹈。那些跳舞的孩子大部分都是同性戀…….但當他們跳起舞來，Crips和Bloods們看起來就好像在說“知道嗎？玩了這麼久打架和仇殺這些事，原來最酷的事情在這兒！這是我們從來沒幹過的事！”而這也讓那天晚上的拍攝順利進行。
和Michael Jackson一起拍Beat It對你的職業帶來什麼樣的影響？
我遇到了一個令我完全尊敬的人。我永遠不會忘記他對我說的最有趣的一話：我們在爭論，他用他的超高嗓門對我說：“你說了太多以F打頭的那個詞（f**k ）！”這句話我一直記得，在那樣的時刻這麼說真是很聰明。
我看見了一個這輩子見過的跳舞跳得比誰都好的男人，我看見了一個說話輕柔卻手持大棒、總是能達到自己目的的男人。我們知道25年後，也許他過於任性了。但不管怎麼說，我看見他總是使用最溫柔、最安靜的手段去達到自己的目的。不僅是他的天才影響到我，他的人格也同樣對我有所影響。
那些黑幫成員不會跳舞，於是圍成一圈觀看。舞蹈演員們跟著Michael Peters與Vince Paterson一起跳了起來。Michael下來，開始跳他的部分。我記得我環視了一圈所有Crips和Bloods的臉部表情，他們聽著音樂，看著舞蹈。那些跳舞的孩子大部分都是同性戀…….但當他們跳起舞來，Crips和Bloods們看起來就好像在說“知道嗎？玩了這麼久打架和仇殺這些事，原來最酷的事情在這兒！這是我們從來沒幹過的事！”而這也讓那天晚上的拍攝順利進行。
和Michael Jackson一起拍Beat It對你的職業帶來什麼樣的影響？
我遇到了一個令我完全尊敬的人。我永遠不會忘記他對我說的最有趣的一話：我們在爭論，他用他的超高嗓門對我說：“你說了太多以F打頭的那個詞（f**k ）！”這句話我一直記得，在那樣的時刻這麼說真是很聰明。
我看見了一個這輩子見過的跳舞跳得比誰都好的男人，我看見了一個說話輕柔卻手持大棒、總是能達到自己目的的男人。我們知道25年後，也許他過於任性了。但不管怎麼說，我看見他總是使用最溫柔、最安靜的手段去達到自己的目的。不僅是他的天才影響到我，他的人格也同樣對我有所影響。
Bob Giraldi, director of Beat It, 1983
How did you cast the real gang members?
It was Michael. He went out and he got ‘em through, I guess, the LAPD’s gang squad and he convinced them that, with enough police presence, this would be a smart and charitable thing to do; get them there to like each other and hang with each other for two days doing the video. I didn’t like the idea because it was hard enough to direct actors and dancers, let alone hoods.
So he tried to use the video to foster peace between them?
Michael was always about peace. He was always about some sort of peace offering. That was his idea and the cops did go along with it and as history has it, we were almost shut down the first night because, as you know, film sets get to be very boring after the first hour.
I guess the Crips and Bloods started to get on each other’s nerves – they are mortal enemies – and we had a few incidents and two cops came to me and said they wanted to close it down. I somehow convinced the cop squad guy to just let me [shoot the] dance. I was gonna hold the dance for the second night of shooting. I said, ‘The only thing I can think that’ll save this is to let me just blast the music. I have a feeling it’ll calm everything down. Can’t get any worse, just give me a chance.’ And the cop was cool, he looked at me and said, ‘OK, not much more.’ I couldn’t go much more because it was volatile – no question about it – and scary. So we were in that warehouse, change of plans we’re going to do the dance, get Michael out of the camper, here we go.
What happened next?
The gang members couldn’t dance so they formed the ring and watched. And the [dancers] all started to dance with Michael Peters and Vince Paterson. When Michael Jackson comes down and does what he does, I remember looking at the faces of all the Crips and Bloods lined up and their expressions as they listened to that music and watched those kids dance. Those kids were basically, most of them were gay… and when they started to dance, the Crips and the Bloods had that look like, ‘You know what? With all our wars and vendettas and stuff, that’s cool right there. That’s something we’ll never be able to do.’ And that’s what made that evening work.
What impact has “Beat It” and working with Michael Jackson had on your career?
I met a man who I have total respect for. One of the most interesting things he ever said to me, I’ll never forget, we were arguing, he said to me in that very high-pitched voice of his, ‘You use the F-word to much’. That always stuck with me. I thought that was smart to say at a time like that.
I watched a man dance better than anyone I’d ever seen in my life and I watched a man talk softly and carry a tremendously big stick, get what he wanted and get his way. And as we know now 25 years later, perhaps he got his way too much. But nonetheless, I watched him get his way but always using the softest, quietest approach you could possibly have used. I was influenced not only by his talent, but by his personality.
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