[郎貌] [女才] When We Were Kids: Fiona Apple & Paul Thomas Anderson (中)

課前預習：When We Were Kids: Fiona Apple & Paul Thomas Anderson (上)


According to People magazine, Anderson and Apple were first "spotted together" in February 1998, though Heath's Rolling Stone story from that January includes a passing reference to Apple showing up to a morning interview with a hangover after "she was up most of the night drinking Surfers on Acid (Malibu, Jägermeister, and pineapple juice) with Anderson," which dates the relationship back to at least late '97. Like a lot of twentysomething dudes in 1997, Anderson had a crush on Fiona Apple based on the barely legal soft-core of the "Criminal" video. "We sort of mutually wanted to meet the other person," Anderson said in 2000. "I certainly wanted to meet her. I mean, she was a foxy rock star who seemed really cool."

根據《時人》雜誌，PTA 和 Fiona Apple 在一九九八年二月「首度被看見在一起」，即使希斯在一月份《滾石》雜誌指涉了 Fiona Apple 早上接受採訪時宿醉，而她「前晚徹夜與 PTA 啜著酸性衝浪男孩 (馬勒布加賈格美思特加鳳梨汁) 把酒言歡」，記錄了這段關係得追溯自九七年末。就像許多九七年的年輕人，PTA 看了非法尤物的軟調情色 "Criminal" video 音樂錄影帶煞到 Fiona Apple。「我們有點兩情相悅，」PTA 在兩千年說。「我當然想會會她。我是說，她是隻看起來很酷炫的搖滾狐狸精。」




Anderson structured Magnolia around the songs of another singer-songwriter, his friend Aimee Mann, but he really wrote the movie for Apple. He was certainly influenced by her, later claiming that he would page through her notebooks at the house they shared — located not far from the filming hub of Magnolia — and "steal her lines." In the case of Stanley, the quiz show kid who's bullied by Michael Bowen's character and pees his pants in protest on the set of the game-show-as-metaphor-for-child-exploitation What Do Kids Know?, Anderson took direct inspiration from Apple's life and his burgeoning love for her, as he later told Rolling Stone in 2000.

PTA 以另外一位音樂人 Aimee Mann 的歌曲建構了【心靈角落】，但其實是為了 Fiona Apple 編寫這部電影。他當然有受她影響，宣稱自己會在兩人同居的房子裡—座落於【心靈角落】拍攝重地，翻閱她的筆記本，然後「竊取她說過的話。」以史丹利來說，這位益智問答小天才被 Michael Bowen 角色霸凌，然後尿在褲子裡，對以益智節目隱喻孩童剝削秀 "What Do Kids Know?" 表示抗議，直接受到 Fiona Apple 生活經驗，以及對她的愛意萌生啟發， PTA 在兩千年《滾石》雜誌談到。

Fiona told me a story, and it's funny, because I don't remember it in detail now, because I've twisted it around and made it my own, but she had to go to the bathroom in some kind of taping situation, and they just said, 'Well, can you just hold it and do this thing for us first?' And she did. And when she told me this story, I wanted to strangle every person involved. We had just fallen in love, and I was just becoming protective of her, you know, as protective of her as I am now, as my girlfriend and, you know, as my love. And to hear this story made me want to crack someone's head open and say, "Let her go to the fucking bathroom."

Fiona Apple 跟我講了一個故事，好笑的是，因為我現在不記得細節，因為我已經扭轉乾坤內化成我自己的東西，但當時她必須到廁所處理一些錄音事宜，然後他們說：「妳可以暫時擱著，先回覆我們的要求嗎？」她照做了。當她告訴我這個故事時，我想把每個在場的人用奪魂索勒死。我們剛陷入熱戀，我變得很保護她，你知道的，我保護她視如己出，保護我的女朋友，保護我的愛。聽到這個故事讓老子想幹爆某人的頭然後說：「讓她去她馬的廁所。」

Like Stanley, Fiona Apple was a child prodigy, starting her songwriting career as an adolescent and signing her first record deal when she was in high school. Tidal was released two months before Apple's 19th birthday, and the popularity of "Criminal" and its scandalous video made her a pop starlet while also (not coincidentally) humiliating her. Any irony that was intended in the clip*** was lost in translation and used to justify heavy-breathing coverage from major music magazines, the most despicable being a Spin cover story from 1997 that embarrassingly described her as "a pop star trapped in the body of a pretty teenage girl" (she was the proto-Britney!) and "the kind of arty, ravished girl you knew in junior high who wrote poetry in lower-case letters," between cheesecake photos of a pained-looking Fiona. That Apple's personal history with literal sexual assault became part of her oft-told origin story added another sickening layer to all the gleeful leering.

就像史丹利這個角色，Fiona Apple 是個天才兒童，高中就開始創作生涯，拿到一紙唱片合約。"Tidal" 發行於 Fiona Apple 十九歲生日前兩個月，"Criminal" 的大受歡迎和惡名昭彰音樂錄影帶，讓她成為一位流行小女星，(非屬巧合) 同時也羞辱了她。這影片*** 任何意圖的諷刺都被曲解，並且正當化主流音樂雜誌之大肆報導，最可惡的是九七年 "Spin" 雜誌專題報導，令人難堪地描繪她是「被困在俏麗青少女胴體裡的流行歌星 (小甜甜布蘭妮原型！)」以及「你國中認識的那種藝術氣息，令人陶醉，用小寫字體書寫詩篇的女孩，」穿插於 Fiona Apple 病懨外貌的美麗照片。Fiona Apple 被性侵過去成為她時常娓娓道來之原創故事，為那些歡樂覬覦添了另一層病態濾淨。



*** Fiona Apple to Interview magazine in 2012: "I'm actually very goofy. I hate this feeling like I'm name-dropping, but Paul Thomas Anderson [the director and Apple's ex-boyfriend] told me that two of the funniest people he knows are me and Daniel Day-Lewis. He was like, 'You're both hilarious, but everybody thinks you're awful.'"

Fiona Apple 二零一二年接受 "Interview" 雜誌採訪時表示： 「我其實很驢。我不想自抬身價，但保羅湯瑪斯安德森告訴我，他所認識最好笑的兩個人，是我和丹尼爾戴路易斯。『你們都明明很歡樂，但是大家都覺得你們很恐怖。』」



Stanley's big dramatic moment in Magnolia comes when he refuses to participate in the musical bonus round, in defiance of the show's host, Jimmy Gator (played by Philip Baker Hall). Finally, Stanley's meek façade melts away, and he confronts Gator — an abuser of children in his professional and private lives — with a monologue that's essentially a more articulate and angrier rewrite of Apple's VMAs speech:

史丹利角色在【心靈角落】的戲劇時刻，來自他拒絕參加音樂劇加碼關卡，為了對益智節目節目主持人吉米蓋特 (Philip Baker Hall 飾演) 表示抗議。最後，史丹利綿羊般的外表溶解，他面對蓋特─針對他專業以及私生活的虐童癖─唸著以下獨白，比 Fiona Apple 在 MTV 音樂錄影帶大獎演說更清晰，更憤怒的改編：

This isn't funny. This isn't cute. See the way we're looked at? Because I'm not a toy. I'm not a doll. The way we're looked at because you think we're cute? Because, what? I'm made to feel like a freak if I answer questions? Or I'm smart? Or I have to go to the bathroom? What is that, Jimmy? What is that? I'm asking you that.

這一點也不有趣。這一點也不可愛。看見我們被看待的方式嗎？因為我不是玩具。我不是洋娃娃。因為你覺得我們很可愛所以那樣看待我們嗎？因為，因為什麼？是不是我回答問題就會變成怪胎？還是因為我很可愛？或者因為我必須去上廁所？吉米，到底是怎樣？到底是怎樣？我在問你問題。

If there's a little bit of Fiona in Stanley, she's more obviously present in Claudia, the film's other survivor of childhood sexual abuse, played by Melora Walters. Giving the most ravaged and unsettling performance in a film full of ravaged and unsettling performances, Walters possesses a beauty so feral and unkempt that it stops you like an implied threat. Words tumble out of her mouth in unpredictable fits and starts, careering between halting vulnerability and ferocious self-preservation. She's a jumble of nerves held together by the flimsiest of twist-ties.

如果史丹利這角色有點 Fiona Apple 色彩的話，她絕對更貼近克勞蒂雅角色，另外一位兒童性侵生還者，由 Melora Walters 飾演。在這部滿溢飽受摧殘與令人不安演出的電影裡，給予最遍體鱗傷與擾人心智的表演，Walters 保有這種美麗，狂野和不修邊幅到像個威脅隱隱震懾著你。字句在每次出乎意料的陣痛與發作間踉蹌跌落，在躊躇易碎與兇狠自我保護間搖曳。她是脆弱糾結交織成的神經質總匯。




She also gets her licks in on Hall: "I'm not crazy! Don't you tell me I'm crazy!" a righteously haggard Walters screams at him in an early scene, when he comes to visit his prodigal daughter with the news that he's dying of cancer, and she responds by hurling flaming knives from out of her throat.

她也壓抑憤怒和 Philip Baker Hall 打開天窗說亮話：「我不是瘋子！你不準說我是個瘋子！」當他帶著罹癌消息拜訪天才女兒時，理所當然憔悴的 Melora Walters 在前幾場戲對父親驚聲尖叫，從喉嚨投擲出之炙熱刀械作為回應。

Being protective, you know, of his love and all, Anderson wrote a knight-in-goofily-mustachioed armor for his Fiona surrogate in Magnolia, dispatching John C. Reilly to repair his emotionally damaged turtle dove. The film ends with Reilly returning to Walters's apartment and delivering an achingly heartfelt speech — the epitome of "every embarrassing thing I wanted to say," as he put it to the New York Times Magazine's Hirschberg — pledging his/Anderson's love and commitment to Walters/Apple.

保護著他的愛與所有，PTA 為 Fiona Apple 代理人寫了一個笨拙鬍鬚哥騎士，派遣 John C. Reilly 前往維修他情感受損的斑鳩。電影以 John C. Reilly 回到 Melora Walters 公寓，訴說碎心做結—「那些我想訴說的尷尬情事」的縮影，當他和《紐約時報》雜誌作家 Hirschberg 表示—抵押了他／PTA 對 Melora Walters／Fiona Apple 的愛情與承諾。

For all the flights of indulgent fancy in Magnolia — the multiple Julianne Moore freak-outs, Jason Robards's endless deathbed confessional, the thing with the frogs — Anderson just comes out and says what the movie is about right here in the most direct language imaginable: "I can't let this go. I can't let you go. Now, you … you listen to me now. You're a good person. You're a good and beautiful person and I won't let you walk out on me." If you've seen the movie, you know you can't actually hear this dialogue or otherwise make out what Reilly is saying without subtitles, because Mann's "Save Me" is intentionally mixed too loud on the soundtrack. After 180 or so minutes of oversharing, Paul and Fiona apparently decided to get a room.

【心靈角落】那些沉溺幻想的雲霄飛車─多面向的茱莉安摩兒崩潰，Jason Robards 無止息的臨終前自白，蛙雨─PTA 走出幕前，使用能想像最直接的言語告訴觀眾這部電影想說什麼：「我放不下。我放不下你。你現在……現在聽我說。你是個好人。你是個良善且美麗的人，我不會讓你離開我。」如果你看過這部電影，你會知道你無法真的聽到以上對白，也無法聽清楚 John C. Reilly 在沒有字幕的場景裡正在說什麼，因為 Aimee Mann 的 "Save Me" 於原聲帶實在刻意被混音得太嘈雜。經歷一百八十分鐘的過度分享， PTA 和 Fiona Apple 顯然決定開個房間。