Часть 2

(1) Журналист: Критики часто по-разному отзываются о Ваших фильмах. А были ли Вы удивлены тем, что «Твин Пикс» не пришёлся по вкусу фанатам?

(2) David Lynch: Not really. There was a shift going on, and who knows all the reasons, but it was just in the air. It was unfortunate, but... And also, it was a dark film, and it was too much in people’s faces and didn’t have the humour of Twin Peaks. It was what it was supposed to be, but it wasn’t what people wanted. It was supposed to be stand-alone, but also the last week of Laura Palmer’s life. All those things had been established, but they could be pleasant on one level to experience, but on another level, not.

(3) Ж.: Что ж, давайте поговорим о «Малхолланд драйв». Когда Вы предложили Эй-Би-Си сценарий, они, видимо, даже не поняли, что Вы собираетесь снимать.

(4) D.L.: They hated it. They hated the story, the acting. They thought it was too slow, that’s for sure. Basically they hated everything about it.

(5) Ж.: Вы начали писать сценарий совместно с Джойсом Элиасоном, написавшим сценарий для «Последнего дона»…

(6) D.L.: Right. I started, though, way before that, when it was gonna be kind of a spin-off of Twin Peaks, but it didn’t go anywhere. And just the words 'Mulholland Drive' always got something going, but I never knew what, so all the times it started to go, it never really went, until this last thing. And then it was nothing but trouble with ABC, and it was just more fuel for the theory that a thing is not finished until it’s finished. It wants to be a certain way, and you don’t know all the twists and turns in a road that are coming up – you just drive dow the road and, you know, pay attention.

(7) Ж.: А Вы могли тогда предвидеть, что первоначальное фиаско фильма в конце концов превратится в награду в Каннах и сильные отзывы критиков?

(8) D.L.: When you’re in the middle of something, it’s not impossible to let go of it, but it’s an injury if you don’t finish something, and part of your mind is always going back to it if it`s not finished. So I don’t know whether it was being hopeful, or I had a feeling, but many people involved in the project had feelings that it wasn’t gonna die. Then it got revived and almost died, and revived and died many, many times. Because of the nature of it, I don`t know how to say it, but it would be like there’s a key to something – your brain kind of kicks in to finish something, and you don’t know how it’s going to end. It’s pretty interesting how the mind can go to work, and ideas come in. It’s a real interesting experience.

(9) Ж.: Единственное объяснение, которое Вы дали к «Шоссе в никуда», – что это «психоделическая фуга». Не могли бы Вы сказать об этом подробнее?

(10) D.L.: No. I think it’s a beautiful phrase, even if it didn’t mean anything. It has music and it has a certain force and dreamlike quality. I think they call it a "psychogenic fugue" because it goes from one thing, segues to another, and then I think it comes back again. And so it is in Lost Highway.

(11) Ж.: Необходимо ли для Вас иметь полное представление о чём-то, когда Вы снимаете фильм про это?

(12) D.L.: No, not one bit. The reverse is true. My understanding of Wild at Heart, the book... Again, it was a lot like The Elephant Man – the essence was Sailor and Lula, and many things were one line, or one paragraph, or one thing that shot a bunch of studio stuff into me that got expanded. Some things were dropped, but it`s like they triggered other things. But then at a certain point you have to go and make it your own.

Задания

1. Сравните несколько вариантов перевода и проанализируйте средства, использованные в них.

2. В каких случаях дополнительная информация помогла подобрать наиболее удачные решения переводческих задач?

Упражнение 2. Переведите письменно текст о Д. Линче с использованием дополнительных информационных ресурсов.

Lynch’s Logic

Like joy, desire and passion, the moviemaker’s films don’t need a plot or justification.

By Sérgio Augusto de Andrade.

Nobody understands Mulholland Drive. I doubt that understanding Mulholland Drive is of any use.

As everything in life, Mulholland Drive might have no explanation. And, if it does, the explanation can only make Lynch’s film a worse film: less hypnotic, less disturbing and less exciting. Luckily for us, David Lynch films like a sexual maniac – and his only priority is to reestablish, like a generous fetishist, the fortuitous possibility of cinema becoming once again a dangerous art.

David Lynch always mistrusted so much everything that could sound domestic, inoffensive or comfortable that he ended up inventing an America in which the essence of domesticity and comfort – the classic and suburban image of a Midwest that seems depicted in a postcard of the end of the fifties – is like a sinister surprise box. What should look like a forgotten postcard among the pages of a perfumed diary ends up as the secret that someone finds out, by chance, lost among the rubble of a burned upper story.

Everything in his images is as crafty as shock toys: David Lynch’s scenes seem all the time to be on the verge of some terrible revelation that we are not always certain we want to know. The extent of our reluctance makes his cinema’s delights and is the theme of his most refined game.

David Lynch always seemed to me too intelligent to dedicate himself integrally, with an abnegation that would sound suspect, to a vulgar fantasy, empty and redundant as all kinds of dreams usually are: indifferent to the easy pastimes of the unconscious, his movies are fairy tales obsessed by sin. And with his usual good taste, David Lynch always knew that sin should never be depicted simply by the poisoned apple – but by Snow White’s desires. His cinema had the courage to treat Laura Palmer at the same time as Snow White and as the apple. As viewers, we can bite both.

In a world so ferociously personal, the only possible manifestation of order can only be as arbitrary, gratuitous and original as most of his phobias – thus, for David Lynch, the only consistent expression of moral stability seem to come from a basic respect, among all the imaginable options, for the only laws that his films seem to respect: the traffic laws. For David Lynch, the difference between a red light and a green light is an ethical principle.

Therefore, it is more than natural for his films to seem often like musicals staged by characters of very particular taste – characters capable of turning every musical in an erotic comedy whose appeal is invariably visceral. Like a tropical plant in a forgotten swamp, David Lynch’s cinema sprouts from the exact point where cynicism, the quavers and the flesh intercross in a sick fermentation. His style is precise, perverted and lysergic; his cinema is a trance.

And – what is best – instead of turning pornography into art, his films turn art into pornography – which is much more sophisticated. After all, what David Lynch has been proving – with the talent of a mater-of-ceremony presenting suspect numbers in a decadent circus – is that perhaps telling stories isn’t that important.

Joy, desire and passion never needed a plot. David Lynch’s movies don’t need justification.

Задание

Работая в группе, сравните несколько вариантов перевода и сформируйте из них единый для всей группы перевод данного текста. Обоснуйте выбор варианта перевода того или иного элемента.