原创翻译：安妮赖斯对演员的评价(莱斯特-汤姆克鲁斯篇)

喜欢莱斯特的一抓一大把啊~真长啊~我翻的天昏地暗~不看对不起我啊~
ON TOM CRUISE:
From the moment he appeared Tom was Lestat for me. He has the immense physical and moral presence; he was defiant and yet never without conscience; he was beautiful beyond description yet compelled to do cruel things. The sheer beauty of Tom was dazzling, but the polish of his acting, his flawless plunge into the Lestat persona, his ability to speak rather boldly poetic lines, and speak them with seeming ease and conviction were exhilarating and uplifting. The guy is great.
I'm no good at modesty. I like to believe Tom's Lestat will be remembered the way Olivier's Hamlet is remembered. Others may play the role some day but no one will ever forget Tom's version of it.
(Let me say here that anyone who thinks I did an "about face" on Tom just doesn't know the facts. My objections to his casting were based on familiarity with his work, which I loved. Many many great actors have been miscast in films and have failed to make it work. I don't have to mention them here. Why hurt anyone by mentioning the disaster of his career? But we've seen big stars stumble over and over when they attempt something beyond their reach.
That Tom DID make Lestat work was something I could not see in a crystal ball. It's to his credit that he proved me wrong. But the general objections to the casting? They were made on solid ground. Enough on that subject. Tom is a great actor. Tom wants challenges. Tom has now transcended the label of biggest box office star in the world. He's better.)
Favorite moments with Tom:
Tom's initial attack on Louis, taking him up into the air, praised by Caryn James so well in the New York Times. Ah! An incredibly daring scene. The finest romantic scene in any film, and here please read the word romance as an old and venerable word for timeless artistic forms of poetry, novels and film.
Romance is a divine word which has never really been denigrated by the drugstore novels with the swooning ladies on the cover. Romance will be with us for all time, If you want to know more about Romance, put on a video of THE FISHER KING and listen to Robin Williams describe the deeper meaning of romance to his newfound girlfriend. It's worth it, believe me.
Back to Tom: other great moments.
Tom's bedside seduction of the dying Louis, in which he offers Louis the Dark Gift. Once again, Tom gave Lestat the virility and the androgyny that made both him and the offer irresistible. He was near blinding. I would have accepted the Dark Gift from him then and there. Only an actor with complete confidence and conviction could have done that scene or any of the others.
Tom's angry outburst in the face of Louis' repeated questions. His stride, his voice both loud and soft, his frustration, his obvious discomfort, and inner conflict. Once again, Tom took over the screen, the theatre, the mind of the viewer. Immense power.
Tom riding his horse through the slaves' fire, and then turning the horse around so that he could face the suspicious mortals. That was on a par with Errol Flynn and Rudy Valentino. It was on a par with the opera greats who have played Mephistopheles. Only a genuine "star" can make a moment like that, and I'm as confused as to why...just as much as anyone in Hollywood. Let's close this one out with one word: Grand! (No, can't stop talking about it.)

If I had to settle for one picture in this film, it would be that shot of Lestat on horseback looking back at the suspicious mortals.
That was and is my hero. That was and is my man. Lestat just won't be afraid of anybody. He won't stand for it. He hates what he is as much as Louis, but he cannot do anything but move forward, attempt to make existence worth it, attempt to create. He knows the formula for success, and has no patience with the formula for failure. That's Lestat.
Tom's rage and obvious pain in the scene with the bleeding wench and the coffin, one scene from the book which I did not include in my script. it was probably put in by Neil Jordan. If Tom had not given so much depth to this scene, it might have been unwatchable. His desperation, his vulnerability, made it work, and he made himself in it the worthy object of compassion. No small feat! I found the scene, otherwise, to be disgusting.
The shot of Tom looking through the green shutters, and the falling rain, knowing that Louis is somewhere out in the night. This was a gorgeous and eloquent shot. Again, it was the actor who gave it the depth in all the subtle ways that only he can do.
Tom's making of Claudia, and here I want to praise the entire trio...Tom, Kirsten, Brad... The scene is directed delicately and captures the intimacy, the blasphemy and the undeniable innocence and blundering of the human who has a supernatural gift to give and in his pain and confusion, chooses to give it, come what may. That's a scene for now, for our world of scientific and medical miracles, as much as any scene in Mary Shelley's Frankenstein, and Tom pulled it off right to the last second.
Later, Tom's confusion when after bringing Claudia a doll, he sees Claudia turn on him. About half of what I wrote for this scene in the script, or less, made it into the film, and I liked what I saw very much. I wish they'd gone on with the version of this scene that is in QUEEN OF THE DAMNED (see Jesse's discovery of Claudia's diary, and the entry describing what happened), but alas, what they did was great.
Tom's manner and expression on the dangerous night that Claudia comes to him and offers him her "reconciling gift." Close in on those two at the harpsichord. Tom is seated, I believe. Kirsten is behind him and apparently offers him the acceptance he needs so desperately. Scenes like this, with Tom, make this film work.
Every humorous scene Tom attempted was a complete success. The rat and the glass, I adored it. The humor added apparently by Neil Jordan -- the poodles, the piano teacher hitting the keyboard, the dressmaker biting the dust...well, I didn't adore all that, but Tom carried it off with true wit and style. And yes, its all right to laugh at those parts. We do every time we go to see the movie.
There are many other great Tom Cruise moments throughout the film. Many. But these are the ones I cherish now.
The readers calling me desperately want Tom to play THE VAMPIRE LESTAT. I hope he does. I hope I get to write the script for the movie. Tom's power, knowledge, skill, magnetism and artistic integrity are part and parcel of the success of IWTV, and there is no doubt that Tom would bring power and magic to TVL.

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(Let me digress again. For those of you who haven't read TVL, it is not really a sequel to IWTV. It's a complete full novel on its own, beginning the Vampire Chronicles. IWTV was the truly difficult film to make. TVL will take commitment, money and immense faith as well as talent, but compared to IWTV, it is much, much easier to film. Lestat is the true hero of TVL. He is entirely sympathetic. The trick, I think, will be achieving a texture in that film that includes all of Lestat's adventures...from the snows of the Auvergne, to the boulevards of Paris, through the sands of Egypt, and through the visit to Marius' sanctuary, and on to the twentieth century rock music stage. The tales of Armand and of Marius all also excursions for Lestat essentially. I hope Tom makes the journey.)
One point: I am puzzled by what seems to be a discrepancy between the way Tom played Lestat, and the way my hero, Producer David Geffen, and others have described Lestat as a character. Did Tom on his own make this role a little bigger, brighter and more complex than anyone else realized it could be? I don't know. David Geffen called Lestat "nasty" when he was interviewed by Barbara Walters. Nasty? I don't get it. But David Geffen is my hero for getting this film made. No one else could have done it. So why quibble about what David said?
There is one problem created by the compelling charm of Tom's performance, obviously. Since he isn't all that nasty, why does Louis hate Lestat? How can he? Well, I'll take that problem any day over a more shallow solution. Tom his the right note. And Louis was Louis. Nothing could comfort Louis. The film got it.
他从电影播放的第一秒种开始告诉我，汤姆就是莱斯特。他那良好的体格以及到位的道德观体现使我非常满意；他使那个人目中无人、丧尽天良的形象栩栩如生。他漂亮得凡笔难描，却被迫做一些残忍之事。汤哥的纯粹之美使人眼花缭乱，但是他精湛的演技则更使人钦佩。他的表演完全贴合了莱斯特的个性，他能够将诗歌化的台词变成生动的肢体语言，还能将他们转换为极为自然的谈话，并且能令人信服。他的表现让人兴奋。他真不错。
我这人不太谦虚。我很高兴看到汤哥版的莱斯特将和奥利弗版的哈姆雷特【应该是个很经典的荧幕形象吧~】一样，被人们永远铭记。也许还会有其他人来演这个角色，但没有人会忘却汤哥这个经典的荧幕形象。
（先让我声明一下，那些认为我的立场莫名来了个180度大转弯的人其实是不明真相的，我是看过了电影才发话的。我喜欢他的表演。已经有很多很多优秀的演员与这个角色失之交臂，但他们是因为演不了莱斯特才会与这部电影无缘的。在这里我看我就别说他们是谁了。【怕伤了别人自尊的安妮大妈~我越来越爱她了】干嘛要揭人家伤疤道人家短呢~我已经看过太多演员为了演个力不能及的角色摔跟头的事了，我不想让这种事重演。【说得太好了！】
开个玩笑，我在水晶球里没有预料到汤哥能把莱斯特演这么好。他用他的信誉证明，我错了。那么主流观点又是怎样呢？管他呢，我挺他！关于他的话题争论已经够多了。汤哥是个好演员。他敢于接受挑战。汤哥现在很出色，他早已被贴上了世界票房冠军的标签。他真是出类拔萃。）
汤哥最让我心动的精彩瞬间：
汤哥第一次攻击路易，把他抓到半空中，这个镜头得到了《纽约时报》Caryn James的高度评价。啊哈！真是个令人难以置信的大胆场面，或者说是电影里最棒最浪漫的一幕！不知道你们能否理解这些浪漫字眼，以及古老、庄严、永垂不朽的诗歌、小说、电影这些经典的艺术形式。
“浪漫小说”是个神圣的单词，她从来就没有被那些用迷人女郎做封面的“药房小说”【可能就是指低俗小说~】毁誉过。浪漫小说永远与我们同在！如果你想深入了解浪漫小说，就请往DVD里插一张《渔王》的碟片【详情请看http://www.verycd.com/topics114500】，听听罗宾威廉姆斯向他的戏中新交女友对于浪漫小说更深刻的诠释。这片子值得一看。相信我，没错的！

汤哥在电影里还有不少其他精彩瞬间。但以上是我现在最为珍视的。
为了让汤哥演上《夜访》里莱斯特这一角色，我的读者狂CALL我不止。我也希望他能演好莱斯特。我希望我的小说就是为电影而写的。汤哥的气魄、知识、能力、吸引力以及艺术气息是《夜访》成功的一半。毫无疑问，汤哥是票房的保证。他将为《吸血鬼莱斯特》的公映造势。
（原谅我再次偏题，我得跟那些还没读过《吸血鬼莱斯特》的人谈谈。这可不是《夜访》系列真正的结尾。我的书有一套吸血鬼的编年史。《夜访》是很难拍好的。但《吸血鬼莱斯特》也不是吃干饭的，它的拍摄需要责任感、资金、卓越能力以及天赋。但是比起《夜访》来，这片子好拍多了。莱斯特是《吸血鬼莱斯特》里的真心英雄！他完全值得同情。我觉得《吸血鬼莱斯特》这部片子会变成一场恶作剧，一部囊括了莱斯特所有经历的《莱斯特历险记》，流水账！它从奥弗涅的雪天讲到巴黎大道，贯穿埃及的沙尘，来到玛瑞斯的庇护所，最后就是20世纪的摇滚乐现场。阿尔芒和玛瑞斯的故事穿插必定使《吸血鬼莱斯特》电影的拍摄偏题。我希望汤哥来拯救这次旅程。）
有一点不得不提：汤哥演绎莱斯特的方式和电影制作人David Geffen 所理解的莱斯特之间有很大出入，因此我也被搞糊涂了。汤哥是自己发挥得好，还是有人协助他，使他能把莱斯特演得更大胆、更鲜亮、更复杂？他是怎么把小说精神理解得这么好的？我不敢妄下结论。
Barbara Walters请汤哥接莱斯特一角时，David Geffen对他的评价竟是“肮脏下流”【我想应该不是说汤哥本人，而是对莱斯特的个人见解】。怎么这样说他呀？！我可不同意。但David Geffen是把我的小说搬上荧幕的大英雄。除了他没人能做好这件事。难道David Geffen说的是双关语？？？
很明显，汤哥那无人能挡的荧幕魅力带来了一个大难题。但他要是不那么肮脏下流，路易又怎么会恨莱斯特【原来安妮大妈是要吓走情敌，独占帅哥~我总算看清了~哼哼】？莱斯特要是不下流，路易怎么可能恨他！爱他还来不及呢！【不是安妈讲的，但我忍不住就把她的弦外音给说了~你们看原文里那个掷地有声的‘HOW CAN HE?’还有那个大问号，足以能体会到安妈对我们感情迟钝的小路有多么恨铁不成钢~ME TOO!ME TOO!】好吧，我过两天会把这个问题私下解决的【可能就是找那个疯狂编剧谈谈】，莱斯特就是莱斯特，路易就是路易。什么也哄不好路易【安妈在这里并不是批评路易，只是表达了她对路易一种特殊的同情】。电影的拍摄抓住了他们的神韵。