94年playboy对DC的采访报道

Q 2
PLAYBOY: You've become famous, in part, for showing your butt. Are we setting our sights too low?
David Caruso: The butt thing was a media deal. It hadn't been done before in prime time, so it got some attention. I don't think that's why people come back to the show, though: "Hey, Caruso did another butt shot last night!" We should set our sights higher--maybe my lower back. （笑死偶了，John的小pp原来这么多人惦记着...)If I never do it again, that's OK, too. But butts will continue. We do adult television and there are going to be love scenes. So we're just waiting for new butts.
Q 3
PLAYBOY: How hard do you hit the body makeup?
David Caruso: You do a layer of body makeup. Then, depending on how long the scenes take, they'll touch you up. Body makeup is a weird concept. They pretty much cover it all. I have them do the whole canvas, so to speak. Then, depending on the situation, my girlfriend, Paris, will complete the work of art.
Q 4
PLAYBOY: Actors sometimes bring parts of their sexual technique to love scenes. Are there moves that you bring from home that are impossible to disguise, or that you might suspect are authentic in a screen partner?(好八卦的问题==|||）
David Caruso: I agree that you can't hide who you are. You can attempt to manufacture certain things, but it is really about availability: Are you willing to materialize for the scene or not? In real life, if you're open to making love to somebody, you're available to them on every level, every cell. You show up even when there's fear, insecurity, the possibility of loss or humiliation. It's tough to risk all that. To create that on the screen with a stranger, and to make it work, takes the same type of willingness to materialize. Otherwise it won't be real.
The circumstances in the script will also set boundaries. Am I falling in love with this woman? Or is this a painful sequence because we're breaking up? In scenes with Sherry Stringfield, who plays my ex-wife, Laura, we weren't supposed to materialize for each other, and it showed. In scenes with Amy Brenneman, who plays Janice Licalsi, our characters were both willing to jump off the metaphoric cliff. In those scenes, which initially got all the attention, there was real investment and risk involved. I feel fortunate to have had my first major love scene with Amy because of her real courage. She just jumped. She was great. Amy did not protect herself, did not hold back. She did not have one foot out the door. That's liberating, man. It's a relief when you have somebody to dance with, because then the potential becomes unlimited. When you have somebody who's free--man, talk about putting a smile on your face. All the armor comes off and you've got a partner. I should add that this is also why some actors meet on a film as characters in a relationship and then start one offscreen. They believe it themselves. They fall into it. It feels right, it feels comfortable, it feels exciting. You buy into it because you want your real life to be that heightened.


Q 5
PLAYBOY: You've had a couple of busted marriages but are now happily entangled, though not wed. What do you know now that you wish you'd known before?
David Caruso: That I can choose not to be in a relationship. I didn't know I could do that. I was attracted to certain situations and a certain style of woman that set off familiar alarms for me, and I couldn't not proceed. What I did has been described to me as being anxious to rewrite the end of a particular scenario. You are attracted over and over again in the hope that you can change the outcome. You can't. When I was younger, my take on relationships and on women was pretty narrow. My instinct was to create the ideal situation for myself with her, then together we'd live my life. It wasn't even that the relationships were bad. I just had no idea what the f**k I was doing. I didn't understand my function and my responsibility. The great misperception is that if you're able to have sex, then you're ready to be a father. Or that because you can move in with somebody, you're ready to be in a relationship or a marriage. What I'm beginning to understand is that it's about whether or not two people just get along. If you can have joy and have fun, and then have honesty as a result or in addition to those things, then you're really scoring.
Q 6
PLAYBOY: What's the toughest thing about living with you?
David Caruso: I want things done my way. I know how it should be, every little detail, and I'm not good at bending to other people's methods. I load the dishwasher my own way, I do the laundry my own way. I'm working on this problem. Hourly.


I want things done my way.I know how it should be, every little detail, and I'm not good at bending to other people's methods.
现实中也很有H范儿啊～～～

Q 14
PLAYBOY: In Mad Dog and Glory, you also played a cop. Your big moment--the one that helped land you on NYPD Blue--was taking on Bill Murray's oversize henchman. In real life, how do you handle someone who's bigger than you?
David Caruso: It depends on the issue. If the guy knows in his heart that he's wrong, he's already operating from a disadvantage. Not that I square off with people all the time--I don't seek confrontation and I'm not into violence--but occasionally I've been in that situation. Sometimes it's reached that point because the other person was being unreasonable or there was no other avenue to pursue. Recently there was this buffed guy at the gym who was not allowing other people to use a machine. He decided it was his. Finally, after standing around waiting for him to complete his sets, I said, "OK, I think you've had time enough." When I confronted him he threatened me. He said, "You better get out of here or I'm gonna rock your world." Quickly it became a principle thing. I wasn't going to let this guy send me home. So I said, "OK, let's go. Let's go outside." We did, but he decided to give me a lecture about street etiquette and fighting instead. He didn't really want to fight. Not that I haven't thrown a punch or two. About ten years ago, a friend and I were waiting for a parking space, and just as we were turning in, these young guys pulled in ahead of us. I was the passenger, and the person driving said, "f**k you!" The guy in the other car spat on our windshield. It was--I don't know--so unreasonable. He got more and more belligerent. I couldn't leave it alone. I went over to his car. He opened the door fast on me, so we started rolling around the parking lot. It was so stupid. （偶尔愤青下~）
Q 15
PLAYBOY: Despite your Italian surname, your look is clearly Irish. So who are more fun, Italian or Irish women?
David Caruso: The Italians are flamboyant; they're filled with all kinds of passion and ability and charm. The Irish have their own richness, but it's much more conservative. Irish women have a great sense of humor. That's one of their basics. But I've always been fascinated by Italians. They're so beautiful. The dark hair. And there's a certain drama to a relationship with a young Italian woman. Everything is such high stakes and so potentially explosive--all the time.


Q 16
PLAYBOY: What would the Catholic Church have to do to get you back in a pew every Sunday?
David Caruso: Drop fear as a manipulative weapon. This is a control thing. They want to let you know how powerless you are, how you were born genetically poisoned, and that they are in a position to light all of your darkness. Although we're flawed and dangerous, I don't believe we're negative creatures. I don't think I should start from a place of shame and work forward. We're complex. We're animal. But fear is not the answer to any equation. There's an implied threat to that, as opposed to coming from a position of love, understanding and openness.
Q 17
PLAYBOY: How long has it been since your last confession?
David Caruso: I did an on-camera confession. Does that count? [Pauses] Maybe it does. It felt kind of spooky. It had been a long time, and it's odd that I'd end up, even in a role, returning to it. These days I feel less and less the need to confess. Confession is a way of denying being human. I don't want to label things I have done as wrong. I understand there are positive and negative repercussions to everything I do, and I'm not as desperate to run from the negative as I used to be. I'm more willing to deal with the consequences. Trying to have the perfect picture and the perfect life is hopeless. Instead, you have to be willing to accept who you are. Confession gives someone access to me that I don't want him to have. Being programmed to feel guilty about certain things is a tremendous control thing. It keeps me from really living my life. The nature of confession is that you have to get something off your chest before you can get your life back in focus. I don't want to strike my actions from the record. (气场啊~）


Q 18
PLAYBOY: You may not be going back to church, but John Kelly seems to be.
David Caruso: John Kelly is coming from The Word. The Church and Jesus Christ and the New Testament have a profound message of compassion. That's what this character is based on. (赞~一直觉得Horation也有这种悲悯）He's a compassionate guy. He knows that brutalizing and punishment and "rehabilitation" don't work. He wants to communicate, to make contact and start listening. He is a good listener. Let me give you an example. [Stands, still talking, then slowly settles into his chair never losing eye contact--just like Kelly on TV] Part of Kelly's science is that he always maintains eye contact and listens. That's the key. The frustration begins when we're not being heard. （这句深得吾心）Kelly wants to be present with each person because that's what they need. [Smiles] A lot of that technique comes from having children. I crouch down to get on my daughter's level. Then I'm not perceived as so dominant, because that's too scary. It's not effective if they're afraid of you. （难道这就是歪脑袋的由来？可爱的DC啊）If you're talking to a murder suspect, he or she might tell you something because they feel you're really there for them.（也是H的策略吧）


Q 19
PLAYBOY: You used to drink. When you were having more than one, what were you having and what did you do when buzzed?
David Caruso: If it was a football game, it would be beers with the guys. Barbecues by the pool would be margaritas. I used to like Cristal champagne--who doesn't? Sometimes I would become adventurous in a dangerous way. I would end up in situations with strangers in the middle of the night. When I was 18 and living on 89th Street in Manhattan, my first year after leaving Queens, I worked as a waiter. I met a bunch of people who were part of the city subculture that lives at night. They have different identities. Some people who are straight during the day are gay during the night and answer to different names. So when I'd drink I'd flirt with different pasts and make up stories for strangers. I was escaping and, I suppose, seeking drama and stimulation. And they say the theater is dead. Well, everybody in this f**king society is doing a character. Everybody has a look, a getup, a story. You could be in a 25-character play in the middle of the night. I had discovered Brando and indulged myself in that self-absorbed, introspective, internal-conflict guy. I took this character out into the night and no one could pop me because everybody had their own story. I was James Dean, or I was Then Came Bronson. Maybe I would pad stories about a criminal past, or maybe I'd be involved with a number of women at the same time and have slightly different identities and situations. Ultimately I was just trying to figure out who I was. That was wild stuff.（哈~人不轻狂枉少年...)


Q 20
PLAYBOY: You used to spend hours in a terminal at JFK Airport staring at people. What's the best terminal for people-watching? Were you looking for anything in particular?
David Caruso: I went to the American Airlines terminal. I always have been fascinated by scenarios and characters. An airport is an exciting place; people's lives are changing and beginning and ending. Every time I get on a plane, I feel some kind of surge, even if it's a mundane trip. Something could happen. Something could change. I would try to observe anonymously. That's part of doing your homework as an actor, and I wasn't even an actor at that point. I didn't really know what I was doing except unconsciously broadening my horizons. And now, I'm the one someone is watching get on a plane. It seems so cinematic. Maybe I was rehearsing."
-----------------END--------------顺便呼吁强人来做翻译---------

回复：5楼
刷盘子洗衣服也要自己做，只能说他不会享福呐...不过生活中和这么讲究的人过，还真蛮痛苦的。

做个记号慢慢看

Q 5
PLAYBOY: You've had a couple of busted marriages but are now happily entangled, though not wed. What do you know now that you wish you'd known before?
David Caruso: That I can choose not to be in a relationship. I didn't know I could do that. I was attracted to certain situations and a certain style of woman that set off familiar alarms for me, and I couldn't not proceed. What I did has been described to me as being anxious to rewrite the end of a particular scenario. You are attracted over and over again in the hope that you can change the outcome. You can't. When I was younger, my take on relationships and on women was pretty narrow. My instinct was to create the ideal situation for myself with her, then together we'd live my life. It wasn't even that the relationships were bad. I just had no idea what the f**k I was doing. I didn't understand my function and my responsibility. The great misperception is that if you're able to have sex, then you're ready to be a father. Or that because you can move in with somebody, you're ready to be in a relationship or a marriage. What I'm beginning to understand is that it's about whether or not two people just get along. If you can have joy and have fun, and then have honesty as a result or in addition to those things, then you're really scoring.
Q 6
PLAYBOY: What's the toughest thing about living with you?
David Caruso: I want things done my way. I know how it should be, every little detail, and I'm not good at bending to other people's methods. I load the dishwasher my own way, I do the laundry my own way. I'm working on this problem. Hourly.
Q 7
PLAYBOY: We have talked about King of New York with nearly all of your co-stars and asked them to help women understand its appeal to men. What is your take?
David Caruso: It's like an urban version of The Wild Bunch. Quite a few gunshots. A lot of testosterone. The thing about King of New York is the cast. For Abel Ferrara to put all those people--Walken, Snipes, Fishburne and me--into the same movie for a total budget of $8 million says quite a bit about the project and about the people who have come out of it.
Q 8
PLAYBOY: Care to explain Christopher Walken?
David Caruso: You really meet Chris Walken on the other side of "Action!" When you're dealing with him face to face, Chris is kind of eccentric. He is everything but eccentric when you meet him on the other side. You get to grip the floor on the first few takes because you can't be prepared.
Q 9
PLAYBOY: Let's say you had access to NYPD Blue co-creator David Milch's dream state. What plot line for Detective Kelly would you suggest?
David Caruso: Eventually, he'd leave the police force. Sometimes I flirt with the possibility of Kelly going into public life. There's a horizon beyond the 15th Precinct for him. But because of the responsibility he feels, he hasn't allowed himself yet to dream past his badge. Sometimes I wonder if Kelly is completing his father's life out of some sense of duty. Milch's twist on it would be to make Kelly go through a serious crisis and attempt to move on and really get to the bottom of the issue. Then David would have him discover that, in fact, he should be a police officer. He would choose it on his own.


呼唤吧主帮额把14,15,16,17删掉.度度疯掉了....
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翻了一楼的，大家将就着看。
1994年《花花公子》杂志David Rensin 对David Caruso的采访：
《纽约重案组》银幕警察对当下犯罪行为，宗教沦丧的评论以及对街头暴力和性爱镜头的处理
大卫克鲁索是眼神交流的高手，戏里戏外，他都会微微歪着一头典型爱尔兰红毛的脑袋，腼腆地低着头，待他抬眼与你对视时，你便不由自主沉浸其中了。他的目光中有冷峻，不怒自威，更有无限悲悯，这就是大票大票女粉丝们（包括很多媒体）把他选为本季性感代名词的原因吧。精彩的剧本，杰出的表演以及克鲁索在第一季中的裸戏镜头成就了这部警察题材的电视剧。演出这部剧集前，克鲁索在电影An Officer and a Gentleman和经典纯爷们儿戏King of New York都有精彩表现。在克鲁索的邀请下，洛杉矶雾气朦胧的晚上，我们的编辑David Rensin与他在一个山顶餐馆里进行了本次采访。“克鲁索要了矿泉水，但他并不喜欢它的味道；他又要了沙拉，可也只吃了两口；最后意大利面上来的时候他已经彻底没了胃口。克鲁索像担忧其他事情一样挑剔着饮食。”
花花公子：你小时候曾有机会参与一桩便利店抢劫案，但你没有，为什么？
克鲁索：（笑）我知道我不适合犯罪，对于短期行为我向来是很疑虑的。那天晚上和我们一起做计划的两个人已经不在，他们在很年轻的时候就惨死了。真可惜。如果你对罪犯有些了解的话，你就会知道，他们并不是为了钱。人们把罪犯看得太理性了，事实上，罪犯的目标是伤害和毁灭他人。他们是有计划的，你看看周围的罪犯，不再只是抢人钱包，他们用枪打人。他们会在抢完商店之后再回去把店员干掉，这并不是为了钱。罪犯是愤怒而不理智的，急于得到他人关注。三十年前社会不是这个样子，如今已经礼崩乐坏了，公众人物在各类腐败中抬不起头来，教会也失去了他们的道德约束力，人们不再为他人着想，信义沦丧。以前的罪犯对于违反法律还有愧疚感，如今害人却成了产业链。罪犯看到别人拥有的他没有，欲望就无限滋生，因为他们觉得失去了对世界的掌控感。
你看，为什么你的车被偷了，发现时已经被撕成碎片？因为偷并不能满足罪犯的欲望，他们要的是毁坏。


花花公子：你出名的部分原因可能因为你的裸戏，你是不是对于这种镜头很不在乎？
克鲁索：裸戏的事儿是媒体的炒作。因为以前从来没有过。我不认为人们会因为裸戏而关注这部戏，尽管他们也许会说，“嗨，昨晚克鲁索又露屁股了。”我们该把眼光放高些，不如多看看屁股上的背部。如果裸戏不再，也就算了，但裸戏还是会继续下去。我们也会有做*爱的镜头。所以…等着吧。
花花公子：身体化妆是不是特难搞？
克鲁索：就是在身上涂一层，然后由镜头的长短决定，他们会不断补妆。“身体化妆”是个奇怪的概念，他们把身体全涂上。他们给我画全景，然后由我的女朋友Paris最后完成。（额还是没搞懂body makeup是个啥…）


花花公子：演员们有时候会把他们的做爱技巧带到性爱镜头里，对于你和与你演对手戏的女演员来说，是不是很难区分真实和表演？(playboy到底是playboy...)
克鲁索：确实，你不可能在角色下隐藏真实的自己。你能够人为的掌控一些事情，但这在于你是否能放开自己，能不能使镜头看上去尽量真实和细腻。在现实生活中，如果你能和某个人做爱，意味着在那人面前，你已经彻底敞开心扉，无需掩盖任何恐惧或胆怯，也不在乎有可能遭受的损失和侮辱，这确实是不容易做到的。而要和一位陌生人拍这种镜头，你只能使它尽可能的具体化，这样看上去才真实可信。
剧本也会带来一些表演上的不同设定。这场戏要表达的是不是我爱上了这个女人？亦或一场痛苦的分手？一些和我前妻的性爱片段，我们不会去真实化，具体化，因为我们已经分手了；而一些和Janice Licalsi的戏，由于这两个角色都渴望有进一步的发展，为了影片的真实，我们确实都做出了部分牺牲。
有幸的是第一场性爱镜头我是和Amy（Janice的扮演者）拍的，Janice很勇敢也很放得开，真是太棒了。Amy没有退缩过，也没有有所保留，她是真的全身心投入了。那是天性的释放。一个很棒的演员和你对戏会激发出你身上的无限潜能，特别是当她让你放松让你释怀时，你便会卸下所有武装，与她成为特别默契的搭档。另外我想说的是，这也是很多演员假戏真做的原因。（他和Amy不会假戏真做了吧…）他们会陷入那种感觉很对很舒服，也很让人兴奋的状态。这是因为他们希望自己的真实生活也能如戏中爱情一样酣畅淋漓。