Re: [新聞] Manson Interviewed In I-D Magazine
※ 引述《noseven (geeza)》之銘言：
Manson Interviewed In I-D Magazine
J.T. Leroy interviews Manson for I-D magazine during the filming of the movie
The Heart Is Deceitful Above All Things.
Read the article here
http://www.marilynmanson.com/press/040300i.d.magazine/01.html
text by JT Leroy
photos by Asia Argento
流口水之圖片:
http://shorterlink.com/?U4VILJ
http://shorterlink.com/?37PZDS
http://images.mail2fans.com/9932/idcover.jpg
[posted 3/17/2004 U.S.A.]
這篇報導頗值得看的，若有興趣可以看一下，曼森講了蠻多他自身的事，包括小時候。
I-D magazine
2004
He sits in the eye of the storm, calm, like the kid who knows his house is a
former missile silo: impenetrable. Celebrities and their press agents swirl
in sparkling perfumed crowds. Photographers pearl in bunched strands,
their blinding flashes blowing off in his face, but still, he sits on the bed,
just present but seemingly not touched by any of it, almost as if he is
allowing his body to be present, but his soul is safely ensconced elsewhere.
I am studying him, after retreating to crouch into a hidden patch
on the floor behind the bed behind him. It makes me feel protected.
He helps me feel that way somehow. I know if I needed him, he would be there.
It is the wrap party, the celebration of the completion of filming of my book,
The Heart Is Deceitful Above All Things. Asia Argento directed it and plays
my mother. In the film there is Jackson, my mother's boyfriend.
He gets seduced by a ten year old after that child dresses up as his mother.
Manson has that role. The part of a man I had sex with when I was ten.
And he played the role with intuitive vulnerable brilliance that
few gave him credit for possessing until they saw him in the Michael Moore film
Bowling For Columbine.
他坐在暴風之眼，冷靜，像個孩子，知道自己的屋子從前是飛彈發射井：不容穿透。
明星和經紀人迴旋於光彩奪目粉香四溢的人群間。攝影師從成串的珍珠中採集，
炫目的閃光燈照到他的臉，但是，他還是坐在床上，只是在場而似乎不被這些事物觸及，
就像是容許自己的身體出現，卻把靈魂安置在他方。我正研究他，在蹲進他身後的床後
一小塊空地之後。它讓我覺得受到保護。不知怎地他讓我有那種感覺。
我知道如果我需要他，他會在那兒。這是個殺青酒會（wrap party），
慶祝由我的書翻拍的電影，The Heart Is Deceitful Above All Things，
由 Asia Argento 導演，同時他也飾演我的母親。電影中有 Jackson，
我母親的男友，他被一個十歲兒童所誘惑，因為這孩子打扮成他母親。
Manson 演那個角色，當我十歲的時候和我做愛的男人的部分。
他以直覺而脆弱的才華詮釋這個角色；很少人認為他有這種才華，
直到他們看見他，在 Michael Moore 的電影 Bowling For Columbine。
That night was also a celebration of my 24th birthday.
He gifted me with a painting he had done.
It is of an inexplicable looking child/ adult - haunted, pained, pointedly
sexless, achingly crafted. Manson has had gallery shows and the painting
he gave me was on the cover of the program. I look at his painting when I
need to find words to shape into what lives outside the bounds of the known
protected world. I realized watching Manson that night, as folks who did not
know him approached him with various forms of trepidation, and those that
did entered his space with joyful respectful welcomed warmth, that he has
created a safety zone that exists in the realm of the perilous.
His sense of self in exploring boundaries is absolute and completely who he is,
and because he does so instinctively with the occupying genius to craft
his curiosity into art that allows the rest of us to leer, explore or play
in his creations, even in the safety of our own homes.
But the deeper you go with Manson, the more you are confronted,
and that is the journey he invites you on.
To be a little bit scared, to be willing to go to uncomfortable places
you wouldn't normally go to, to see through eyes that are shaded in the
abnormal. Who else could play a man that has sex with a child in such a
heartbreaking portrayal that makes you weep for him as well?
那晚也是我二十四歲的慶生會。他贈我一幅他作的畫。一個形貌無法解釋的小孩／大人
－著魔，受苦，明顯地沒有性別，隱隱作痛的藝品。Manson 開過畫展，他給我的畫
是在展覽的封面。我看著他的畫，當我需要尋找言語來塑成活在線外之物，
已知的受保護的世界之界線。那晚看著 Manson 我領悟，如同那些帶著各式戰慄
接近他的、不知道他的人，那些進入他的空間而發現一種快樂、殷勤、歡迎的溫度的人：
他創造了安全地帶，在危殆的王國之中。他對自我在探索界線的感覺絕對而完整，
用全神貫注的天才直覺將好奇心打造成藝術，因此我們其他人得以
在他的創作中瞟視、探索、或遊玩，即使置身於我們自己安全的家中。
但你越往 Manson 走去，你要面對的就越多，那就是他邀你前往的旅程。
受到一點點驚嚇，願意去你平常不會去的、令人不安的地方，從變態陰影下的眼睛
向外看。還有誰能飾演與兒童做愛的男人，用如此令人心碎的詮釋，讓你也要為他落淚？
以下白色部分乃記者，紅色部分為曼森回答
Anything you want off the record, by the way, just let me know - I only
interview people that I like.
I was the same when I was a journalist.
對了，有任何你不想放進報導裡的東西，要讓我知道—我只訪問我喜歡的人。
我當記者的時候也是。
You were a journalist? I didn't know that.
Yeah, right before I started the band. I was hired by a record company
to do the bio for the pretentious Yngwie Malmsteen. I cheated my way into
the whole scenario. I sort of lied my way into a job on a new magazine
in Florida and ended up becoming the senior editor in two months.
But I was quickly bored of the side of the microphone I existed on.
I wanted to be answering the questions: I didn't want the answers to be
too boring.
你當過記者？我不知道這件事。
對啊，就在我組團之前。我受雇於一家唱片公司，要寫那個做作的 Yngwie Malmsteen
的傳記。我編了整個情節。我也設法弄到在 Florida 一家新雜誌的工作，
結果兩個月內就變成資深編輯。但我很快就覺得我站在麥克風這邊很無聊。
我要回答問題；我不要答案太無聊。
And you got to work with a record company?
Yeah. I thought I could use my connections to do the same thing with
a record deal. The hardest part was being in front of people and saying
what I thought. Writing it was easy and very important to me.
To get up in front of a crowd for the first time was really difficult,
but it was only difficult that once. I never had stage fright since then.
那你要和唱片公司合作囉？
對啊。我想我可以運用我的人脈去弄唱片合約。最麻煩的部分是要在人前述說
我想的東西。書寫對我來說比較簡單，而且很重要。第一次面對人群的確很困難，
但是也就只有那一次困難。此後我再也沒有怯場過。
When I do interviews I can tell when I'm really connecting to somebody or
when they are just idiots.
I hated school but I loved creative writing class. My thirst for
knowledge made me self-taught; I can't get enough of books. I was at that
18-year-old age where I wanted to take my imagination and put it out there.
I ended up finding that music was a very suitable way to do it, but I don't
think it's the only thing that could contain me. That's why if I can't fit
an idea into a song, I paint.
訪談的時候我可以判斷我是真的理解某人，或者他們只是白痴。
我討厭學校但我喜歡創意寫作課。我對知識的飢渴讓我試著自修；
我弄不到足夠的書。當時我十八歲，要捕捉我的想像，讓它現身。
結果我發現音樂是很合適的做法，但我覺得它不是唯一可以抓住我的東西。
所以，如果我不能把想法放到歌裡面，我就畫。
That painting you gave me for my birthday was just beautiful.
Painting is much more personal because it is something I do alone
and I don't feel like there is an audience. I was very happy when I had
my first art exhibition that people liked the work, because I had never
intended to show it or sell it - it was something I did for myself.
The piece that I gave you I chose as the centerpiece of the art show,
it's called The Hand Of Glory. It goes back to witchcraft and the idea
that when you take the hand of a criminal, you can have this extra power.
In the picture the child is very ambiguous - even more than androgynous.
To me the picture represented how the adult world just robs the magic of
childish thinking, the sadness of growing up. That's something that I fight,
because the most genius ideas are in the minds of children and lunatics.
I describe myself as somewhere in between.
你送我當生日禮物的那幅畫真的漂亮。
繪畫是很私人的，因為我獨自創作而且不覺得有觀眾。我第一次開作品展的時候
非常高興人們喜歡那作品，因為我沒想過要展示它或賣掉它—它是我為自己做的。
那幅我給你的畫，我選為作品展中的代表作品（centerpiece），叫 The Hand Of Glory。
它回到巫術的概念，如果你拿起罪犯的手，你就有這額外的力量。
圖中的小孩非常曖昧—甚於雌雄同體。對我而言這張圖代表成人世界如何搶奪了
兒童式思考的魔法，成長的哀愁。那是我要對抗的東西，因為最天才的想法
在孩子和瘋子的心中。我說自己是在兩者間的某處。
It's just very moving and powerful. When I found out that you were somebody
that was on the horizon during casting for the film,
I was like 'fuck, yeah'- it was so visceral and so automatic.
Whether it be acting or directing them, movies -and books -
are what I love more than anything. I liked the fact that it wasn't
typecasting for me, and particularly getting a better understanding
from you to not portray this person as a predator or as evil,
so much as being a victim of circumstance, sort of pathetic.
I think I came across as very sad. It made me wanna be in movies.
It's a small part, but it made a big difference for me.
它很動人而有力。當我在選角的時候發現你是即將來臨的一員的時候，
我好像說了「幹！耶！」－這完全是個自動化的直接反應。
不管是演或導，電影—和書—是我的最愛。我喜歡它不是要把我定型，
特別是因為從你那兒了解到，不要把這人刻畫得像獵食者或惡魔，甚於像是
那情境下有點可悲的受害者。我想我顯得非常哀傷。這讓我想要演電影。
它是個小部分，但對我造成了很大的差別。
It reminds me of this phrase that I like - I think it's a movie title:
At Play In The Fields Of The Lord. I feel like being an artist is like
playing in the fields of the Lord. Whatever you wanna call ' The Lord'.
Our society likes to typecast people. People are so cut off from being
creative. 'I don't have a creative bone in my body' - to me that's like
saying 'I like to rape small children'. How pathetic, how frightening,
how horrifying is that? I think there's such jealousy over people who
are creative; it's like you can't be good at too many things.
There was a time when artists had a different level of respect.
It's not even about celebrity and fame. I've always wanted to be a success
at being an artist, but I never really cared for being a success at being
a product. I'm not saying that I don't want any money for what I do,
or I want to be underground. Any artist that says that is full of shit.
But success isn't defined by how the world perceives me on TRL.
I like to get a reaction from a fan or to see the faces on a crowd when
I'm performing, or to hear how you enjoyed my painting.
And to know how I feel when I go to bed at night, knowing that I did
what I wanted to do today. The perfect utopia would be for artists to
replace politicians and the government. But what you said about religion -
I always think God in any culture is more or less about creation.
An artist creates things and puts them in the world, and to me that is
spiritual, that is God. That's the thing I believe in.
它讓我想起這個我喜歡的詞—我想是個電影的名字：At Play In The Fields Of
The Lord。我覺得當個藝術家就像在 Lord 的原野遊戲，不管你的「The Lord」是什麼。
我們的社會喜歡把人定型。人們的創意就像被切掉了似的。「我一點創作細胞也沒有」
—對我來說這跟講「我喜歡強暴小孩」沒什麼差別。那多可悲、多可怕、多可怖啊？
我想的確有種嫉妒之意指向有創意的人；就像是說你不准會太多東西。
有段時間藝術家受到一種不同層次的尊敬，甚至與知名度無關。我一直想成功地
當個藝術家，但我從來沒有真的在乎是不是成功地被當成一個產品。我不是說
我不想拿我做的東西賺到任何一毛錢，或是我要做地下音樂。說那種話的藝術家
腦袋裡裝的全是大便。但是成功的定義不在於這世界怎麼看 TRL 上的我（譯註：
TRL 是 MTV 台的一個節目）。我喜歡收到歌迷的反應，或看到我表演時人群中的臉孔，
或聽到你多麼欣賞我的畫。要知道夜晚我上床的時候感覺如何，只要知道我今天做了
我要做的事。完美的烏托邦會讓藝術家取代政治人物和政府。但是你說到宗教的東西
—我總是認為任何文化中的神都多少與創造有關。藝術家創造東西，把它們放到世界中，
對我來說那是精神性的，那是神。那是我信仰的東西。
So when did you start painting?
In high school I really loved art class. I had my own version of Mad magazine.
I would do cartoons and photocopy them at my Dad's work- he sold carpets
at a shitty carpet store and I would sneak in and make photocopies,
staple them and I would sell them to my friends for 50 cents. That ended up
getting me kicked out of Christian school, because the content of my magazine
had some profanity, which I was happy about of course. I was in tenth grade.
Then I think I read No-one Here Gets Out Alive, the Jim Morrison book,
and that for some reason made me want to write. Stephen King's horror fiction
really stuck with me at the time too.
所以你什麼時候開始畫畫的？
在高中我真的很愛美術課。我有自創版本的 Mad 雜誌。我會畫卡通，
然後在我爸工作的地方影印它們—他在一間很廢的地毯店賣地毯，
我會溜進去影印裝訂，然後我會用50分錢把它們賣給我朋友。
那最後讓我被踢出基督教學校，因為我雜誌的內容有點褻瀆；當然我喜歡這些部分。
我十年級。然後我想我唸了No-one Here Gets Out Alive, Jim Morrison 的書，
出於某些原因那讓我想寫作。Stephen King 的恐怖小說那時候也真讓我愛不釋手。
Have you ever met Stephen King?
No, I was 19 years old and I was writing stories and I was trying to
get them published. I actually saved all my rejection letters. I put them in
my autobiography and it ended up being a New York Times bestseller.
I thought that was the ultimate irony. It ends up being the same intent and
the same imagery that exists now in everything that I do. It was born there
already, back in that time. I hadn't touched a paintbrush for some time,
except I would make my own flyers for my band, but it was more cartoonish.
There wasn't as much of the pain and spirit put into it as when I paint.
你有見過 Stephen King 嗎？
沒有，我那時19歲，我寫故事，試著發表它們。其實我還有保存全部的拒絕信。
我把它們放到我的自傳裡，結果它變成 New York Times 的暢銷書。
我想這是終極的諷刺。它就是現在我做的任何東西裡都有的那些意圖和形象。
它已經誕生，在以往的那個時間。我有一陣子沒碰畫筆，除了為我的團做傳單以外，
但傳單要來得更卡通，沒有我以前畫畫所注入的那麼多心血和靈魂。
It seems you are true to what interests you and what baffles, surprises or
intrigues you. And you have the bravery to explore things seriously where
most people don't. I think that's what people respond to.
One thing I realized when I was studying to be a writer is that anyone can
tell the truth, and I didn't give a shit. But when someone told that story
with humor and art and craft?HOLY SHIT!
I totally agree with your point, and that ties in very strongly with
where we are in entertainment and culture: we're in a very, very bad place
that needs salvation. I'm not trying to be a hero-if anything I'm a villain -
but I want to make the world a place that I can still live in;
that's why I do what I do. But I have to do it even more so now because of
reality television, which is completely devoid of any creativity -it's us.
When I say 'us' I don't mean me, it's people sitting around watching other
people's boring lives and living vicariously through that.
你似乎很真實地面對那些你感興趣的東西，還有那些令你困惑、驚訝、或產生好奇
的東西。而你有勇氣認真地探索大部分人沒有勇氣探索的東西。我想那就是人們
回應的理由。我學著當個作家的時候領悟了一件事，那就是每個人都能說實話，
但是我可以不鳥他。但是當他說故事的時候帶著幽默和藝術和技巧呢？神聖的大便！
（譯註：「沒可能的啊！」）
我完全同意你這一點，而這緊密連結到我們在娛樂和文化中所處的地位：
我們所在的地方非常非常糟糕，需要救贖。我不是要當個英雄—真要說起來我是反派－
但是我想讓世界變成我可以繼續居住的地方；那就是為什麼我做我做的。
但是我現在甚至必須做的更多，因為真人實境節目（reality television）
完全缺乏、沒有任何創意—我們啊。當我說「我們」我不是指我，
是指整天就坐著看其他人無聊生活的人們，那種讓人代理的生活。
--
￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣
im not in love but im gonna fuck you til somebody better comes to love
im not in love but im gonna fuck you til somebody better comes to fuck me
ˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍ
--
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