Ready Camera. Set and action.
摄影机准备。就位、开拍。

It’s gonna be different, for sure. This is the first time anyone’s ever tried it like this.
它将会截然不同，绝对。这是第一次有人像这样尝试(拍摄)。

Every single person is singing every take live.
每一个人都在现场演唱每一个镜头。

This has not been done through this kind of consistency in a musical before.
这以前从未以如此一贯的手法在音乐剧中被实现过。

The idea of singing live is daunting, but what it gives you is this freedom.
现场演唱的想法是令人却步的，但它赋予你的是这样的自由发挥空间。

We have found an amazing group of actors, who completely at home attune through music, and the only way you can make that work is by capturing the moment.
我们已经找到了一群出色的演员，他们透过音乐完全自在地取得协调，而你可以将其付诸实行(指现场演唱)的唯一方法就是透过捕捉那关键的瞬间。

Normally if you are making an old school movie musical, as a group of actors, we go into a studio, we record an album and then two months later we’d arrive on set, and they would play the playback, and we would mime alongside it. The problem with that is that you have to make all your acting choices three months before you’ve even met the actor you are working with. By recording it live, Tom is allowing us the spontaneity of normal film acting.
一般而言如果你在拍一部旧式的电影音乐剧，身为一群演员，我们会先进一间录音室，录制一张专辑然后两个月之后我们会抵达摄影现场，他们会播放录像，而我们会在旁对嘴演出。随之而来的问题是你必须在甚至见到合作演员的三个月之前，做出你所有的戏路选择。透过现场录音，Tom允许我们使用一般电影演出的自发性。

You can tell in your bones there’s something false and unreal about people singing to playback. What would excite the audience is that singing live have such a profound effect on the power and realism of this story.
你可以直觉感受到演员对著录像唱歌很假而且不真实。能够激起观众兴趣的是因为现场演唱对这个故事的张力和真实性有着深邃的影响。

Ready camera.
摄影机准备。

I did the soliloquy, and it starts with, “What have I done? Sweet Jesus, what have I done? Become a thief in the night. Become a dog on the run. Have I fallen so far, and is the hour so late? That nothing remains, but the cries of my hate.” Ok, so that’s… if you’re singing it literally, it’d be like that. I can go out there in some takes… I will be like, “What have I done? Sweet Jesus, what have I done? Become a thief in the night. Become a dog on the run. Have I fallen so far, and is the hour so late? That nothing remains, but the cries of my hate.” I can take a break; I can move on; I can speed it up; I can slow it down, which means I just have to worry about acting.
我唱了段独白，它的开头是：「我做了什么？亲爱的耶稣，我做了什么？成了夜里的盗贼。成了亡命的丧犬。而我已堕落至深，为时已晚？荡然无存，剩下我怨怼的泣声。」好，所以那是…如果你照着字面唱，它会像是那样。我可以在那里的某些镜头中跳脱出来，我会像是：「我做了什么？亲爱的耶稣，我做了什么？一夜之间成了窃贼。成了亡命的丧犬。而我已堕落至深，为时已晚？荡然无存，剩下我怨怼的泣声。」我可以停顿一下；我可以继续前进；我可以加速；我可以慢下来，那意味着我只需担忧演技。

“I missed a twenty long years ago…”
我在久远的二十年前就错过了…

The actors have hidden ear pieces, and we have a pianist who is playing live into the actors’ earpieces, and the actors are setting the tempo rather than the pre-recorded music track.
演员们有隐藏式耳机，而且我们有一位钢琴师现场演奏传入演员的耳机，然后演员们定下节奏，而非依赖预录的音轨。

“There is a way for us. I love him, but when the night is over…”
「我们有条出路。我爱他，但当黑夜结束…」

Ultimately, the panel will be replaced by Seventy-Piece Orchestra.
最后，配乐盘会被Seventy-Piece Orchestra(洛杉矶知名管弦乐团)取代。

“I love him, but everyday I am learning…”
「我爱他，但我每天都渐渐了解…」

Acting has to be completely natural. So a lot of us are stripping right back so that you can just live it a lot more.
演技必须完全地自然。所以我们大都褪下华丽的技巧，如此你就可以更加地融入角色。

“There are so many questions and answers that somehow seem wrong…”
「有太多的问题和答案，不知怎地都看似错误…」

It’s so much more powerful. You have complete freedom, complete control. When you are doing a love scene as an actor, you just wish there is a music to kind of help you get there. But now you hear the piano in your ears. Now you are the music, and almost it makes you cry.
它更加的有张力。你有完全的自由、完全的主控权。当你身为演员在演一场爱情戏码时，你就是希望有音乐能够有点像是帮助你完成。但现在你在耳中听到钢琴声。现在你就是音乐，它几乎要让妳哭了出来。

“Cosette, Cosette. This is a chain we’ll never break.”
「Cosette，Cosette。 这是条我们永远无法切断的枷锁。」

What comes with this way of working is you get the fragility of a voice, which matches with the emotions of what characters are saying.
这种工作方式伴随而来的是你会领悟到声音的脆弱，那符合角色在诉说的情绪。

“When hope was high, and life worth living.”
「理想很崇高，而生命充满活力。」

When I saw the trailer and(with) Anne singing with this extraordinary fragility, that song which I thought I knew pretty well… suddenly I listened to the lyrics for the first time, afresh.
当我看到预告片Anne用这种特别的脆弱歌声唱歌，那首我自认为很熟悉的歌…霎那间我第一次倾听歌词，耳目一新。

“I dream that God would be forgiving.”
「我梦到神会宽容大量。」

There seem to be something selfish about trying to go for the pretty version. She’s devastated. She’s literally at the bottom of a hole looking up and realizes that she’s never gonna climb out of this, so I just decided to apply the truth to the melody and then see what would happen.
尝试着追求优美的版本似乎是件自私的事。她身心交瘁。她实际上身在绝望的处境仰望着且意识到她将永远爬不出来，所以我就决定将事实应用在旋律上然后看看会发生什么事。

“I had a dream my life would be…”
「我有个梦，我的人生将会…」

Somehow Les Miserables… it has to feel real. It has to feel immediate.
《悲惨世界》不知怎的…它必须要感觉真实。它必须要感觉直接。

So different from this hell I am living…
「与我身处的这地狱大相径庭…」

Singing live, there is an emotional level to this that just cannot be created in the studio.
现场演唱，对于这个，有一种情感层次就是无法在录音室内营造的。

“Now life has killed the dream…”
「现在生活已经扼杀了美梦…」

I thought there was an amazing opportunity to do something genuinely groundbreaking.
我认为有个很棒的机会去做某种真正开创性的事情。

“… I dreamed.“
「…我梦想。」

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