912食用完毕，昨晚就食完了，心情特别复杂。

对，确实看哭了，魔法特一向特别会煽情会反转会卖情感，当然现在魔法特尤其擅长的估计就是第一集和最后几集煽情了。不过要说的是911皮卡叔个人戏太震撼了，最后博士一边讲述着小鸟的故事一边凿墙壁那段我几乎是一边颤抖一边流泪看完的，不得不说皮卡叔这段演得真是好，眼底那种沧桑之后的坚定和不惧简直戳人戳得死死的。

但是，我发现我是越来越不懂魔法特的欢喜了，他是想写什么呢，他想表达什么呢，他在第九季开头就让博士拿枪【对这是我的一个执念】我还记得当初小10特别篇里Donna的爷爷给了小10一把枪可是小10最后还是拒绝了【如果描述有错那一定是我的问题】这段看得我简直哭得不能自已，博士自带的那种悲悯和善意是不管哪一任都能直接戳死我的。可是912呢，魔法特安排12叔为了克拉拉举枪，射击，理由是他要救克拉拉，并且在咖喱星，那个人能重生。说实话当时我整个人都蒙逼了，然后我就看着博士拉着女伴走掉了…也许是我玻璃心吧，可是经历过时间大战的博士，承担了无数悲伤的记忆的博士，沧桑的、不断在得到和失去中穿梭的博士，因此而比任何人都懂得悲悯的博士，魔法特怎么敢让这样的博士举枪射击啊！

可我还是爱博士。
我爱他磊磊落落的悲伤和快乐，爱他孩子气，爱他总是不记得启动驾驶T娘的时候别踩刹车，爱他拉着女伴儿向前奔跑，爱他历经沧桑依然充满宽容充满爱和热情，爱他给人希望和温暖，爱他带着一段发着光的噪音而来，打开门，冲门外伸出手问我们要不要一起来。

天！当然要！

至于女伴，RTD笔下的三位，魔法特笔下的两位，我个人而言更加偏爱RTD笔下的。关于克拉拉，我的想法和上面一篇名字叫“故意 Kevin”的作者挺像的。

魔法特很喜欢玩儿梗，很多时候他的确玩儿得很好，但是他不能忘记啊，博士首先得要是博士，之后他才能玩儿这些梗。毕竟剧情内容好看才更好不是么。

希望第十季能更好吧，我博士剧长长久久。

放不上图，图片可以看这里：http://i.mtime.com/10312111/blog/7935369/

写在前面
《神秘博士》第九季刚刚落下帷幕，有关咖喱星回归和克拉拉命运走向的结尾估计让不少粉丝动容。而这一切都离不开导演雷切尔·塔拉里。无论是811/812，还是911/912，我们都能从中看出导演对于深度叙事和宏大场面的把握。在第八季正式上映前，《环球邮报》对雷切尔·塔拉里进行了一次专访。以下是本次采访的所有内容。*以下内容均为本人自译，版权归原媒体所有，详见链接*
 
The Globe and Mail 环球邮报
 
来源：
http://www.theglobeandmail.com/news/british-columbia/director-faces-british-pedestrians-fainting-cyberman-with-the-help-of-a-good-doctor/article19966559/
 
Q&A: UBC professor went from Doctor Who fan to director of this season’s finale
 
从《神秘博士》迷到季终集导演——不列颠哥伦比亚大学教授专访
 

Director Rachel Talalay on the set of Doctor Who. 导演雷切尔·塔拉里在《神秘博士》片场。
(BBC Worldwide)（BBC环球）
 2014.8.8
 
Rachel Talalay, a University of British Columbia film professor, fell in love with the British TV series Doctor Who after it was rebooted. Some people might have just bought a DVD set, but Prof. Talalay put in a pitch to get work directing the show.
 

雷切尔·塔拉里，不列颠哥伦比亚大学电影教授，爱上了重启的英剧《神秘博士》。有些人可能刚刚买了DVD播放机，但是塔拉里教授已经决心要做这部剧的导演了。

And she eventually got the job.

最终她得到了这份工作。

When she’s not in the classroom, Prof. Talalay is on sets. She was a producer for U.S. filmmaker John Waters, produced some of the original Nightmare on Elm Street movies and directed the sixth film in the series. In 1995, she directed the cult sci-fi film Tank Girl. She has had a long run directing TV series, including work on Ally McBeal, and lately she has called the shots for episodes of Bomb Girls, Reign and Continuum.
 
塔拉里教授平常不是在教室里，就是在片场。她曾为美国电影人约翰·沃特斯做制片人，制作了几部老版《猛鬼街》电影，并执导了这个系列的第六部。在1995年，她制作了邪典科幻电影《坦克女郎》。她曾长期执导电视剧，包括《甜心俏佳人》，Bomb Girls, Reign and Continuum是她最新拍摄的电视剧。
 
（此处有《环球邮报》制作的介绍短片，大家可到官网自行观看）
 
Before all this, she was a child in England watching Doctor Who. A jewel in the crown of British pop culture, the series debuted in 1963, went off the air in 1989 and returned in 2005. The series chronicles the adventures of an alien being who travels in time, facing threats such as Daleks, Cybermen and the Weeping Angels.
 
在此之前，她只是个在英国看《神秘博士》的小孩。这部剧是英国流行文化的明珠，于1963年初次露面，1989年停播，并于2005年回归。剧里讲述了一个时间旅行的外星人的冒险故事，其中他要面对可怕的怪物，比如打雷，赛博人和哭泣天使。
 
The Doctor occasionally regenerates himself physically, which has allowed 12 actors to play him. The latest, cast last August, is 56-year-old Peter Capaldi.

博士由于身体原因偶然重生了，所以共有12位演员来陆续接演这个角色。在八月份，56岁的彼得·卡帕尔蒂接过了这个角色。

This summer, Ms. Talalay got the Doctor Who call and went to Cardiff, Wales, where the show is shot, to direct two episodes. On Aug. 23, the Space channel, in Canada, will begin running the first season of episodes featuring Mr. Capaldi. Ms. Talalay’s episodes will cap the season when they air in November.
Ms. Talalay spoke to The Globe and Mail from Cardiff.

今年夏天，塔拉里女士接到了《神秘博士》剧组的电话，她到了此剧的拍摄地——威尔士卡迪夫，来执导两集《神秘博士》。8月23日，皮卡将在加拿大的Space Channel开始这一季第一阶段的拍摄。塔拉里女士的部分要等到十一月份再拍。

塔拉里女士在卡迪夫与《环球邮报》对话。

What can you tell me about the episodes you worked on?
I am doing the two-part finale. Both parts were written by Steven Moffat, which is fantastic. There’s so much action and effects and emotional material. It’s a Cyberman episode. We shot in London for two days. One day we shot outside St. Paul’s Cathedral. There were a billion tourists circling us while we were trying to film. Part of what we were tasked to do was replicate some classic shots – from the sixties show – of the Cybermen outside St. Paul’s. It’s a whole new story.

你能跟我讲讲你做的这两集吗？

我做的是个双集结尾。这两集都是魔法特写的，非常精彩。会有很多场景、特效和情感部分。这两集是关于赛博人的。我们在伦敦拍了两天。其中一天我们拍了圣保罗大教堂的外景。在我们拍摄的时候有成千上万的游客围着我们。我们的部分任务就是重现一些六十年代的经典场景——是有关圣保罗外的赛博人的。这是个全新的故事。

What was that day at St. Paul’s like?
We had a big scene with Peter Capaldi and Michelle Gomez – a dialogue scene. We had about seven hours of shooting and quite a bit of material to cover. I didn’t factor in that we were basically given five-minute periods to shoot, then we had to let pedestrians cross. So for every five minutes of shooting, we had about 20 minutes of moving pedestrians. It was very hot as well, which made it also very hard. The Cybermen were scorching hot in their suits. You’re all the time worried they’re going to pass out.

在圣保罗那天是什么样的？

皮卡和Michelle Gomez有个比较大的场景——是一个对话场景。我们大概拍了七个小时，但是只拍到很少的素材。这还不算那些拍个五分钟就得等行人通过的情况。我们每拍五分钟，就要留出大约20分钟让行人通过。天气也很热，拍摄起来很困难。那些赛博人在壳子里都要烤糊了。我一直担心他们会晕倒。

You’re trying not to have all your scenes prerecorded and posted on people’s iPhones and on the Internet before you have finished your own shooting. You’re trying your hardest just to keep focused. You just go, ‘Here are my priority shots. Here’s the absolute minimum we need to get, and let’s just stay concentrated on that.’

在拍摄完成之前我试图不要让人们拿iPhone录下来传到网上。我尽最大努力去集中精神。我就想：“这是我首要需要拍摄的场景。我们至少要完成这些，我们要集中精力。”

How did this gig come about?
I campaigned very specifically to get on Doctor Who. The minute I saw the reboot – which I was very skeptical about before I saw it – I saw how good it was. I have an agent in the U.K. I said to her, ‘Get an interview if possible.’ I had done The Wind in the Willows, which Mark Gatiss was in. I said to Mark as well, ‘Could you please put in a good word for me?’ I sent a reel full of effects and action to show I was not just any old filmmaker, but had experience in that world. As a woman, you have to remind people you do the things that you do. From the time my agent contacted me and said, ‘There are two episodes. Are you interested?’ to my leaving B.C. was nine days.
 
你是怎么得到这份工作的？
我为了《神秘博士》特意参加了竞选。当我看见重启的剧集时——在我看以前我还严重怀疑——我发现它非常好。我在英国有个经纪人，我跟她说：“如果可能的话让我们碰个面吧。”那时我已经拍完了《柳林风声》，麦哥也参与了。我也跟麦哥说：“能麻烦你替我说两句好话吗？”我寄了一盘我做过的场景和特效的胶卷，为了说明我不只是一个传统的电影人，我也懂他们那些东西。作为女性，你必须提醒人们你确实能做些事情。后来我的经纪人跟我联系说：“这里有个双集，你感兴趣吗？”
 
What did the Doctor Who team say about why they wanted you?
I said to Steven Moffat, ‘If I was to read the Internet I would believe you only hired me because you were pressured to hire a woman.’ He said, ‘I think they need to know I hired you because of your reel and your material and what we believed you would bring to it.’ I know that I brought effects experience, but I don’t know what makes anybody hire any director, really.

《神秘博士》剧组说过他们为什么选你来执导吗？

我跟史蒂文·魔法特说：“要是根据网上的说法，我想你雇我来只是因为你是被迫雇佣一位女性。”他说：“那我想那些人应该知道我找你来是因为你的作品和创意，并且我们相信你能够做得很棒。”我知道我做出了一些成绩，但我不知道一个人选择一个导演是有着什么样的原因，真的。

Visual effects. Is that a challenge many female filmmakers face in securing work?
I’ve been incredibly, incredibly fortunate. Early in my career when I did the Nightmare on Elm Street films, I was exposed significantly to visual effects and to action and to makeup effects and mechanical effects. There are many, many women filmmakers who are pigeonholed into women’s stories. I’ve never had that problem. I love visual effects. I love action. I love that kind of material. A lot of women filmmakers say, ‘How come you get those projects?’ You have to prove yourself. Women, more than men, have to prove themselves.
 
视觉特效对于许多女性电影工作者来说是一项挑战吧？
我特别、特别幸运。早在我做《猛鬼街》的时候，我在视效、场景、造型、设备上花了很多心思。有许多、许多女性电影工作者被束缚在了女性故事中。我从来没有过这方面的问题。我爱视觉特效。我爱镜头。我爱那类的东西。很多女性电影工作者说：“你是怎么做到这些的？”你必须证明自己。女性——相对于男性来说，更需要证明自己。
 
What advice would you offer to starting female filmmakers on this issue?
To do whatever you can to get the experience even if it’s shorts and also to learn those crafts. Doing effects is really hard. You have to make certain decisions and you have to think in a certain way. Spending the time to really understand what’s required in the shooting of action and effects, getting that experience even if it’s shadowing or meeting with visual effects companies and going into the editing room. All those elements will help because it isn’t the same type of filmmaking as dramatic filmmaking. As I said, I was just lucky that I ended up on theNightmare films. I engaged so strongly with how you make these films as good as possible with so little money.
 
你在这方面有什么建议给女性电影工作者？
尽可能多去积累经验，哪怕是很短期的也可以，并且要从中学习新技巧。做出成绩挺难的。你必须有明确的目标和明确的思路。花些时间去真正领悟在场景拍摄和效果制作上需要做到什么，哪怕要承受或者说忍受那些视效公司、要在剪辑室里工作，也得去体验这份经历。所有这些东西都是有帮助的，因为做电影和普通剧情片的制作不同。就像我说的，我很有幸我做的最后一部电影是《猛鬼街》。怎样用很少的资金尽量把电影做好曾是我的一大动力。
 
What did you see in the Doctor Who material that said to you, ‘I want to get in on this?’
It looked so amazing. What they did in every episode is totally different. Every episode is a small film. The great thing about time travel is past, present, future, fantasy. Everything and anything is fair game so every week you are going to go into a completely different world. There is only standing set in the BBC studio for Doctor Who and that’s the Tardis. Most shows run with, ‘Here’s your police station and here’s your apartment …” – all their standing sets. To start from scratch with ‘What world is it this episode?’ I thought, ‘How are they doing this? How are they accomplishing this and keeping this quality?’
And then why are these scripts so good? There’s so much humanity in them? Sometimes you are on shows that are very, very visual and then you can slack off on the acting. Sometimes you are on shows that are very, very dramatic and you can slack off on the visual. In Doctor Who, everything was equally important. The story itself. The acting. The emotionality. And the visuals. There was no room for, ‘Ah. This is good enough for this show.’ It was, ‘It has to be at its peak.’
 
《神秘博士》里的哪一点让你决定“我要去做这个”？
很令人惊奇。他们做的每一集都是完全不同的。每一集都是一个小型电影。时间旅行最棒的就是涉及过去，现在，未来，幻想。每一个事物，任何一个事物都是精彩绝伦的，每周你都要进入到一个完全不同的世界。这个只有在BBC《神秘博士》演播室，有Tardis才能实现。大部分节目都是“这里是你的警察局，这里是你的公寓……”——都是规定好了的。刚一开始我面临的是“这一集呈现的是什么样的世界？”，我会想：“他们如何来呈现？他们怎么在保证质量的情况下完成任务？”还有这些剧本为什么这么棒？是因为包含了很多人性化的东西吗？有些时候你的片子侧重于视觉化，你就可以忽略表演；有些时候你的片子侧重于戏剧性，你就可以忽略视觉效果。《神秘博士》里的每一样都同等重要。故事本身、表演、情绪，还有视觉都是如此。“啊，这个片子已经够好了。”这是绝对不行的。应该是“它必须是最棒的。”
 
Did you watch Doctor Who when you were a child?
Yes. I grew up in the U.S. My first memories of watching science fiction were Outer Limits and Star Trek. Then we spent two different years when I was growing up in the U.K. My parents are British. That’s where Doctor Who became part of my vocabulary. Tom Baker was my Doctor when I was growing up. And I was fortunate to work with him on a show called Randall and Hopkirk (Deceased). That was my next Doctor Who exposure – getting to work with Tom.
 
你小时候看《神秘博士》吗？
看。我在英国长大的。我对于看科幻故事的最初印象是《迷离档案》和《星际旅行》。我在英国待了两年。我父母是英国人，在英国我学会了神秘博士这个词。在我小时候正赶上汤姆·贝克演的博士。我很幸运在《Randall and Hopkirk》（抱歉，没有译名）这部戏里跟他合作。和汤姆一起工作，这就是我对于《神秘博士》热爱的延伸。
 
Peter Capaldi is relatively new as a Doctor. Has he found the character or did you have to help him along?
He has very much found the character. Nobody had any doubts about his ability to act. The biggest challenge was he’s Doctor No. 12. He was constantly worried he had 11 Doctors he might be mimicking. Pretty much anything you do in some ways is going to mimic some other Doctor. Becoming completely your own Doctor is fine when you’re No. 2, but a much greater challenge when you’re No. 12 and you have the 50-year history. I think he was truly challenged by that concept. But even when I saw the very first footage from the first episode, which I was privileged enough to see as soon as I arrived, it was clear he knew exactly who he was as a Doctor. For me, David Tennant and Matt Smith, both of whom I absolutely adore, are these young, romantic Doctors. When I went to interview, before they had even announced Peter, they said, ‘We’re going to go back to the older Doctors.’ Not age, just a slightly grumpier, more complicated Doctor. They chose a different direction and different type of Doctor. For me, [Peter] is the Doctor now because that’s what I have been living with for the last four months.

彼得·卡帕尔蒂是新一任博士。他找到自己的表演方式了吗？还是你帮助他去探寻？

他对于这个角色有很多体会。没有人会去质疑他的表演。最大的挑战在于他是第十二任博士。他最近在担心他可能会重复之前十一任博士的表演。在某些方面你总会有很大程度是模仿前人的。当你是第二任博士时完全按照自己的路子来是没问题的，不过当你是第十二任博士，又参演了一部有五十年历史的电视剧时，这就成为了一项巨大挑战。我以为他会被这种想法吓到。但是当第一集的第一场开始时，我迫不及待地进入片场，我一入场就发现他很清楚作为博士应该有怎样的表现。对于我来说，DT和马特这两个我非常欣赏的演员，他们扮演的博士都是年轻而浪漫化的。我去约谈时，那时他们还没宣布是皮卡（演博士），他们就说：“我们想找一个以前那样的博士。”不是要多老，而是有一点点脾气，更为复杂的博士。他们选择了一个不同的方向，一个不同类型的博士。之前的四个月里我一直和皮卡在一起，现在我可以说，他就是博士。

What do you do as a director to help him ?
At one point, I said to him, ‘That scene wasn’t necessarily how I imagined it but it was so clearly your Doctor that it was a revelation to me how well it worked as your Doctor.’ And he said, ‘Thank you.’ Because what I had said was, ‘You are your Doctor.’ That was the most I could do. Peter is such an incredible actor and so vertsatile, you’re not telling him how to act in any way as a director. He also likes to give you a lot of variety in performance so there’s no difficulty to say, ‘Try it a different way.’ .

你作为导演都从哪些方面去帮助他？

就一点，我跟他说：“你扮演的博士令我惊叹，你怎么能演得这么好，不过我这样说都不足以形容你的表演。”他说：“谢谢。”因为我原来说过，“你的博士是独一无二的。”我最多只能做这些了。皮卡是个无可比拟的演员，很有才，作为导演你都不用告诉他怎么去演。他也喜欢给你好多表演上的建议，根本不用再费心说：“换个方式试试吧。”

How did people in the United Kingdom – customs officers, cabbies, waiters – react when they heard you were in the country to direct two Dr. Who episodes? He’s an icon in the United Kingdom.
They will either say, ‘I don’t watch it, often, because it scared the hell out of me when I was a kid’ or ‘My nephew or my uncle or my brother is the biggest fan.’ In terms of me, I am just known as the Tank Girl director. And there’s a lot of attention to the fact that I am a woman. There’s very little attention to the fact that I am North American. There’s a lot on the Internet, questions about the fact that there have been so few women – even fewer women writers than directors. There’s been attention to that. To my surprise, the Internet has been incredibly kind – so far. I should not jinx anything. It has been kind about it being offered to me.
 
在英国的那些人——海关人员，出租车司机，服务生，当他们听说你在英国拍这两集《神秘博士》时有什么反应？这部剧也算是英国的国宝了。
他们也会说“我不怎么看这剧，小时候可把我吓坏了”或者“我的侄子，要么我的叔叔，要么我的哥哥是铁粉”。至于我，大家只知道我是《坦克女郎》的导演。大部分人都注意我的性别身份。少部分人注意到我是北美人。网上有很多消息都在说现在女性影人很少——女性编剧比女性导演还要少。还是有人注意到这一点了。令我吃惊的是，网络倒是特别的友好——至少现在是这样。我不应该有任何的负能量。我的经历一直都还是挺好的。
 
Mr. Capaldi, I am sure, will be the Doctor for quite some time but do you think it’s time for them to consider a female Doctor?
They should consider whoever seems right for the role at that moment and things changed. There were some definite discussions and rumours that it might be a woman this time and it didn’t come to pass. I’m not really privy to those conversations. I would embrace that absolutely, but I don’t think it needs to happen. I think it has to be true to who’s right to be the Doctor at that point.

我确信，皮卡总归会成为博士的，可是你认为现在是时候选出一位女博士了吗？

他们应该考虑的是谁最适合这个角色，但是时代总在改变。曾经有一些确凿的说法和传闻说这一次可能会有个女博士，不过最后这个想法被否决了。我没有真正参与那些讨论。我会绝对拥护他们的选择，不过我还是觉得没有必要选女博士。我觉得博士该是谁就是谁。

Why has Doctor Who lasted for 51 years?
Time travel and science fiction are great topics. It allows for massive variety. They have been very smart on touching on elemental stories in a Brothers Grimm kind of way. There has been a love of the series itself that has just grown and grown. But it also has an incredibly strong human element. I am amazed, in my episodes, how much humanity is in there. I look through the episodes of this season and they’re so varied. That helps too. You don’t have to like every episode. There’s something for the boffins. There’s something that harkens back to 1963 and 1968 and there’s something that is entirely new but there’s very elemental themes.

《神秘博士》怎么能延续了51年？

时间旅行和科幻故事都是很棒的题材。它给出了很多的可能性。他们很聪明地用了格林兄弟那样的模式来讲述传统故事。这些故事里所包含的爱不断地增长。而且还有很强烈的人性的元素在里面。我很惊讶，在我做的几集里竟然有这么多关乎人性的部分。我整个看了这一季的所有故事，它们的区别很大。这也挺有用的。你不必喜欢每一集。有些是给怪才准备的。有的故事可以追溯到1963年和1968年，有的故事是全新的，但是仍用了古老的主题。

You said there’s something for the boffins?
That’s a British term for the nerds, for the people who want to know every single detail, everything about time and space and space travel and how that relates to every single episode of Doctor Who. There are the people who have watched every single episode and will analyze specifically how this relates to that. It’s a hard series. My parents who did not know Doctor Who because it’s actually after their time because they are elderly. They asked, ‘What should we watch?’ It’s hard to explain because it is so mythic, the size of it. You can dip into specific episodes but it means so much more if you have some history of the relationships, of regeneration and who was the Doctor before and how that relates to this. They are individual episodes with their own stories but they almost always touch on things that have happened in the past and who the Doctor was in the past. When the 50th anniversary episode came out at Christmas, Mark Gatiss did a docudrama about the first episode called An Adventure in Space and Time. That’s what I have given to everybody who said, ‘Where do I start?’ It’s a wonderful piece of work that tells you the history of the very first episode. That’s where I start people at.
 
你刚说有的故事是给怪才准备的？
 
这是宅人的英国说法，就是说这些人想要了解每一处细节，了解关于时空和时空旅行的一切，还有这些内容跟《神秘博士》的每一集有怎样的联系。有些人看过了每一集，又特地去分析这里那里的关系。这是个大工程。我的父母辈有的不知道《神秘博士》，因为他们年纪大了，这部剧已经演过去了。他们会问：“我们应该看什么？”这很难回答，因为它太虚幻了，大概是这么个情况。你可以深入到剧集中，但是如果你了解剧里的各种关联，博士重生，以前扮演博士的人还有这一切和故事的联系，这部剧就意味着太多了。每集都是独立的，有独立的故事，不过它们通常会触及到过去的故事，过去的博士。50周年特辑在圣诞出来的时候，麦哥做了一个关于《神秘博士》起源的电视纪录片，叫《时空大冒险》。这就是我想给那些说“我该从哪开始看？”的人所介绍的。这是一部杰作，里面会告诉你《神秘博士》是怎么开始的。我建议人们从这部片子开始看。
 
How much latitude, as a filmmaker, did you have to put your own stamp on the material and, in a way, on the Doctor as well?
I don’t think you put your own stamp on the Doctor. The Doctor is the Doctor. It would be wrong to come in with a whole new point of view. You have a dialogue with your actors, but it would be wrong to be creating something new. Because every episode is completely different – it’s its own world. Where is it taking place? Am I doing Victorian England? Am I doing the future? Am I doing a new planet? How am I presenting that? And they embraced that. My scripts were so wonderful. All I did was embrace such great writing.

作为电影人，你有多大程度会在你的作品里留下个人印记？在《神秘博士》里会有吗？

我不认为应该在博士身上加印记。博士就是博士。提出全新观点是不对的。你会和你的演员谈论，但是创造出全新的东西就是不对的。因为每一集都是完全不同的，它们有自己独立的体系。它是在哪儿发生的？是在维多利亚时期吗？是在未来吗？是在外星球吗？我怎么去呈现？这些都包含在剧里了。我的剧本都特别棒。我要做的就是利用起这些好剧本。

How have you juggled your TV directing assignments with your responsibilities at UBC?
It’s a challenge. UBC has been quite flexible with me. In this case, I happen to be on sabbatical this year. It happened to all work out beautifully. I’ve had to definitely teach rather than direct. Sometimes if I have a local job – a regular TV episode is only three weeks – I’ll just bring my students and make it part of the class. That’s a great thing about production. Being on set is critical for them.

It’s interesting. I used to sometimes show clips of Doctor Who. You would always get people who would go, ‘Oh?’ Showing Doctor Who would always get a few people in class thrilled. It would be like, ‘Oh my God. My old prof is hip enough to be showing us Doctor Who.’ I like to give students specific scenes to break down. ‘How would you shoot this?’ And, after we break them down, ‘OK. How did I shoot this?’ What choices did the director make?’ When critics talk about things, they ascribe intent. Frequently, it has nothing to do with what you were trying to do. It’s what happened at that time. Ninety-eight per cent of it is problem solving. It’s great that it’s perfect in your head when you read it, but what happened on set? And how are you going to solve that? That’s your UBC education in a nutshell.
 
你是怎么来平衡电视导演的工作和学校里的工作的？
 
这是个挑战。学校对我挺宽松的。这样一来呢，我今年正好可以休假。所有事都完美解决了。我教书总得比导演时间要多啊。有时我要是接了个在本地的活儿——比如只拍三周的电视片，我就带着学生到现场学习。对于学习制作来说是个好事。他们在片场体验也挺重要的。
 
这挺有意思的。我有时会给他们放《神秘博士》的片段。你经常会看见有的人说：“哦？”放《神秘博士》的时候总能让班上一部分人兴奋起来。比方说，“哦，我的天哪。我们的老教授给我们放《神秘博士》，太时髦了。”我喜欢给他们看一些特别的场景，再打断他们的情绪。“你会怎样拍出这样的场景？”然后，这时我已经打断他们了，“好了。我应该怎么去拍这个场景？导演应该怎么做选择？”当他们讨论起来的时候，他们就会专注于研究问题了。可通常是，你试图去做并不能解决任何问题。课堂上就会这样。百分之九十八的内容都是解决困难。在你读剧本时有个完美的想法是很棒的，但是你怎么把它拍出来？你怎么解决这个问题？简单地说，这就是UBC（不列颠哥伦比亚大学）能教给你的。
 
Follow Ian Bailey on Twitter: @ianabailey
 
 
小贴士：以下为IMDb网站Rachel Talalay的个人简介
IMDb
Rachel Talalay was born in Chicago Illinois. Her parents, Paul and Prudence, moved to Baltimore to work/teach at Johns Hopkins when she was 4 years old. After studying Applied Mathematics at Yale University, she worked as a computer programmer at Johns Hopkins University. During this time, she met Director John Waters and entered the movie business as a production assistant on his 'Polyester', starring Divine. Here she met Robert Shaye, head of New Line Cinema, and started a long relationship which led to her work on the "Nightmare on Elm Street" films, culminating her relationship with directing "Freddy's Dead: The Final Nightmare". From there she continued her directing career, moving into television, and working on a wide variety of projects from family entertainment "Wind in the Willows" to Horror "Supernatural" to Comedy "Ally McBeal". In 2014 she became the first American and seventh woman to direct "Doctor Who".
 
雷切尔·塔拉里出生于芝加哥伊利诺伊州。她的父母——保罗和普鲁登斯，在她4岁时搬到了巴尔的摩，并在约翰·霍普金斯大学工作/教书。从耶鲁大学完成了应用数学的学业后，她在约翰·霍普金斯大学担任程序员工作。在此期间，她遇见了导演约翰·沃特斯，为他的电影《菠萝脂》担任制片助理，并出演Divine（存疑）。在这里她结识了新线影业的高管罗伯特·沙耶，开启了与电影《猛鬼街》的长期之旅，也正是执导《猛鬼街6》让她的事业攀上了高峰。在那以后，她继续着她的导演生涯，转而进军电视业，执导了方方面面题材的电视剧——从家庭剧《柳林风声》，到惊悚剧《邪恶力量》，再到喜剧《甜心俏佳人》。在2014年她成为了执导《神秘博士》的第一个美国导演，也是第七位女性导演。