http://tinyurl.com/62uqfwt MJ, The Snake And The Mouse (13-3-2011) Peter Guber, chairman and CEO of Mandalay Entertainment, has written a new book called 'Tell To Win.' Back in the late '80s and early '90s, Guber was CEO of Sony Pictures and, in his new book, he mentions a meeting he had back then with Michael Jackson and how that meeting turned into a lesson in drama. You can read that excerpt from the book below: Peter Guber最近写了一本书 叫做说了就赢 在八零年代末期 九零年代初期 他是 SONY电影公司的CEO 在他的新书里有提到一段他跟MJ的会面 关於戏剧性的一堂课 内容如下 Once you’ve got your hero, what gets the emotion moving? What holds us spellbound, begging for more? Michael Jackson taught me in no uncertain terms, the answer is drama. 当你已经有了主角之後 电影中还缺了什麽? 是什麽让我们欲罢不能 麦可杰克森 告诉过我答案 那就是戏剧性 Back in 1991, Jackson already was a force to be reckoned with. After renewing his contract with Sony for a record-setting $65 million, he released his eighth album, "Dangerous¸" with the singles “Black or White” and “ Remember the Time,” both of which dominated the pop charts. As CEO of Sony Pictures, I’d sat in on the studio production of that album and was overwhelmed by Michael’s creative intensity and perfectionism. 回到1991年 MJ已经是占有举足轻重的地位 他的唱片新合约打破了纪录 签约金达到 六千五百万 他发了第八张专辑Dangerous 单曲是黑与白和remember the time 两首都在排行榜成绩优异 作为SONY电影的CEO 我曾经坐在录音室里 被MJ的创作力和 完美主义给震惊 His ambition knew no bounds. But when Sony’s most important musical asset invited me to his home in Encino to discuss his plans to get into movies and television, I was taken aback. Michael had proven he knew everything there was to know about pop music, but movies were a different animal. He wanted to produce as well as act. That meant telling stories. Could he do it? 他有强大的野心 但当SONY最大牌的歌手邀请我到他家讨论他想要拍电电影和电视时 我还是下了一跳 MJ已经证明了在音乐界他知道所有的事情 但是电影是另一回事 他想要 制作并且演出 这是需要说故事的 他能做到? I didn’t even have to ask the question. “In both films and music,” Michael said, “you have to know where the drama is and how to present it.” He gave me a long, intense stare and abruptly stood up. “Let me show you.” 我不需问这个问题 麦可说 不论是电影或音乐 你都需要知道戏剧性在哪里 还有如何呈现 他盯着我看了很久 然後突然站起来说 让我给你看看 He led me upstairs to the hallway outside his bedroom, where we stopped in front of a huge glass terrarium. “This,” he said, “is Muscles.” 他让我到了楼上他房间外的走廊 我们站在一个巨大的玻璃容器前 他说 这是肌肉 Inside, a massive snake was coiled around a tree branch. His head was tracking something in the opposite corner of the terrarium. 里面有一只巨大的蟒蛇盘在树枝上 他的头正跟着容器另一端的东西 Michael pointed with his finger at the object of Muscles’ obsession. A little white mouse was trying to hide behind a pile of wood shavings. 麦可指着肌肉瞄准的对象 是一只小老鼠 躲在一堆木屑之後 I said hopefully, “Are they friends?” 我满怀希望的问 他们是朋友吗 “Do they look it?” 麦可说 你觉得呢? “No. The mouse is trembling.” 我说 不 老鼠在发抖 Michael said, “We have to feed Muscles live mice, otherwise he won’t eat. Dead ones don’t get his attention.” 麦可说 我们必须用活老鼠喂肌肉 不然的话 他不吃 死老鼠引不起他的兴趣 “So why doesn’t he just go ahead and eat it?” 我说 那他为什麽不去吃勒 He said, “Because he enjoys the game. First he uses fear to get the mouse ’s attention, then he waits, building tension. Finally, when the mouse is so terrified it can’t move, Muscles will close in.” 麦可说 因为他很享受这个游戏 他先用恐惧获得老鼠的注意 然後他等 建造紧张情绪 等到老鼠吓呆不能动了 他就会攻击了 That snake had the attention of that mouse, and that mouse had the attention of that snake -- and Michael Jackson had my attention. 那只蛇获得了老鼠的注意 老鼠也获得了蛇的注意 而MJ获得了我的关注 “That’s drama,” he said. 他说 这就是戏剧性 “It sure is!” I said. “This story has everything -- stakes, suspense, power, death, good and evil, innocence and danger. I can’t stand it. And I can’t stop watching.” 我说 这当然是 这里包含了所有 利害关系 悬念 死亡 好与坏 纯真和危险 我不能承受了 我不能再继续看了 “Exactly,” he said. “What’s going to happen next? Even if you know what it is, you don’t know how or when.” 他说 没错 接下来会发生什麽呢 虽然你已经知道结局 但你不知道何时和怎麽发生的 “Maybe the mouse will escape.” 我说 或许老鼠会逃走 Michael let out one of his high, strange laughs. “Maybe.” 麦可发出了他高而奇怪的笑声 说 或许吧 If I’d had the slightest doubt about Jackson’s command as a teller of stories, it evaporated that day. His telling to win profoundly and clearly taught me that nothing grabs our attention faster than the need to know what happens next? 如果我曾经怀疑MJ是否能成为一个好的说故事者 那天之後就被抛到九霄云外去了 他的描述很清晰的敎了我 没有比 不知道会等下会发生什麽 更能抓住我们的注意力 以下两段就不翻了 总之就是MJ非常了解"戏剧性"的重要 Back at UCLA, I asked Dan Siegel to help me understand from his perspective as a neuroscientist why people are so enthralled by drama. Siegel pointed out that emotions don’t occur spontaneously. Nor, as any actor knows, can they be summoned at will. Emotions have to be aroused. “And arousal gets heightened,” Siegel said, “when you realize, I don’t know if the mountain lion’s still there; I don’t know if the spaceship is going to get back; I’m not sure he’s going to win the race. You have to have tension between expectation and uncertainty. Emotional tension drives you to think it might go this way, but it might go that way, and that makes you wonder, what will happen next?” The more you wonder what will happen next, the more you pay attention. And the more attention you pay, the more you hear, notice, and retain. One reason I was so helplessly enthralled as I watched Michael Jackson’s mouse and snake was that they were enacting a story of primal desire and dread. Somewhere deep in our DNA, we all have this story lurking because, at some stage of our evolution, if not in our more immediate existence, we lived this story. We were the weaker prey that hid trembling inside the cave from the saber-tooth lurking outside. You can read more about Tell To Win by visiting Peter Guber's website. Source: MJFC / thewrap.com / peterguber.com --

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