FB1众：纽特、雅各布、蒂娜、奎妮、格雷夫斯、皮奎里、克雷登斯等

Foreword 前言

——Eddie Redmayne 埃迪·雷德梅恩著

Newt isn't easy. He doesn't ask for people's approval; he can be a bit hard and he marches to the beat of his own, but thereis also a childlike quality to him, and you hopefully sense from his relationship with the beasts that he has a great heart.

纽特不容易[相处]。 他不寻求人们的认可； 他可能会有点难以[对付]，他会按照自己的节奏前进，但他也有孩子般的气质，希望你能从他与野兽的关系中感觉到他有一颗宽广的心。

Introduction 简介

——David Heyman 大卫·海曼

Our main characters are not teenagers: they are adults. And yet they are innocents struggling with the challenge of finding their place in the world.

我们的主角不是青少年：他们是成年人。 然而，他们是纯真的人，在寻找自己在世界上的位置的挑战中挣扎。

A Beginner's Guide to Magizoology 魔法生物学家的新手指南

For J.K Rowling, the relationship betweenher wizard and his beasts lay at the heart of her story: 'Newt has an affinity for them, a love of creatures that goes beyond our innate desire to cuddle something cuddly. Newt finds beauty in the most dangerous creatures.’

对于J.K.罗琳而言，她的巫师与野兽之间的关系是她故事的核心：‘纽特对他们具有自然的喜爱，对生物的爱超出了我们天生对拥抱可爱事物的渴望。纽特在最危险的生物中发现美。’

'Jo is interested in outsiders, people who are misunderstood or slightly out of kilter with the rest of society,' says David Yates. 'In this case one of our characters, Newt Scamander is an outsider because he's a Brit in New York. He's an outsider because he believes and cherishes and collects extraordinarily dangerous, beautiful, exotic magical beasts that are banned from the wizarding world. So he’s a classic Jo outsider. Yet he hooks up with some other characters in New York and sort of finds intimacywith them. It’s really a beautiful journey for Newt.’

‘乔对局外人很感兴趣，那些被误解或与社会其他人略有不同的人，’大卫·耶茨表示。‘在这种情况下，纽特·斯卡曼德是局外人，因为他是身处纽约的英国人。 他是局外人，因为他坚信、珍视并收集被巫师界禁止的极其危险，美丽，充满异国情调的神奇生物。 所以他是乔笔下的经典局外人。 然而，他在纽约与其他一些角色结识，并找到与他们的亲密关系。 对于纽特来说，这确实是一段美好的旅程。’

 A Magizoologist's Uniform 魔法生物学家的服装

Costume designer Colleen Atwood calls Newt an 'off-the-page character'. Everything she needs to know about him was right there in the script. 'He's been living in the wilderness,' she says. 'Therefore he adapts everything to what he needs in his own world.’

服装设计师科琳·阿特伍德称纽特为“跃然纸上的角色”。 她需要知道的关于他的一切都在剧本中。‘他一直生活在旷野中，’她说。‘因此，他使一切适应他自己世界中的需求。’’

Nevertheless, he still needed to be able toblend with the world of the 1920s. The trick was to take general look of the age – what Atwood likes to call its 'silhouette' – and make his clothes a little mismatched and ill-fitting. There would be something quirky about him, but not clownish. If there tended to be a lot of warm tones in the menswear ofthe era – brown and so forth – Newt would wear something cooler.

尽管如此，他仍然需要能够融1920年代的世界。 诀窍是将这个时代的普遍装扮——阿特伍德喜欢称其为‘轮廓’——并使他的衣服有些失配且不合身。 他会有一些古怪的气质，但不会像小丑。 如果那个时代的男装趋向于温暖的色调（棕色等），纽特会穿些冷色的衣服。

'so I chose a dirty peacock blue for his coat,' Atwood explains, 'and that was sort of his defining look – he wears that the most. The layers underneath sort of work with the jungle and other places that he has been.’

“所以我为他的外套选择了脏孔雀蓝，”阿特伍德解释说，“而那是他决定性的造型——他大多时候穿着这件。里层与丛林和他曾去过其他地方的事实相匹配。’

Naturally, there would be more to Newt's overcoat than meets the eyes. 'We had all kinds of pockets that had purpose inthe script,' says Atwood, whose designs are as influenced by requirements of plot as much as character. 'His little friends hide in there and then he has some of his medicines in there, and his cures. So I researched magicians coats and learned how they had all these secret pockets.’

自然，纽特的大衣暗藏玄机。 ‘剧本中提到各种用途的口袋，’阿特伍德说。她的设计受剧情要求和人物的影响一样大。 ‘他的小朋友躲在那儿，然后他在那里放了一些药以及他的治愈剂。 因此，我研究了魔术师的外套，并了解了它们如何拥有所有这些秘密口袋。’

Redmayne has loved that he really only wears one outfit the whole way throughout the film, but changes as he does: ‘The collar pops open. The trousers go into his bots. I suppose there’s a slightly eccentric, nerdy quality to him that turns into more like an adventurer by theend of the film.’

雷德梅恩爱上了他在整部电影中实际上只穿一套衣服，但是随着他的改变而改变：‘但衣领竖着，裤子扎进他的靴子里，我觉得他有种些许怪异，书呆子的品质，最后他看上去更像一个冒险家。’

Newt Scamander 纽特·斯卡曼德

'What I love about Newt,' says Redmayne, 'is he's a passionate fellow. He's got his own agenda. He's got his own interests.In many ways, he's not a people pleaser.’

‘我爱纽特在于，”雷德梅恩说。 “他是个充满热情的人。他有自己的计划。他有自己的兴趣。从许多方面来说，他都不是一个讨好别人的人。’

'He's an oddball,' beams Redmayne happily. 'He feels more at home with creatures than he does with human beings.’

‘他是个怪人，’雷德梅恩笑着说。‘比起人类相处，他和动物在一起更自在。’

As director David Yates explains, 'He's one of the very few wizards who believes that creatures have a place in the wizarding world and they should be cherished and appreciated. Everybody else thinks he’s nuts, because they’re also dangerous. So he's a bit of a lone figure.’

正如导演大卫·耶茨解释道：‘他是极少数相信生物在巫师界有一席之地的巫师。他相信他们应该受到真实和欣赏。其他人都认为他是疯子，因为它们也是危险的。 所以他是一个有点独行侠的角色。’

Newt's great hope is to bring the wizardingworld around to see the value in the beasts. With the proper education they could learn to love side by side with them, and appreciate how extraordinarythey are. So he has been travelling around the world, researching his book. Atthe beginning of the film he has spent a year in the field collecting there endangered species, which he keeps, naturally enough, in his case.

纽特渴望让巫师界看到野兽的价值。 通过适当的教育，他们可以学会与其共存，并欣赏它们的奇妙之处。 因此，他一直在环游世界，为他的书做研究。 电影开始时，他在野外度过了一年，收集了濒临灭绝的物种，自然而然他把它们放在箱子里。

Redmayne does a quick tally in his head: there was definitely Egypt, where he found a Thunderbird; there was India; and also Equatorial Guinea. 'Take it from me, he's a well-travelled man,' he says. But nowhere has been quite as eye opening as this incredible city.

雷德梅恩脑袋里一闪而过：肯定去过埃及，在那里他发现了一只雷鸟； 有印度； 还有赤道几内亚。 ‘就我来看，他周游过许多地方，’他说。 但是，没有哪个地方比这个棒极了的城市更开人眼界了。

Yates had encouraged all the actors to comeup with their own ideas. Redmayne calls it, 'trouble shooting by magic ideas'. For instance, when he came up with ideas of using his wand as umbrella, Yates was delighted: 'I love it. Use it.’

耶茨鼓励所有演员提出自己的想法。 雷德梅恩称其为‘魔法点子造成的麻烦拍摄’。例如，当他想到使用魔杖作为雨伞的想法时，耶茨很高兴：‘我喜欢。 用它。’

Katherine Waterston, who plays the witch Tina Goldstein, found herself mesmerized by the different relationships Redmyane created with each of the beasts he is looking after.

扮演女巫蒂娜·戈德斯坦的凯瑟琳·沃特斯顿发现自己对雷德梅恩与所照顾的每一个野兽建立的不同关系感到着迷。

'It might be my favorite thing, 'she laughs, 'because he has developed ways of communicating with them. It’s the middle of the film and suddenly we’re watching an excerpt from a nature show.He crawls with them, he makes cooing sounds – it sounds ridiculous, but it’sreally awesome and sweet, and Eddie's done such detailed work with that.’

‘这可能是我最喜欢的东西，’她笑着说，“因为他已经开发出与他们交流的方式。 在电影的中间，突然之间，我们正在观看自然节目的片段。 他与他们一起爬行，发出令人咕咕声——听起来很荒谬，但这确实很棒又可爱，并且埃迪为此做了如此详尽的工作。

'There's something really sweet andendearing about him,' thinks David Yates. 'He's amazing with these beasts, andhis journey is ultimately to discover how to get on with regular people.’

‘他有很可爱讨喜的品质，’大卫·耶茨认为，‘他与这些野兽的互动很棒，他的旅程最终是发现如何与普通人相处。’

'He's learning to be himself,' says Redmayne, which means he must learn to trust and find comfort in other people. Almost out of necessity, Newt will form two very different friendships with two very different locals. First, he literally collides with Dan Fogler's forlorn Jacob Kowalski, a No-Maj whose dreams of opening his own bakery have comeunstuck.

‘他在学习做自己。’雷德梅恩说。这意味着他必须学会信任并在他人中找到安慰。几乎出于必要，纽特与两个截然不同的当地人结成两个截然不同的友谊。 首先，他字面意思上与丹·福格勒饰演的悲惨的麻鸡雅各布·科瓦尔斯基撞在一起，他开自己的面包店的梦想没有实现。

'It has this odd buddy movie quality to it,' says Remdayne, capturing this unlikely but touching partnership. They are comical opposites: portly Jaocb, aspiring baker, is a real people, whereas Newtis a tall, thin, scatty wizard who is a bit standoffish. Somehow they will draw the best in one another.

‘这两个人在一起有种奇异的好朋友电影的特质，’雷德梅恩描述这种看似不可能但很动人的友情。它们是喜剧性的对立面：大腹便便的有抱负的面包师雅各布，是一个真实的人，而纽特是个高瘦、漫不经心的巫师，有点冷漠。 他们将以某种方式引出彼此最好的一面。

Yates explains that, 'In the course of the story Tina and Newt have this unrequited, quite tender, quite funny journey together.' Newt's romantic past, which complicates matters, is as haphazard as most of his dealings with humankind, particularly his family.

耶茨解释说：‘在故事中，蒂娜和纽特在一起经历了一个一方没有回应的，温柔的，十分有趣的旅程。’纽特的浪漫史使事情变得复杂，这与他与大多数人，特别是与他的家人的关系一样乱。

The Scamanders are none too impressed with the career path the younger brother Newt, has taken.

斯卡曼德家族对弟弟纽特从事的职业道路不看好。

The wizard has a significant background. 'Newt actually went to Hogwarts, and he trained under Albus Dumbledore,' says Yates. The director goes on to explain that Newt was expelled from the famous wizarding school under 'enigmatic circumstances' and only Professor Dumbledore spoke up for him.

这名巫师具有重要的背景。‘纽特实际上在霍格沃茨上学，他在阿不思·邓布利多的领导下接受培训。”耶茨说。导演继续解释说，纽特在“神秘的情况”中被开除出著名的巫师学校，只有邓布利多教授为他说话。

Redmayne insists that Newt is far from a straightforward hero. 'Throughout the film you realize that for all the wonder and excitement of his life there is a hole in there in some ways. There is a sadness and complexity in there.’

雷德梅恩坚称，纽特远非一个直截了当的英雄。 ‘在整部电影中，你意识到，尽管他的生活充满了奇妙和刺激，但在某种程度上心里还是有个洞。 他有着悲伤和复杂。’

A Newt Kind of Wizard: Cast and Crew Fathom the Enigma of Newt Scamander

纽特式巫师：演职对谜一般的纽特·斯卡曼德的思索

J.K. Rowling

'I like Newt as a character. I like what Newt's all about. I'm also very interested in the period of wizarding history in which he was living and active, and hardcore fans will know what I mean by that.’

‘我喜欢纽特这个角色。 我喜欢纽特的故事。我也对他生活和活跃于的巫师历史时期非常感兴趣，铁杆粉丝会明白我的意思。’

David Heyman

'Newt is an outsider, uncomfortable with people, comfortable with creatures. He marches to his own beat. He's never been to New York. He's never seen steam coming up from the underground. He's never seen this much traffic in his life. He's never seen a city as vital as New York. He is very much a fish out of water.’

‘纽特是一个局外人，与人相处感到不适，和动物在一起感到舒适。 他按自己的节奏前进。他从未去过纽约,从未见过地下涌出蒸汽。他从未见过如此忙碌的交通。他从未见过像纽约一样关键的城市，他像一条出水之鱼。’

David Yates

'It just won me over. I felt invested in the four central characters, all of whom are actually grown-up children. That was what was fascinating about them. They are all quite pure. They are all trying to make their way in this bigger, grown-up world.’

‘这个故事赢得了我。我对四个中心人物感到很投入，他们都像长大的孩子一样。这是他们的美妙之处。他们都很纯真。他们都试图在这个更大的成年人世界中前进。’

'He's a unique character, because nobody thinks beasts are a good idea to get involved with. They can poison you.’

‘他是个独特的角色，因为没人认为和野兽打交道是个好主意，他们可以毒死你。’

Carmen Ejogo

'I think the way Eddie Redmayne is approaching the character and the fact that he is an Englishman in New York really adds to the layer of otherness. Newt is the perfect embodiment of otherness in many ways. He’s more like a Buster Keaton character. He’s notquite an antihero, but he's certainly not your typical hero. He comes with foibles and insecurities and all kinds of messiness. From the costume to the hair to the mistakes he makes throughout. I think he is a really endearing man.’

‘我认为埃迪·雷德梅恩处理角色的方式以及他在纽约是英国人的事实的确增加了异类感。在很多方面纽特是这种异类的完美体现。他更像是巴斯特·基顿式角色。他并不是一个反英雄，但也不是你的典型英雄。他带有脆弱性，不安全感和各种混乱，从服装到头发再到他在整个过程中犯的错误。

Alison Sudol

'Newt brings a humanity towards these creatures, which are previously misunderstood. That's the beauty of his character.Throughout his eyes we get to see how lovely they are.’

‘纽特将人性带入了以前被误解的生物。 那就是他角色的美。通过他的双眼，我们看到了它们的可爱。’

Ezra Miller

'There is something that is quintessential perfect about Newt for Eddie, because there is this innate charm and what I can only describe as a wonderful Britishness that Eddie already has. He is someone with a lot of integrity and kindness and warmth. And Newt is like that. He is a little befuddled, a little all over the place, which we can all identify with.’

‘纽特的某些典型对于完美契合埃迪，因为埃迪与生俱来的魅力，和我只能形容为已有的奇妙英国味。 他是一个正直，友善和温暖的人。纽特就是这样。 他有点迷糊，有点乱糟糟，我们都可以对此产生认同感。”

纽特的英国护照显示他于1923年6月16日开始旅行寻找神奇生物。

Inside Newt's Case 纽特的箱子

'It's a huge, huge space down there,' says Eddie Redmayne. 'He keeps all these individual species in his case, which in itself is a sort of wondrous plethora of terrains.’

‘里面的空间很大。’埃迪·雷德梅恩表示。‘他把所有这些不同的物种都放在他的箱子里，这本身就是一种奇妙的栖息地集合。”

In terms of how it looked, the idea was that this hold all has accompanied Newt around the world and is a bit battered and bruised. One of the catches keeps springing open. It is not what you would describe as entirely secure. It is also another object, like Newt's wand, which reflects his personality: a little scuffed and weather-beaten at first glance, but what is inside proves to be extraordinary.

对于它的外观，想法是这个箱子包含了所有伴随纽特环游世界的东西，并且遭受了点撞击和磨损。 有个锁扣不断弹开。这不是你会描述为完全安全的箱子。 这也像纽特的魔杖一样，是另一个反映他个性的物体：乍一看有点磨损和饱经风霜，但里面的东西却证明是非同寻常的。

'Inside the case is almost an Eden-like environment that Newt is in charge of,' says concept artist Dermot Power.

 ‘箱子内部几乎是纽特管理的类似伊甸园的环境，’概念艺术家德蒙特·保维说。

The key for Power was this idea that Newt happened to be more interested in dealing with beasts than becoming a good wizard. He realized that the results of Newt's magic would be 'slightly off,slightly clunky'.

对于保维来说关键在于一种概念，即比起成为一个好巫师，纽特对与野兽打交道更感兴趣。 他意识到纽特的魔法效果会‘略显奇怪，略显笨拙’。

The result was that their magical safari park became more homespun like the shed, albeit the size of an aircraft carrier. In the very distance we would just be able to make out the perimeter of the leather case, while in the foreground the shed would be sitting on a deck surrounded by a vast assortment of what at first look like museum dioramas. Only they appear to be alive.

结果是，尽管它们的大小与航母相当，但生物的魔法野生动物园却像小屋一样变得更加朴实。 在很远的距离内，我们只能分辨出皮箱的边界，而在前景，小屋将坐落在甲板上，四周都是最初看起来像是博物馆的立体模型的各类环境。 只是他们看起来充满生机。

'So it's like he's done the most beautiful worlds he can do, and if they’re a bit shaky he sort of makes sure they work,' Power goes on to say. 'He puts them back together. He doesn't take pride in being the greatest world creator. He's just pleased that the beasts are happy in the worlds that he's created.’

‘因此看上去他创造了他所能完成的最美丽的世界，如果它们有些不稳当，他会确保它们能够正常工作，’保维继续说道。‘他把它们放在一起。 他不以成为最伟大的世界创造者而自豪。 他只是很高兴野兽在他创造的世界中很快乐。’

Below a set of giant light bulbs around which flutter tiny, fairylike Doxies, is the aquatic environment for the Grindylows. They are kept in a zero-G water bubble that floats around. 'As Newt's magic doesn't quite work properly,' laughs Manz, 'the water is spilling everywhere.’

在一组巨大的灯泡下，周围环绕着微小的仙女般的小精灵，这里是格林迪洛水怪的水生环境，。它们被保持在漂浮的零重力水泡中。‘纽特的魔法没有正常运作，’曼兹笑着说。‘水溅得到处都是。’

In all of the design considerations forthis extraordinary place, one thing was essential – the possibility of escape. As Manz points out, there are no bars. Newt would never cage his beasts. They needed to tell the story of how these creatures get out, and it came back tothe fact that his magic is less than reliable. As Manz explains, 'the magic he is using to contain them sort of works, but doesn't work. It's a bit like him, a bit shambolic.’

在这个非凡场所的所有设计考虑中，一件事至关重要——逃跑的可能性。 正如曼兹指出的那样，这里没有围栏。 纽特永远不会把他的野兽关在笼子里。 他们需要讲述这些生物如何逃跑的故事，而这又回到了他的魔力不够可靠的事实。 正如曼兹所解释的，‘他用来容纳它们的魔法起了些作用，但并未运转好。 这有点像他，有点乱糟糟。’

早期概念艺术：箱子的阴影魔法般造出下到里面的楼梯。

Newt's Shed 纽特的小屋

'Men are better known than women for liking sheds as a refuge, as a place to be alone with your thoughts,' says Craig. 'And Newt is a very independent character: being solitary seems to be a necessary part of his life at times, and so we gave him a shed.’

‘男人比女人更广为人知喜欢把小屋当作避难所，一个可以独处的地方，”克雷格说。‘纽特是一个非常独立的角色：孤独有时似乎是他生活中必不可少的一部分，所以我们给了他一个小屋。”

At floor level, Newt's shed is like a window into his busy mind. Here are the tools of his trade: tripod cameras and a pickaxe, rope nets and collecting jars. Tacked on to the walls are notes and maps, drawings of beasts, even a few moving pictures of loved ones. He has a workbench, and a bed under the bench, along with a stove and an armchair. ‘It is a great place for a man like Newt to be alone,' says Craig with a twinge of envy.

在底层，纽特的小屋就像是他忙碌的头脑的一扇窗户。 他的职业工具如下：三脚架相机和鹤嘴锄，绳网和收集罐。 贴在墙上的是笔记和地图，野兽的图画，甚至是所爱的人们的一些动态相片。 他有一个工作台，长凳下的床，还有炉子和扶手椅。‘对于像纽特这样的人来说，这是一个独处的好地方。’ 克雷格略带嫉妒地说道。

'David Yates liked the Heath Robinson approach,' explains VFX supervisor Tim Burke. 'Newt is a bit of a collector, and that is what the shed is all about. It represented his character. It was a bit higgledy-piggledy. On his travels he has picked up all these bits of ephemera.’

‘大卫·耶茨喜欢希思·罗宾逊的方法。’视效总监蒂姆·波克解释说：‘纽特有点像收藏家，这就是小屋的全部意义。 它代表了他的性格。有点杂乱无章。 在旅途中，他收集了所有这些短期收藏品。’

'Newt's case is his world,' explains Redmayne. 'It's his haven really. I mean Stuart Craig has built everything Icould have dreamed of. It is his character described in the most intricate physical terms.’

‘纽特的箱子是他的世界。’雷德梅恩解释说。‘这真的是他的避风港。 我的意思是斯图尔特·克雷格构建了我梦寐以求的一切。这是物理层面上对他的角色最精妙的描述。’

Newt's Wand 纽特的魔杖

When it came to Newt's wand, says Bohanna,they wanted something that could be traced back to some 'animal component'. However, Eddie Redmayne who attended special 'wand-work' classes and, like all the wand- wielding actors, was thrilled to have input into the final model, was insistent there could be no leather or horn involved. Newt wouldn't stand for that. Which definitely ruled out anything macabre like bone.

当设计纽特的魔杖时，伯汉纳说，他们想要可以追溯到某些‘动物成分’的东西。 但是，埃迪·雷德梅恩参加过特殊的“魔杖工作”课程，并且像所有挥舞魔杖的演员一样，很高兴能为最终的模型提供见解，并坚称不能有皮革或角。 纽特不会那样做。这绝对排除了任何像骨头一样令人毛骨悚然的东西。

'It had quite a lot of character,' says a satisfied Bohanna: 'chip, knocks and bangs to show a well worked life.’

 “它具有很多角色特征，” 博汉纳满意地说道：‘用缺口，凹槽和敲痕可以表现出经久使用的效果。

Jacob Kowalski 雅各布·科瓦尔斯基

'When you first meet Jacob, he's back from the war,' says Fogler. 'He's like the last guy back. Like no one told him it was over. And now he's looking to get started on a lot of stuff that he missed out on. And he goes to the bank to get a loan to open a bakery. And he's got his case full of pastries…'

‘当你第一次遇到雅各布时，他已从战争中回来。’福格勒说。‘他是字面意义上最后一个回来的人。没有人告诉他一切都结束了。现在，他正在期待着开始着手于他错过的很多事情。他去银行贷款以开设一家面包店。他的箱子装满了甜点……’

'Jacob gets throw in to this magical adventure he can't quite believe it,' explains producer David Heyman. 'He too is an outsider, and things haven't gone his way. However, he has always remained an enthusiast, full of possibility, believing in the possibilities of life. When he encounters these magical folk, he sees a whole world he could have never imagined.'

‘当雅各布卷入这场神奇的冒险时，他简直不敢相信。’制片人大卫·海曼解释说。‘他也是个局外人，事情并没有如他所愿。但是，他始终是一个充满热情的人，充满可能性，相信生活的可能性，当他遇到这些巫师人时，他看到了一个他无法想象的世界。’

One of the more delightful aspects of the story for David Yates was how much is seen through Jacob's eyes. 'Ultimately you're taken into it by Jacob, and we are Jacob. We experienced many of these things from his point of view.’

对于大卫·耶茨来说，这个故事更令人愉快的方面之一是，许多事情都通过雅各布视角展现。‘最终雅各布带你走进去，我们就是雅各布。我们从他的角度经历了许多事情。’

While there were bigger names up for the role, Yates was astonished by how Fogler confounded everything he initially thought about the character. 'We had loads and loads of actors who would do areally straight version of Jacob, and then Dan came in and he did somethingthat had fireworks. He inverted it: things were sad when they should have beenfunny and funny when they should have been sad. That gift and quality just madeus go, “Wow, he's going to steal this.”'

尽管名气更大的演员等着该角色，但耶茨对福格勒如何混淆他最初对角色的一切想法感到惊讶。 ‘我们有很多演员会直截了当地演绎雅各布，然后丹进来，他做了一些爆发火花的表演。 他将其倒转了：当事情本来应该有趣的时候它们是悲伤的，而当它们本来应该是悲伤的时候它们才有趣。 那种天赋和品质使惊叹，“哇，他要抢了风头。”’

Fogler goes on to liken Newt's partnership with Jacob to Sherlock Holmes and Watson. Above all, with Jacob acting as Newt's 'sherpa' through the maze of New York, a case full of mutual necessity will mark the beginning of a beautiful friendship.

福格勒接着将纽特与雅各布的伙伴关系比作福尔摩斯和沃特森。 最重要的是，随着雅各布在纽约的迷宫中扮演纽特的“向导”，一个装着彼此必需品的箱子将标志着美好友谊的开始。

'These two guys from very separate parts of the spectrum come together,' he says. 'I basically teach him how to, you know, be a person with people. Newt really communicates better with creatures than he does people.’

‘这两个性格完全不同的家伙聚在一起。我基本上教他如何与人交往。 比起与人交流，纽特和动物相处得更好。’

Fogler sighs: 'Queenie is just an angel. She gives Jacob a real reason to want to stick around. It's beautiful, you know? J.K.Rowling writes these amazing situations where I'm falling in love with this witch, Queenie. But in the wizarding world there are strict laws, especially in New York. It's forbidden Which also mirrors people from different races wanting to get together – it's really quite beautiful how she parallels these cultural conundrums in the story.’

福格勒感叹：‘奎妮是天使。她给了雅各布一个真正想留在身边的理由。这很美，你知道吗？ J.K.罗琳写下了我爱上了这位女巫奎妮的美好场景。 但是在巫师界，这是禁止的，有严格的法律，尤其是在纽约。这也反映了希望聚在一起的不同种族的人——她影射故事中的这些文化难题的方式真是太美了。’

雅各布的服装

'Jacob's kind of what you'd describe as a schlub back in the day. He has baggy pants at his waist. We meet him trying toget a loan from a bank and he had a suit that looks presentable. But as he has so little money his clothes don't quite fit the way they should. I used softer fabrics so he had a little bit more bagginess.’ 

‘雅各布就像你描述的那个年代的伙计。 他宽松的裤子挂在腰上。 我们见到他试图从银行贷款，他的西装看起来很像样。 但是由于他没什么钱，所以他的衣服不太如应有的合身。 我用了较软的面料，所以他有点更松垮垮的感觉。’

雅各布的银行贷款申请表：年龄26岁

Inside the Magical Congress of the United States of America 美利坚魔法国会

Tina will surreptitiously point her wand inthe direction of the stone owl, which launching into the air commences anintricate magical operation transforming a humble set of revolving doors into the entrance to MACUSA.

蒂娜会秘密地将魔杖指向石猫头鹰的方向，猫头鹰飞向空中，并开始复杂的魔术操作，将一套不起眼的旋转门转变成MACUSA的入口。

The six operating floors are to be below the concourse. Foremost of there is the Major Investigation Department, MACUSA's centre of control and Graves's personal fiefdom. 

六个办公楼层位于大厅下方。 最重要的是重案调查部门，MACUSA的控制中心和格雷夫斯的个人领地。 

Mina laughs, remembering the time that she asked J.K Rowling if Tina had a middle name. They needed to know for her ID Card. And without blinking the author confirmed she did: 'Porpentina Esther Goldstein, Federal Wand Permit Office.’

米娜笑了起来，回想起她问J.K罗琳蒂娜是否有中间名的那次。 他们需要知道以制作身份证。 眼都不眨，作者确认她确实有：‘波尔蓬蒂娜·以斯帖·戈德斯坦，联邦魔杖许可证办公室’。

'The further down you go,' explains Craig, 'the more menial the work, the more dreadful the conditions.' Similar to the Ministry of Magic, MACUSA also works as another J.K Rowling's satirical portrayal of bureaucracy.In the windowless gloom of the lowest level, signs on the wall carry corny slogans with a wizarding twist: 'You don't have to be magic to work here…Actually you do!' Here can be found the typing pool with no typists. The typewriters click-clack on their own, idly monitored by a nearby witch. One of whom preoccupied by a copy of U*Hex*A For the American Witch.

‘越往下，’克雷格解释说，‘工作越微不足道，情况就越糟。’与魔法部相似，MACUSA也是J·罗琳对官僚主义的讽刺刻画。 在无窗阴暗的最底层，墙上的招牌上印着魔法版的老套标语：‘在这里工作你不必会魔法……实际上，你需要！’这里可以找到没有打字员的打字小组。 在旁边女巫的监视下，打字机自身会发出咔嗒声。 其中一位女巫专注于《美国女巫的U * Hex * A》。

Porpentina Goldstein 波尔蓬蒂娜·戈德斯坦

At first glance, Porpentina Goldstein or 'Tina' Goldstein is a no-nonsense, career-driven New York witch. Indeed. She is the first of a magical persuasion to spot that Newt might be more than a passing tourist.

乍一看，波尔蓬蒂娜·戈德斯坦或‘蒂娜’·戈德斯坦都是一丝不苟，事业为驱动力的纽约女巫。 确实。 她是第一个发现纽特可能不仅仅是一个路过的游客的巫师。

Dressed in her usual smart but inconspicuous mix of above-the-ankle trousers, grey overcoat and balck cloche hat, she trails him into the bank; there, she is appalled to witness the wizard use hhis wand in broad daylight and promptly arrest him. Newt is clearly an exposure risk to the secretive MACUSA. He may also be a chance for Tina to redeem herself.

穿着惯常的但不显眼的踝上裤，灰色大衣和黑色克洛什式的帽子，她追踪他到银行内。 在那里，她震惊地目睹了巫师在光天化日之下使用他的魔杖并立即将其逮捕。 纽特显然是秘密MACUSA的暴露风险。 他也可能是蒂娜救赎回自己的机会。

Tina has run into her own problems at MACUSA. 'She's recently been demoted,' explains Katherine Waterston, the NewYork-based actress who is bringing this complicated witch to the screen. 'She's gone from being a detective to the lowly work in the Wand Permit Office. Basically stamping passports.’

蒂娜在MACUSA遇到了自己的问题。‘她最近被降职，’纽约女演员凯瑟琳·沃特斯顿解释说，她把这个复杂的女巫带到了银幕上。‘她从侦探变成了魔杖许可证办公室的卑微员工。基本上是在护照上盖章。’

Up until her downrturn in fortune Tina wasa Auror, a wizard detective tasked with investigating crimes. But as director David Yates explains, 'She had done something really bad.' What her crime might be is revealed over the course of the movie. 'Like Newt,' he says, 'she is a wee bit of an outsider.’

直到她的不走运之前，蒂娜都是傲罗，一名负责调查犯罪的巫师侦探。 但是正如导演大卫·耶茨解释的那样， ‘她做了很糟糕的事情。’整部电影中，她的罪行可能会揭露。 ‘像纽特一样，’他说，‘她是一个局外人。’

Waterston finds her character fascinating. Nothing is quite what it seems. Tina is really proud to be a part of MACUSA. She still hopes to make something of herself there. Yet she also slinks about New York doing her own investigation like a private eye from an old-schoolcrime movie.

沃特斯顿发现她的角色令人着迷。 没什么是如表明所示。蒂娜对作为MACUSA的一员感到非常自豪。 她仍然希望在那里有所成就。 然而，她也在纽约四处进行自己的调查，就像老式犯罪电影中的私家侦探一样。

'Tina has good instincts,' hits Waterston. 'She is good at her job. But when push comes to shove, she will abandon the rulebook.' She is a woman of great potential, but she just hasn't found a way to realize it yet, with pretty bobbed hair and a stern gaze.

‘蒂娜有很好的直觉。’沃特斯顿说。‘她擅长自己的工作。 但是当受到动力驱使时，她将抛弃规则手册。’有着漂亮的短发和严厉的目光，她是一个很有潜力的女人，但是她还没有找到实现这一目标的方法。

Yates was taken with Waterston from the moment she walked into the first audition. She displayed similar qualities to Eddie Redmayne. 'Very much like Eddie, she can be quite deeply intense in a good way, and she can be very, very funny. She's got a great physical ability at comedy, which is quite rare. She's also a really powerful actor. I loved that combination.’

从她第一次试镜那一刻起，耶茨就喜欢上了她。 她表现出与埃迪·雷德梅恩类似的品质。‘她很像埃迪，可以以一种很好的方式表现得非常专注，而且她可以非常非常有趣。 她在喜剧方面有很强的肢体能力，这非常罕见。 她也是一位非常有强大的演员。 我喜欢这种组合。

Waterston doesn't count herself as any kind of expert on the history of Harry Potter. She had seen some of the films, read some of the books, but admits she hadn't got a completely lost in the world. She also thinks that may not be a bad thing.

沃特斯顿并不认为自己是哈利·波特历史的专家。 她看过一些电影，看了一些书，但承认自己并没有完全被这个世界迷失。她还认为这可能不是一件坏事。

'I felt in a fortunate place,' she says, 'because I wasn't so obsessed that I had a lot of preconceived notions, but I was familiar enough to have a sense of the tone of the world.’

 “我感到很幸运，’ 她说。‘因为我并没有那么着迷，以至于我有很多先入为主的观念，但是我足够熟悉，可以感受到世界的基调。’

She also had a plenty of opportunity to pick the brains of J.K Rowling, who provided a wealth of knowledge on Tina.

她还有很多机会可以吸取J.K. 罗琳的想法，后者提供了关于蒂娜的丰富的知识。

'You just want to curl up by the fire withher and hear her stories,' sighs Waterston happily. 'She sees a whole, incredibly detailed universe.’

‘你只想和她一起在火堆旁蜷缩着，听她的故事。’沃特斯顿高兴地说。‘她看到了一个完整的，极其详细的宇宙。’

Two key relationship will emerge in Tina's busy corner of that universe. Firstly, with her sister Queenie, played by Alison Sudol, with whom she shares a small Brownstone apartment.

两个关键的关系将出现在这个宇宙中蒂娜忙碌的角落。 首先，她与艾莉森·苏多扮演的妹妹奎妮，他们共住一间布朗斯通小公寓。

Tina and Queenie lost their parents to a Dragon Pox when they were young, and at different times have been a parent to one another. 'in their loneliness they've fallen into that dynamic,' says Waterston. Tina, she admits, may be a bit more the father, and Queenie the mother, cooking these wonderful meals. Queenie is as vivacious as Tina is restrained, yet they couldn't be closer.

蒂娜和奎妮年幼时就失去了罹患龙痘的父母。“在孤独中，他们陷入了那种关系。”沃特斯顿说。她承认，蒂娜可能更多是父亲，而奎妮更像母亲，做出美味佳肴。 奎妮活泼；蒂娜内敛，但是他们非常亲近。

'It feels true to me, the way Tina and Queenie relate to one another,' insists Waterston. Having only just met, she and Sudol developed an instant chemistry as they shot the scene of the Goldsteins preparing dinner for Newt and Jacob. It was their first day working together and they had to glide about the kitchen casting spells with their wands as if it was second nature.

‘对我来说，蒂娜和奎妮彼此之间的关系感觉很真实。’沃特斯顿坚称。虽然刚认识，她和苏多尔在拍摄戈德斯坦一家为纽特和雅各布准备晚餐的场景时立即产生了化学反应。 这是他们在一起工作的第一天，他们不得不在厨房到处用魔杖施展魔咒，好似这只是习惯。

'We kind of scrambled to figure it out –whose chore is whose?' recalls Waterston. 'I'm sort of setting the table with my wand and she's preparing the meal. We developed a little, superstitious salt-over-the-shoulder thing, just to give the audience a sense of their life together.’

‘我们急忙弄清楚谁干什么活？’沃特斯顿回忆说。‘我用魔杖摆好桌子，她正在准备饭菜。 我们发明了一些往肩后撒盐的迷信动作，只是为了让观众感受他们共同的生活。’

Then, of course, there is Newt. Someone Tina can't quite figure out. Not at first. 'Part of what I love about Tina is that she's flawed,' says Waterston. 'Things don't work out for her. She meets Newt and she suspects there is something to him, but she doesn't know exactly what.’

然后，当然纽特出现了。 蒂娜不太能搞懂他。一开始没有。“我爱蒂娜的部分原因是她有缺陷。” 沃特斯顿说。‘对她来说，事与愿违。 遇到纽特时，她怀疑他身上有些名堂，但她不知道到底是什么。’

Throughout the first film, as she watches him interact with his fantastic beasts and sees the way he is, Tina will come to view Newt in a different light.

在第一部电影中，当她看着他与他神奇动物互动并看到他原本的样子时，蒂娜将以不同的视角来看待纽特。

'With Katherine's character, it is sort of a slow-build connection,' says Redmayne, 'these two people, who are outsiders yet passionate people, begins to glimpse things in one another.’

‘和凯瑟琳的角色，这是一种缓慢地建立联系，’雷德梅恩说。‘这两个人既是局外人又是充满热情的人，并开始互相窥到彼此。’

Waterston describes it as a love story albeit in an unconventional way. They have a lot of to deal with in the meantime – escaped beasts, death sentences, going on the run, tackling the outbreak of dark magic – and yet Newt sees all the potential in her that she has trouble seeing in herself. 'At first, she thinks he's dangerous and untrustworthy, and potentially kind of cute too,' she says. 'Then as the relationship evolves you start to notice parallels between them. I mean, both are very passionate but not very good at expressing themselves.’

沃特斯顿将其描述为一个非常规的方式爱情故事。在此期间，他们有很多事情需要处理——逃脱的野兽，死刑，逃亡，应对黑魔法的爆发——但是纽特看到了她自己难以看见的所有潜力。‘起初，她认为他危险、不可信，而且可能也有点可爱，’她说。‘然后随着关系的发展，您开始注意到它们之间的相似之处。我的意思是，两个人都很热情，但不太擅长表达自己。’

She pauses, trying to capture one of the themes of the film: 'It can be lonely being an oddball until you find another oddball.’

她停顿了一下，试图描述电影的主题之一：“做一个怪人可能很寂寞，直到找到另一个怪人为止。’

蒂娜的服装

'Tina Goldstein is a little bit gawky. A little bit not quite there in her body and just a little bit off in her costume. She was sort of a modern girl, and I made an acting decision to put her in trousers from the start, which was not so common in the period. She hadan element of what the Aurors wore but not really. Hence the trousers. She was hiding a lot and doing her own private-eye things. So I gave her a trenchcoat with a really big collar she could tuck her head behind doing this kind of stealthy spying work.’

‘蒂娜·戈德斯坦有点笨拙。她的身体有点不自在，穿着服装也略显不适。 她是个现代女孩，我决定从一开始就让她穿裤子，这在当时并不常见。 她具有傲罗穿着的元素，但并非如此。 因此，穿着裤子。她很多时候都在隐藏，进行着秘密调查。 因此，我给了她一件有着非常大衣领的风衣，她可以把头藏在后面，做这种隐蔽的间谍工作。’

Tina's Wand 蒂娜的魔杖 

When it came to her wand, Katherine Waterston requested some 'heft'. She wanted to make Tina's spell-casting forceful, as if magic was something she takes very seriously. 'Tina's was nice,' says Pierre Bohanna. 'Quite simple and quite classic.’

对于她的魔杖，凯瑟琳·沃特斯顿要求加一些‘重量’。 她想让蒂娜的施法动作变得有力，好像魔法是她非常重视的事情。‘蒂娜的魔杖很棒，”皮埃尔·伯汉纳说。‘很简单，很经典。’

蒂娜的MACUSA身份证确认她的全名是：波尔蓬蒂娜·以斯帖·戈德斯坦，在联邦魔杖许可办公室工作，年龄25岁

Queenie Goldstein 奎妮·戈德斯坦

'Being Queenie is just delightful,' declares Alison Sudol. 'She's really playful, but also perceptive and empathetic. She is aware, but very unaware of herself at the same time, which I just love.'

‘扮演奎妮非常令人愉悦。’苏多尔说。‘她很享受乐趣，，有洞察力，有同理心，而且非常能感知到当下，我爱这一点。’

They may be entirely different creatures, but orphaned at a young age the Goldstein sisters have come to depend on one another. The décor of their apartment is a colourful fusion of their different personalities.

戈德斯坦姐妹也许是完全不同的生物，但是他们在很小的时候就成为孤儿了。 他们公寓的装饰是他们不同个性的多彩融合。

'They have basically raised each other,' explains Sudol, 'but it's a sort of isolated and lonely life, then our lives are suddenly transformed within a night.’

‘他们基本上互相抚养长大，’苏多尔解释说。‘但这是一种隔绝而孤独的生活，然后我们的生活在一夜之间突然转变了。’

For producer David Heyman, Queenie is archetypal of a theme that runs throughout J.K. Rowling's work – don't judge a book by its cover. 'Nothing is quite as it seems,' he says. 'So with Queenie, you could easily dismiss her because she is a beautiful woman, but there arehidden reservoirs and much more that lies beneath.’

对于制片人大卫·海曼而言，奎妮是贯穿J.K.作品的主题的原型——不要凭表面判断。‘没什么是和看起来一样的。” 他说。‘因此，对于奎妮，你可以轻易地忽视她，因为她是个美丽的女人，但她有深藏不漏的方面，深层有更多的东西。

Entirely smitten with Queenie, poor Jacobis quite defenceless. Queenie can read everything he is thinking about her, butshe is touched by what she discovers. Another element of Legilimency is the ability to detect lies and deceit in a person, and she finds none at all in the downtrodden baker. Seeing a true heart, Queenie will fall for this unlikely fellow.

可怜的雅各布完全迷住了奎妮，毫无招架之力。 奎妮可以读取他对于她的一切想法，但发现的一切使她感动。 摄神取念的另一个要素是能够探测一个人的谎言和欺骗，而她在被践踏的面包师中根本找不到。 奎妮看到一颗真诚的心，会爱上这个看似不太可能的人。

'Queenie is an angel,' says Dan Fogler. 'the two of them start to fall in love. It gives Jacob a real reason to stick around.’ 

‘奎妮是天使，’福格勒说。‘他们两个开始坠入爱河，这给了雅各布一个真正留在身边的理由。’

Director David Yates admits it was finding the untainted side to Queenie that made her so hard to cast. 'On paper, Queenie is this glamorous, beautiful, exotic woman, and we saw the most glamorous, beautiful, exotic women for that role,' he says. 'However, there was just something missing, and then Alison came in. There was a purity and an innocence to what she did that was exceptional.'

导演大卫·耶茨承认要找到奎妮纯洁的一面使得选角很困难。‘剧本里奎妮是个迷人，美丽，充满异国情调的女人，我们看过了最迷人，最美丽，最有异国风情的女性尝试这个角色，’她说。‘然而始终缺少一些东西。然后艾莉森进来了，她的表演中包含一种纯洁和天真，很精彩。’

奎妮的服装

'Queenie was a lot of fun. I made a coat for her that she wears a lot. I drew the design and it was woven for me – it took thirty thousand feet of thread to make that coat. It's all different colours of umber and peach like a sunset or a sunrise. There was an element of air and light that I liked for Queenie. Underneath is her take on a witch's dress, but with alittle bit of a nineteen-twenties slant and a little bit of floozy.'

‘奎妮很有趣。我给她做了一件她经常穿的外套。我设计，他仁进行编制——花了30,000英尺的线来制作外套。都是不同种类的茶色和桃色丝绸，看起来像是日出或日落。妮的服装有种轻盈和明亮的元素，我很喜欢。她里面穿着女巫的裙子，但有着20年代的风情，有点轻佻。’

The Goldstein Department 戈德斯坦公寓

Named for the dark sandstone bricks used tobuild Manhattan's famous townhouses, most Brownstones were converted into apartments in the 1920s. Not wealthy, the Goldsteins occupy a couple of rooms within one such conversion.

大多数布朗斯通1920年代改建为公寓，因为用来建造曼哈顿著名的联排别墅深色砂岩砖而得名。戈德斯坦一家并不富裕，只占据一栋内的几个房间。

Furthermore, Tina and Queenie will prepared inner for their guests with the help of familiar spells. Jacob, recovering from a nasty bite from a Murtlap, wonders whether he is having a hallucinogenicepisode. ‘He's chucked onto this sofa and the girls suddenly swish their wands around and plates fly from everywhere and food is being chopped,' says visual effects supervisor Christian Manz, 'and we go into incredible detail about baking an apple strudel magically. But it feels workaday, it feels normal to them.’ 

此外，蒂娜和奎妮将在熟悉的咒语帮助下为客人准备晚餐。雅各布从莫特拉鼠的讨厌的咬伤中恢复过来，想着自己是否产生了幻觉。‘他被推在沙发上，女孩子突然挥舞着魔杖，盘子从四处飞来，食物也正在被切碎。’视觉特效总监克里斯蒂·曼兹表示，‘但是感觉很日常，感觉对他们来说很正常。’

'We've got little napkins flying like birds, we've got a book jacket that move around,' he recalls. Irons work on their own accord, a clothes-horse revolves to ensure both sides face the fire, and there is a lovely dress on a mannequin that Queenie is mending remotely. 

 ‘我们的餐巾纸像鸟一样飞翔，我们的书外套随处移动。’他回忆说。‘熨斗自行工作，一个晾衣架旋转着以确保两面都对着火，奎妮正在远处的人体模型上缝制漂亮的衣服。

The idea, says actress Katherine Waterston, is 'to give the audience a sense of the Goldsteins' life together that is very insulated and private.' Having two men visit, she insists, is a 'freak exception'.

女演员凯瑟琳·沃特斯顿说，这个主意是‘让观众了解戈德斯坦共姐妹共同的生活，这种生活是非常隔绝和私密的。’她坚称，有两名男子来访是一个“怪异的例外”。

戈德斯坦公寓的装饰反映了他们母亲维多利亚风格的品味，而细节体现了女儿们更现代的品味。

Percival Graves 珀西瓦尔·格雷夫斯

'Graves is very high up the command chainat MACUSA, and is basically an Auror,' explains the Irish movie star proudly. 'He's a kind of officer of the law in the world of wizardkind, there to investigate and contain anyone who is potentially detrimental to wizardkind by trifling with the Dark Arts.’ 

‘他在指挥系统中处于很高的位置，基本上是个傲罗，’爱尔兰演员自豪地解释道。‘在巫师世界中他是执法者，调查任何可能对巫师族群有害，与黑魔法搅和的人。’

And yet, as with all the characters, thereis more to this powerful wizard than upholding the rules. For one thing, Graves harbours certain beliefs, political viewpoints shall we say, that wouldn't sit well in the hallowed halls of MACUSA if he let them be known. 'His ideology,' says Farrell teasingly, 'is something very particular to him.’

然而，与所有角色一样，这个强大的傲罗不仅仅是遵守规则。 一方面，格雷夫斯怀有某些信念，我们应该说政治观点，如果他使其暴露，那MACUSA上下不会抱有好感。‘他的意识形态，’法瑞尔打趣地说，“对他来说很特别。”

There is a quality both dashing and officious about Graves that borders on the sinister: he wears a long, black coat that is almost a cloak, while his white shirt has a high collar neatly held in check by a black tie. 

格雷夫斯在险恶的边缘上显得既时髦又有威严：他穿着一件黑色的长外套，几乎是一件斗篷，而他的白衬衫的高领子则被一条黑色领带整齐地固定住。 

'It has that kind of priestly feel to it that was more than just clothing,' he reflects. How Graves looks represents his discipline as an Auror currently on the case of an obscure magical force that is causing disturbances across New York. Something that could do more than expose the wizarding world, it could potentially start a war.

‘它不仅仅是衣服层面带来牧师感。’他说。‘格雷夫斯的造型代表着他作为傲罗的纪律，他目前在调查一团晦涩的魔法力量在纽约各地引起的骚动。除了揭露巫师世界之外，这还可能引发一场战争。

'We don't know at the start of the film whether it's a beast or a spirit or an entity or what it is,' explains Farrell. 'And it's his job to find it before chaos is totally set free in New York City and a war provoked between No-Majs and wizardkind. He wants to find this creature and put it to rest.'

‘我们在电影开始时不知道它是野兽，灵体，实体还是什么，’法瑞尔解释说。 ‘而且，在纽约市完全爆发混乱以及麻鸡和巫师爆发战争之前，找到它是他的工作。 他想找到这种生物并将其制服。’

And Newt's arrival in New York has not gone unnoticed by the eagle eyes of Percival Graves. The Auror has got his suspicions there as well. 

纽特到达纽约并没有逃脱珀西瓦尔·格雷夫斯的法眼。这名傲罗也有了他的怀疑。

'He's an unusual character; he's got a case full ofmagical creatures that he hasn't registered,' sniffs Farrell. 'I also know his brother, who is a powerful Auror and a professional counterpart of mine. There's something about Newt, I suppose, that makes me think maybe he should be kept an eye on.’

‘他是一个不寻常的角色；他的箱子装满了他还未注册的魔法生物，’法雷尔哼道。 ‘我也认识他的哥哥，他是一位强大的傲罗人，也是我的专业同行。 我想，关于纽特有一些事情，使我认为也许应该一直关注他。’

 

President Seraphina Picquery 主席瑟拉菲娜·皮奎里

'I am the head of MACUSA, the American equivalent to the Ministry of Magic,' announces British actress Carmen Ejogo, 'and I suppose my most essential task in this world is to protect the wizarding community from being exposed, because with exposure could come war and potentially the destruction of our community.’ 

‘我是相当于美国魔法部的MACUSA首领，’英国女演员卡门·埃约戈宣ch称。‘我认为我最根本的任务是保护巫师社群免受暴露，因为暴露可能会引发战争，甚至可能致使我们的族群灭亡。’

President of the Magical Congress of the United States of America, Seraphina is a leader under pressure. She is surrounded by fear and rumour-mongering, and may not be well informed by her inner circle. She presides over a divided community. There are those wizards and witches who believe they should operate in the real world being who they are, whatever the risk. And there are those, like herself, who think it best to remain in isolation. As the film begins, a fragile peace is being maintained, but civil war hovers in the paranoid air of MACUSA. 

瑟拉菲娜是美利坚合众国魔法国会的主席，备受压力的领导人。她被恐惧和谣言所包围，她的核心圈子可能没有很好地为她提供信息。 她主持着一个分裂的社会。 有些巫师相信，无论风险如何，他们应该在现实世界中行动，做他们自己。 还有像她一样的人，认为最好处于隔绝中。随着电影开始，脆弱的和平得以维持，但是内战却在MACUSA的偏执氛围中徘徊。

'I think in our film,' says Ejogo, 'which is somewhat different to the Harry Potter films, it is still very much a community that has yet to have the full courage and conviction of its own power.’ 

‘我认为在我们的电影中，’卡门·埃约戈说，‘和哈利波特电影中有些不同，这仍然是一个尚未完全对自己的力量和存在充满勇气和坚信的社群。’

This is an America intolerant to magic, forcing it underground. Ejogo points out that it wasn't so long ago that the Salem witch trials took place, and having that as a backdrop creates an atmosphere. 'There is a puritanical strain that is well represented in this movie,' she says. 

这是对魔法的不容忍的美国，强迫它躲进地下。埃约戈指出，不久前发生了塞勒姆女巫审判，以此为背景营造了一种气氛。‘这部电影充分体现了清教徒造成的紧张感。’她说。

She has the grand bearing suitable for a head of state. An aloofness, Ejogo says, that means she keeps a certain distance from most of the characters in the film.

 她有一身符合国家元首身份的华丽装束。 埃约戈说，她有着冷淡感，这意味着她与影片中的大多数角色保持一定距离。

'But there are moments between herself and Tina which suggest a backstory that you never see in the film, but in the writing on the page it's implied,' she adds. 'And because Katherine [Waterston] is such a great actress to work opposite, we've both come into the scenes we have together with a sense of depth. I never feel as though Seraphina is just showing up. There is a history, a legacy. These are all fully fleshed-out characters.’

‘但是，她和蒂娜之间有些时刻暗示着一个电影中从未见过的背景故事，但剧本的描写却隐含了这一点，’她补充说。‘而且因为与我对手戏的凯瑟琳[沃特斯顿]是一位出色的女演员，所以我们俩都带着一种深度演绎我们共同的场景。我从不觉得瑟拉菲娜只是出现在那里。这其中有历史，有遗产。这些都是丰满立体的人物。’

The New Salem Philanthropic Society 第二塞勒姆慈善协会

Led by Samantha Morton's stern, unsmilingMary Lou Barebone, with her three adopted children – Credence, Chastity and Modesty – in tow, the Second Salemers are determined to stamp out magic. 'There's no fine line. There's no grey area. It has to be eradicated,' announces Jenn Murray, who features as Chastity. 'Because it challenges them.’

在萨曼莎·莫顿饰演的严厉、不苟言笑的玛丽·露·拜尔本的带领下，带着两个被收养的孩子——克雷登斯、查丝德蒂和莫德斯蒂——第二塞勒姆决心消灭魔法。 ‘对于他们来说没有微妙的界限，没有灰色区域。 必须彻底铲除它。’饰演查丝德蒂的詹妮·默里宣布。‘因为这挑战了他们。’

Director David Yates describes Mary Lou as evangelical in her belief that witches exist in New York. 'She wants to out them,' he says. 'She wants to bring to the attention of every New Yorker that these witches exist. She is an extremist and she has this strange family that she has adopted, all of whom work for her.’ 

‘导演大卫·耶茨将玛丽·露·拜尔本描述为一个福音派人物，坚信纽约存在女巫。‘她希望使其曝光，’他说。‘并希望让每个纽约人都注意到女巫的存在。她是一个极端主义者。她有一个奇怪的领养家庭，全都为她工作。’

'The images on the leaflets are pretty harrowing,' says Murray. 'Like: "We're going to burn you at the stake, because if you don't think our way and you don't want to join us, you're gone." Very black and white.’

‘ 传单上的图像非常渗人。’穆雷说。‘就像：“我们要把你烧死在烧木桩上，因为如果你不以我们的方式思考并且不想加入我们，你就死定了。”非常非黑即白。’

Mary Lou Barebone 玛丽·露·拜尔本

'It is fear of others,' says producer David Heyman, searching for the psychology of the character, 'it is a dislike of something which you don't know about, something that is, alas, both timely and timeless.’

“这是对异类的恐惧，’制片人大卫·海曼搜寻角色的心理时说。‘这对你不知道的事物的厌恶，可惜的是，这既是当下的又是跨越年代的。”

Heyman notes that she represents a theme that runs through a lot of J.K. Rowling's work: 'Mary Lou is abusive. She has stopped Credence from being who he is. She is repressing his essence, which is leading to problems.’

海曼指出，她代表了贯穿许多J.K. 罗琳的作品的主题：‘玛丽·露虐待人。 她阻止了克雷登斯做他自己。她在压制他的本质，这导致了问题。’

 

Credence Barebone 克雷登斯·拜尔本

'It's rare that fantasy can touch onsomething this painful and delicate,' insists Miller, who describes Credence elusively as one of the 'wandless' types. 'It's been an amazing gift to explorethe idea of someone who endures trauma and then has tough choices to make abouthow that trauma is going to be manifest in the rest of their life.’

‘幻想很难触及这种痛苦而微妙的事物，’米勒坚持认为。他神秘地形容克雷登斯是‘没有魔杖’的人。‘去探索一个遭受创伤的人，然后做出艰难的选择来决定这种创伤将如何在余生中得到体现是一个很棒的馈赠。’

As producer David Heyman explains, in being abused, Credence is having his true essence repressed. 'In a way it is a metaphor for so many people who are denied the right to be who they are.Repression very rarely, if ever, has a positive effect on the individual. When he is rejected, repressed, and his essence is denied, what happens with him is a reflection of what can happen in greater society.’

正如制片人大卫·海曼所解释的那样，在遭受虐待时，克雷登斯的真实本质受到了压制。‘他隐喻了许多人，他们被剥夺了成为自己的权利。压迫很少（如果有的话）对个人产生积极影响。当他被拒绝，压迫，他的本质被否认时，他发生的一切反映出更大社会范围内可能发生的事情。’

Credence is a young man who like many young men seems lost in his life. He seems to be on the outside looking in, like the world is a mystery to him. He is also a mystery to himself. 'The character of Graves is taking the lead,' explains Farrell, 'and there's a little bit of guidance, and also a little bit of support and tenderness and all of that kind of stuff.’

克雷登斯像很多年轻人一样，似乎在生活中迷失。他似乎从外面看着世界，就像世界对他来说是个谜，正如他对他自己是个谜。‘格雷夫斯的角色发挥领导作用，’法瑞尔解释道，‘有一些指导，一些支持和温柔，以及所有这些东西。’

Miller sees things differently. The interest Graves has taken in the lonely boy is quite unnerving. 'There is this aspect of manipulation that will be sort of tangible,' the younger actorthinks. 'There's an amazing amount of ambiguity in this story, and that is apart of what's going to make it really dynamic and fascinating.’

米勒对事情的看法不同。 格雷夫斯对这个孤独的男孩的兴趣颇为令人担忧。‘操纵的这一方面将是切实的，’这位年轻的演员认为。‘在这个故事中有很多精彩的模糊之处，这是使它真正充满活力和令人着迷的一部分。’

'I don't think Chastity feels very close to Credence,' agrees Jenn Murray, who plays the middle sibling. 'I mean, they're all in the game together. They're all under the same roof. They all sleep inthe same place and eat the same food. They're very oppressed, but yet when wewere shooting I would never really be near him. I would turn more towards Modesty as a protective way. That's how I felt.’

‘我不认为查丝德蒂感觉与克雷登斯非常亲近，’扮演中级兄弟姐妹的詹妮·默里说。‘我是说，他们都处于同一境地。 他们同住一屋檐下。他们都在同一个地方睡觉，吃同样的食物。 他们很受压迫，但是当我们拍摄时，我永远不会真正靠近他。作为保护的方式，我会更多地转向莫德斯蒂。那就是我的感受。’

克雷登斯的服装

'I really wanted Credence to be pulling inwards, so I brought meanness to his costumes. The collar's very high and tight, with a slightly bug shape to it. I did a lot of breakdown on his jacket, so it had a worn-out quality. It's the only thing he had. He and Jacob are the only two characters in the movie that don't have a coat and I did that on purpose. There's a poverty to not having a coat.’

‘我很想克雷登斯有向内的力量，所以我给他的服装带来了吝啬感。 领子很高又很紧，略带虫子的形状。我对他的夹克进行了很多做旧处理，因此它有破旧的感觉。这是他唯一的东西。 他和雅各布是电影中仅有的两个没有外套的角色，我是故意这样做的。没有外套意味着贫穷。’

 

A Night Out at the Blind Pig 盲猪酒吧的一晚

'It's seedy, but it's a place you wouldn't mind coming and having a drink, picking up a broad, getting your swagger on, and letting your hair down,' says Ron Perlman, who plays the club's equally shady proprietor, Gnarlak. 'There's a come-hither quality to it.’

‘这里乌烟瘴气，但是你会介意来这儿喝一杯，和女人勾搭，摆出大摇大摆的姿态，松弛下来，’罗纳·佩尔曼说，他饰演同样阴险的酒吧老板纳尔拉克。‘这里有种充满诱惑的气氛。’

It is to this sin-soaked joint that Tina and Queenie bring the less-worldly Newt and Jacob in search of information.

蒂娜和奎妮正是把没那么世故的纽特和雅各布带到这个弥漫着罪恶的地方来寻找信息。

'The combination of nicotine stains and water running down the curved walls makes a pretty threatening environment,' concludes Craig with satisfaction. 'These guys are sinister. We've all seenfilms from the nineteen-thirties, and by Scorsese; our speakeasy characters are like movie gangsters.’

‘尼古丁污渍和弯曲的墙壁上流下的水共同构成了一个非常危险的环境。’克雷格满意地总结道。‘这些家伙很险恶。 我们都看过斯科赛斯19世纪30年代的电影的电影；我们的地下酒吧人物就像是电影黑帮。’

 

正打牌打得起兴的玩家不欢迎纽特和他的朋友的到来。

Gnarlak 纳尔拉克

Owner, manager, and ringmaster of The Blind Pig, Gnarlak is quite a character. He may be small in stature, but he's a big player in the magical underworld of New York, keeping the Aurors of MACUSA off his back with a little helpful intelligence every now and then.

纳尔拉克是盲猪酒吧的老板，经理和主人。 他的身材虽然矮小，但在纽约的魔法黑社会中却是个大人物，他时不时地利用一些有用的情报，使MACUSA的傲罗不抓捕他。

'He's actually a goblin,' says a delighted Ron Perlman. 'Most of his employees are goblins – it's a kind of a speakeasy, his establishment. It caters more to the seedy underbelly of the wizarding world. A few people in there have a price on their head. A few people in there have sort of uneasy deals that they’ve made with MACUSA in order to stay at large. This highly broad range of unsavoury types, and Gnarlak being among the most unsavoury of all of them because he's the master of all he surveys.’

‘他实际上是妖精，”罗纳·珀尔曼高兴地说道。‘他的大多数员工都是妖精——这里是地下酒吧，他的场所。 它更迎合肮脏的地下巫师世界。那里的几个人头上都有悬赏。 为了逍遥法外，那里的一些人与MACUSA达成了一些不愉快的交易。 这里有鱼龙混杂的不良分子，而纳尔拉克是其中最不良的之一，因为他掌握着所有情报。’

The Obscurus 默默然

'It's a manifestation of Dark magic,' explains Yates. 'It's really a wonderful idea that Jo came up with. When a young child is prohibited from developing their magic in a healthy, organic way, then this dark energy can develop, and the dark energy can suddenly get out of control and wreak havoc.’

‘它是黑魔法的一种表现，’ 导演大卫·耶茨解释说。“这是乔提出的一个非常奇妙的想法。当一个孩子被禁止以健康，正常，自然的方式培养魔力时，这种黑暗能量便会形成。并且黑暗能量会突然失控，造成严重破坏。并非常危险。’

The real story, he says, is that for all the fantastic beasts disrupting the city, the most dangerous one exists within.' A beast that has been created in ways that feels sadly familiar.'

他说，真实的故事是，在所有破坏城市的神奇动物中，最危险的野兽存在于内心。 ‘野兽以令人难过的熟悉方式创造出来。’