原文

Question to Yates: Is it a risk to have a hero like Newt, a singularly odd man who seems uncomfortable as he engages the wizards of New York during a dangerous crisis?

纽特在纽约险恶的危机中与巫师交战时似乎不舒服, 有这样一位的奇怪英雄，会不会有风险？

Answer from Yates: "There was a conversation with the studio because they were saying: 'Look, is he warm enough? Is Newt going to be charming enough?' But Jo was passionate, I was keen and Eddie was determined to ultimately make sure that we didn't lose the knots and the awkwardness of Newt. Then, when we first showed the film to an audience, they warmed to that sense of oddness in Newt. They liked it. They're not pushed away by the fact that he is sometimes unable to connect with people. They sort of feel for him. So I think it's a really brave performance. It is actually a really brave character to put at the heart of a big movie!”

“与制片方有过交谈，因为他们说：'听着，他够温暖吗？纽特会足够迷人吗？' 但是乔很热情，我很热切，并且埃迪决心最终确保我们不会失去纽特的多结和尴尬，然后，当我们第一次向观众展示这部电影时，他们对纽特的怪异性产生了好感。他们喜欢它。他们并没有被他有时无法与人联系的事实所赶走，他们对他有共情，所以我认为这是非常勇敢的表演，实际上这个放在一部大电影中心的角色非常勇敢！”

原文

In one scene, we see Newt and Tina (Katherine Waterston) captured by shady forces and sentenced to death by... Pensieve. 

在一个场景中，我们看到纽特和蒂娜（凯瑟琳·沃特斯顿）被邪恶的势力俘虏，并在……冥想盆判处死刑。

"That was an absolute lift from Half-Blood Prince," Yates says, adding that the idea came out of script sessions with original series screenwriter Steve Kloves. "Jo wanted a sudden dramatic shift, so Steve came up with the notion of this memory pool, which I loved. Then I wanted these really benign-looking nurses so it felt like a Swiss clinic. And everybody would be really nice in a creepy sort of way."

“这完全是借鉴了《混血王子》，”耶茨说，并补充道这个想法来自与原系列剧本编剧史蒂夫·克洛夫斯的剧本探讨.“乔想要一个突然的戏剧性转变，所以史蒂夫想出了这个记忆池的概念，我很喜欢。然后我想要有这些看起来非常和善的护士，所以感觉像瑞士诊所一样。每个以一种令人毛骨悚然的方式表现得很好心。”

原文

QUESTION:  This film marks J.K. Rowling's screenwriting debut, and I'm wondering if there was character or a theme that resonated with you personally when you read it for the first time?

这部电影标志着J.K. 罗琳剧本创作的首次亮相，我想知道当你初次阅读该剧本时，是否有与你个人共鸣的角色或主题？

DAVID YATES:  I loved Newt Scamander. I identified with his social awkwardness. As a kid growing up in the north of England, I was shy and had a really difficult time basically figuring out where I was in the world, and I turned to filmmaking, storytelling and music as a way to express myself.  Those of us who feel a little bit awkward and are trying to figure out who we are and how we integrate, and trying to find our confidence, often invest in something creative.  Newt Scamander is entirely focused on protecting and nurturing wild, magical animals, so Newt, to me, was a kindred spirit.

我爱纽特·斯卡曼德。我认同他的社交尴尬。当我在英格兰北部长大时，我很害羞，基本上有一段时间在艰难地探索自己在世界上的位置，因此我转向电影制作，讲故事和音乐作为表达自我的一种方式。我们当中那些感到有点尴尬并试图弄清自己是谁以及如何融入，并试图找到自己的信心的人，往往会投身于一些创新的东西。纽特·斯卡曼德完全专注于保护和培育野生，神奇的动物，所以对我而言，与纽特志同道合。

And I loved Jacob Kowalski. He's an everyman; he's got a big heart; he's open; he believes in the best of everybody; and what I love about Jacob is that he accepts people for who they really are.  And he's one of us.  He's a Muggle – or No-Maj in America – in the sense that he's not a wizard, yet he drops into the wizarding world and accepts the joy of that world for all its differences and its idiosyncrasies.  There's something really wonderful about that.  So, those are the two characters I related to most.

我爱雅各布·科瓦尔斯基。他是每个人。他心胸宽广；他开放；他相信每个人最好的一面；我对雅各布的喜爱在于他接受人们真实的面目。他是我们中的一员。但他是个麻瓜——或在美国称作麻鸡，这意味着他不是一个巫师。但他跌入了巫师世界，对于其中的，他接受了这个世界中所有差异和特质带来的欢乐。这很美好。所以，这些是我最有共鸣的两个角色。

原文

'Newt is just fascinating. Probably anyone who's ever done some sort of geeky thing will relate to him... And filmmaking is a geeky profession,' Yates says. 'Newt's obsessed with beasts and cataloguing facts about beasts. When I was a teenager growing up in the north of England, I was obsessed with lenses and cameras, so I really get that aspect of someone who's truly obsessed with something. I get it.'

‘纽特令人着迷。可能任何曾经做过某种怪异事情的人都会与他共鸣…… 电影制作是一种怪异的职业，”耶茨说。‘纽特痴迷于野兽，以及将其分门别类。当我在英格兰北部成长的青少年时，我就迷上了镜头和照相机，所以我真的很喜欢真正迷恋某种东西的人。我懂。

'And Tina! Oh, she's so adorable because she's sort of so career-obsessed. A lot of us who work really hard can sometimes relate to that. Jacob is an everyman, or everywoman, he's pure and I like that. Queenie's glamourous and somehow worldly but innocent. They're so great.’

‘还有蒂娜！ 哦，她很可爱，因为她对事业如此痴迷。我们中许多非常努力工作的人有时可能与此共鸣。雅各是每个人，或者每个女人，他单纯，我喜欢这点 。 奎妮富有魅力，有种世故但纯真。他们太棒了。’

'It was like putting a rock band together. We saw so many people. We got Eddie, he was our anchor and I knew once we'd got him, we had to build the world around him. The other characters in this world had to react to him, they had to have a chemical reaction with Eddie. So we went to New York and saw some really fine actors, a lot of them, over two or three days, one after the other in the same room, all of them with Eddie.'

‘这就像组建一支摇滚乐队。 我们看了很多多人。我们有埃迪，他是我们的锚，我知道一旦找到他，我们就必须围绕他建立世界。 这个世界的其他角色必须对他做出反应，他们必须与埃迪发生化学反应。因此，我们去了纽约，在两到三天里看了一些，其中很多非常优秀的演员，一个又一个地在同一房间，所有人都和埃迪对戏。

'Eddie has done certain scenes from this movie so many times with so many different actors. When he was with Katherine, there was just something. It was amazing and I just thought, it's got to be Katherine. It's got to be. Then with Dan... Eddie and Dan are like Laurel and Hardy, so it had to be him. It's funny, how they just clicked.’

‘埃迪与许多不同的演员表演这部电影中的某些场景。当他和凯瑟琳在一起的时候，有某种东西。很神奇，我就想，一定得是凯瑟琳，绝对是。然后和丹...... 艾迪和丹就像劳雷尔和哈迪一样，所以必须是他。他们来电的方式很有趣。’

原文

What took fifty takes in Fantastic Beasts?

《神奇动物》那一幕拍了50条？

David Yates: Maybe we didn't go as far as fifty in Beasts… Katherine Waterston [Porpentina Goldstein] running up some steps. I know that sounds bonkers but we were so obsessed with the rhythm of her footsteps, tap-tap-tap-tap-tap, because the rhythm of her footsteps sort of told you a story about her state of mind. So we were trying to figure out what would be the best rhythm, she'd run up the steps tap-tap-tap, no that doesn't quite do it, let's try tap-a-tap-a-tap, no that's not right either, and so that took a few takes!

也许神兽我们没有拍50条那么多…… 凯瑟琳·沃特斯顿[波尔蓬蒂娜·戈德斯坦]跑着上楼梯。 我知道这听起来很疯狂，但是我们对她的脚步节奏很着迷，嗒-嗒-嗒-嗒。因为她的脚步节奏告诉了你一个关于她心态的故事。 因此，我们试图找出最好的节奏，她会嗒-嗒-嗒地跑上楼梯，不，那不是很合适，让我们尝试“嗒-顿-嗒-顿-嗒”，不，那也不对，所以这拍了不少条！

I'll tell you a good one. Eddie, on that Keaton-esque physical comedy thing, doing a left-hand turn in the bank following the Niffler and he had to go along and pretend he wasn't turning because people were watching him, so he had this comedic walk and I was obsessed with this weirdly funny John Cleese-like turn of a walk. Once we started that, we couldn't stop and Eddie couldn't stop. And I think we got it and then Eddie said 'No, I need to do it again!' so we did it and we did it and we did it and we did it so many times and then I cut it out of the movie! So it was never in the movie!

我告诉你一个好的。埃迪，以基顿式的动作喜剧方式，在银行追着嗅嗅时左转，他不得不走过去并假装他没有转弯，因为人们在看着他，所以他走路很喜剧性，我迷上了这种奇怪而有趣的约翰·克莱斯式的转弯姿势。 一旦我们开始，我们就停不下来了，埃迪也无法停止。 我觉得我们拍好了，然后埃迪说：“不，我需要再做一次！” 所以我们拍，拍，拍，我们做了很多次，然后我把它从电影中删了！ 所以电影根本没这一幕！

原文

Now what were some of the things that you had documented, but somehow did not make it in the final cut, but you still enjoyed documenting?

现在，你们拍摄的哪些内容是由于某种原因未留在最终剪辑里，但是你们仍然享受拍摄过程的？

David Yates: Well we've got lots of stuff, they'll be on a DVD at some point I believe. We were just talking about a beautiful scene with Jacob, and he hasn't got his loan at the bank, and he comes back to his apartment, and his girlfriend, Mildred, is waiting. Mildred says, "Did you get your loan? Did you get your loan?" Jacob says, "No, I didn't get my loan," and she says, "Well, look, you've got to take this back," and she takes her ring off, gives it to him, and she says, "I thought you were going to get a bakery," and she walks off. It's the most beautiful scene, tender and very funny, but in the movie, as we watched it, we just felt it was, you didn't need a reason to fall in love with Jacob. Out of context, when you see it on the DVD, you're going to go, "Why did you take that out?" It actually felt really that we were already there with Jacob, and there's lots of scenes like that. There's a great lovely song that we got Alison to write, an "Over the Morning" song, and she sings it with Katherine in front of the boys.

好吧，我们拍了很多东西，我相信它们会在DVD上出现。我们谈到雅各布的一场好戏，他没从银行借到钱，他回到自己的公寓，而他的女友米尔德雷德正在等待。米尔德雷德说：“你借到贷款了吗？你借到贷款了吗？”雅各布说：“不，我没有得到我的贷款。”她说：“好吧，听着，你必须把这这拿回去。”然后，她摘下戒指，交给了他，然后她说：“我以为你要开一个面包店，”她走了。这是最美丽的场景，温柔而有趣，但是在电影中，我们看的时候，我们只是觉得，你不需要爱上雅各布的理由。脱离上下文，当你在DVD上看到它时，你会想，“为什么要删了它？”实际上，感觉我们真的已经对雅各布感同身受了，并且有很多这样的场景。我们让艾莉森写了一首很棒的可爱歌曲，一首像《在早晨》的歌，然后她和凯瑟琳在男孩面前唱这首歌。

David Heyman: It's a good song, it's good song.

这是首好歌，这是首好歌。

David Yates: Then as they sing it, the boys kind of slowly fall in love with them. We took that out, why did we do that! They're all good scenes, but again, out of context-

然后，当他们唱歌时，男孩们渐渐爱上了他们。 我们把它剪掉了，我们为什么要这么做呢！ 它们都是好戏，但脱离语境——

There's probably more-

可能有更多——

David Yates: There's more.

有更多。

David Heyman: More that we cut out on this one than on any of the Potters. We're not trying to fuel DVD sales, because I'm not sure how big DVD's sales are these days, but more it's just, it was really about the story and about the best way to tell this story. The film would have been lovely with them in, it would have been, but the scene, for example the old "Over the Morning" song is when they're down, when they all go down into the case. At that point in the story there's all this stuff going on outside, and they've got to go… and why are they taking a honeymoon to sing a song? We wanted to sort of propel the story into the next.

这一部我们剪掉的比任何一部波特电影都多。我们并没有试图刺激推动DVD的销售，因为我不确定这年头DVD的销量是多少，而更多的是，这实际上是关于故事以及讲述这个故事的最佳方法。这部电影有它们会很好，会是如此，但是例如那首怀旧的“ 《在早晨》”歌曲是当他们全都下到箱子里的时候。 故事走到那一步，外面发生了所有这些事情，他们必须走了…… 那为什么他们要度蜜月来唱歌呢？ 我们想将故事推进到下一个环节。

One thing that I did read about Newt is that he has all theses beasts in the suitcase and somehow that sort of like licks his wounds, because ever since they mentioned that he was thrown out of Hogwarts, he seemed somehow emotionally incomplete. Now do you feel as of that little missing piece in Newt, is he going to find it somewhere in Hogwarts or could possibly find that in Hogwarts?

我确实读到的关于纽特的一件事是，他把所有这些野兽都放在了手提箱里，某种程度上就像在舔舐伤口，因为自从他们提到他被赶出霍格沃茨以来，他似乎在情感上并不完整。现在，你是否感觉到纽特遗失的那一块小东西，他会在霍格沃茨找到它，或者可能会在霍格沃茨找到它？

David Yates: Do you know what, it's a really insightful [observation], there is a missing piece to Newt, and he does take refuge in the case with the beasts and all of that. I think, I don't know if anything will ever put that piece back.

你知道吗，这是一个非常有见地的[观察]，纽特内心缺少了一块，而他确实与野兽在箱子里寻求庇护。 我想，我不知道是否有任何东西可以让这一块归回原位。

David Heyman: Life's not like that.

生活不是这样的。

David Yates: Life's not quite like that, you'll never quite fulfill a classic three act structure and come out feeling happy at the end.

生活不是那样，你永远不会演完经典的三幕式结构，就最终感到幸福。

Right.

是的。

David Yates: I think, Hogwarts kind of features a little bit going forward, but not necessarily to sort of make Newt complete.

我认为，往后霍格沃兹会有一点戏份，但不一定能使纽特变得完整。

What was it like working with J.K. as she was adapting, obviously this is her first screenwriting credit, what was that process like with her?

在J.K.适应过程中，与她合作感觉如何，显然这是她的第一部编剧作品，她的创作过程怎么样？

David Yates: She was prolific, a real workaholic, and she is prolific and a real workaholic. Some screenwriters you work with, you take so much time, and you wait so long to get something, whereas Jo is unstoppable. Last week I was, I said to her, "We're working on the second script to the movie," and I said, "Let's just take a pause, distill this story down to twelve pages, just the beats, the scaffolding, the architecture, just to give us all some perspective, a new perspective on where we're going." Three days later she sent a hundred and two pages. I was like, "Oh, stop." That's kind of Jo, she can't stop pouring this material out. She admitted herself, it was a steep learning curve to kind of explore the screenplay, but she's always ahead of us all. We give her notes and she gets it all very quickly, and then she, we're all struggling to keep up.

她很高产，真正的工作狂，很高产，真正的工作狂。 与你合作的一些编剧，你花费了很多时间，等待了很长时间才能得到一些东西，而乔却势不可挡。上周，我对她说：“我们正在制作第二部电影剧本。”然后我说：“让我们停顿一下，将故事简化为十二页，只包括节拍，框架， 架构，只是为了给我们大家一些视角，一个关于我们前进方向的新视角。” 三天后，她寄了102页。 我当时想，“哦，停下来。” 乔就是泽阳，她不能倾倒这种材料停不下来。她自己承认，探索剧本是一个艰难的学习过程，但她始终领先于我们所有人。我们给了她笔记，她很快就明白了，然后我们都在努力跟上她。

David Heyman: David said sometimes it takes longer for him to write his notes, that for her to deliver the rewrite.

大卫说，有时候她递交重写后，他需要更长时间来写笔记。

David Yates: It's like you're doing notes, "Whoa, there's a new rewrite. Oh, great." She's phenomenal, and she's open and she's gracious, and she's ambitious. When she was writing the first screenplay she said, "Oh, this is tough, doing this. I think I'll only do one and I'll arc out the story and someone else can write the second one." When we got to the end of the process and she was really thrilled I think with where the screenplay ended up. Even though it was tough getting there, she said, "Right, I'm going to write the second one." Then while she's been writing the second one, she said, "You know what, I'm going to write five of these things." She's kind of like having, I think having found the process kind of challenging to begin with, and then she found her feet, and then she started to walk and then she started to run, and now she's really sprinting, and we can't stop her.

就像你在做笔记，“哇，有新的改写。哦，太好了。” 她非同凡响，开放，慷慨，有野心。当她写第一部剧本时，她说：“哦，写这个很难。我觉得我只会写一部，我会规划好故事，其他人可以写第二部。”我们结束这个过程时，我认为她对于对剧本的成品感到非常兴奋。 即使很难达成这一步很难，她说：“好，我要写第二部。”然后，当她在写第二本部时，她说：“你知道吗，我要写五部曲。”她有点像，我认为她找到了开端有点挑战的过程，然后找到了自己的脚步，接着开始走路，然后开始跑步，现在她在冲刺，我们阻止不了她。

原文

Press:
I think one of things I'm most excited about from this is that the film is building on to the Harry Potter canon. So I'm wondering if you could talk about working with Rowling and her script and creating the story for this movie and potentially building it out and planning?

我认为让我最兴奋的事情之一是，这部电影以《哈利·波特》原著为基础。因此，我想知道你是否可以谈谈与罗琳合作创作剧本，并为这部电影创建故事，并可能进行规划和计划？

David Yates:
Yeah, I first read the script… gosh, it would've been the May of 2014. And it was in its early stages. Jo is an extraordinary writer. She hasn't written a screenplay before, so for her, this was a new experience. If you work with a traditional screenwriter, you'll give the screenwriter notes on a draft; you'll spend three days, five days going through the script, and you'll give lots of notes in that, and the writer will go away and spend three months or six months rewriting. With Jo, it's a sort of extraordinary process because she doesn’t realize that's how it should work. So you give Jo notes, and then a week later you'll get a script. And I'll be like, whoa! Jo has just delivered a script – after a week.

是的，我先读了剧本…… 天哪，那是2014年5月。而且还处于初期阶段。乔是一位非凡的作家。她之前没有写过剧本，所以对她来说，这是一种新的体验。如果你和传统的编剧合作，你会在稿子上给编剧做笔记。你将花费三天，五天的时间来浏览剧本，并在其中给出很多注释，而作者将离开来花费三个月或六个月的时间来重写。对于乔来说，这是一个非同寻常的过程，因为她没有意识到应该是这样的。所以给乔做笔记，然后一个星期后，你将获得一个剧本。 我会觉得，哇！ 一周之后，乔就递交了一个剧本。

And what she'll do is she'll riff off notes, and she'll create a whole new series of things within that screenplay, which take us off [on] all sorts of different tangents. So she's a sort of volcano of ideas. The process was really paring down, tuning, finding ultimately the form that would best become a movie. [Jo] is a really quick learner, so pretty much after several months of that process, she got the form really, really quickly. She realized that it was about paring down and simplifying, rather than adding absolute new sequences and new ideas all the time. And there were things that were created in this process that will be used next time for the next movie or maybe the movie beyond that.

她会做的就是利用笔记，并在该剧本中创建一系列全新的事物，这使我们切入各种不同的主题。 所以她有点像是想法爆发的火山。这个过程包含精简，调整，最终找到了最适合拍电影的形式。 [乔]一位非常快的学习者，经过几个月的过程，她很快很快就找到了形式。她意识到这在于削减和简化，而不是一直增加全新的戏和新想法。有的在此过程中创造的东西将在下一部电影或以后的电影中再次使用。

原文

"The first draft was quite whimsical and lyrical, but it felt it didn't have any heft and we weren't sure what it was about. Then (Rowling) took a left turn and it was right up my street: it was really intense and dark. (Rowling) and I (David Yates) loved it, but David Heyman and Steve Kloves very wisely said, 'Whoa, hang on guys, this needs to get some of the lightness back. It was after that dark second draft that (Rowling) suddenly found the melody; then, she was away to the races. It was a struggle to keep up with her because she knew what it was: a balance between light and shade."

“初稿非常奇幻，抒情，但它感觉没有任何重量，我们不确定那是关于什么的。然后（罗琳）左转，这正合我意：那一稿非常紧张、黑暗。我（大卫·耶特）和（罗琳）都喜欢它，但是大卫·海曼和史蒂夫·克洛夫斯非常明智地说：“哇，等一下，需要带回一些光明。 这之后（罗琳）突然找到了调子；然后，她就去奋笔疾书。要跟上她的步伐是很困难的，因为她知道这在于：明暗之间的平衡。”

原文

Male interviewer 4: Of course, some time ago, it was announced that there's going to be five movies. How did you decide that specific number? Is it something is from J.K. Rowling, or did it come from you? Is there a compromise you have to find between commercial potential and artistic potential? Or how does that work?

当然，不久前，宣布将有五部电影。 你如何确定该具体的部数？ 是J.K. 罗琳，还是你们想到的？ 你们是否必须在商业潜力和艺术潜力之间找到折衷方案？ 或这是如何运作的？

David Heyman: It starts purely from the storyteller, which is Jo. And fundamentally, she was writing the first script, but halfway through the first script, she was thinking, "I don't really want to write any more of these! This is really tough; it's a tough process writing a screenplay. I'll write the story for [Movies] 2 and 3, and I'll get another screenwriter to do [Movies] 2 and 3. Let me just set you up. I'll set you off on this journey that you're all going to take, and I'll write the first screenplay, [while] someone else does [Movies] 2 and 3."  but by the time she got to the end of the first screenplay, she'd sort of fallen in love with the process and fallen in love with her characters. And she said, "Right, I'll finish the trilogy. I'm going to do all three." And then halfway through writing the script that we're working on now, Beasts 2, she came along to a meeting, and she said, "As I write this, I'm already seeing where this could go, and I think it's not a trilogy – it's five movies – and I think it could be this." And it's very ambitious. So it's all driven by her need to express this story over a period of time. It's a very ambitious thing that she wants to achieve, and so it's not about Jo.

这纯粹是从讲故事的人乔开始的。基本上来说，她在编写第一部剧本，在第一部剧本进行到一半时，她在想：“我真的不想再写更多这些了！这真的很艰难；编写剧本是一个艰巨的过程。我会为[电影] 2和3编好故事，然后让另一位编剧来写[电影] 2和3。让我为你们开个头，我会带领你们踏上即将的旅程，而我会写第一部剧本，[其他]人则来写[电影] 2和3。但是到了第一部剧本写完时，她有点爱上了这个过程，也爱上了她的角色。她说：“对，我将完成三部曲。我将完成全部三部曲。”然后，在撰写我们正在开发的神兽2剧本时，她参加了一次会议，并说：“在我写剧本时，我已经知道了它的去向，而我认为并不是三部曲——五部电影——我想可能是这样。”这非常野心勃勃。因此，这全都是由她在一段时间内传递这个故事的需求所驱动。她想实现这一目标非常雄心勃勃，因此与乔自身无关。

Male interviewer 4: That's not where it comes from?

这不是源头？

David Heyman: Jo didn't need to write this, just to be clear. Some people think it was a cynical exercise. Jo doesn't need… she's doing just fine.

为了清楚起见，乔不需要写这个。 有人认为这是一种利己自私的举动。 乔不需要...... 她过得很好。

原文

When and how was the decision made to come back to the Harry Potter franchise and to start that up again?

是什么时候，如何决定重新加入《哈利·波特》系列并重新开始的？

David Heyman: I was with [producer] Lionel Wigram and we were trying to figure out how could we come back to this world? And Lionel had the idea of doing a documentary about Newt Scamander, a faux documentary where we go with him to see as he's looking for his magical beasts. Pitched that idea to Jo, she said, you know, it's funny, I've been thinking about Newt Scamander myself, and I have this whole story about him, and what do you think of it? She told us and we went, uh-huh.

我曾与[制片人]莱昂内尔·威格拉姆在一起，我们试图弄清楚我们如何回到这个世界？ 莱昂内尔想到制作一部关于纽特·斯卡曼德的纪录片，我们和他一起去看他寻找他的魔法野兽的伪纪录片。这个点子投给了乔，她说，你知道，这很有趣，我自己一直在思考纽特·斯卡曼德，我给他规划了一个完整的故事，你对此有何看法？ 她告诉了我们，我们觉得嗯哼。

And she says, so yeah, and I'd like to write the screenplay. And [we had] mixed feelings about that, because she's a novelist, she's never written a screenplay before. So when the screenplay arrived — she handed it to me. And I read it. And as soon as I opened it, I felt [dramatic sigh] relief. Because while it was very rough, it's a first draft from a person who had written their first screenplay, the characters were so vivid. The scenes were thrilling. It's a bit whimsical, a bit light, didn't have the gravitas that one would have liked, that one associates with Potter. And then the second — we hired David Yates, brought David Yates on, Steve Kloves and myself and Lionel and David. And then Jo did a second draft. And that draft was really dark. Really, really dark.

她说，是的，我想写剧本。对此我们百感交集，因为她是小说家，所以她从没写过剧本。 所以当剧本到来时——她把它交给了我。 我读了。当我打开它时，我感到（夸张的叹息）松了一大口气。因为虽然还很粗糙，但这是写第一部剧本的人的初稿，但角色非常生动。场面令人兴奋。有点异想天开，有点轻松，没有一个人想要的，与波特联系在一起的严肃感。 然后是第二稿——我们聘请了大卫·耶茨，带了大卫·耶茨，史蒂夫·克洛夫斯和我本人以及莱昂内尔和大卫。然后乔写了第二稿。那一稿很黑暗。非常、非常黑暗。

What made it so dark?

什么让它如此黑暗？

It was just quite violent, it was quite ugly. The abuse of Credence was probably featured much more strongly, much more overtly, the suggestion of it was much more explicit. We saw things happening to characters. So we pulled back from that. The big thing was Jo finding her tone. Once she found the tone the rest fell into place quite quickly. She's amazing. She's a writer. She's voracious. She writes and writes and writes and writes and it just pours out of her, ideas. It's an amazing thing. This, we're working on the second script with David and she'd written a first draft, and David asked her to do a treatment, some structural treatment, and two days later, a 102-page scriptment — half script, half treatment — arrived. How does anybody do that? She just locks herself away, she'll go to a cafe or something and just write. It just pours out, which is amazing.

那一稿很暴力，很丑陋。 对克雷登斯的虐待占比更重，更明显，其暗示更为明显。 我们看到了事情发生在角色身上。所以我们撤回来了。最重要的是乔找到了自己的基调。一旦她找到了基调，剩下的很快就到位了。她太赞了。 她是作家。她写作欲强烈。 她写，写，写，写，文思泉涌。这是一件了不起的事情。为此，我们正在与大卫一起写第二部剧本，她写了第一稿，大卫要求她写概念计划，结构性计划，两天后，102页的剧本——一半是剧本，一半是概念计划——出炉了。怎么有人能做到？ 她就把自己锁起来，她会去咖啡馆之类的地方写东西。文思泉源，真是太神奇了。

*treatment是指导演或电影人在准备一部电影前最先完成的概念性计划，这个计划包括了拍摄影片故事的简单内容，同时也包括拍摄此片的目的和意义，更完善的Treatment甚至包括了制作和发行策略、演职人员构架等。

原文

Can you talk about how you cast Eddie and Katherine and Alison and Dan, the big quartet now?

你能谈谈你现在如何选了埃迪、凯瑟琳、艾莉森和丹吗？

DAVID HEYMAN: Sure. So, we began with Eddie Redmayne and he said yes. He was our first and only choice. We wanted someone who could play that outsider quality, who was immediately sympathetic and appealing. Who was you know, one of the great gifts of this film. I suppose like the Potters to a degree, was that you don't have to cast a movie star in the lead part. Eddie is a movie star but he's never been in anything of this scale really, carrying it. And that's really exciting to us, but he's immediately empathetic. You can believe that he's a major Zoologist, that he's kind of quirky, kind of off-center. But he has a deep-seated intelligence which Eddie, you know, Eddie is super smart, he's immediately appealing. He's got a grasp over comedy and drama. You feel a lot for him and I think he's a perfect lead. He's also someone who can exist at any time. 

当然。 因此，我们从埃迪·雷德梅恩开始，他答应了。他是我们的第一个也是唯一的选择 我们希望有人能够演绎这种局外人的品质，并立即让人同情和有新引力。他是这部电影的恩赐之一。我想在某种程度上像波特一样，你不必选电影明星演主角。埃迪是电影明星，但他从未真正演过过这种规模的电影。这对我们来说确实很令人兴奋，他立即有共情感。你可以相信他是一位卓越的动物学家，他有点古怪，有点不正常。但是他拥有深厚的智慧，而埃迪非常聪明，他立即吸引了人。他对喜剧和戏剧有一定的了解。你为对他有强烈共鸣，我认为他是一个完美的主角。 也是可以存在于任何时代的人。

I think he sits very comfortably in the nineteen twenties. Lord knows he played enough period characters. But, I also think that he has a certain modern appeal too, so, he's got all. I mean, well, you don't cast someone for their silhouette but he's got a wonderful, wonderful silhouette. You know that tall, thin and he's great, so, we began with him. And then, we went through the process of casting the others and that wasn't as linear a process. 

我认为他舒服地身处于20世纪20年代。天知道他扮演了足够多的时代角色。 但是，我也认为他也具有一定的现代魅力，因此，他拥有一切。我的意思是，嗯，你并不能因为某人的轮廓选他，但是他有一个很棒的轮廓。你知道他又高又瘦，他很棒，所以，我们从他开始。然后，我们经历了选角其他人的过程，而这并不是一个线性过程。

We ended up doing a series of screen tests and pairings with different people. And, it was a long search. It took a while because we wanted to get it just right. And Eddie was brilliant in that process. He was screen tested with the others, ever generous. He quite liked it in a way because I think you can try things out. And, in that process but at the same time he was such a compassionate person. He'd been on the other side. He didn't have to audition for this. He got the part. Because the others did. And, he had the fear, I think so, when he was going through that process- probably that we were auditioning him really. We weren't. And he was very sympathetic to those on the other side. 

我们最终进行了试镜和与不同的人的配对。而且，这是一个漫长的搜寻。花了一段时间，因为我们想选对。埃迪在那个过程中表现出色。他和其他人一起进行试镜，非常大方。他在某种程度上非常喜欢它，因为我认为你可以尝试事情。而且，在那个过程中，但与此同时，他是个很有热心肠的人。他在另一边。他不必为此试镜。他得到了角色。因为其他人试镜了。而且，我想他在经历这个过程时很担心——可能我们真的对他试镜。我们不是。他对另一方的人很有同情心。

In a sense that, you know, it's quite nerve wracking being a part of a process like this. It's the people you know that many aren't gonna get it and you want to treat them as kindly and with as much respect as he did and we did. So, he was involved in each of the cast auditions. And we did them in America and we did them here. And we ended up with Katherine, Alison, and Dan. All three play outsiders beautifully. All three are outside-- the characters they play are outsiders. Katherine, again in intelligence and when she smiles, the whole world lights up. And she goes on a journey to one of becoming increasingly comfortable. She's someone who, as a character in the film has been a little bit on the outside. On the fringes-- and you can really see her trying to do the right thing. And trying to, again, having a deep-seated intelligence. 

从某种意义上说，作为这样一个过程的一部分是相当令人不安的。你知道很多人都不会得到角色，你想像他一样，用善意和尊重对待他们，我们确实如此，并给予同情和尊重。因此，他参与了每个演员的试镜。我们在美国和这里进行了。最后我们选择了凯瑟琳，艾莉森和丹。这三个人都很好地扮演局外人。他们扮演的角色是局外人。凯瑟琳同样很聪明，当她微笑时，整个世界都亮了。她踏上了变得越来越舒适的旅程。她在电影中作为角色有点处于外边，在边缘——你可以看到她试图做正确的事情。 并带着深厚的智慧再次尝试。

If you look at Alison, she's luminescent. The camera loves her and you can see why someone like Dan would be smitten with her, and I think that she is alive and those eyes, you know. She has a real inner and outer beauty and I think that just comes across fantastically and she has an ethereal quality which was important for the part. 

如果你看看艾莉森，她容光焕发。镜头爱她，你会明白为什么像丹这样的人会被她迷住，而且我认为她生机勃勃，那双眼睛，你知道。她具有真正的内在和外在美，我认为这奇妙地表现出来了，而且她有空灵的特质，这对于这个角色很重要。

Then you look at Dan, who's the real outsider. He's a nomad entering this world. And he's a No-Maj who wants to be an enthusiast. I get e-mails from Dan every couple of weeks saying, I'm pinching myself, I'm so excited to be here. Thank you. I think he is loving being part of this universe. And he is a great comedian, and that was important for us. But at the same time he can do the drama.  He's a Tony Award winning actor. Uh, it's funny when we first met him, he was playing a very different character. You know, black gloves. like a nineteen seventies biker in a way. He was in long hair, curly and now fits so perfectly in the nineteen twenties wearing those suits. He's great, really funny at the same time you feel that humor and all that. But deep down there's an enthusiastic side about life, but also within sort of a depth and a truth to his performance.

然后看看真正的局外人丹。他是进入这个世界的流浪汉。而且作为麻鸡，他想成为热情洋溢的人。我每几周收到丹的电子邮件，说我在掐自己，我很高兴来到这里。谢谢。我认为他喜欢成为这个世界的一部分。他是一位伟大的喜剧演员，这对我们很重要。但是他同时可以演剧情片。他是托尼奖获奖演员。嗯，当我们第一次遇到他时，很有趣，他扮演了一个不同的角色。你知道，戴着黑手套。就像19世纪70年代的骑自行车的人，他留着长卷发，现在穿着这些西装非常适合19世纪20年代。他很棒，真的很有趣，同时你感到那种幽默。但内心深处对生活充满热情，但他的表演也有一定的深度和真实性。

原文

David Heyman: We began casting at the end of 2014. From the outset, Eddie Redmayne was our first and only choice. Not only does he look as if he lives in 1926, but he has all the elements required to be Newt: he’s smart, funny, utterly British, and immensely sympathetic – even as an outsider more comfortable with his beasts than with people. He spent six months working with a movement coach and animal trainers (and of course David Yates) to develop his character and his idiosyncrasies.  We auditioned thousands for the parts of Queenie, Tina and Jacob, before narrowing it down to a dozen or so.

我们从2014年底开始选角。从一开始，埃迪·雷德梅恩就是我们的第一个也是唯一的选择。 他不仅看起来像生活在1926年，而且拥有成为纽特所需的所有要素：他聪明，有趣，十足英国人，并且富有同情心——即使是与野兽比与人更舒服的局外人。他花了六个月的时间与运动教练和动物训练师（当然还有大卫·耶茨）合作去探究他的的性格和特质。在将范围缩小到十几个之前，我们为奎妮，蒂娜和雅各布的角色试了成千人。

We then did screen tests with each of them and Eddie, switching around different combinations, as David Yates thought it essential we saw how they were in their various pairings, and as a group, since it's the chemistry between the four that really makes the film. Eddie was wonderfully supportive and generous with them; he would visit each one in their room or trailer, run lines, and offer encouragement before they arrived on set. Ultimately we decided on Katherine Waterston as Tina  and Alison Sudol as Queenie.

然后，我们对每个人和埃迪对戏进行了试镜，切换了不同的组合，因为大卫·耶茨认为至关重要的是，我们看它们在各种配对中是如何，并且作为一个团体，因为组成这部电影的是四人之间的化学反应 。埃迪非常支持并慷慨地对待他们；他会拜访他们每个人的房间或拖车，过台词，并在他们到达现场之前给予鼓励。 最终，我们决定由凯瑟琳·沃特斯顿饰演蒂娜和艾莉森·苏多饰演奎妮。

They performed a beautiful improvisation, and though they'd met only 30 minutes before, the intimacy, sense of history and sisterly banter gave the impression that they had known each other their entire lives. As for Jacob, we cast the singer, comedian and actor Dan Fogler. He's been a revelation, able to make you laugh, then break your heart within a moment. 

他们表演了一场动人的即兴，尽管他们在30分钟前才见面，但亲密感，历史感和姐妹间的调侃给人的印象是，他们一生都彼此相识。 至于雅各布，我们选拔了歌手，喜剧演员和演员丹·福格勒。他让人眼前一亮，能够使你发笑，然后在瞬间让你心碎。

In editing, we whittled the film down from three-and-a- half hours to a lean 124 minutes (not including titles). I'm biased, of course, but I think it's an extraordinarily rich, immersive and pleasurable two hours.

在剪辑过程中，我们将影片从三个半小时缩短到了124分钟（不包括字幕）。 我当然有失偏颇，但是我认为这是两个小时的丰富，沉浸和令人愉悦的时光。

附上：FB1新闻发布会上Jk Rowling谈论剧本创作和四人组【视频见此】