听力强人进...呃,有点难度...这是一个英文采访的录音,麻烦高手们给翻译一下,中英兼需,的确有些麻烦,毕竟有18多分钟的长度,这是一段对皮克斯（Pixar）动画编剧兼导演Andrew Stanton的采访,主要

听力强人进...呃,有点难度...这是一个英文采访的录音,麻烦高手们给翻译一下,中英兼需,的确有些麻烦,毕竟有18多分钟的长度,这是一段对皮克斯（Pixar）动画编剧兼导演Andrew Stanton的采访,主要
听力强人进...呃,有点难度...
这是一个英文采访的录音,麻烦高手们给翻译一下,中英兼需,的确有些麻烦,毕竟有18多分钟的长度,这是一段对皮克斯（Pixar）动画编剧兼导演Andrew Stanton的采访,主要是关于新片《Wall-E》的,人名地名不需译,涕泪ing...
http://box.zhangmen.baidu.com/m?gate=1&ct=134217728&tn=baidumt,D Log nl Andrew Stanton Interview&word=mp3,http://www.d-log.nl/media/db_audio/aWpjNA$$.mp3,[stanton]&si=;;;;0;;0&lm=16777216&mtid=5&d=6
不好意思，音频地址大家得全部粘贴一下，有的部分没有直接显示。

听力强人进...呃,有点难度...这是一个英文采访的录音,麻烦高手们给翻译一下,中英兼需,的确有些麻烦,毕竟有18多分钟的长度,这是一段对皮克斯（Pixar）动画编剧兼导演Andrew Stanton的采访,主要
18分钟,并且还要把中英文给你写出来,这的确太浪费时间了.我建议你把视频下下来,录入mp3里面,然后去找你身边的听力强人,比如英语老师一起和你看看这大概讲得是什么吧～

你做梦吧 200分有人来帮你听 除非他（她）是傻子 你给几万分都没用

爸爸妈妈睡觉了，耳机坏掉~明天有空的话帮你听听看吧~

I just even could not get the sounds out, where is the record of interview?

做梦

听不懂。帮不了你了

嗯——我听完了，我也晕了。oooo

thanx.
字数限制，写不全，请谅解。
Andrew Stanton: Did you get to see it here?
Peter Sciretta: No, I saw it last week in the city.
Andrew Stanton: Oh, OK, cool. Digital? No, yes. Digital?
P...

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thanx.
字数限制，写不全，请谅解。
Andrew Stanton: Did you get to see it here?
Peter Sciretta: No, I saw it last week in the city.
Andrew Stanton: Oh, OK, cool. Digital? No, yes. Digital?
Peter Sciretta: No, it was actually weird because it was misframed at first and they had to fix the projection during Presto.
Andrew Stanton: Oh shhh – your worst fear.
Peter Sciretta: Yeah, but it was fixed in time for “Out There…” (the beginning of WALL-E)…. One of the things I noticed, right away with Wall-E is, sure - he’s cute, he’s instantly cute to any viewer. Your instantly attached to him, but he’s also very functional. As a robot, everything about him is so functional, so what came first the chicken or the egg?
Andrew Stanton: Well yeah, it was kind of in tandem. We knew what we wanted his functions to be before we knew what he would look like, and when we were first boarding the – I sort of in the year that I was supposed to be just on vacation and thinking about what I wanted to do, I actually was here under the radar sneaking, doing the first act, because I knew it would raise a lot of questions and debate about whether I could do a film like this and I just didn’t want to go there. I just wanted to prove it, so I had to design something, so I very early on came up with the idea of him being a box, and Eve being a circle, and that was very masculine feminine and then we knew we wanted him to compact trash and stuff so we just gave him little treads and the binoculars came a couple of months later. I was starting to realize that was a much stronger way to play the face because binoculars already have a sort of character to them. They can have all this expression because of the hinge down the center so I kind of had those basic conceits (sic) about it but once we – once that shorthand worked in the boarding of it, then we spent much longer time actually designing it and doing I guess the equivalent of blueprints and getting all the engineering correct, because we thought it would be really cool if we could truly make this work, and the other thing we lie about is sort of the Tardis effect where like all his parts can go into that box. We’re definitely lying about the physics of that, but outside of that everything actually functions, there’s no cheating, I mean he, how the parts slide out, and the rails his arms run on and the extension of things, it’s all very accurate. We felt that we wanted on a much more intricate level the same design quality that was with Luxo. Luxo just felt like it was built to do its job and you feel like you’re working within the constraints of how he’s designed and there’s something just about the initial design of him that just evokes a personality. You actually want to throw a character on to it, even though it’s all designed just for its function and so we wanted Wall-E to be the very same kind of thing but on a much more intricate – so yeah, and then Eve came based on Wall-E, I mean it was really an opposite of Wall-E, yeah.
Peter Sciretta: One thing you notice immediately while watching the film… Hello Dolly, its just so incredible…
Andrew Stanton: Frame One. Yeah.
Peter Sciretta: How did that come about?
Andrew Stanton: It was a very circuitous route, I knew from the git-go I wanted this film to feel different and I knew that starting with old fashioned music over the image of space would help that, and I just loved the introduction of the world like that of the movie and just everything, because to me it was more of an abstract representation of what Wall-E’s hope and dreams were just like me. It must be beautiful out there and he’s got this sort of appreciation for the past, so I loved that thematic start. But you can pick – you know there are so many old-fashioned songs, and I just didn’t know which ones to pick, and I constantly road tested a bunch, and then I started looking at standards. A lot of standards come from musicals. I started looking at musicals. I did some musical theater so I knew lots of the standard plays like Fiddler on the Roof and Godspell, things like that, Guys and Dolls, and I eventually got to Hello Dolly and that one song, “Put on Your Sunday Clothes” starts with that phrase “out there” and it just fit, I mean I couldn’t justify the rest of the lyrics but it just kind of fit and I just kept finding myself drawn to putting it on again and again and after a while I started to realize the reason I think I liked it even more was because the point of this music, of that song is that it’s about two guys that are so naive that live in a small town and all they want to do is go out to the big wide world for one night and kiss a girl and to me that was Wall-E and he just wanted to experience life and so it just exudes such, almost stereotypical musical naitivté, of just the point of life and stuff that I just thought it was perfect and so I looked at other songs in the movie and then when I stumbled across “It Only Takes A Moment” and saw the two lovers holding hands I realized that was perfect device for Wall-E to express how he loves somebody without being able to say that phrase, so when those dropped on my lap, I was like, I gotta use it.
Peter Sciretta: Well, holding hands has been somewhat of a theme for you. In Finding Nemo, there was obviously that part with the fin…
Andrew Stanton: Yeah, well honestly I think it’s just a universal image, I mean it’s the most intimate thing you can do in public in any culture is hold hands and usually it’s also a representation of advanced of a relationship, you know, usually you don’t do it unless you’re getting more serious with someone that you’re dating with and things like that. So I thought it was a pretty powerful symbol.
Peter Sciretta: I saw recently in a Brazilian trailer of Wall-E where they go to watch the TV and it’s not Hello Dolly and the TV it’s a pirated copy of the
Andrew Stanton: That’s Ratatouille. Oh yeah that’s actually a campaign that’s used in certain countries; they’ve got one in England I think and they’ve got one in Brazil and there might be another country – where these actually run like commercials in theaters, they use a current movie and they try to impress upon the audience and educate them about not pirating.
Peter Sciretta: Oh, so that’s not actually in the movie?
Andrew Stanton: No, no no, that’s an actual ad that they use footage from the movie. Yeah.
Peter Sciretta: That’s interesting. I wonder what kind of films influenced Wall-E?
Andrew Stanton: Pretty much it’s the overall amalgamation of sci-fi movies that I saw from the late sixties to the early eighties, it’s sort of a mishmash of just how they all felt to me, I mean they were all very different, they’re all over the map, but there was just, I don’t know I just felt like I was – from 2001 on I always felt like I was in good hands when the next great sci-fi film came and it always felt like you were guaranteed there was one coming either the next year or the year after that, you know, then because you had films like Star Wars, and then you had Alien and then Blade Runner and Close Encounters, and Silent Running and you can even go back a little earlier and go to Planet of the Apes, I mean there were just I don’t know they all were so awe inspiring, I just believed and I was so transported in each of those movies to whatever worlds and whatever characters were involved and I just loved it, I couldn’t get enough of it, and I kind of felt like that went away, like somewhere in the late eighties into the nineties, I just wasn’t feeling like that anymore or I don’t know if they were making movies like that anymore.

收起

我没找到啊，想听都停不了，要不你把地址在粘帖一遍

如果是工作的话起码都可以收到几百块工资.
所以没人会理你的啦

几百块工资有点夸张了 不过的确是有点麻烦啊@@

我愿意试一下，我在最后十天把答案交给你，如果十天后我办不到，我提前给你发消息！
2009.2.22很抱歉，不知道是不是学校网出了问题，那个文件现在打不开了。我无法听出来。

没试，看看上面晕了一堆人，好好笑
楼主真的要人帮忙啊

If u just want the excerpts in English,i will help you this weekend if i am not too busy. But chinese translation is too bothersome

安德鲁斯坦顿：你在这里看到它呢？
彼得Sciretta ：不，我看到上周在城市。
安德鲁斯坦顿：哦，行，凉爽。数字？不，是的。数字？
彼得Sciretta ：不，实际上是奇怪的，因为它是在第一和misframed他们不得不修正投影在普雷斯托。
安德鲁斯坦顿：噢shhh -您最严重的恐惧。
彼得Sciretta ：是的，但它是固定的时间， “有......

全部展开

安德鲁斯坦顿：你在这里看到它呢？
彼得Sciretta ：不，我看到上周在城市。
安德鲁斯坦顿：哦，行，凉爽。数字？不，是的。数字？
彼得Sciretta ：不，实际上是奇怪的，因为它是在第一和misframed他们不得不修正投影在普雷斯托。
安德鲁斯坦顿：噢shhh -您最严重的恐惧。
彼得Sciretta ：是的，但它是固定的时间， “有... ” （开始壁- E ）的... 。的事情之一，我注意到，马上与华尔街- E是，肯定-他可爱，他立即可爱任何观众。您即刻重视他，但他也很实用。作为一个机器人，一切对他是如此的功能，因此先有鸡还是先有蛋？
安德鲁斯坦顿：那么是的，这是种在串联。我们知道我们想要的东西他的职能是什么之前，我们知道他会像，当我们第一次登上了-我有点在今年，我被认为是公正的休假与思考我想做的事，事实上，我在这里偷偷的雷达，做的第一件事，因为我知道它会引起很多问题，并进行讨论我是否可以做这样的电影，我只是不想去那里。我只是想证明这一点，所以我设计的东西，所以我很早就来到了他的想法是一个方块，和夏娃被一个圆圈，这是非常男性化的女性，然后我们知道我们希望他能紧凑的垃圾桶和东西，所以我们只给了他一点胎面和望远镜来了几个个月后。我开始意识到这是一个更强有力的方式发挥面对因为望远镜已经有那种性质的。他们不但可以表达的，因为所有这一切的中心枢纽下跌，所以我种了这些基本conceits （原文如此）有关，但一旦我们-一旦速记工作在登机的话，那么我们花了更长的时间实际上设计和做我猜相当于蓝图和让所有的工程正确的，因为我们认为这将是太酷了，如果我们能够真正使这项工作，和其他的事情，我们所在的是某种影响下的Tardis像他所有的部件可以去这个方块。我们确实撒谎的物理特性，但外面的一切实际职务，没有作弊，我的意思是，他如何滑出来的部分，以及他的胳膊轨上运行，并延长外，它'的全非常准确。我们认为，我们想在一个更复杂的级别相同的设计质量，是与Luxo 。 Luxo觉得它建尽自己的工作，你觉得你的工作范围内的限制，他的设计和有东西只是最初的设计，就想起他的个性。实际上，你想扔性质上它，即使它的所有设计，为它的功能，所以我们希望华尔街娥是非常类似的事情，但对一个更复杂的-所以是的，然后除夕来到长城的基础上，英，我的意思是这是一个真正的对面墙娥，是啊。
彼得Sciretta ：一是立即通知你在看电影...喂羊，其如此难以置信...
安德鲁斯坦顿：第一张。是啊。
彼得Sciretta ：这是怎么来的呢？
安德鲁斯坦顿：这是一个非常迂回路线，我知道从git去我想这部电影的感觉不同，我知道，从老式的音乐形象的空间，将有助于这一点，我只是喜欢采用世界一样，电影和公正的一切，因为对我来说更多是一种抽象的代表什么墙娥的希望和梦想，就像我。它必须是美丽的，并将他有这样的赞赏，在过去，所以我喜欢的主题开始。但是，您可以挑选-你知道有许多老式的歌曲，我只是不知道有哪些选择，我不断的道路测试了一堆，然后我开始寻找标准。很多标准来自音乐剧。我开始看音乐剧。我没有一些音乐剧场，所以我知道很多的标准像这样打球的屋顶上的提琴手和Godspell ，那样的话，红男绿女，我终于到Hello多莉和一首歌曲， “穿上你的衣服星期天”开始这句话“有” ，它只是适合，我的意思是我不能自圆其说的其余部分歌词，但它只是一种适合我只是一直在寻找自己注意把它一次又一次地和过了一段时间，我开始实现的原因我想我更喜欢它是因为这点的音乐，这首歌的是，它的两个家伙是天真的生活在一个小城镇和所有他们想要做的是走出去的世界上大范围的一个晚上，亲吻一个女孩和我是长城- E和他只是想体验生活，因此它只是散发着这样的，几乎定型音乐naitivté ，仅这一点的生活和东西，我只是觉得是完美的，所以我期待在其他影片中的歌曲，然后当我偶然发现“只需要时刻” ，看到一对情人手牵着手，我意识到这是最佳设备华尔街娥表示，他如何爱别人，而可以说这句话，所以，当投在我的计时圈，我想，我爱用它。
彼得Sciretta ：嗯，手牵着手已经有些主题您。在海底总动员，但显然这部分的鱼翅...
安德鲁斯坦顿：是的，老实讲我认为这就是一个普遍的形象，我的意思是它最亲密的事情你可以做任何在公众中的文化是手拉手，通常这也是一个先进的代表权的关系你知道，通常你不这样做，除非你是越来越严重，有人说，你的约会等等。所以，我认为这是一个非常强有力的象征。
彼得Sciretta ：我看到最近在巴西的拖车华尔街娥去向看电视，这不是你好多莉和电视这是盗版的
安德鲁斯坦顿：这Ratatouille 。噢这实际上是一个系列的使用在某些国家，他们有一个在英格兰，我认为，他们有一个在巴西，有可能是另一个国家-在这些实际运行像广告在影院，他们使用现有的电影，他们试图说服听众，教育他们不要盗版。
彼得Sciretta ：哦，所以这不是真正的电影吗？
安德鲁斯坦顿：不，不，不，那是一个实际的广告，他们使用的电影画面。是啊。
彼得Sciretta ：这很有趣。我不知道什么样的电影影响华尔街娥？
安德鲁斯坦顿：几乎是整体合并的科幻电影，我看到了从60年代末到80年代初，这有点堆积是多么他们都觉得对我来说，我的意思是他们都非常不同的，他们都在地图上，但只是，我不知道我只是觉得我是-从2001年我总是觉得自己是在良好的手中时，下一个伟大的科幻电影了，它总是感觉你保证有一个未来无论是明年或后年在此之后，你知道，那么，因为你已经像星球大战电影，然后你有外国人，然后银翼杀手和接触，和宁静运行和你甚至可以回去早一点，并转到猩球，我的意思是，只有我不知道他们都是如此令人振奋的，我只是认为我是这样运输的每一个电影不管是什么世界字符参与，我只是喜欢它，我无法获得足够的，我种感觉就像是走了，像某处在八十年代末期到九十年代，我只是感觉不是很舒服了，或像我不知道如果他们拍电影一样了。

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