标题: [Randy] Life After Folk（08/18/10Randy接受metroweekly的访问以及照片） [打印本页] 作者: dormouse 时间: 2010-8-21 11:05 标题: Life After Folk（08/18/10Randy接受metroweekly的访问以及照片）
本帖最后由 叶上开 于 2010-10-29 15:35 编辑
第二页31楼有会员主动翻译的片段，大家都去给点力。让这位会员能坚持翻译完。 --- 叶上开
Life After Folk
If all you know of Randy Harrison is Queer as Folk, you don't know Randy Harrison
by Tom Avila
Published on August 18, 2010, 10:26pm | 2 Comments, 13 Tweets
''Could you tell me, like, where's a good place to go?'' -- Justin Taylor, Episode 1, Queer as Folk.
Many of us first saw Randy Harrison standing on the edge of Liberty Avenue, a cigarette tucked behind his ear and a look of nervous determination on his face. Against a blur of quick cuts and the background thump of Ruff Driverz ''Deeper Love,'' we watched as a very handsome, very young-looking guy tried as hard as he could not to look out of place.
When I meet Harrison, the real Randy Harrison, it's under much different circumstances. The blinking lights and choreographed bustle of Queer as Folk's very made-for-television gay neighborhood is nowhere to be found. We're in a rehearsal space in Shakespeare Theatre Company's 8th Street studios. The large empty room is, in fact, the opposite of bustling.
And, in a very similar fashion, Harrison bears little resemblance to Justin, the character he played for five seasons on the hit Showtime series.
Make no mistake -- he's just as good-looking as he was when he stepped off the curb in that first episode. The killer smile is firmly in place. But this room seems to better suit the actor and where he is now. A space that is normally all about the craft of acting, a place to work to find that sweet spot that satisfies the actor and thrills the audience. At least, that is, when interviewers aren't using it to talk about television shows that have long since faded from the airwaves.
Harrison is in town to play Sebastian in Shakespeare Theatre Company's remount of Twelfth Night. Like many of Shakespeare's comedies, Twelfth Night involves mistaken identities, characters not being who they are believed to be.
There's a certain irony to that as it quickly becomes clear that anyone confusing Harrison for Queer as Folk's Justin Taylor is quite mistaken.
METRO WEEKLY: Queer as Folk was your first television show?
RANDY HARRISON: My only television show.
MW: When the series started, did you guys know you were doing something that no one had seen before?
HARRISON: We knew nothing like it had been done on American television before.
MW: And you were doing theater all through the time you were doing Queer as Folk?
HARRISON: Yes, and before.
MW: What was it like doing TV and still doing theater? Was there one that you wanted to get through so you could do the other?
HARRISON: Yeah, I always wanted to get back to theater.
MW: So what was it then that moved you to do the audition for a television series?
HARRISON: I'll audition for anything if I respond to the material. I had finished school and I had just moved to New York. I was doing many more musicals than I was interested in doing and I knew that I needed to make a shift or I would get stuck. So I just got an appointment with an agent I was freelancing with and they put me on tape. I had two callbacks and I got it. And because it was so out of the blue – I had just gotten my equity card a few years beforehand – I wasn't nervous. It just seemed silly.
MW: Silly? Really?
HARRISON: Yeah, because it seemed so arbitrary. It was like, ''I'm auditioning for a TV show?'' Okay. Whatever. And when I was doing the audition, I was thinking about the callbacks because it meant I could go to Los Angeles. I had already been thinking of moving to L.A. because I thought the move would help me shift away from all the musicals I was doing. Maybe L.A. would be a better place for me.
I just thought of it as a free trip to L.A. I don't think the flight was first class... or was it? [Laughs.] But it was nice. It was a free hotel room. I mean I was doing small regional musicals. Being flown out to L.A. was not the kind of life I was accustomed to at all.
MW: And you were already out when you did the audition?
HARRISON: Oh, yeah. I've been out since I was 16.
MW: And you were how old when you started doing the show?
HARRISON: 22.
MW: Showtime added a disclaimer that read: ''Queer as Folk is a celebration of the lives and passions of a group of gay friends. It is not meant to reflect all of gay society.'' But was it ever weird? You were a young gay man playing a young gay man.
HARRISON: It was never weird because I had been out since I was a teenager. It was never weird to be out. What was weird was to be on television and be a little… not famous… but, you know, having people kind of know you. Even now people think I'm something I'm not because of that show.
I don't think it has anything to do with being out, though. I think that anybody on television that played one character for a long time goes through the same thing. It's weird to represent something that wasn't created by you and isn't you.
I'm sure that it's caused things, made it harder for certain people to see me other than a certain way, but I think it's also opened up opportunities for me.
I really try not to think about it too much. If I'm doing what I want to be doing I'm happy. But there are times when it's, ''Another script to do that? No. I'm not interested. No.'' You end up passing on a lot and fighting a little bit harder probably for things that are different.
But that was all a really long time ago. It was like 11 years ago that we started doing it and then we finished doing it five years ago. And I haven't thought of it since.
MW: Except when interviewers ask you about it. Is that frustrating?
HARRISON: Not really. It's to be expected.
MW: And there's still a fair number of websites that bounce back to you in your Queer as Folk days.
HARRISON: Are there?
MW: You don't know that? You don't Google yourself?
HARRISON: I don't. I do not search myself. I do not read anything written about me. I don't.
MW: Ever?
HARRISON: Sometimes, like a sound bite or something if someone forwards it to me. But I don't. I avoid it all.
MW: Do you read reviews?
HARRISON: No.
MW: Have you ever read reviews?
HARRISON: Yes, but I stopped because, amidst a bunch of good reviews, I got one review that made it almost impossible for me to continue performing the show. It was just something that hurt me. And I realized that there was no reason to it. The review was meaningless to me, or anyone surrounding the project, so why risk something that's going to make me unable to do what I've been hired to do?
MW: How did you manage to get past that? Because that's a pretty weighty moment to think, ''I don't know that I can do this anymore.''
HARRISON: I just kept on performing, but it was harder. The fact that a review was capable of becoming so distracting made me realize it's not worth ever risking it. And it just doesn't help.
You go through and you create a show with your fellow actors, with the writer if they are alive, with the director, collectively. And then when it's up, you're done. You're doing the work that you're doing.
I don't know. I think the need to read reviews is searching for something that is never going to be fulfilled. You love to know that what you're doing is working. You hear when everyone is saying a show is getting good reviews and you're happy. It's like, ''Oh good, I'm glad.'' We worked hard and we think it's good. But half the time you work really hard and you think it's great and everybody hates it. Or, you think it's not really working and everybody loves it. It's just completely arbitrary.
MW: When you were doing interviews for Queer as Folk, were people interested in talking to you about the theater work you were doing?
HARRISON: I don't really remember. I think that I would always mention it. You would get the question where they would want you to give a prophecy for the rest of your career. What are you going to do when this is finished?
I was just going to go back and keep doing theater. It's what I love. I talked about it, but people were always less interested in it than in television, for whatever reason.
MW: What brought you to theater? When did you start?
HARRISON: I started acting when I was like 8. I saw a play when I was really young and I was at that age where the magic of the theater just blew my mind. That can actually still happen to me.
But it was like the proscenium was there and on the other side was a completely different world where magical things could happen. Anything could happen. I wanted to be on the other side of the proscenium and be in that world.
MW: Do you remember what show that was?
HARRISON: Yes. Yes, I do. It's a little embarrassing. It was Peter Pan with Sandy Duncan. I was like 5 years old and she was touring in Peter Pan and I think she flew out over us in the audience. In my imagination, which is very vague, it felt like I could touch her, like she was flying right above me.
MW: My nephew, who's now about that age, just saw Mary Poppins on Broadway and had a very similar experience. Mary Poppins flew over them in the balcony and he kept trying to figure out where she went.
HARRISON: It's amazing.
MW: Every show should include someone flying out over the audience.
HARRISON: We're flying in Twelfth Night.
MW: So you had this kind of magical experience. Was there a moment when you were doing theater when you realized that this was it? This was what you were going to do?
HARRISON: No, it sort of accumulated. I started because I was in love with it and really wanted to do it. Ever since I was 8, I would do like two or three plays a year, working constantly. So, after a while it was like, ''I'm going to keep doing this.'' I think I knew when I was 12 or 13 that I was definitely going to keep acting professionally.
MW: You've done a nice range of stuff.
HARRISON: I think so. It's definitely starting to get there. It's been a fight to start doing everything that I wanted to do.
MW: Well, you're here to do Shakespeare and you've done Wicked. You've done Equus. That's a range right there.
HARRISON: I know, it is a range, right? I think one of my favorite things that I've done so far is when I did Waiting for Godot in the Berkshires. I think it was just a really, really good production. It was a wonderful director, and a wonderful company and people really responded to what we did. I love the play. I love Beckett. I think a lot of times Beckett can be kind of calcified in performance. People get too tied up in the idea of what it is and what it means, and it's hard for audiences to let go of their preconceptions of the way they're supposed to respond to it. People expect it to be more academic. I think something about this production – and I can't pinpoint what it was – but I think people were able to see it completely fresh and respond to it in a completely human way.
It's like what I said about not reading criticism. I didn't read the criticism of the show, but at the same time the audiences – half of which were, you know, my friends – were responding. You can tell when somebody really, really responds to something, that the play meant something to them and affected them in a way that they didn't expect.
And that's why you become an actor, when you see theater like that you're like, ''I hope I'm in a production that affects someone the way I was just affected.'' And I felt like Godot did that to a lot of people that I care about and respect, so that made me happy.
MW: Is this your first time doing theater in D.C.?
HARRISON: Yes. I'm happy to be in D.C. I've wanted to work here for a very long time. It's such a theater-friendly town. There's such a group of really talented actors that are based here or work here all the time. There are so many really accomplished theaters – that pay living wages. [Laughs.]
MW: Which is the secret that no one knows about D.C.
HARRISON: I know! I think the whole idea that New York is the center of American theater at this point is a complete fallacy. There's a lot all over the country and I think the competitiveness and the cost of theater in New York has really stifled it in such a way that the good stuff just doesn't happen there that often anymore.
MW: Where else have you been?
HARRISON: I've been in New York a lot. A bunch of off-Broadway. I did Wicked. I worked at the Guthrie in Minneapolis (as Tom Wingfield in the Glass Menagerie). I just worked at Yale Rep in New Haven (as Andy Warhol in the musical Pop!). I've worked with the Anne Bogart's SITI Company when they were in Alabama, which was a very interesting experience. And in the Berkshires.
MW: And you're also a Southern Yankee.
HARRISON: It's weird right?
MW: Because you grew up in Nashua, N.H., for part of your childhood –
HARRISON: – and then Atlanta. I feel like a Yankee ultimately. We left Nashua when I was 11, and then I grew up in Atlanta. But I never felt at home there. I went to school in Cincinnati and I felt less at home there. But since I've started working in the Berkshires and in western Massachusetts, I feel re-connected to the New England area. It's always felt like home to me. I still have some family there. My aunt is there. But now I think of it like a summer home, which is kind of nice.
MW: Did you do Berkshires already this year?
HARRISON: Yeah. I did Samuel Beckett's Endgame. I played Nagg. It was beautiful. Like I said, I love Beckett. I love his use of language. I love speaking it. I love seeing it.
MW: And what were you doing in Alabama?
HARRISON: I studied with Ann Bogart, I think while I was still doing Queer as Folk. SITI, which is her company, was in residency at the Actor's Theatre of Louisville when I was still in school in Cincinnati. I'd drive an hour and see some of the amazing work that they were doing. I was 19 or 20 and it really changed my head at the time.
So, I was studying with them and they were taking this production.... Actually, it's interesting. They were going to be remounting a production that already existed – just like I'm doing here. So, I've actually done a Shakespeare show at a really similar speed. In terms of style they're really different, but as far as the rehearsal process it was the same.
I wanted to do the production so I'd have gone wherever. It was fun, but it was strange to be in Alabama at this Shakespeare festival that was deciding what it wanted to be. I actually think that that festival is doing musicals now.
MW: Which is what you started out doing, right?
HARRISON: I went to school at University of Cincinnati's College–Conservatory of Music. I was a singer in high school as well as an actor.
The conservatory has an amazing musical-theater program but after four years of doing nothing but jazz hands, I was thinking, ''I want to do Shakespeare. I want to do Chekov. I want to do Beckett. If I keep doing musicals it's going to be way too far of a leap to get there.'' So I had to stop completely for a long time.
I like what I do now. I'll do a musical every three or four years. I miss singing after a while, so I'm always happy when the time comes and I'm like, ''I think I want to do a musical.'' And also, there are more jobs in musicals and they pay better. [Laughs.] So it's good when you want to do one.
I think I hadn't done a musical in seven years when I did Wicked. It was on Broadway and it was still the original cast, though they switched over when I was doing it. The guy I replaced actually had to leave – to go do Midsummer – so I just went in for five weeks. I think I started the week after Idina (Menzel) won the Tony.
MW: No pressure.
HARRISON: Right? And while I was in it Kristin (Chenoweth) left and Jennifer Laura Thompson came in. It was really interesting. Wicked is just such a huge spectacle and to be part of a show that big and that successful was fascinating. The hall we performed in was cavernous.
MW: And now you've landed in Brooklyn, where you're part of an artists' group?
HARRISON: The Artist Bureau. It's really a group of people I know and love who are artists in various capacities. It's sort of an umbrella and a way we can create things that we really want to do.
It's funny, there are times when it gets really intense, where I'm really involved in making specific things and then there are times when I'm away and nothing happens for a few months. It's arbitrary. They're actually doing a bunch of readings in L.A. right now and trying to produce a friend's play. I think that might be the next thing that happens, but I'm not sure.
MW: There are going to be people who are surprised how theater-centered you career has been. Is there something else that you've wanted people to know about you in terms of either this work or where you're headed next?
HARRISON: No. People have been asking me that recently. I'm going to say no. I never want to volunteer any more information then is already out there. [Laughs.]
MW: I know that a good deal of time has passed since you were doing the series, but I think it's fascinating how you've really been able to take a few steps back and done that thing that some actors aren't able to do. You've completely established an identity for yourself in the theater in such a way that it doesn't seem like people are going to see you thinking, ''I'm going to go see the guy from Queer as Folk do Shakespeare tonight.''
HARRISON: No. I think it's just luck. When I'm auditioning I don't feel very often that I'm considered any differently. Half the time people don't even know when they're casting me that I was in a television show. I don't know that some of them have even watched it. It was successful in its way, but it was very niche. It's not like I stepped on top of that success to do the work that I have been doing. The theater is like a whole separate thing. I've sort of started from scratch in theater.
I also think the kind of theater jobs that I could get from having been in Queer as Folk aren't the kind of theater jobs I'm interested in doing. I don't know what those would really actually be. I mean, Naked Boys Singing?
MW: That's where I was going to go with that.
HARRISON: I know.
Randy Harrison will be appearing in Shakespeare Theatre Company's Twelfth Night, part of Free for All. Aug. 19 to Sept. 5. Visit shakespearetheatre.org for full details.作者: 李李西 时间: 2010-8-21 23:40
Make no mistake -- he's just as good-looking as he was when he stepped off the curb in that first episode. The killer smile is firmly in place. 毫无疑问，他本人正如他看上去的那么好看，当他最初从马路那边走来，带着足以杀死人的微笑。但是，这间屋子看上去更加适合这位演员，也更符合他应该待的地方。作者: 我爱Gale 时间: 2010-11-2 11:59
为毛不老作者: 大米Emily 时间: 2010-11-2 17:40
Randy....:s17作者: moon201 时间: 2010-11-2 20:57
始于A space that is normally all about the craft of acting·····
METRO WEEKLY: Queer as Folk was your first television show?
QAF是你的第一部电视作品么？
RANDY HARRISON: My only television show.
我唯一的一部电视作品。
MW: When the series started, did you guys know you were doing something that no one had seen before?
当这个系列剧开始的时候，你们知道你们正在做的事情是前人没有做过的么？
HARRISON: We knew nothing like it had been done on American television before.
除了知道被美国拍过外，我们一无所知。
MW: And you were doing theater all through the time you were doing Queer as Folk?
而且你在拍摄同志亦凡人的期间，一直在做戏剧么？
HARRISON: Yes, and before.
是的，包括之前。
MW: What was it like doing TV and still doing theater? Was there one that you wanted to get through so you could do the other?
这像什么，包括拍摄电视节目，以及坚持戏剧？这里有什么是你想要完成，而后可以去做另一个的么？
HARRISON: Yeah, I always wanted to get back to theater.
是的，我一直想要回归戏剧。
MW: So what was it then that moved you to do the audition for a television series?
所以，是什么促使你去参加一部系列剧的试演？
HARRISON: I'll audition for anything if I respond to the material. I had finished school and I had just moved to New York. I was doing many more musicals than I was interested in doing and I knew that I needed to make a shift or I would get stuck. So I just got an appointment with an agent I was freelancing with and they put me on tape. I had two callbacks and I got it. And because it was so out of the blue – I had just gotten my equity card a few years beforehand – I wasn't nervous. It just seemed silly.
我将会为面试anthing，如果我对资料有所反应的话。我结束了校园生活，而且我搬去了纽约。我做了比我自己感兴趣的还要多的音乐剧，而且我知道我应该尽力去对付或者说去给自己一些关卡。所以我接受了一个任命与一个我可以自由发挥的代理，而且他们把我put on tape. 我有两个回调，我got it。（这里我又抽了，大的方向应该没有偏离。）因为这是如此的突然——我刚刚拿到我的股票卡在几年前——我并没有紧张，只是这看上去有些愚蠢。
MW: Silly? Really?
愚蠢？真的么？
HARRISON: Yeah, because it seemed so arbitrary. It was like, ''I'm auditioning for a TV show?'' Okay. Whatever. And when I was doing the audition, I was thinking about the callbacks because it meant I could go to Los Angeles. I had already been thinking of moving to L.A. because I thought the move would help me shift away from all the musicals I was doing. Maybe L.A. would be a better place for me.
是的，因为这看上去是这么的武断。这正像是，“我正在为一部电视节目试演么？”
好吧，无论怎样，当我面试的时候，我在思考那个回调，因为这意味着我可能要去洛杉矶。我已经想过要去洛杉矶，因为我认为这次的变动，将帮助我脱离，从我参演的所有音乐剧中。或许，洛杉矶会与我而言会是更好的地方。
I just thought of it as a free trip to L.A. I don't think the flight was first class... or was it? [Laughs.] But it was nice. It was a free hotel room. I mean I was doing small regional musicals. Being flown out to L.A. was not the kind of life I was accustomed to at all.
我仅仅只是把去洛杉矶当做一次自由的旅行。我并不认为这次的flight(该是指关于去洛杉矶）是一流的，或者它真的是？（笑~~）但这是美妙的。这是不受约束的。我是指我在做的地区性的音乐剧。飞往洛杉矶并不是我设想过的一种生活。
加入翻译大军，希望也能给没空查字典的同胞们提供些许方便
''Could you tell me, like, where's a good place to go?'' -- Justin Taylor, Episode 1, Queer as Folk.
“你能告诉我，有什么好的去处吗？”——贾斯汀·泰勒，QAF ，S101。
Many of us first saw Randy Harrison standing on the edge of Liberty Avenue, a cigarette tucked behind his ear and a look of nervous determination on his face. Against a blur of quick cuts and the background thump of Ruff Driverz ''Deeper Love,'' we watched as a very handsome, very young-looking guy tried as hard as he could not to look out of place.
我们中的许多人第一次见到兰迪·哈里森时，他正站在自由大道上，耳朵后还别着一支烟，神情紧张而又坚毅。伴随着重金属味道的背景音乐“deeper love",我们看到一个英俊的少年正竭力使自己不显得与周围格格不入。
When I meet Harrison, the real Randy Harrison, it's under much different circumstances. The blinking lights and choreographed bustle of Queer as Folk's very made-for-television gay neighborhood is nowhere to be found. We're in a rehearsal space in Shakespeare Theatre Company's 8th Street studios. The large empty room is, in fact, the opposite of bustling.
当我见到哈里森，现实中的哈里森，场景发生了很大的变化。这里没有QAF为了剧集而特别营造的喧闹的同志社区。我们所在的，是莎士比亚大剧场8号大街排练厅。事实上，与之相反，这是一个空旷的大房间.
And, in a very similar fashion, Harrison bears little resemblance to Justin, the character he played for five seasons on the hit Showtime series.
同样的，在哈里森身上，我们也很少能看到他在这部showtime的剧集中连续扮演了五年的角色—贾斯汀的影子。
Make no mistake -- he's just as good-looking as he was when he stepped off the curb in that first episode. The killer smile is firmly in place. But this room seems to better suit the actor and where he is now. A space that is normally all about the craft of acting, a place to work to find that sweet spot that satisfies the actor and thrills the audience. At least, that is, when interviewers aren't using it to talk about television shows that have long since faded from the airwaves.
毫无疑问—他本人正如剧中一般好看。当他第一次从马路那边走过来时，脸上的笑容足以致命。但是这个房间显然更适合他目前的演员身份。一个到处摆放着道具，可以在此工作，既能满足演员，又能震撼观众的地方。至少，在这里，记者不会大谈特谈那些早已成为陈年旧事的电视节目。
Harrison is in town to play Sebastian in Shakespeare Theatre Company's remount of Twelfth Night. Like many of Shakespeare's comedies, Twelfth Night involves mistaken identities, characters not being who they are believed to be.
哈里森目前正在城里准备饰演莎士比亚大剧院的新剧《第十二夜》里的Sebastian。正如莎翁的其他喜剧，《第十二夜》也是有关身份的错位，角色的身份并非其他人所认为的那样。
There's a certain irony to that as it quickly becomes clear that anyone confusing Harrison for Queer as Folk's Justin Taylor is quite mistaken.
具有讽刺意味的是，兰迪·哈里森也往往被人们与QAF中的贾斯汀·泰勒混为一谈。
METRO WEEKLY: Queer as Folk was your first television show?
MW:QAF是你的第一部电视作品吗？
RANDY HARRISON: My only television show.
RH: 也是我唯一的一部电视作品。
MW: When the series started, did you guys know you were doing something that no one had seen before?
MW: 刚开拍的时候，你们是否意识到你们是在做一件前人没有做过的事情？
HARRISON: We knew nothing like it had been done on American television before.
RH: 我们意识到，这是美国电视史上从未表现过的领域。
MW: And you were doing theater all through the time you were doing Queer as Folk?
MW: 你在拍QAF的过程中也一直在做戏剧方面的工作？
HARRISON: Yes, and before.
RH: 是的，之前也是。
MW: What was it like doing TV and still doing theater? Was there one that you wanted to get through so you could do the other?
MW:一边做戏剧一边做电视是什么感觉？有没有哪一个是你更急于完成，然后再做另外那个的？
HARRISON: Yeah, I always wanted to get back to theater.
RH: 是的，我一直都想回到剧场继续演舞台剧。
MW: So what was it then that moved you to do the audition for a television series?
MW：那究竟是什么促使你去参加这个剧集的试镜的？
HARRISON: I'll audition for anything if I respond to the material. I had finished school and I had just moved to New York. I was doing many more musicals than I was interested in doing and I knew that I needed to make a shift or I would get stuck. So I just got an appointment with an agent I was freelancing with and they put me on tape. I had two callbacks and I got it. And because it was so out of the blue – I had just gotten my equity card a few years beforehand – I wasn't nervous. It just seemed silly.
RH：只要是对我有所触动的剧本，我都会去面试的。我刚刚毕业，搬到纽约。我做的音乐剧已经太多了，我意识到我应该尝试一些新的事物，否则就会原地踏步。所以我约了一个代理人，告诉他我现在还有空的档期。他们就把我的录像寄给了剧组。 我收到了两个回复，得到了这个角色。这一切太突然了—我几年前才刚拿到股票卡—我并不紧张，只是这看起来有点傻。
MW: Silly? Really?
MW：傻？是吗？
HARRISON: Yeah, because it seemed so arbitrary. It was like, ''I'm auditioning for a TV show?'' Okay. Whatever. And when I was doing the audition, I was thinking about the callbacks because it meant I could go to Los Angeles. I had already been thinking of moving to L.A. because I thought the move would help me shift away from all the musicals I was doing. Maybe L.A. would be a better place for me.
RH: 是的。因为这看起来有点仓促。就像是，”我在给电视剧试镜吗？”好吧，管他的。试镜的时候，我一直在想回复的事，因为这意味着我能去洛杉矶了。我早就想去洛杉矶了，因为我觉得这有助于摆脱那些我过去一直在做的音乐剧。可能洛杉矶对我会是一个更好的选择。
I just thought of it as a free trip to L.A. I don't think the flight was first class... or was it? [Laughs.] But it was nice. It was a free hotel room. I mean I was doing small regional musicals. Being flown out to L.A. was not the kind of life I was accustomed to at all.
我一直把这当做是一次免费的洛杉矶之旅。我想那不是头等舱···是吗？（笑）不过很舒适。还有免费的宾馆房间。我是说我一直做的是小型音乐剧。从来没想过会飞去洛杉矶。
MW: And you were already out when you did the audition?
MW: 那你试镜的时候已经出柜了吗？
HARRISON: Oh, yeah. I've been out since I was 16.
RH：是的。我十六岁就已经出柜了。
MW: And you were how old when you started doing the show?
MW:刚开拍的时候你有多大？
HARRISON: 22.
RH: 22岁。
MW: Showtime added a disclaimer that read: ''Queer as Folk is a celebration of the lives and passions of a group of gay friends. It is not meant to reflect all of gay society.'' But was it ever weird? You were a young gay man playing a young gay man.
MW: showtime发表过一个声明：“QAF是对一群同志的生活和热情的一次庆祝，而非对整个同志群体的反映。”但是你就没觉得有点别扭吗？身为一个年轻的同志，来扮演另一个年轻的同志。
HARRISON: It was never weird because I had been out since I was a teenager. It was never weird to be out. What was weird was to be on television and be a little… not famous… but, you know, having people kind of know you. Even now people think I'm something I'm not because of that show.
RH: 我从来就没觉得别扭。因为早在青少年时期我就出柜了。出柜从未让我感觉别扭。让我别扭的是出现在电视上，而且有点···不是说出名···而是，我是说，有的人会知道一些关于你的事情。直到现在还有人因为QAF对我产生一些错误的想法。
I don't think it has anything to do with being out, though. I think that anybody on television that played one character for a long time goes through the same thing. It's weird to represent something that wasn't created by you and isn't you.
我并不认为要出柜就要有所作为。我觉得任何人如果长时间的扮演一个角色都会经历这些。扮演一个并非你所创造而且和你完全不同的人，这种感觉是很奇怪的。
I'm sure that it's caused things, made it harder for certain people to see me other than a certain way, but I think it's also opened up opportunities for me.
我知道这会引起一些变化，会使某些人用另一种方式看待我，但我想这同时也为我提供了更多的机遇。
I really try not to think about it too much. If I'm doing what I want to be doing I'm happy. But there are times when it's, ''Another script to do that? No. I'm not interested. No.'' You end up passing on a lot and fighting a little bit harder probably for things that are different.
我竭力让自己不要想的太多。只要做自己想做的事就好。但有的时候，“别的剧本？不，我不感兴趣。”你不再一个接一个的尝试，不再对抗那些不同的事物。
But that was all a really long time ago. It was like 11 years ago that we started doing it and then we finished doing it five years ago. And I haven't thought of it since.
不过这都是很久以前的事了。我们大约十一年前就开始做这件事了，直到五年前才停了下来。后来我就没再想过了。
MW: Except when interviewers ask you about it. Is that frustrating?
MW: 不过有时候记者会问及这个问题。你会感到沮丧吗？
HARRISON: Not really. It's to be expected.
RH： 不会的。早就意料到了。
MW: And there's still a fair number of websites that bounce back to you in your Queer as Folk days.
MW: 现在有很多关于你和QAF的网站啊。
HARRISON: Are there?
RH: 是吗？
MW: You don't know that? You don't Google yourself?
MW:你不知道吗？你就没在网上搜索过自己？
HARRISON: I don't. I do not search myself. I do not read anything written about me. I don't.
RH: 没，我从不搜索自己的。也从来不看那些跟我有关的东西。
MW: Ever?
MW:一次也没有过？
HARRISON: Sometimes, like a sound bite or something if someone forwards it to me. But I don't. I avoid it all.
RH: 偶尔吧，好比插播新闻，或者别人发给我的东西。不过我都尽量避免看这些。
MW: Do you read reviews?
MW:那你看剧评吗？
HARRISON: No.
RH: 不看。
MW: Have you ever read reviews?
MW:从来没看过？
HARRISON: Yes, but I stopped because, amidst a bunch of good reviews, I got one review that made it almost impossible for me to continue performing the show. It was just something that hurt me. And I realized that there was no reason to it. The review was meaningless to me, or anyone surrounding the project, so why risk something that's going to make me unable to do what I've been hired to do?
RH: 看过，不过后来就不看了。因为虽然好的评论占绝大多数，但是有一个评论几乎让我无法再坚持演下去了。实在是太伤人了。后来我认识到完全没必要这样。无论是评论，还是狗仔队的骚扰，对我来说都毫无意义。何苦让他们影响我的正常工作呢？
MW: How did you manage to get past that? Because that's a pretty weighty moment to think, ''I don't know that I can do this anymore.''
MW: 你是怎么坚持下去的呢？这个想法应该是很沉重的，“我不知道自己还撑不撑得下去。”
HARRISON: I just kept on performing, but it was harder. The fact that a review was capable of becoming so distracting made me realize it's not worth ever risking it. And it just doesn't help.
RH:我只能继续表演下去，不过这确实非常艰难。那个评论对我造成的困扰使我意识到，根本没必要去在意这些。这对我的工作有害无益。
You go through and you create a show with your fellow actors, with the writer if they are alive, with the director, collectively. And then when it's up, you're done. You're doing the work that you're doing.
你要经历这些，你要和其他演员、编剧、还有导演共同创造一部剧作。当一切结束，你的任务也完成了。你只是在做自己的本职工作罢了。
I don't know. I think the need to read reviews is searching for something that is never going to be fulfilled. You love to know that what you're doing is working. You hear when everyone is saying a show is getting good reviews and you're happy. It's like, ''Oh good, I'm glad.'' We worked hard and we think it's good. But half the time you work really hard and you think it's great and everybody hates it. Or, you think it's not really working and everybody loves it. It's just completely arbitrary.
我不知道。我想看评论只是为了自我满足罢了。你想知道你的工作正在影响他人的生活。你想听到所有人都在谈论你的剧作如何广受好评。这会让你很开心。就像是，”哦，我太高兴了。“我们努力工作，而且坚信自己做得很好。但是有很多时候你确实努力了，而且觉得自己做的很好，但是观众却不买账。或者，你觉得不怎么样，但是观众却很喜欢。结果真的很难预料。
MW: When you were doing interviews for Queer as Folk, were people interested in talking to you about the theater work you were doing?
MW:你接受有关QAF的采访时，经常有人问及你戏剧方面的工作吗？
HARRISON: I don't really remember. I think that I would always mention it. You would get the question where they would want you to give a prophecy for the rest of your career. What are you going to do when this is finished?
RH: 记不清了。应该是我自己经常提起吧。他们总是问你对于以后的事业有何打算。这部戏拍完以后你打算做什么？
I was just going to go back and keep doing theater. It's what I love. I talked about it, but people were always less interested in it than in television, for whatever reason.
我打算回去继续做舞台剧方面的工作。这是我的最爱。我喜欢谈论戏剧，但不知道为什么，人们对它的兴趣总是不及电视。
MW: What brought you to theater? When did you start?
MW：是什么让你与戏剧结缘的？你是什么时候开始做这行的？
HARRISON: I started acting when I was like 8. I saw a play when I was really young and I was at that age where the magic of the theater just blew my mind. That can actually still happen to me.
RH：我八岁就开始演舞台剧了。我很小的时候看了一部戏，就是在那个时候，戏剧像魔法一样迷住了我。即使现在我还能感受到戏剧的魔力。
But it was like the proscenium was there and on the other side was a completely different world where magical things could happen. Anything could happen. I wanted to be on the other side of the proscenium and be in that world.
就好像舞台的这边是一个世界，另一边又是一个完全不同的世界。在舞台的那一边，任何神奇的事都有可能发生。我希望自己能身处舞台那边的神奇世界。
MW: Do you remember what show that was?
MW: 你还记得那是部什么戏吗？
HARRISON: Yes. Yes, I do. It's a little embarrassing. It was Peter Pan with Sandy Duncan. I was like 5 years old and she was touring in Peter Pan and I think she flew out over us in the audience. In my imagination, which is very vague, it felt like I could touch her, like she was flying right above me.
RH:当然记得。不过有点不好意思。是Sandy Duncan的《小飞侠》。那时候我大概五岁，她当时是在巡回演出，后来好像还飞到了观众席上空。在我的想象中，这种感觉是很奇妙的。就好像我能触摸到她，她就在我的周围飞来飞去一样。
MW: My nephew, who's now about that age, just saw Mary Poppins on Broadway and had a very similar experience. Mary Poppins flew over them in the balcony and he kept trying to figure out where she went.
MW:我有个侄子，年纪跟你当时差不多，他刚刚在百老汇看过Mary Poppins的戏，跟你的感受很相似。Mary Poppins当时从包厢飞了过去，他就一直在想她到底飞到哪去了。
HARRISON: It's amazing.
RH:这种感觉真的很美妙。
MW: Every show should include someone flying out over the audience.
MW:最好每部戏的最后都让演员从观众席上飞一圈。
HARRISON: We're flying in Twelfth Night.
RH:我们在《第十二夜》里就有在空中飞的戏。
MW: So you had this kind of magical experience. Was there a moment when you were doing theater when you realized that this was it? This was what you were going to do?
MW:也就是说你曾经有一些很神奇的经历。那当你演舞台剧的时候，有没有那么一瞬间让你意识到就是它（戏剧）了？这就是你想要做的事情？
HARRISON: No, it sort of accumulated. I started because I was in love with it and really wanted to do it. Ever since I was 8, I would do like two or three plays a year, working constantly. So, after a while it was like, ''I'm going to keep doing this.'' I think I knew when I was 12 or 13 that I was definitely going to keep acting professionally.
RH:不，这种感觉是日积月累的。我开始演舞台剧是因为我爱舞台剧，而且真的想从事这一行。从八岁起，我一年就要演两三部戏，持续不断的工作。后来就有了这样的想法，”我要一直做下去。“大概十二三岁的时候我就非常坚定地要把表演舞台剧当做终生的事业。
MW: You've done a nice range of stuff.
MW:你已经做的很好了。
HARRISON: I think so. It's definitely starting to get there. It's been a fight to start doing everything that I wanted to do.
RH:我也这么觉得。这正是我想要的。要做自己想做的事情真的是困难重重。作者: 我爱加菲猫 时间: 2010-12-23 14:03
Really sorry to hear that Randy somehow doesn't want to talk about QAF , because some people just wrongly thought he must be same in lift as what Justin be .作者: boy1 时间: 2011-7-6 09:04
