神秘博士 第九季

放不上图，图片可以看这里：http://i.mtime.com/10312111/blog/7935369/

写在前面
《神秘博士》第九季刚刚落下帷幕，有关咖喱星回归和克拉拉命运走向的结尾估计让不少粉丝动容。而这一切都离不开导演雷切尔·塔拉里。无论是811/812，还是911/912，我们都能从中看出导演对于深度叙事和宏大场面的把握。在第八季正式上映前，《环球邮报》对雷切尔·塔拉里进行了一次专访。以下是本次采访的所有内容。*以下内容均为本人自译，版权归原媒体所有，详见链接*
 
The Globe and Mail 环球邮报
 
来源：
http://www.theglobeandmail.com/news/british-columbia/director-faces-british-pedestrians-fainting-cyberman-with-the-help-of-a-good-doctor/article19966559/
 
Q&A: UBC professor went from Doctor Who fan to director of this season’s finale
 
从《神秘博士》迷到季终集导演——不列颠哥伦比亚大学教授专访
 

Director Rachel Talalay on the set of Doctor Who. 导演雷切尔·塔拉里在《神秘博士》片场。
(BBC Worldwide)（BBC环球）
 2014.8.8
 
Rachel Talalay, a University of British Columbia film professor, fell in love with the British TV series Doctor Who after it was rebooted. Some people might have just bought a DVD set, but Prof. Talalay put in a pitch to get work directing the show.
 

雷切尔·塔拉里，不列颠哥伦比亚大学电影教授，爱上了重启的英剧《神秘博士》。有些人可能刚刚买了DVD播放机，但是塔拉里教授已经决心要做这部剧的导演了。

And she eventually got the job.

最终她得到了这份工作。

When she’s not in the classroom, Prof. Talalay is on sets. She was a producer for U.S. filmmaker John Waters, produced some of the original Nightmare on Elm Street movies and directed the sixth film in the series. In 1995, she directed the cult sci-fi film Tank Girl. She has had a long run directing TV series, including work on Ally McBeal, and lately she has called the shots for episodes of Bomb Girls, Reign and Continuum.
 
塔拉里教授平常不是在教室里，就是在片场。她曾为美国电影人约翰·沃特斯做制片人，制作了几部老版《猛鬼街》电影，并执导了这个系列的第六部。在1995年，她制作了邪典科幻电影《坦克女郎》。她曾长期执导电视剧，包括《甜心俏佳人》，Bomb Girls, Reign and Continuum是她最新拍摄的电视剧。
 
（此处有《环球邮报》制作的介绍短片，大家可到官网自行观看）
 
Before all this, she was a child in England watching Doctor Who. A jewel in the crown of British pop culture, the series debuted in 1963, went off the air in 1989 and returned in 2005. The series chronicles the adventures of an alien being who travels in time, facing threats such as Daleks, Cybermen and the Weeping Angels.
 
在此之前，她只是个在英国看《神秘博士》的小孩。这部剧是英国流行文化的明珠，于1963年初次露面，1989年停播，并于2005年回归。剧里讲述了一个时间旅行的外星人的冒险故事，其中他要面对可怕的怪物，比如打雷，赛博人和哭泣天使。
 
The Doctor occasionally regenerates himself physically, which has allowed 12 actors to play him. The latest, cast last August, is 56-year-old Peter Capaldi.

博士由于身体原因偶然重生了，所以共有12位演员来陆续接演这个角色。在八月份，56岁的彼得·卡帕尔蒂接过了这个角色。

This summer, Ms. Talalay got the Doctor Who call and went to Cardiff, Wales, where the show is shot, to direct two episodes. On Aug. 23, the Space channel, in Canada, will begin running the first season of episodes featuring Mr. Capaldi. Ms. Talalay’s episodes will cap the season when they air in November.
Ms. Talalay spoke to The Globe and Mail from Cardiff.

今年夏天，塔拉里女士接到了《神秘博士》剧组的电话，她到了此剧的拍摄地——威尔士卡迪夫，来执导两集《神秘博士》。8月23日，皮卡将在加拿大的Space Channel开始这一季第一阶段的拍摄。塔拉里女士的部分要等到十一月份再拍。

塔拉里女士在卡迪夫与《环球邮报》对话。

What can you tell me about the episodes you worked on?
I am doing the two-part finale. Both parts were written by Steven Moffat, which is fantastic. There’s so much action and effects and emotional material. It’s a Cyberman episode. We shot in London for two days. One day we shot outside St. Paul’s Cathedral. There were a billion tourists circling us while we were trying to film. Part of what we were tasked to do was replicate some classic shots – from the sixties show – of the Cybermen outside St. Paul’s. It’s a whole new story.

你能跟我讲讲你做的这两集吗？

我做的是个双集结尾。这两集都是魔法特写的，非常精彩。会有很多场景、特效和情感部分。这两集是关于赛博人的。我们在伦敦拍了两天。其中一天我们拍了圣保罗大教堂的外景。在我们拍摄的时候有成千上万的游客围着我们。我们的部分任务就是重现一些六十年代的经典场景——是有关圣保罗外的赛博人的。这是个全新的故事。

What was that day at St. Paul’s like?
We had a big scene with Peter Capaldi and Michelle Gomez – a dialogue scene. We had about seven hours of shooting and quite a bit of material to cover. I didn’t factor in that we were basically given five-minute periods to shoot, then we had to let pedestrians cross. So for every five minutes of shooting, we had about 20 minutes of moving pedestrians. It was very hot as well, which made it also very hard. The Cybermen were scorching hot in their suits. You’re all the time worried they’re going to pass out.

在圣保罗那天是什么样的？

皮卡和Michelle Gomez有个比较大的场景——是一个对话场景。我们大概拍了七个小时，但是只拍到很少的素材。这还不算那些拍个五分钟就得等行人通过的情况。我们每拍五分钟，就要留出大约20分钟让行人通过。天气也很热，拍摄起来很困难。那些赛博人在壳子里都要烤糊了。我一直担心他们会晕倒。

You’re trying not to have all your scenes prerecorded and posted on people’s iPhones and on the Internet before you have finished your own shooting. You’re trying your hardest just to keep focused. You just go, ‘Here are my priority shots. Here’s the absolute minimum we need to get, and let’s just stay concentrated on that.’

在拍摄完成之前我试图不要让人们拿iPhone录下来传到网上。我尽最大努力去集中精神。我就想：“这是我首要需要拍摄的场景。我们至少要完成这些，我们要集中精力。”

How did this gig come about?
I campaigned very specifically to get on Doctor Who. The minute I saw the reboot – which I was very skeptical about before I saw it – I saw how good it was. I have an agent in the U.K. I said to her, ‘Get an interview if possible.’ I had done The Wind in the Willows, which Mark Gatiss was in. I said to Mark as well, ‘Could you please put in a good word for me?’ I sent a reel full of effects and action to show I was not just any old filmmaker, but had experience in that world. As a woman, you have to remind people you do the things that you do. From the time my agent contacted me and said, ‘There are two episodes. Are you interested?’ to my leaving B.C. was nine days.
 
你是怎么得到这份工作的？
我为了《神秘博士》特意参加了竞选。当我看见重启的剧集时——在我看以前我还严重怀疑——我发现它非常好。我在英国有个经纪人，我跟她说：“如果可能的话让我们碰个面吧。”那时我已经拍完了《柳林风声》，麦哥也参与了。我也跟麦哥说：“能麻烦你替我说两句好话吗？”我寄了一盘我做过的场景和特效的胶卷，为了说明我不只是一个传统的电影人，我也懂他们那些东西。作为女性，你必须提醒人们你确实能做些事情。后来我的经纪人跟我联系说：“这里有个双集，你感兴趣吗？”
 
What did the Doctor Who team say about why they wanted you?
I said to Steven Moffat, ‘If I was to read the Internet I would believe you only hired me because you were pressured to hire a woman.’ He said, ‘I think they need to know I hired you because of your reel and your material and what we believed you would bring to it.’ I know that I brought effects experience, but I don’t know what makes anybody hire any director, really.

《神秘博士》剧组说过他们为什么选你来执导吗？

我跟史蒂文·魔法特说：“要是根据网上的说法，我想你雇我来只是因为你是被迫雇佣一位女性。”他说：“那我想那些人应该知道我找你来是因为你的作品和创意，并且我们相信你能够做得很棒。”我知道我做出了一些成绩，但我不知道一个人选择一个导演是有着什么样的原因，真的。

Visual effects. Is that a challenge many female filmmakers face in securing work?
I’ve been incredibly, incredibly fortunate. Early in my career when I did the Nightmare on Elm Street films, I was exposed significantly to visual effects and to action and to makeup effects and mechanical effects. There are many, many women filmmakers who are pigeonholed into women’s stories. I’ve never had that problem. I love visual effects. I love action. I love that kind of material. A lot of women filmmakers say, ‘How come you get those projects?’ You have to prove yourself. Women, more than men, have to prove themselves.
 
视觉特效对于许多女性电影工作者来说是一项挑战吧？
我特别、特别幸运。早在我做《猛鬼街》的时候，我在视效、场景、造型、设备上花了很多心思。有许多、许多女性电影工作者被束缚在了女性故事中。我从来没有过这方面的问题。我爱视觉特效。我爱镜头。我爱那类的东西。很多女性电影工作者说：“你是怎么做到这些的？”你必须证明自己。女性——相对于男性来说，更需要证明自己。
 
What advice would you offer to starting female filmmakers on this issue?
To do whatever you can to get the experience even if it’s shorts and also to learn those crafts. Doing effects is really hard. You have to make certain decisions and you have to think in a certain way. Spending the time to really understand what’s required in the shooting of action and effects, getting that experience even if it’s shadowing or meeting with visual effects companies and going into the editing room. All those elements will help because it isn’t the same type of filmmaking as dramatic filmmaking. As I said, I was just lucky that I ended up on theNightmare films. I engaged so strongly with how you make these films as good as possible with so little money.
 
你在这方面有什么建议给女性电影工作者？
尽可能多去积累经验，哪怕是很短期的也可以，并且要从中学习新技巧。做出成绩挺难的。你必须有明确的目标和明确的思路。花些时间去真正领悟在场景拍摄和效果制作上需要做到什么，哪怕要承受或者说忍受那些视效公司、要在剪辑室里工作，也得去体验这份经历。所有这些东西都是有帮助的，因为做电影和普通剧情片的制作不同。就像我说的，我很有幸我做的最后一部电影是《猛鬼街》。怎样用很少的资金尽量把电影做好曾是我的一大动力。
 
What did you see in the Doctor Who material that said to you, ‘I want to get in on this?’
It looked so amazing. What they did in every episode is totally different. Every episode is a small film. The great thing about time travel is past, present, future, fantasy. Everything and anything is fair game so every week you are going to go into a completely different world. There is only standing set in the BBC studio for Doctor Who and that’s the Tardis. Most shows run with, ‘Here’s your police station and here’s your apartment …” – all their standing sets. To start from scratch with ‘What world is it this episode?’ I thought, ‘How are they doing this? How are they accomplishing this and keeping this quality?’
And then why are these scripts so good? There’s so much humanity in them? Sometimes you are on shows that are very, very visual and then you can slack off on the acting. Sometimes you are on shows that are very, very dramatic and you can slack off on the visual. In Doctor Who, everything was equally important. The story itself. The acting. The emotionality. And the visuals. There was no room for, ‘Ah. This is good enough for this show.’ It was, ‘It has to be at its peak.’
 
《神秘博士》里的哪一点让你决定“我要去做这个”？
很令人惊奇。他们做的每一集都是完全不同的。每一集都是一个小型电影。时间旅行最棒的就是涉及过去，现在，未来，幻想。每一个事物，任何一个事物都是精彩绝伦的，每周你都要进入到一个完全不同的世界。这个只有在BBC《神秘博士》演播室，有Tardis才能实现。大部分节目都是“这里是你的警察局，这里是你的公寓……”——都是规定好了的。刚一开始我面临的是“这一集呈现的是什么样的世界？”，我会想：“他们如何来呈现？他们怎么在保证质量的情况下完成任务？”还有这些剧本为什么这么棒？是因为包含了很多人性化的东西吗？有些时候你的片子侧重于视觉化，你就可以忽略表演；有些时候你的片子侧重于戏剧性，你就可以忽略视觉效果。《神秘博士》里的每一样都同等重要。故事本身、表演、情绪，还有视觉都是如此。“啊，这个片子已经够好了。”这是绝对不行的。应该是“它必须是最棒的。”
 
Did you watch Doctor Who when you were a child?
Yes. I grew up in the U.S. My first memories of watching science fiction were Outer Limits and Star Trek. Then we spent two different years when I was growing up in the U.K. My parents are British. That’s where Doctor Who became part of my vocabulary. Tom Baker was my Doctor when I was growing up. And I was fortunate to work with him on a show called Randall and Hopkirk (Deceased). That was my next Doctor Who exposure – getting to work with Tom.
 
你小时候看《神秘博士》吗？
看。我在英国长大的。我对于看科幻故事的最初印象是《迷离档案》和《星际旅行》。我在英国待了两年。我父母是英国人，在英国我学会了神秘博士这个词。在我小时候正赶上汤姆·贝克演的博士。我很幸运在《Randall and Hopkirk》（抱歉，没有译名）这部戏里跟他合作。和汤姆一起工作，这就是我对于《神秘博士》热爱的延伸。
 
Peter Capaldi is relatively new as a Doctor. Has he found the character or did you have to help him along?
He has very much found the character. Nobody had any doubts about his ability to act. The biggest challenge was he’s Doctor No. 12. He was constantly worried he had 11 Doctors he might be mimicking. Pretty much anything you do in some ways is going to mimic some other Doctor. Becoming completely your own Doctor is fine when you’re No. 2, but a much greater challenge when you’re No. 12 and you have the 50-year history. I think he was truly challenged by that concept. But even when I saw the very first footage from the first episode, which I was privileged enough to see as soon as I arrived, it was clear he knew exactly who he was as a Doctor. For me, David Tennant and Matt Smith, both of whom I absolutely adore, are these young, romantic Doctors. When I went to interview, before they had even announced Peter, they said, ‘We’re going to go back to the older Doctors.’ Not age, just a slightly grumpier, more complicated Doctor. They chose a different direction and different type of Doctor. For me, [Peter] is the Doctor now because that’s what I have been living with for the last four months.

彼得·卡帕尔蒂是新一任博士。他找到自己的表演方式了吗？还是你帮助他去探寻？

他对于这个角色有很多体会。没有人会去质疑他的表演。最大的挑战在于他是第十二任博士。他最近在担心他可能会重复之前十一任博士的表演。在某些方面你总会有很大程度是模仿前人的。当你是第二任博士时完全按照自己的路子来是没问题的，不过当你是第十二任博士，又参演了一部有五十年历史的电视剧时，这就成为了一项巨大挑战。我以为他会被这种想法吓到。但是当第一集的第一场开始时，我迫不及待地进入片场，我一入场就发现他很清楚作为博士应该有怎样的表现。对于我来说，DT和马特这两个我非常欣赏的演员，他们扮演的博士都是年轻而浪漫化的。我去约谈时，那时他们还没宣布是皮卡（演博士），他们就说：“我们想找一个以前那样的博士。”不是要多老，而是有一点点脾气，更为复杂的博士。他们选择了一个不同的方向，一个不同类型的博士。之前的四个月里我一直和皮卡在一起，现在我可以说，他就是博士。

What do you do as a director to help him ?
At one point, I said to him, ‘That scene wasn’t necessarily how I imagined it but it was so clearly your Doctor that it was a revelation to me how well it worked as your Doctor.’ And he said, ‘Thank you.’ Because what I had said was, ‘You are your Doctor.’ That was the most I could do. Peter is such an incredible actor and so vertsatile, you’re not telling him how to act in any way as a director. He also likes to give you a lot of variety in performance so there’s no difficulty to say, ‘Try it a different way.’ .

你作为导演都从哪些方面去帮助他？

就一点，我跟他说：“你扮演的博士令我惊叹，你怎么能演得这么好，不过我这样说都不足以形容你的表演。”他说：“谢谢。”因为我原来说过，“你的博士是独一无二的。”我最多只能做这些了。皮卡是个无可比拟的演员，很有才，作为导演你都不用告诉他怎么去演。他也喜欢给你好多表演上的建议，根本不用再费心说：“换个方式试试吧。”

How did people in the United Kingdom – customs officers, cabbies, waiters – react when they heard you were in the country to direct two Dr. Who episodes? He’s an icon in the United Kingdom.
They will either say, ‘I don’t watch it, often, because it scared the hell out of me when I was a kid’ or ‘My nephew or my uncle or my brother is the biggest fan.’ In terms of me, I am just known as the Tank Girl director. And there’s a lot of attention to the fact that I am a woman. There’s very little attention to the fact that I am North American. There’s a lot on the Internet, questions about the fact that there have been so few women – even fewer women writers than directors. There’s been attention to that. To my surprise, the Internet has been incredibly kind – so far. I should not jinx anything. It has been kind about it being offered to me.
 
在英国的那些人——海关人员，出租车司机，服务生，当他们听说你在英国拍这两集《神秘博士》时有什么反应？这部剧也算是英国的国宝了。
他们也会说“我不怎么看这剧，小时候可把我吓坏了”或者“我的侄子，要么我的叔叔，要么我的哥哥是铁粉”。至于我，大家只知道我是《坦克女郎》的导演。大部分人都注意我的性别身份。少部分人注意到我是北美人。网上有很多消息都在说现在女性影人很少——女性编剧比女性导演还要少。还是有人注意到这一点了。令我吃惊的是，网络倒是特别的友好——至少现在是这样。我不应该有任何的负能量。我的经历一直都还是挺好的。
 
Mr. Capaldi, I am sure, will be the Doctor for quite some time but do you think it’s time for them to consider a female Doctor?
They should consider whoever seems right for the role at that moment and things changed. There were some definite discussions and rumours that it might be a woman this time and it didn’t come to pass. I’m not really privy to those conversations. I would embrace that absolutely, but I don’t think it needs to happen. I think it has to be true to who’s right to be the Doctor at that point.

我确信，皮卡总归会成为博士的，可是你认为现在是时候选出一位女博士了吗？

他们应该考虑的是谁最适合这个角色，但是时代总在改变。曾经有一些确凿的说法和传闻说这一次可能会有个女博士，不过最后这个想法被否决了。我没有真正参与那些讨论。我会绝对拥护他们的选择，不过我还是觉得没有必要选女博士。我觉得博士该是谁就是谁。

Why has Doctor Who lasted for 51 years?
Time travel and science fiction are great topics. It allows for massive variety. They have been very smart on touching on elemental stories in a Brothers Grimm kind of way. There has been a love of the series itself that has just grown and grown. But it also has an incredibly strong human element. I am amazed, in my episodes, how much humanity is in there. I look through the episodes of this season and they’re so varied. That helps too. You don’t have to like every episode. There’s something for the boffins. There’s something that harkens back to 1963 and 1968 and there’s something that is entirely new but there’s very elemental themes.

《神秘博士》怎么能延续了51年？

时间旅行和科幻故事都是很棒的题材。它给出了很多的可能性。他们很聪明地用了格林兄弟那样的模式来讲述传统故事。这些故事里所包含的爱不断地增长。而且还有很强烈的人性的元素在里面。我很惊讶，在我做的几集里竟然有这么多关乎人性的部分。我整个看了这一季的所有故事，它们的区别很大。这也挺有用的。你不必喜欢每一集。有些是给怪才准备的。有的故事可以追溯到1963年和1968年，有的故事是全新的，但是仍用了古老的主题。

You said there’s something for the boffins?
That’s a British term for the nerds, for the people who want to know every single detail, everything about time and space and space travel and how that relates to every single episode of Doctor Who. There are the people who have watched every single episode and will analyze specifically how this relates to that. It’s a hard series. My parents who did not know Doctor Who because it’s actually after their time because they are elderly. They asked, ‘What should we watch?’ It’s hard to explain because it is so mythic, the size of it. You can dip into specific episodes but it means so much more if you have some history of the relationships, of regeneration and who was the Doctor before and how that relates to this. They are individual episodes with their own stories but they almost always touch on things that have happened in the past and who the Doctor was in the past. When the 50th anniversary episode came out at Christmas, Mark Gatiss did a docudrama about the first episode called An Adventure in Space and Time. That’s what I have given to everybody who said, ‘Where do I start?’ It’s a wonderful piece of work that tells you the history of the very first episode. That’s where I start people at.
 
你刚说有的故事是给怪才准备的？
 
这是宅人的英国说法，就是说这些人想要了解每一处细节，了解关于时空和时空旅行的一切，还有这些内容跟《神秘博士》的每一集有怎样的联系。有些人看过了每一集，又特地去分析这里那里的关系。这是个大工程。我的父母辈有的不知道《神秘博士》，因为他们年纪大了，这部剧已经演过去了。他们会问：“我们应该看什么？”这很难回答，因为它太虚幻了，大概是这么个情况。你可以深入到剧集中，但是如果你了解剧里的各种关联，博士重生，以前扮演博士的人还有这一切和故事的联系，这部剧就意味着太多了。每集都是独立的，有独立的故事，不过它们通常会触及到过去的故事，过去的博士。50周年特辑在圣诞出来的时候，麦哥做了一个关于《神秘博士》起源的电视纪录片，叫《时空大冒险》。这就是我想给那些说“我该从哪开始看？”的人所介绍的。这是一部杰作，里面会告诉你《神秘博士》是怎么开始的。我建议人们从这部片子开始看。
 
How much latitude, as a filmmaker, did you have to put your own stamp on the material and, in a way, on the Doctor as well?
I don’t think you put your own stamp on the Doctor. The Doctor is the Doctor. It would be wrong to come in with a whole new point of view. You have a dialogue with your actors, but it would be wrong to be creating something new. Because every episode is completely different – it’s its own world. Where is it taking place? Am I doing Victorian England? Am I doing the future? Am I doing a new planet? How am I presenting that? And they embraced that. My scripts were so wonderful. All I did was embrace such great writing.

作为电影人，你有多大程度会在你的作品里留下个人印记？在《神秘博士》里会有吗？

我不认为应该在博士身上加印记。博士就是博士。提出全新观点是不对的。你会和你的演员谈论，但是创造出全新的东西就是不对的。因为每一集都是完全不同的，它们有自己独立的体系。它是在哪儿发生的？是在维多利亚时期吗？是在未来吗？是在外星球吗？我怎么去呈现？这些都包含在剧里了。我的剧本都特别棒。我要做的就是利用起这些好剧本。

How have you juggled your TV directing assignments with your responsibilities at UBC?
It’s a challenge. UBC has been quite flexible with me. In this case, I happen to be on sabbatical this year. It happened to all work out beautifully. I’ve had to definitely teach rather than direct. Sometimes if I have a local job – a regular TV episode is only three weeks – I’ll just bring my students and make it part of the class. That’s a great thing about production. Being on set is critical for them.

It’s interesting. I used to sometimes show clips of Doctor Who. You would always get people who would go, ‘Oh?’ Showing Doctor Who would always get a few people in class thrilled. It would be like, ‘Oh my God. My old prof is hip enough to be showing us Doctor Who.’ I like to give students specific scenes to break down. ‘How would you shoot this?’ And, after we break them down, ‘OK. How did I shoot this?’ What choices did the director make?’ When critics talk about things, they ascribe intent. Frequently, it has nothing to do with what you were trying to do. It’s what happened at that time. Ninety-eight per cent of it is problem solving. It’s great that it’s perfect in your head when you read it, but what happened on set? And how are you going to solve that? That’s your UBC education in a nutshell.
 
你是怎么来平衡电视导演的工作和学校里的工作的？
 
这是个挑战。学校对我挺宽松的。这样一来呢，我今年正好可以休假。所有事都完美解决了。我教书总得比导演时间要多啊。有时我要是接了个在本地的活儿——比如只拍三周的电视片，我就带着学生到现场学习。对于学习制作来说是个好事。他们在片场体验也挺重要的。
 
这挺有意思的。我有时会给他们放《神秘博士》的片段。你经常会看见有的人说：“哦？”放《神秘博士》的时候总能让班上一部分人兴奋起来。比方说，“哦，我的天哪。我们的老教授给我们放《神秘博士》，太时髦了。”我喜欢给他们看一些特别的场景，再打断他们的情绪。“你会怎样拍出这样的场景？”然后，这时我已经打断他们了，“好了。我应该怎么去拍这个场景？导演应该怎么做选择？”当他们讨论起来的时候，他们就会专注于研究问题了。可通常是，你试图去做并不能解决任何问题。课堂上就会这样。百分之九十八的内容都是解决困难。在你读剧本时有个完美的想法是很棒的，但是你怎么把它拍出来？你怎么解决这个问题？简单地说，这就是UBC（不列颠哥伦比亚大学）能教给你的。
 
Follow Ian Bailey on Twitter: @ianabailey
 
 
小贴士：以下为IMDb网站Rachel Talalay的个人简介
IMDb
Rachel Talalay was born in Chicago Illinois. Her parents, Paul and Prudence, moved to Baltimore to work/teach at Johns Hopkins when she was 4 years old. After studying Applied Mathematics at Yale University, she worked as a computer programmer at Johns Hopkins University. During this time, she met Director John Waters and entered the movie business as a production assistant on his 'Polyester', starring Divine. Here she met Robert Shaye, head of New Line Cinema, and started a long relationship which led to her work on the "Nightmare on Elm Street" films, culminating her relationship with directing "Freddy's Dead: The Final Nightmare". From there she continued her directing career, moving into television, and working on a wide variety of projects from family entertainment "Wind in the Willows" to Horror "Supernatural" to Comedy "Ally McBeal". In 2014 she became the first American and seventh woman to direct "Doctor Who".
 
雷切尔·塔拉里出生于芝加哥伊利诺伊州。她的父母——保罗和普鲁登斯，在她4岁时搬到了巴尔的摩，并在约翰·霍普金斯大学工作/教书。从耶鲁大学完成了应用数学的学业后，她在约翰·霍普金斯大学担任程序员工作。在此期间，她遇见了导演约翰·沃特斯，为他的电影《菠萝脂》担任制片助理，并出演Divine（存疑）。在这里她结识了新线影业的高管罗伯特·沙耶，开启了与电影《猛鬼街》的长期之旅，也正是执导《猛鬼街6》让她的事业攀上了高峰。在那以后，她继续着她的导演生涯，转而进军电视业，执导了方方面面题材的电视剧——从家庭剧《柳林风声》，到惊悚剧《邪恶力量》，再到喜剧《甜心俏佳人》。在2014年她成为了执导《神秘博士》的第一个美国导演，也是第七位女性导演。

以前总以为Clara的结局其实是好的，她太像博士，某种程度上，她也最后成为了接近博士的存在，有自己的Tardis，有自己的伴游，她的遗憾仅仅是告别了那个她一直以来小心维持的人类世界，也告别了她最最珍爱的旧友。她不像Donna忘记了一切，在经历了那么多奇妙的旅程后，又重新成为一个庸俗的大众，过着日复一日的单调日子；她也不像Rose，就算心有遗憾，但终究在平行世界牵起了人类10的手；她不像Amy，选择和爱人一起困在博士去不了的时空，永远和自己童年的英雄告别，却又找到了自己新的人生；她也不像Martha，终于学会放下对博士的依恋，在地球继续做着她该做的事情，并且永不停止战斗。
她是Clara Oswald，极度控制狂，以教书育人为己任，甚至连比人类多活几千年的时间领主在她面前也是个乖乖低头查提词板的好学生，她的双眸为每一次冒险而闪耀着。
她失去过爱人，失去过信仰，曾经崩溃过，曾经退缩过，曾经放弃过——那些软弱标明着她是个彻彻底底的人类，但她也曾坚持过，曾勇敢过，曾含着眼泪和最爱的人告别过，曾为自己的有人牺牲过——那个直面渡鸦的女孩，只能是她Clara Oswald.
但现在想想，那个驾着Tardis和博士分道扬镳的女孩，还是Clara Oswald吗？
她当然是，她是Clara直面渡鸦前停滞的一帧，是真真正正那个时刻为朋友站出来，张开双臂迎接死亡的女孩。
但她又不是了。她不再是人类，不再能感受新的感情，不再会萌生新的思想，那所有令她的种族在博士眼里熠熠生辉的特色，都随着那凝固的时间冻在她的时间线，随着她的尸体逐渐冰冷而挥发殆尽。
她只是一个留下的残像，只是这个残像太过美好，太过生动，以至于没有人能够说她是虚伪的存在。
她的确成了最接近博士的存在，甚至她连重生限制都没有，她不会被杀死，不会被伤害——她只是时间流中的一帧，不是活物，而是存在。
她不再会遗忘，不再会爱，不再能享受身为人类所能感受到的一切。
她是Clara Oswald，甚至可以算整个宇宙最难以消除的强大存在，她就这样驾着她的Tardis，去往每个博士去不到的地方——这个故事太过悲伤，以至于太多人不愿去想象她终有一天，会自己选择回到那条时间线，永永远远的和这个世界告别。
她还是Clara，她永远都是纯粹的Clara，却已经不再是Clara了，这让人感到格外悲伤。
Me小姐从维京时代活到最后一颗行星陨落，她不断蜕变，不断遗忘，从一个单纯的维京女孩，变成那个让博士都提防三分的Me，她不记得自己的名字，不记得自己的经历，却切实地活着，永久地活着，不断的丰富着自己的精神和思想。
而Clara却能在无限的时间里记住她身为Clara Oswald时的一切，她和博士的每一场惊险的旅行，她的每一次爱，每一次希望——她永远被冻结在那里，她存在着，却再也没有未来了。
以前单单是在为博士和Clara再也不能相见感到感伤，现在想想，大概某一帧的Clara很难再和博士走下去了吧……



以及，当初看完直面渡鸦，我根本不敢点开下一集，我怕出来一个新伴游，和博士一起进行以往的冒险，我怕我接受不了（当时我就因为特别喜欢amy而接受不了clara从而弃了第七季转去看第一季，直到换伴游换习惯了amy情结已经没有了才捡起来看，慢慢喜欢上clara），但没想到魔法特这个老贼居然选择补刀！补刀！补刀！忏悔罗盘那集的博士看得我哭都哭不出来仿佛大卡车碾过全身……最后两个人的分别又让我惆怅老半天……说好的下次见面一眼就能认出你呢呜呜呜呜呜
还有在lft上看到一个太太的解读是博士根本没有忘记clara，因为一开始那个消除记忆的机器就是针对人类用的，可能对时间领主并没有用，但12C这对混血组已经足够引起宇宙重视，想要保全Clara两个人就必须分开，但Clara是宁愿死也不愿意被消除记忆离开的，所以只能是博士装作被消除记忆，算是和Clara进行最后的道别…………………妈蛋全是刀子
最后再说一句——魔法特不是人！
不是人！

第九季出来之前，其实我很兴奋，因为之前官方说，这一季都是几乎都是双集故事，另外官方说，庞贝是一个坑，而且这一季会填这个坑，我是怀着对新模式的向往，和对重生已久的旧人的怀念，来看这一季。
第一集的确没有让我失望，霸气的用Doctor,Clara(那个被大家快要奉为神明的女子),Missy三人组和反派Davros开篇，还带回了影子宣言，Judoon，以及各种在魔法特接手后就很少出现的元素，我当时很满足，魔法特终于能够将自己的灵巧，混乱和RTD的浑厚，稳重稍稍融合，我有一刻以为，我终于不用再用精分的方式来看待RTD时期的DW和魔法特时期的DW了。
然而第二集就开始有点失望了，在他们无情的被Dalek击中之后，他们又毫发无损的出现在了另一个地方，诚然，如剧情解释，他们经过了无数次的计算在短短一秒内经过了无数次的计算终于逃脱，然而我想起了第四季的10，被Dalek击中浪费掉了一次重生，第五季的11，也是在最后关头把自己放进潘多拉盒子才没有死掉，最后在Amy的记忆中被唤回。我知道每一集有不同的解释，有不同的契机，但是给我个人的感觉是，像是现在的DW里，生命已经不再是值得重视的事。
在接下来的第三集和第四集，这个双集是这一季相对保守的故事，只是一直提到10时期的梗，比如那个女孩向博士背他过去女伴的名字（但是我记不得那个女孩的名字）比如用了310时期一样的安全协议，比如解释了306那一集小十遇到贝多芬，然后编了一个贝多芬并不存在的故事。
在已经习惯了魔法特写着自己的DW的时候，突然看到RTD时期这么多旧故事的梗，我一开始是很欣喜的。
接下来第五集第六集，关于维京女孩二丫的故事，瞬间就感觉不对了，博士为了挽救二丫的生命，给了她永生，顺便用小十在庞贝的经历告诉自己，这样做是对的。我想大家都知道博士这样做是不对的，然而克拉拉作为现在最了解他的人，并没有阻止，我当时想，也许，她认为永生是一件很好的事………………吧？
再是第七第八集，这个双集我认为写的比较平稳，并且博士在发表对战争的那段演讲时，我也泪目了。
第九集sleep no more，我认为，这是两季以来最好的故事，精巧无比的拍摄手法，无法复制的故事情节（虽然我已经忘记这一集故事的内容了但是给人的震撼还在）
第十集涉及了克拉拉的终点，说实话，我确信克拉拉会这么做，我也确信克拉拉并不会就这么死，毕竟这一季开头克拉拉就已经死过了……再事实上，克拉拉就一直在死去，从她的第一次出场开始至今，死亡确实不是什么重要的事情。我并不惊讶克拉拉这乍看之下稍显仓促细看之下仍然还是仓促的结局。她的每一次死亡都是仓促的。这一次不过是她最后一次而已。
关于第十一集，也许这一集大家会奉为神作，的确，初看之下，的确很棒，全剧几乎只有皮卡一个演员，被困在一个地方精卫填海，愚公移山，多么像一则再嚼都不会烂的寓言啊，整整20亿年（事实是45亿年），不停燃烧自己，创造新的自己，每一个镜头，每一个情节，都是多么棒啊。然而事实上，在我看第四遍第五遍已经没有感觉了，我个人觉得，花整整一集仅仅是来凸显“不抛弃不放弃”这个几万年前就已经被博士挂在嘴边的主题，也许并不是那么明智，这一集其实只是一个扭曲的放大镜，将博士这个特质放在放大镜下给我们看，然而编剧啊魔法特你忘了，放大镜放太近了之后所成的像反而是模糊的。
终于到了最后一集，咖喱星终于回来了，我以为博士会和咖喱星有一场不解的恩怨，也许有一场大战，然而一切的冲突都只是为了克拉拉。现在我虽然完全不赞同博士这种毫无底线的做法，我只明白一点是，博士不知何时，已经患得患失如此严重，从上一次Amy离开自己把自己关在Tardis一百多年，到如今这一次，用整整一季来刻画如此恐惧失去的博士，这的确是我见过的跟以前所有任都不一样的博士。最后终于让这样的博士忘记了，放手了。（我不确定是不是放手了）不过这样看，如果博士还不放手，接下来的剧情还要如何进行。
最后，编剧给了克拉拉一个一秒之间的永生，并且和同样已经永生到了宇宙尽头的二丫一起遨游太空，我不知道这是对克拉拉的祝福还是诅咒，但是看二丫就看的出来，她们的旅程，也许美妙无比，但是她们的生命，已经被玩弄的悲伤无比，看似美妙而伟大，实则是再轻贱不过。
生命对她们来说是否依然可贵不得而知，所有的旅程，想想也只是再无趣不过的一个接着一个的故事。

对第九季的整体看法，跟我的评分一样，我以五颗星期待，却只能给四颗星，有一颗星的失望。
四颗星的期许是给编剧，多谢你还记得那些已经离开的人，一颗星的失望也是给编剧，你也仅仅是记得那些已经离开的人，那些突兀的旧梗，和那些明明想要抛却这些枷锁不顾一切往前的矛盾，在这一季尤其明显。
所以，我看来，要是忘记以前所有的设定包括5到7季魔法特自己的设定，来看这一季（按单个故事看）其实很好，而且个个都很精彩，是的，是单个的故事，然而把这些都很精彩串成一季，还要加上以前的设定，就会有各种不适。就像第1、2集和11、12集，或者7、8集有关主线的故事顺序完全可以打乱甚至忽略掉来看。如果重新来看第八季和第九季，你会发现这两季加起来缩成一季的内容一点都不难，而且缩成一季之后，毫无疑问会更加紧凑更加顺畅。

关于克拉拉的人设，有人说三季三个不同的克拉拉是表现了克拉拉性格的复杂性，我表示不能认同，人性的复杂，不是过一段时间就变成完全像是另外一个人一样，人性的复杂是指你只看到他的一面，然而他的另一面你可能会看到可能会看不到但是他总会暴露出来，过段时间变成完全不同的另外一种性格，那是多重人格。
如果真的是编剧故意这样描写的话，我只能把克拉拉理解成为是一个具有多重人格的人，或者根据第七季结尾的剧情联系理解，每一季的克拉拉其实都是一个不同的碎片。


另外我很喜欢这一季的结尾，终于学会了放下的12，抛却了抛不却的前尘，穿上新衣服，手握新起子，继续在宇宙里流浪。Time to move on,Doctor.

这一篇影评，送给clara，11和12。
Guess we are all gonna have to be brave.
brave这个词贯穿了clara的这两季半，贯穿了impossible girl的无数个一生。
我其实始终没有去看clara死去的那一集，可是我看了之后两集的，前所未有的漫长告别。
11和clara之间的感情，我以为是懵懂的，不能戳破的爱情，clara是喜欢他的，而11也是喜欢她的。圣诞特辑里clara要11扮作她的男朋友，一开始没有说清楚，11却直接说了一句“FINALLY”，而后clara解释，11愣了一下。这个细节让我想了很久。
可是12让这段感情热烈起来。初一见面，整个第八季12都在找寻自我定位，clara在control freak，我简直没法形容看第八季时候那种纠结和厌烦感，直接导致对第九季的热情都下降了，可是clara的死亡终于让我找回了对doctor这部剧的初心。
我不是不爱clara，我在第七季的时候喜欢死她了，所以我没有看她究竟为什么死去。
我想，也许也因为我太爱11，所以clara的死亡意味着最后一点和11的关联也消失了吧。
clara oswald，蛋奶酥女孩，impossible girl，始于一片树叶，终于直面渡鸦。
我想最令我不忍心的，还是11离去的那一刻，在那个房间里他最挂念的两个人，最终都走向了不可避免的结局。
他九百年后油尽灯枯的时候，还是忘不了Amelia pond, the girl who always wait.
The first face he saw.
而最终，他连clara都失去了。
那个不顾一切的12，那个失而复得的11。
"Clara! My clara!"
很喜欢抱抱的内心荒芜的11，和不喜欢接触的想要clara看到自己的12。
最后的最后，他们甚至不能记住她。
“如果她再出现在我面前，我一定能认出她。”
她就站在你面前。
"Clara who？"