關(guān)于《老友記》你不知道的八大幕后故事

　　The very first line on "Friends" was "There's nothing to tell." Over a decade later, that's still not true at all. With all 10 seasons of "Friends" available on Netflix -- and to celebrate star Jennifer Aniston's birthday -- The Huffington Post spoke with original set decorator Greg Grande, art director (or today's equivalent, production designer) John Shaffner and also combed through old interviews with the cast to get deeper trivia about "Friends" than just that it used to be called "Insomnia Cafe."

　　記得有人說對(duì)《老友記》最初的看法是：“沒什么好說的”。十幾年過后，發(fā)現(xiàn)根本不是這樣的?！独嫌延洝啡究稍贜etflix觀看。為了給珍妮弗·安妮斯頓慶祝生日，《赫芬頓郵報(bào)》專門跟《老友記》的布景師Greg Grande和藝術(shù)監(jiān)制(也就是現(xiàn)在的總美工設(shè)計(jì)師)John Shaffner談起這部經(jīng)典之劇，一起尋回以前采訪演員們的時(shí)光，從而也找回曾一度被稱為“失眠咖啡館”的《老友記》幕后一些瑣事。

　　1. The iconic orange couch was found ripped and tattered, deep in the corners of a prop basement.

　　那張經(jīng)典的橘色沙發(fā)被發(fā)現(xiàn)在一間地下道具室的角落時(shí)，就已經(jīng)破舊了。

　　"The first thing I did was scour the Warner Bros. prop house," Grande explained. "Literally in the basement, deep in one of the corners of the basement, was this sofa that was absolutely beautiful and the line of it was just gorgeous. It was very tattered. We cleaned it up a little bit, it had quite a few rips in the fabric. But we cleaned up."

　　Grande對(duì)此說道：“當(dāng)時(shí)我第一件做的事就是仔細(xì)搜查華納兄弟公司道具室。我發(fā)現(xiàn)這張忒漂亮，紋路完美的沙發(fā)真的就在地下室的一個(gè)角落里。當(dāng)時(shí)它已經(jīng)又舊又破了。我們稍微把它清理了一下，我們清理的時(shí)候沙發(fā)上有些地方的布料就已經(jīng)爛了。但我們最后還是把它修好了。

　　Not enough for NBC it turns out. The network had Grande reupholster the couch and clean it up even more. Grande said that the still memorable but slightly less recognizable green chair was also found in that basement. Grande attempted to find out what Warner Bros. had used these seats for in the past, but never had luck.

　　清理過后，美國(guó)廣播公司還覺得不夠。廣播網(wǎng)要求讓Grande給這張沙發(fā)重裝椅面，然后還要經(jīng)常作清理工作。Grande說那張充滿回憶而有點(diǎn)辨認(rèn)不出的綠色椅子也是在那發(fā)現(xiàn)的。Grande試圖了解華納兄弟公司以前要這些座椅干嘛，卻總是無法知曉。

　　The orange sofa, along with the rest of the Central Perk set, is on display at the Warner Bros. VIP Studio Tour in Burbank, California.

　　那張橘色沙發(fā)和中央公園咖啡館里的其余陳設(shè)現(xiàn)在加州華納兄弟公司VIP工作室陳列著。

　　2. The frame around the peephole was originally supposed to have a picture, but then the glass was accidentally broken.

　　那個(gè)圍住門眼的框框最初是應(yīng)該要放照片的，但是沒多久上面的玻璃不慎碎了。

　　Grande bought the frame from the Rose Bowl Swap Meet and initially dressed it into the set as a normal picture holder that sat on a table.

　　那個(gè)框架是Grande在玫瑰碗跳蚤市場(chǎng)買的，開始他只是把它放在桌上弄成一個(gè)布景的相框。

　　"I originally had it as a picture frame that had a back on it," he said. "And while we were dressing the glass in it broke and I told one of the guys, 'Well let's see what that frame looks like around the peephole.' And they put it up there for me and that's where it lived for the next 10 years. It actually was as simple as that. Kind of a funny mistake."

　　他說道：“這個(gè)相框我剛買的時(shí)候背面是玻璃的，但是我們往相框放相片時(shí)玻璃碎了，然后我就跟我們一個(gè)演員說：“那看看這個(gè)框框把眼門圍起來如何。”接著他們就照我說的那樣做，就這樣那個(gè)框框就在那待了接下來的十年。它其實(shí)就這么簡(jiǎn)單。真是陰差陽錯(cuò)得有點(diǎn)意思。”

　　The origin of the idea might have come from John Shaffner pushing for Grande to do something special with the door. Shaffner really doesn't like when doors in sitcoms are lackluster. "It's one of my pet peeves," he said, "especially in sitcoms in New York, what's on the back on the door."

　　這個(gè)主意是John Shaffner極力想要Grande給那扇門弄點(diǎn)裝飾的時(shí)候想出來的。Shaffner真的不喜歡劇里的門顯得毫無光澤。他說：“這是我最討厭的東西之一，尤其是在紐約的情景劇里門背上的東西。”

　　So before the break of the frame, Shaffner had been telling Grande, "Come on, Greg, what're we going to do with the back of the door? What're we going to do with the back of the door?" Then Grande had the broken frame and figured he might as well try it out.

　　所以在相框還未破之前，Shaffner就一直跟Grande說：“說吧，Greg，我們?cè)撘瞄T背如何?我們?cè)撘瞄T背如何啊?”然后 Grande的相框的玻璃就碎了，因此Grande就想他也只好拿那玻璃碎掉的相框試一試。

　　3. Chandler's awkwardness around women and habit of stressing the word "be" in questions was actually based off Matthew Perry.

　　錢德勒在女性旁會(huì)尷尬，以及問問題時(shí)習(xí)慣把“be”重讀其實(shí)跟本人一點(diǎn)關(guān)系也沒有。

　　According to a 1995 article in People, Chandler Bing's trademark awkwardness came from Matthew Perry himself.

　　據(jù)《人民報(bào)》一篇文章報(bào)道，錢德勒·賓商業(yè)標(biāo)志般所表現(xiàn)出來的羞澀是來源于馬德·瑞修本人的。

　　Particular dating mishaps would even make it into the show. That said, of course the Bing character was made more ridiculous than Perry for the sitcom. The actor is quoted as saying, "These characters are slightly exaggerated, slightly more entertaining versions of ourselves."

　　在劇里甚至錢德勒那么幾次約會(huì)的波折會(huì)讓他表現(xiàn)出這種羞澀。也就是說，錢德勒這個(gè)角色在劇里的表現(xiàn)當(dāng)然比派瑞本人夸張離譜些。他說：“劇里的角色表現(xiàn)得都有點(diǎn)夸張，也比我們本人更搞笑一點(diǎn)。”

　　Beside the awkwardness, arguably Bing's most memorable aspect -- exaggerated questions -- also comes from Perry. "He has this way of speaking, using questions like, 'Could this be any more this or that?' So they wrote an entire episode about how everybody at his office makes fun of him because of the way he talks," Jennifer Aniston said.

　　除了錢德勒的羞澀，錢德勒最讓人回味的的一面——脫口而出就是夸張的問句，無疑也是對(duì)派瑞本人的寫照。珍妮弗說：“他說話的方式是這樣，就是用一些問句，比如說‘這還能再這個(gè)或那個(gè)一點(diǎn)嗎?’所以就專有一集是說他辦公室里的人是如何取笑他講話的方式的。”

　　4. Jennifer Aniston and other cast members were scared of Matt LeBlanc before meeting him, just based on reading his character's forward personality.

　　珍妮弗·安妮斯頓跟其他演員在見到馬特·勒布朗之前都害怕他，而這只是基于對(duì)他所扮演的角色性格的了解。

　　In an article from People, writer Craig Tomashoff explained how Matt LeBlanc was perceived before he'd even met the cast:

　　作者Craig Tomashoff在《人民報(bào)》上寫了一篇文章，是關(guān)于馬特·勒布朗在認(rèn)識(shí)其他演員之前別人對(duì)他的看法的。

　　Some cast members were also nervous about LeBlanc, 27, who hails from Newton, Mass. (his father is a mechanic and his mother makes circuit boards), and whose résumé includes a stint looking studly as a Levi's model. "I was scared of that type of guy," says Aniston, who assumed he'd be muy macho. "He thinks it's very funny now. And actually, he can sit down and comfort me just like Courteney or Lisa could."

　　部分演員有時(shí)也會(huì)害怕勒布朗。27歲的勒布朗來自馬薩諸塞州牛頓市，父親是個(gè)機(jī)械師，母親是造電路板的，他在簡(jiǎn)歷上寫著他曾因外形陽光帥氣當(dāng)過一段時(shí)間的利維斯牛仔褲的模特。安妮斯頓說：“跟他不熟之前我以為他是那種大男子主義的人，我是很怕那種人的。勒布朗現(xiàn)在覺得我之前那種想法很搞笑。事實(shí)上，他真的就如肯特妮或麗莎所形容的那樣一坐下來就能把逗樂我的那種，讓人很舒服。”

　　Having someone constantly hitting on you asking, "How you doin'?" might get sort of annoying, but LeBlanc was more of a "How are you doing?" person in real life.

　　如果有人一看到你不停挑逗性的問你：“近來好嗎?”，這可能會(huì)有點(diǎn)讓人反感，但是勒布朗在現(xiàn)實(shí)生活中更像是會(huì)問你 “你最近還好嗎”的人。

　　5. The real reason Monica's apartment was so big was actually different than what the show claimed. It was based of the set designers' own apartment from the 1970s.

　　莫妮卡的公寓這么大的真正原因其實(shí)不是這部劇里說的那樣。它其實(shí)是以布景設(shè)計(jì)師70年代的公寓為原型的。

　　Co-creators Marta Kauffman and David Crane, producer Kevin Bright and the designers John Shaffner and Joe Stewart each drew from their own New York experiences to create "Friends." Specifically, Shaffner and Stewart lived together in an apartment that ended up becoming the inspiration for Monica's apartment and the show's home base.

　　編劇Marta Kauffmand和 David Crane，制片人Kevin Bright，布景設(shè)計(jì)師John Shaffne還有Joe Stewart他們各自截取他們?cè)诩~約的種種經(jīng)歷來給《老友記》提供素材。具體來講，Shaffner 和Stewart曾同居一間公寓，最后這間公寓便成了莫妮卡公寓跟劇里本部模型的靈感來源。

　　"We'd all had similar New York experiences in the late '70s, so we kind of reached into our communal New York lives and withdrew a lot of elements that we felt were appropriate for the story," Shaffner said. "And we had lived in a sixth-floor walkup, so we knew you got a bigger apartment for less money if you're willing to climb six flights of stairs."

　　Shaffner說：“在70年代后期，我跟Stewart都生活在紐約，而且都有相似地經(jīng)歷。因此我們就有點(diǎn)把我們那時(shí)在紐約時(shí)的生活融入到劇里去了，而不用之前覺得適合作本劇的素材。我跟Stewart之前都是住那種無電梯直通公寓，總共有六樓那么高。所以當(dāng)時(shí)我們就了解到住這種樓，只要六樓樓梯你都肯去爬的話，那就是說跟別人比，你花少點(diǎn)錢就可以住上大一點(diǎn)的公寓了。

　　But there was always a perennial question about the show: How did Monica afford such a huge apartment?

　　但關(guān)于這部劇一直有個(gè)問題困擾著：莫妮卡怎么買得起如此偌大的公寓?

　　"The answer was it's the sixth floor of a walkup," Shaffner said. The explanation of rent control was written into the show as it was easier to explain to the wider audience, but this was always the real reasoning in his mind.

　　Shaffner說：“只能說是因?yàn)檫@是一座無電梯直通公寓樓的六樓。劇中也闡釋了公寓的租金管制，原因是這比較好跟廣大觀眾解釋，但是在他心里這個(gè)租金管制是莫妮卡買得起第六層公寓的依據(jù)才對(duì)。

　　Since the characters were largely broke in the beginning of the series, the decorating inspiration was thrift stores and flea markets and even other people's garbage. "When you need to furnish your place and you don't have much money, one of the great places to shop is the streets of Manhattan," Shaffner said.

　　因?yàn)樵谶@部劇剛開始時(shí)，人物角色大都是身無分文的，所以劇里給公寓裝飾的靈感來源于二手店，跳蚤市場(chǎng)甚至還有別人的車庫。Shaffner說：“當(dāng)你需要給你的住布置家具而又沒什么錢時(shí)，曼哈頓的大街就是你最好的購(gòu)物去處之一。”

　　6. NBC expected to get tons of hate mail for the gay wedding, but only received a handful of complaints.

　　美國(guó)廣播公司期待有關(guān)于這場(chǎng)同性戀婚禮的恐嚇性，沒想到卻只收到幾個(gè)投訴電話。

　　As The Daily Dot recently argued at length, "Friends" was an important show for pushing equality. Earlier seasons relied on problematic gay panic jokes, and the show certainly got criticism for having an all-white cast, but even by just Season 2, a whole episode was focused on a gay wedding.

　　就像The Daily Dot(第一份描寫互聯(lián)網(wǎng)虛擬國(guó)度的報(bào)紙)的那樣，《老友記》對(duì)于促進(jìn)同性戀平等的一部重要的劇。前幾季笑點(diǎn)主要都是恐同(同性戀恐懼癥)問題的笑話，當(dāng)然這部劇也因?yàn)檠輪T全是白人而遭受批評(píng)。但單單在第二季，就有一集的重頭戲是同性婚禮。

　　According to David Wild's book, Friends ... 'Til the End, the network was expecting a lot more pushback than they received for "The One with the Lesbian Wedding." Executive producer Marta Kauffman said, “NBC expected thousands and thousands of phone calls and hate mail.”

　　據(jù)David Wild著的一書《朋友啊，直到世界盡頭》，廣播網(wǎng)期待收到的反對(duì)意見遠(yuǎn)比 “蕾絲邊婚禮”一集的多。該劇總監(jiān)Marta Kauffman說：“美國(guó)廣播公司期待收到成千上萬個(gè)觀眾打來的電話跟成千上萬封恐嚇信。

　　Instead, NBC received only four complaints by telephone.

　　可是，美國(guó)廣播公司只收到四個(gè)投訴電話。

　　7. The famous "mistake" in the establishing shot actually has an explanation.

　　人人皆知的公寓取景存在的誤區(qū)其實(shí)是有說法的。

　　It's often labeled as a mistake that the establishing shot for Monica and Joey's apartments is wrong. There is a fire escape where there shouldn't be; there's no balcony. John Shaffner had the same exact reservations. Initially they had wanted him to make a window for Monica's apartment that was sort of special and gave it a kind of identification, hence the big multi-paned window in the show. Shaffner wanted the exterior shot to match so as he said, "I went to New York and came back with an armful of pictures of the tops of the sixth-floor buildings with windows like that."

　　莫妮卡和喬伊的公寓遠(yuǎn)景取景方式經(jīng)常被認(rèn)為是不對(duì)的。他們公寓有個(gè)火災(zāi)逃生出口，而在劇里，公寓不該有。公寓也沒有天臺(tái)。這些John Shaffner正好之前都預(yù)留了。起初他們想要他給莫妮卡的公寓弄個(gè)特別點(diǎn)的窗，這樣也給了公寓一個(gè)特殊身份，因此就弄了劇里那個(gè)用雜色小布片拼作的窗。Shaffner想公寓外景鏡頭有這樣的效果，他說：“我去了一趟紐約回來后帶回一摞帶有那種窗的六層建筑樓頂部的照片。”

　　But then the show used something else entirely and Shaffner wanted an explanation.

　　但是之后劇組就都用別的東西代替了。于是Shaffner想要討個(gè)說法。

　　"They got an establishing shot with arched windows and I'm like, 'Well, we don't have any arched windows in the set,'" Shaffner recalled. "So that was always, to me, kind of like where are these windows. So they said, 'Don't worry, we're just showing the building, their apartment is on the other side, don't worry.'"

　　據(jù)Shaffner回憶：“劇組取了一個(gè)拱形窗的遠(yuǎn)景，然后我就這樣說：‘恩，我們劇里沒有拱形窗耶，所以我感覺，這樣老是有點(diǎn)像是我在問窗在哪。然后我們回答說：“不用擔(dān)心，我們只是把整座公寓大樓展示出來，他們的公寓在樓的另外一邊，別擔(dān)心哈。”

　　The establishing shot is supposed to be showing the other side of the building. Perhaps unorthodox, but at least it clears up that supposed error?

　　公寓樓的遠(yuǎn)景理應(yīng)是要給觀眾展示樓的另外一邊的。這樣可能有點(diǎn)濫竽充數(shù)，但至少讓那個(gè)所謂的錯(cuò)誤不復(fù)存在了是吧?

　　8. Central Perk was actually kind of, sort of based on a particular restaurant in Manhattan.

　　中央公園咖啡館的原型其實(shí)就是曼哈頓一家餐廳。

　　Shaffner wanted to make it clear that any specific restaurant used as inspiration was then tweaked to create the wholly original Central Perk. That said, there is one place that seems to have been particularly on his and the creators minds.

　　Shaffner想說明一點(diǎn)，就是當(dāng)時(shí)對(duì)所有能得到靈感的餐館都稍微作了調(diào)整，然后綜合全部才有現(xiàn)在完全獨(dú)創(chuàng)的中央公園咖啡館。這說明，看起來Shaffner跟其他餐館的創(chuàng)作人都很有共鳴啊。

　　"The coffee house came about because there was a little restaurant that we used to all go down to on West 4th Street in Manhattan, and it had a door in the corner," Shaffner said. "So we went to Kevin and Margaret and David and when we showed them the model and I said, 'We want to do a little corner door like the restaurant that we used to go to,' and they remembered it as well. It was called Arnold's Turtle."

　　Shaffner說：“這個(gè)咖啡館之所以會(huì)有是因?yàn)槲覀円郧敖?jīng)常光顧曼哈頓韋斯特第四大道的一家小餐館，這家餐館的角落有扇門。所以我們就去 Kevin， Margaret 和David的家向他們展示咖啡館的模型時(shí)，我說：‘我們想在咖啡館角落弄個(gè)跟那家餐館里一樣的小門’，他們也記得餐館那扇門的名字——Arnold's Turtle。”

　　Unfortunately, Arnold's Turtle, which was a vegetarian restaurant, is no longer open. In it's place -- at 51 Bank Street -- is now Hamilton's Soda Fountain & Luncheonette. Not exactly Central Perk, but, for super fans, maybe worth a trip.

　　可惜啊，Arnold's Turtle之前是一家素食餐館，現(xiàn)在已經(jīng)不營(yíng)業(yè)了?，F(xiàn)在在班克第五十一大道，叫Hamilton's Soda Fountain & Luncheonette，不再是中央公園咖啡館了，但是，對(duì)于劇迷們來說，即使如此，這家店也值得一去吧。

　　Both Shaffner and Greg Grande talked about how this was sort of "before the coffee craze." So despite pictures of New York coffee shops, the main inspiration came from, as Shaffner said, "yesteryears bohemian coffee shops where people really came in and hung and played music and did all that stuff." Grande also mentioned Internet cafes where people would actually hang out for a few hours as a reasoning for why these friends would spend so much time at Central Perk.

　　Shaffner和Greg Grande談到這個(gè)咖啡館就是在咖啡熱掀起之前的。因此即使腦海有閃現(xiàn)過紐約咖啡店，，靈感主要來源于Shaffner說的往年風(fēng)格不拘于傳統(tǒng)的咖啡店，人們?nèi)ツ切┛Х鹊甓际枪涔浒?，放放音樂啊什么的。Grande也提到網(wǎng)上咖啡館，人們?cè)谀抢锿ǔ?huì)逛上個(gè)幾小時(shí)，他覺得這是大伙們?cè)敢獯蟛糠侄即谥醒牍珗@咖啡館的原因。

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