对话：Emily Deschanel & Daria Polatin

Emily Deschanel（1998年）（左）和Daria Polatin（2000年）。

演员艾米丽·丹斯切尔和编剧达莉亚·波拉廷谈论在Netflix的限定剧中合作俄亥俄州的魔鬼

By Mara Sassoon | Photos by Ben Trivett (Deschanel) and Patrick Strattner (Polatin)

在达莉亚·波拉廷的处女作《俄亥俄州的恶魔》中，少女梅逃离了一个邪恶的邪教，搬去和她的心理医生苏珊娜·马西斯住在一起。梅本应与马西斯及其家人一起生活几天，但她的逗留时间越来越长——这让马西斯15岁的女儿朱尔斯感到沮丧。梅开始穿朱尔斯的衣服，去她的学校上学，和她喜欢的人约会。Then, the cult attempts to get Mae back, putting the Mathis family in danger.

2017年出版的这本书的灵感来自于现实生活中的事件。Polatin’s manager, producer Rachel Miller, brought the story to her attention, and she was riveted by the dynamics at play between patient and psychiatrist. “我想，‘我需要讲述这个故事，’”Polatin说，他是一位颇有成就的剧作家和编剧，曾为亚马逊的《猎人》和《杰克·瑞安》写过剧本。She tracked down and interviewed a source closely involved in the incident and began writing. “起初，小说似乎是讲述这个故事的最佳形式，”她说。“Novel writing and TV writing are very different. 小说写作可以是非常内化的——你可以真正活在人物的头脑里。但我一直在想，总有一天会把它搬上银幕。”

In 2019, Polatin began working on a pilot script in earnest. 今年晚些时候，由艾米丽·丹斯切尔（Emily Deschanel）饰演马西斯的限定剧《俄亥俄州的恶魔》（Devil in Ohio）将在Netflix上播出。《识骨寻踪》的主创兼执行制片人波拉廷和1998年出生的丹斯切尔相识已久。丹斯切尔因在福克斯电视台的长剧《识骨寻踪》中饰演法医人类学家坦普瑞斯·“骨头”·布伦南而出名。两人都在波士顿大学学习表演，并在这个项目中很快成为朋友。今年1月，就在《俄亥俄州的恶魔》进入后期制作阶段时，他们通过Zoom重新联系，讨论了他们对波士顿大学的回忆，在舞台上扮演一个男人的感觉，以及演员和编剧如何合作，制作出伟大的电影和电视。

达莉亚·波拉廷：艾米丽，还记得我们在波士顿大学一起出演《双城记》吗？

Emily Deschanel: Yes, how could I forget? Wait, who was the British woman who directed that?

DP: It was Caroline Eves.

ED：哦，天哪，你的记忆力真好。我记得卡洛琳·伊夫斯是大三莎士比亚项目的导演。你大三的时候她就这么做了吗？

DP：是的，我喜欢莎士比亚项目。它基本上是通过从不同的莎士比亚戏剧中提取故事情节来创作一部新作品。

ED：对，就像莎士比亚的拼布被子一样。我认为这给了女性扮演各种角色的机会。我想我们在大学里可能都扮演过很多男人……

DP：因为我们很高！是的，我在大学里演过很多男人。

ED：你和谁打过球？

DP：我扮演的是Guildenstern。我们还改编了凯特·肖邦（Kate Chopin）的小说《觉醒》（the Awakening），我扮演女主角的丈夫——手杖什么的。我不记得当时还发生了什么，但这绝对是一件事。

ED：哦，那很有趣。Yeah, you played men more than I did. But, you’re how tall?

DP: I’m six feet.

ED：我身高5英尺8英寸。I think I was in an all-female cast in a production of Mrs. Warren’s Profession, but we all played men at some point in that. Such is the experience of a theater student.

DP:我喜欢它,因为它几乎是容易深入如此不同的东西。我也喜欢扮演有方言或口音的角色。它帮助我体现了一些不同的东西。

ED: I totally agree. 用不同的方言或口音，或不同的身体素质来扮演一个角色是很有趣的。I don’t get to do that as much now. 我是说，我演过方言，但不像在大学里演的那样，你要演一个80岁的瘸腿奥地利人。

DP: It was such a great artistic playground to be in during that period—to get to explore all different kinds of characters and play all kinds of roles without any pigeonholing or judgments. 我真的很喜欢它的强度。

“It was such a great artistic playground to be in during that period.”

daria Polatin

ED：我也喜欢这个项目的强度。我们从大清早开始上课，一直到深夜排练。For most of us, this was all we wanted to do. 我想这也为我们在电视行业的工作做好了准备。

DP：百分之百。It prepared us for 18-hour days.

ED：不过20岁的时候就容易多了。Daria，你曾告诉我，（已故CFA教授Jon Lipsky）的课程让你对写作产生了兴趣。I want to hear what that experience was like.

DP：他看过我的一些作品，我在波士顿大学读大四的时候，他在走廊找到我，对我说：“你是一名作家，你需要上我的剧本写作课。”我报名了，但因为太忙，差点就退课了。我填好了交单，交给利普斯基。And I remember he said, “I’m not signing that.” I begrudgingly finished the play, an adaptation of Chekhov’s short story The Lady with the Pet Dog, turned it in, and the school ended up producing it for the Kennedy Center American College Theater Festival. It won the regional contest, and then it was performed at the Kennedy Center and got published.

ED：哇，听你这么说真有意思。And to think if Jon Lipsky wasn’t your teacher. For the record, I took his playwriting class, and he did not tell me that I am a writer.

DP: Well, I’m glad to know he didn’t just say that to everybody and I just fell for it. [Laughs.]

艾德：你怀念演戏吗？

DP：我参加的最后一部戏是夏季戏剧节的一部非百老汇作品。I played an Italian actress/model with this great accent. 太有趣了。但在那之后，我想，“我受够了。”I haven’t really looked back. Acting onstage made me very nervous. There’s no net—if you forget your lines, what do you do? I enjoyed it, but it gave me a lot of anxiety. 并不是说写作不会给我带来很多焦虑。

ED: It’s funny because those kind of moments—being onstage or on set and you forget a line or someone else forgets a line, and you don’t know what to do next—they terrify the hell out of me, but they are also some of my most favorite moments in acting. 这是一种疯狂的兴奋，一切皆有可能发生。我因此而茁壮成长。I totally get the anxiety-producing part of acting, but I somehow love it.

DP：嗯，你很擅长这个。你是如何从学校的戏剧表演转向电视和电影的？

ED：我没有经历过一些人在纽约先做戏剧的转变，尽管戏剧是我的初恋。But I realized that there were so many more opportunities for me as an actor in LA. 我在洛杉矶找到了一个经纪人，然后开始试镜电影和电视角色。A few months later, I got my first job, a Stephen King miniseries called Rose Red. 可怕的东西。实际上，我仍然在使用我们在波士顿大学学到的一些剧本分析的东西，我认为从波士顿大学获得的背景知识对我扮演不同的角色很有帮助。

DP: BU的脚本分析课程非常好。I learned so much about storytelling and breaking down a story. I think what that gave me as a writer are the tools to know the kind of information the actor needs—the character’s motivations, backstory.

ED：是的，我们演员很欣赏这一点。You can make lines work, but when you have the background to understand why you’re saying what you’re saying, it makes a huge difference. 我在想我们在片场的时光。I got as much information as I could from you, both on the real story and your novel. 我觉得我一直在缠着你，让你给我更多的信息。What was it like making your own book into a TV series?

DP：我以前也把其他书改编成电视剧。我参与了两季的《杰克·瑞恩》和《城堡岩石》，这一季改编自《悲惨世界》，讲述了安妮·威尔克斯的背景故事。But getting to adapt my own novel was so interesting. I just knew the characters and the world so intimately. 对于电视剧版，我们真的很想主要通过苏珊娜的眼睛，从苏珊娜的角度来体验这个故事。Why does Suzanne take this girl home? Why does she want to help her?

ED：我也觉得这很有趣。It was really helpful that you had so much time with the characters and the story from writing the book and writing the series.

“我完全理解表演中产生焦虑的部分，但不知何故，我喜欢它。”

艾米丽动人;

DP: When you’re storytelling, it’s not only about what you’re showing, it’s also about what you’re not showing. 所以知道你没有展示什么是有帮助的，并为创造你恰好瞥见其世界某些部分的良好角色增加了额外的层次。

ED：说得好。There are always things the audience is not seeing. 想起来很有趣。你想再写一部小说吗？

DP: I do. But novel writing is extremely time-consuming, and I’m always thinking about what medium is best for a story.

ED: A novel is no joke. 我的意思是，无论如何，写电视剧都不是一件容易的事。

DP: It’s all very time-consuming. It just takes so much physical and mental energy when you’re really giving your all to a project. 你花了数年时间在这些事情上，所以它必须是能持续给你带来快乐和有趣的事情。我第一次和奈飞合作试播大概是在三年前的这个时候。

艾德：你什么时候开始写这部小说的？

DP：我想是在2013年。这部小说于2017年出版。All in all, with the show coming out, it’s been almost a 10-year process that the story has lived through.

ED: I think it’s interesting for people to understand how long some of these things can take. 但情况并非总是如此。我职业生涯的大部分时间都在拍电视剧。So it was grind, grind, grind. 有时候我拍完一集，两周后播出。

DP：哇哦！为流媒体服务写剧的一个好处是，通常你会在拍摄之前完成这一季的写作。Of course, there are always things that you learn on set, and you still have to pivot for all the production issues, like weather…

ED: Weather? 怎么啦？[Laughs.是的，在拍摄《俄亥俄州的魔鬼》时，我们确实要处理温哥华的天气问题。一些炸弹旋风，大气河流…

DP: Snowstorms.

ED：下雪的时候很伤脑筋，因为它和已经拍摄的东西不匹配，而且我们必须连续拍摄这些东西。

DP: Yeah, we had to heat blast an entire field to get rid of the snow. 拍得很快。

ED: It was so great to have this shorthand with you on set, Daria. 就像，好吧，我们认识了。让我们直接进入工作部分。

DP: And you brought such a beautiful, intense focus to this role, and really graceful empathy to this character.

ED: Thank you. 那真是太好了。It was really lovely to work together after so many years in such a different way than doing A Tale of Two Cities at BU.

DP: We’ve come a long way since A Tale of Two Cities.

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