（由本blog作者terryoy翻译，转载请注明）

Idle It was enormously annoying for about 20 years. It was dreadful. You could try to escape it — John still tries to escape it — but there's no escape.

Idle: 那是接近20年的巨大的烦恼，很可怕。你可以尝试逃离它——John仍然在尝试逃离它——不过事实上无法逃避。

Gilliam Most of us have escaped from that. When I did [1977's]Jabberwocky, which was the first film on my own, it sort of fell on its face because it was being compared to Python. By Time Bandits [in 1981], I was still slightly sketchy. But by Brazil, I think I pulled completely away from Python and could be judged on my own merits — whatever they are.

Gilliam: 我们大部分人都已经从那解脱出来了。当我导演《莫名其妙(Jabbarwocky)》(1977年)的时候，那是我自己独立拍摄的第一部电影，或多或少由于拿它与Python来比较使人有点失望。到《时间劫匪(Time Bandits)》(1981年)的时候，我仍然有点浮浅。不过到《异想天开(Brazil)》(1985年)时，我想我已经完全从Python的阴影下脱离出来而以我自己的成绩接受评价了——不管那成绩如何。

Jones I've fallen into doing these TV documentaries, which kind of annoys me because I didn't really want to do documentaries. We're lucky because we own the rights to the Python TV shows and we now own two of the films. We're not exactly rich, but there is an income that allows me to goof off and write academic books.

Jones: 我则陷入了不断制作电视纪录片当中，有点厌烦，因为其实我并不是真的想做纪录片。我们很幸运，因为我们拥有了Python电视节目和两套节目的版权。我们虽然不是严格地富裕，不过还是有一个稳定收入来源，让我可以随意打发时间和写一些学术著作。

Idle With the Grail, some of our original investors were Genesis, Pink Floyd, and Led Zeppelin, and so they'll still get some money out of Spamalot. I love that. Jimmy Page will get a check.

Idle: 由于在《圣杯》里面，我们有一批原始投资人如Genesis，Pink Floyd，和Led Zeppelin，所以他们仍然可以从《火腿骑士》(Eric Idle改编《圣杯》的一出舞台剧，2005年Tony奖最佳音乐剧)里面得到一些收入。我喜欢那样。Jimmy Page也会得到一张支票。

In 1998, the five surviving Pythons reunited at the Aspen Comedy Arts Festival. On stage with them — or so they claimed — was an urn containing Graham Chapman's ashes. The audience exploded when Gilliam knocked it over. For a while, the reunion got some of the Pythons itching for more.

1998年，五位在世的Python成员在Aspen喜剧艺术节的时候重聚了。在台上他们带上了——或者是他们声称的——一个装有Graham Chapman骨灰的瓮，结果Gilliam有意无意地不小心把它打翻的时候引来了所有观众的轰动。这次的团圆让Python们多少有点心痒希望能重组。

Jones Eric Idle was keen to get us all together to do a stage show after Aspen. John Cleese wanted to do it too and Eric was setting it all up. But Michael Palin didn't want to do it, and the whole thing collapsed. Eric was furious, actually.

Jones: Eric Idle在Aspen艺术节之后很热衷于重新召集我们一齐去做一场舞台剧。John Cleese也很感兴趣，于是Eric就一手一脚筹备起来了。但Michael Palin不想做，结果整件事就推倒了。Eric当时真的非常生气。

Idle I think [Palin] was never really up for it, but he didn't say no at the right time. He could have saved us the time and energy.

Idle: 我想（Palin）本来就没有很大兴趣做，不过他没有在正确的时候提出来。他本来可以省下我们很多时间和精力的。

Palin I've been Mr. Nice Guy for so long it was nice to be the villain. Actually, I was interested in a film idea that Eric had where we'd all go off and do a movie about the Knights of the Holy Grail 40 years later. A Holy Grail sequel. I was positively not in favor of a stage revival — because Graham wasn't there. I remember thinking it was sad to be going over the old sketches and not being able to hear each other's lines because we don't have our hearing aids in.

Palin: 一直以来我都充当着好人的角色，所以这次正好当了坏人。事实上，我对Eric曾经有过的一部电影的主意很感兴趣，让我们去做一部40年后的《骑士与圣杯》，一部《圣杯》续集。而我是对舞台表演的主意确实不喜欢——因为Graham已经不在了。我记得当时一想到我们要重做一次所有经典的短剧，却听不到其他某个人的对白而且并不是因为我们没有戴自己的助听器的缘故，我就会感到很悲伤。

Jones Eric went off and did his own shows, like Eric Idle Exploits Monty Python, which I went to New York to see, and I thought it was really good. And then he decided he wanted to do Spamalot. So we said, ''Well, if Eric wants to do it, okay.'' There was a little bit of a discussion about whether we should allow them to call it Monty Python's Spamalot.

Jones: Eric于是离开去做自己的个人演出了，像《Eric Idle开发蒙蒂派森 (Monty Python Explioits Monty Python)》，我去纽约看过了，我觉得很棒。然后他又决定要做《火腿骑士（Spamalot）》（注：“Spam-a-lot”这个名字的取义，在于spam这个由python们活用的经典单词，还有亚瑟王的城堡Camelot的谐音）。于是我们说，“好吧，如果Eric想做的话，同意。”于是我们就有了一组小议论，关于我们是不是应该以Monty Python的名义推出这个《火腿骑士》（Monty Python’s Spamalot）。 

Palin There was a time a few years ago when I would have said, ''Well, Python is very precious and it's like an ancient book of law that can't be changed.'' But it's kind of changed because of age and greed.

Palin: 如果是在几年前的那一个时期，我可能会说：“喂，Python是一个很宝贵的标志，就好像一部古老的法典一样不能被删改。”但我们都有点变化了，由于年龄和贪念。

Jones I think we've all relaxed a bit about Python. In the old days, we were very precious about it.

Jones: 我想我们关于Python这个话题都已经放得开了。在以前的日子里，我们对于它是非常珍惜的。 

Palin When I first heard the title, Spamalot, I thought it's another of Eric's great titles. He's very good with titles. It was Eric who came up with Jesus Christ: Lust for Glory, which was the original title of Life of Brian. Then I realized he was serious about Spamalot and prepared to work hard on it. It would've been mean and churlish to say no.

Palin: 当我第一次听到这套剧的名字时，“Spamalot”，我就知道是Eric典型的杰作。他总是很擅长改标题。是Eric当初想出来“耶稣基督：荣耀的渴望”的题目，正是《布莱恩一生》的原始标题。于是我意识到他是对《火腿骑士》的主意是非常认真而且准备花苦功在这上面的。如果我再说不的话就会变得很小气和无礼了。

Gilliam People always try to rip off Python, and I think in the end we felt it was better to be ripped off by one of our own than an outsider.

Gilliam: 人们常常想改编我们的剧，于是到最后我们决定语气让外人来改编，还不如让我们自己改编。 

Palin The worst that could come from Spamalot is my character is completely unfunny and all the rest are great! But I'm quite happy for Eric to be even richer than he is at the moment.

Palin: 《火腿骑士》给我带来最坏的事情就是我当初的角色被改编成完全不好玩的但是其他人却都好极了！不过Eric能够赚到比现在多得多的钱，我感到非常开心。

Idle If Spamalot fails, it will be my failure. If it succeeds, it will be their success. For them, there was no downside because it was clear The Holy Grail's a movie and there it stays forever. . .You know, not a day in my life passes without someone saying the words ''Monty Python'' to me. You can try and hide from that, but eventually you have to come to terms with it and say, ''Well, yeah, we were good!''

Eric: 如果《火腿骑士》失败了，那会是我个人的失败。如果它成功了，则会变成他们的成功。对于他们来说没有任何不利，因为很明显《圣杯》是一部电影而且将永远存在……你知道吗，我生活里没有一天不是有人来跟我提“Monty Python”的。你可以尝试逃避，但最后你还是不得不接受并走出来说，“对啊，耶，我们以前真的很棒！”

The Players

成员们：

John Cleese

Age 65 Post-Python He and first wife Connie Booth starred in BBC's Fawlty Towers, 1975 -- 79; wrote and starred in 1988's A Fish Called Wanda. Etc. Family name was once Cheese.  

John Cleese

现年65岁的后Python。他和首任妻子Connie Booth在BBC联合主演了1975-1979年的《弗尔蒂旅馆》；编剧并且主演了1988年的《一条叫旺达的鱼》。。。他的姓曾经叫做“芝士(Cheese)”。

Terry Gilliam

Age 64 Post-Python Directed many films, including '95's Twelve Monkeys and '05's The Brothers Grimm. Etc. Got so stressed making '85's Brazil he tempo-rarily lost use of legs.  

Terry Gilliam

现年64岁的后Python。曾执导过很多优秀电影，如95年的《十二猴子》和05年的《格林兄弟》。。。在85年制作《异想天开》的时候曾经因为压力过大而暂时性双腿残废。

Eric Idle

Age 61 Post-Python Wrote and directed the '78 Beatles send-up The Rutles; now overseeing Spamalot. Etc. In 2002, beat Martha Stewart and Charles Barkley on Celebrity Jeopardy!

Eric Idle

现年61岁的后Python。曾经编写并执导了78年模仿Beatles的节目《The Rutles》，而现在则监制《火腿骑士》。。。在2002年，在《美国名人智力竞答搞笑节目》中击败了Martha Stewart和Charles Barkley！

Terry Jones

Age 63 Post-Python Auteured '89's Erik the Viking, starring Cleese and Tim Robbins; hosts BBC documentaries; pens scholarly books. Etc.Proudest of ''Every Sperm Is Sacred'' song.  

Terry Jones

现年63的后Python。89年《艾力·维京人Eric the Viking》的创作者，主演有John Cleese和Tim Robbins；主持BBC的纪录片节目；写过一些学术著作。。。对《每一个精子都是神圣的》这首歌感到非常骄傲。

Michael Palin

Age 61 Post-Python Wrote and hosted TV/book travelogues such as Pole to Pole and Around the World in 80 Days. Etc. His fave Python sketch: ''The Fish-Slapping Dance.''  

Michael Palin

现年61岁的后Python。曾写过和主持过旅游的节目和书，如《极点到极点（Pole to Pole）》和《80日环游世界(Around the World in 80 Days)》。。。他最喜欢的Python片段是：“鱼扇耳光舞(Fish-Slapping Dance)”。

Graham Chapman

Born 1941 Died 1989 Post-Python Co-wrote '83's Yellowbeard, co-starring Cheech and Chong; cameoed in Iron Maiden video Etc. Held M.D. from Cambridge.

Graham Chapman

生于1941年逝世于1989的后Python。联合创作了83年的《黄胡子(Yellowbeard)》，联合主演《切奇&崇（Cheech and Chong）》节目；在Iron Maiden（铁娘子）的video里面客串。。。于剑桥获得医学博士学位。

（由本blog作者terryoy翻译，转载请注明）

The Full Monty

巨蟒六壮士

Monty Python gathers to discuss its history -- The five surviving members of the British comedy troupe come together to talk about the highs and lows of their collaboration.

Monty Python聚首谈论他们的历史——著名英国喜剧团的五个在世成员重聚到一齐，讲述着他们过去合作生涯的人生起落。

url: http://www.ew.com/ew/article/0,,1039069,00.html By Chris Nashawaty Chris Nashawaty Chris Nashawaty is a senior writer for EW, and author of EW.com's DVD Insomniac columnChris

Nashawaty是EW(Entertainment Weekly)的高级撰稿人，同时是EW.com的“DVD失眠者”专栏的创办人。 

On the night of Oct. 5, 1969 a strange sketch-comedy show called Monty Python's Flying Circus debuted on the BBC. Perhaps strange is the wrong word. After all, the show opens with a shot of an old man with scraggly hair, a mangy beard, and tattered clothing walking out of the ocean. Was he a castaway? A comedian? Did he have anything to do with a circus whatsoever? As he staggered onto the beach and collapsed on the sand, he managed to mutter one strained word. . . ''It's. . .''

在1969年10月5日的晚上，一部稀奇的以短剧为特色的名为“蒙蒂派森飞行马戏团”的电视节目在BBC首映。大概“稀奇”还不足以形容它。毕竟，该片是以这样特殊的方式作为开始：镜头对着一个开阔的海滩，一个蓬头垢面，衣衫褴褛的老人蹒跚着从海里面走出来。他是一个漂流者？一个喜剧演员？他到底和“马戏团”能有什么关系呢？等他有气无力地走到海滩上时，趴倒在沙滩上，然后喘了一大口气才说出一个词：“It’s…（这是…）”

Then, a voice-over announced, ''Monty Python's Flying Circus.'' Absurd title animation unspooled. The rousing marching-band overture of ''The Liberty Bell'' kicked in.

然后，一把播音员的声音宣布：“Monty Python’s Flying Circus。(蒙蒂派森飞行马戏团。)”随后便是一大堆荒谬的动画跃上屏幕，伴随的是“自由钟进行曲(The Liberty Bell March)”的背景音乐。

For the next 30 minutes, Monty Python rained a machine-gun fusillade of skits about Mozart, Genghis Khan, and men in Viking helmets with only the slightest of strings connecting them all. There was almost no laughter from the live audience. In fact, they had no clue what the hell they were witnessing. Monty Python was made up of five Cambridge and Oxford grads (John Cleese, Graham Chapman, Terry Jones, Michael Palin, and Eric Idle) and one American (Minneapolis-born animator Terry Gilliam). And they knew more about television than they let on. They'd all been writers and performers on shows like David Frost's The Frost Report and the kiddie program Do Not Adjust Your Set. Still, it wasn't until the Pythons banded together during their four seasons on the BBC that they were able to desconstruct and reassemble TV comedy on their own terms, revolutionizing the medium — and comedy — forever.

接下来的三十分钟内，Monty Python连珠炮般送出了一系列包含有莫扎特，成吉思汗还有戴着维京人头盔的怪人的短剧，只用一种很松散的方式把它们连在一起。现场观看的观众几乎没发出一点笑声。实际上，他们当时完全被搞懵了，一点都不明白眼前所见的到底是什么东西。Monty Python是由五位牛津剑桥的高材生（John Cleese, Graham Chapman, Terry Jones, Michael Palin, 和Eric Idle）和一位美国人（来自明尼阿波利斯的动画家Terry Gilliam）。他们出人意料般了解电视节目。他们都曾作为创作者和表演者参与过BBC的节目制作，如David Frost的《The Frost Report（“Frost”报道）》，儿童节目《Do Not Adjust Your Set（请勿调台！）》。然而，直到BBC让这几位Python成员们组合到一起制作出四季经典的节目，他们才有机会以他们自己的方式把电视喜剧解构和重组，创造出电视媒体——乃至现代喜剧的伟大改革——影响深远。

Now, after three decades of nearly messianic devotion on both sides of the Atlantic, the Pythons are storming Broadway (though not in person) with Idle's musical, Monty Python's Spamalot, inspired by the 1975 film Monty Python and the Holy Grail. Here, the five remaining troupe members (Chapman died from a cancer-related stroke in 1989) relate the Python story in their own words.

如今，在经过了大西洋两岸几近弥赛亚式崇拜的三十年之后，Python们再一次凭借着Eric Idle的音乐剧《Monty Python’s Spamalot（蒙蒂派森火腿骑士，改编自他们1975年的电影《Monty Python and the Holy Grail(巨蟒骑士与圣杯)》）》来到百老汇的舞台带来一场轰动。在这里，五位幸存的成员（Chapman由于咽喉癌死于1989年）用他们自己的声音讲述他们当年的故事。

Eric Idle John Cleese was already a star in England. And the BBC wanted him to do a show because he was on The Frost Report. John should by all accounts have done The John Cleese Show.

Eric Idle：John Cleese那时在英国早已是一位明星了。当他还在The Frost Report的时候，BBC就想让他自己做一套节目。那时大家都说他当初应该做的是The John Cleese Show(“John Cleese秀”)而不是The Frost Report。

Terry Jones When we went in to the BBC, all the executives asked, ''Well, what's the show going to be about?'' Well, we don't know. ''Well, who's it going to be aimed at?'' Well, we don't really know. ''Is it going to have music in it?'' Well, we don't really know. ''Well, what's it going to be called?'' Well, we don't really know. And then they said, ''Okay, we can only let you have 13 shows.''

Terry Jones：当我们走进BBC会议室时，那些高层问我们：“好吧，这部节目是关于什么的？”我们回答说：“呃……我们也不知道。”
“那这套节目要面向什么观众？”
“呃……我们真的不知道。”
“那是不是会有音乐在里面呢？”
“呃……我们真的不知道。”
“那你们叫这个节目什么名字？”
“呃……我们真的不知道。”
然后他们说，“好吧，那我们只能让你们做13集了。”

Michael Palin It was on at 11 at night. In Britain, everyone's gone to bed by nine. Insomniacs and burglars are the only people up at that time. But because no one was watching us, we could break rules. We didn't have to have beginnings of sketches, or middles, or ends. We could run the titles upside down if we wanted to.

Michael Palin：当时我们的节目是在晚上11点播。在英国，所有人都是九点钟就睡觉了。只有失眠者和乞丐会在那个时候仍然醒着。不过正好因为没人会看我们，所以我们可以随心所欲地打破常规。我们可以没有短剧的开头，或者中间，甚至结尾。我们可以将所有东西倒过来做，只要我们想要。

John Cleese I remember saying to Michael just before we went out to record that first show, ''We could be the first comedy team in history to record a program to complete silence.''

John Cleese：我还记得当初正要出去拍第一集的时候，我对Michael说：“我们可能是历史上第一个要为完全沉默的观众拍摄节目的喜剧团体了。”

Palin My memories of the first show are borne out by the soundtrack. There are very few laughs. A lot of people's jaws are dropping. What is going on here? Sheep falling from trees?!

Palin：我对第一集的记忆都在那个现场录音的音轨上了。当时真的很少笑声。很多人都是惊讶得张大嘴巴。“这是发生什么事？从树上掉下来的绵羊？？”

The Pythons wrote their sketches in teams. Chapman and Cleese, friends since Cambridge, wrote together. Palin and Jones, who'd met doing plays and revues at Oxford, were another team. Idle and Gilliam worked on their own. Every few days, they'd meet back up at Jones' house to review skit ideas — skits that often featured middle-class British housewives whom they enjoyed playing themselves. A bit too much, perhaps.

Python成员们通常会以小组的形式写作。Chapman和Cleese是自剑桥大学就一起写作的老朋友。Palin和Jones在牛津大学的时候曾一齐表演话剧，形成了另一个小组。Idle和Gilliam则会各自独立创作。每隔几天，他们就会回到Jones家里回顾他们的短剧构思——这些构思经常以他们喜欢自己扮演的中产阶级家庭主妇为特色。或者是，真的太多了一点。

Palin Eric was good at songs and music and very adept at wordplay — people who could talk only in anagrams and things like that. John and Graham wrote more of the violent stuff — that sort of scream-and-shout stuff. Terry and I were more on the whimsical side. We were slightly interested in more surreal situations — going on location and shooting on film. Like the sketch with the hermits who live together.

Palin：Eric擅长于写歌和WordPlay（文字游戏）——比如那个喜欢把单词倒过来说的人诸如此类的。John和Graham则会写一些稍激烈的题材——那些大叫大喊的东西。Terry和我则会随意一些。我们都有点喜欢处于超现实的位置——去到什么地方决定拍什么东西。比如像那个在郊外群居的隐居者的短剧。

Cleese Mike and Terry used to write pieces that always started with a long panning shot of the countryside with a voice-over.

Cleese：Mike和Terry以前写的短剧总是喜欢以一个郊外乡村的长焦镜头配上播音员解说的开头。

Idle Comedy writers are usually in pairs so they can bounce ideas off each other. But I don't like talking in the mornings.

Idle：喜剧作家通常会结对写作，这样他们而已就对方的点子相互交流激发灵感。可是我就不喜欢在早晨讲那么多东西。

Terry Gilliam Everyone else in the group had to submit their material to the group. I didn't have to. I just turned up on the day with a can of film. With me being an American, it allowed them to feel superior to somebody. That was my role.

Terry Gilliam：组里面的每个人都必须向其他成员提交出他们写出来的材料，唯独我不需要。我只需要在那天带着一套录影带出现就行了。我作为唯一的一个美国人身份，可以让他们有一种优于别人的感觉，那才是我的角色。

Idle It's always competitive. You're trying to make the others laugh. And if you have a writing partner, it's a lot easier obviously. There were violent arguments about what's funny and not funny. People take comedy very seriously. You couldn't argue that something was funny. If you didn't make the others laugh, it was out.

Idle：这个过程是很有竞争性的。你必须要尝试令其他人笑。而如果你有一个写作伙伴的话，就会容易得多。关于什么是好笑的什么是不好笑的有过很多争论，人们对喜剧都要求极高。你很难辩论出什么样的东西才是好笑的。但如果你没能引起其他人笑，那就是失败的。

Jones We did try to get women to play some of the parts, but it didn't seem quite as outrageous.

Jones：我们的确曾尝试过让女演员去演其中一些部分，但看起来就是没那么疯狂。

Palin Terry looked like his mother in drag. And she was a lovely lady. John looked pretty terrifying in drag. A night of passion with that would probably leave you pretty traumatized.  

Palin：Terry穿起女装的时候就像她妈妈一样，当然那是一位很可爱的女士。John穿起女装的时候看起来很吓人。如果跟那样一个人温存一晚的话恐怕要受到严重的精神创伤。

After a few episodes, a small but enthusiastic Python fan base started to develop. It's safe to say that BBC brass were not among that fan base. Still, the group had no delusions of crossing over to America.

播出了几集之后，一个规模小但是很狂热的爱好者基础群体建立起来了。可以确切地说，BBC高层们并不在那群人里面。而且，这个团体对大洋彼岸的美国还没有任何的憧憬。

Gilliam After the fourth show, the BBC pulled it off of the air. They were totally confused by it.

Gilliam：从第四集开始，BBC就将该节目拉下来。 他们已经被这个节目搞懵了。

Palin Every now and then they would cut the program and run The Horse of the Year Show. But it meant that we could plod away unnoticed, plotting more outrageous things. After about two or three shows, it was clear there was a cult. There were people who liked it because so many other people didn't.

Palin：他们常常会中止我们的节目而改播《The Horse of the Year Show（年度赛马）》。不过那正意味着我们可以不引人注意地变换，增加更多疯狂荒谬的东西。而经过了两三集之后，有一种崇拜（Cult）已经明确地出现了。有一些人喜欢它的原因正是许多其他人不喜欢它。

Idle We really annoyed a vast quantity of middle-class England. Now we're all lovable, in the mists of history, and nonthreatening old farts.

Idle：我们当时真的被英国到处都是的中产阶级惹烦了。而我们则是一帮在历史的迷雾里，没有威胁地放着屁的可爱的家伙。

Jones The show nearly got wiped [erased]. The BBC had a policy in those days to wipe shows after a while. And we got a tip-off from our video editor that they were about to wipe the Python shows. And we snuck in and actually stole the tapes and dubbed them.

Jones：我们的节目几乎要被清洗掉。那时候BBC有一项政策定期会把一些节目清理掉。幸好我们从我们的视频剪辑师口中提前得知他们准备清掉我们的Python节目，于是我们就偷偷走进去把我们的录像带拿出来配音。

Gilliam I remember when we did the first film, [1971's] And Now for Something Completely Different, which was our attempt at breaking into the States, we had a big fight with Columbia Pictures because the film ends with the sketch ''The Upper-Class Twit of the Year,'' and they didn't understand it.

Gilliam: 我记得我们做第一部电影的时候, [1971年的]《And Now for Something Completely Different(以下是一套完全不同的节目)》, 这是我们进入美国市场的第一次尝试，我们与哥伦比亚影业公司有一段很激烈的争吵。因为电影结尾有一段叫“上层阶级年度笨蛋” 短剧, 而他们完全不能理解其中的含义。 

Palin We hoped and we prayed, but had very little real hope that it would work in the States. When it began to take off [after PBS began airing the BBC shows in 1974], it was extremely exciting. What amazed me was that it played in America with all the English terms about cricket and vicars. But that seemed to work in its favor. People liked it because it was English.

Palin: 我们希望而且祈祷，但是我们真不敢抱太大期望它能在美国收到相应的效果。但当它真正开播的时候[在1974年PBS开始播放BBC的节目之后]，结果让人相当振奋。让我感到惊喜的是，我们所用到的所有英国英语关于板球和牧师的术语似乎刚好符合他们的口味。大家喜欢它正因为它是“英语”的。

Idle It was always axiomatic in Python that the show would never be understood in America because we were snobs. . .and wrong! One of its big appeals is Terry Gilliam being American. He introduced those two American popular elements — tits and violence.

Idle: 在我们Python当中有一种共识就是，我们的节目在美国不可能被理解的，因为我们都是外行人，我们所想在他们那里是错的！幸好有唯一一个最大的吸引力，就是Terry Gilliam是美国人。他把美国最流行的元素引入了进来——暴力，和女人的胸部。

Building on their American success, Python decided to send up the Knights of the Round Table with 1975's Monty Python and the Holy Grail. But during their Hollywood heyday, the Pythons were slowly unraveling due to Chapman's drinking and Cleese's decision to leave the show.

建立在他们在美国的成功之上，Python们决定以1975的这部《蒙蒂派森与圣杯》的电影戏说英国历史上的圆桌骑士传奇。但正当他们在美国影坛的鼎盛时期，Python们却由于Chapman的酗酒和Cleese离开团体的决定渐渐地产生了解散的意思。

Gilliam Directing The Holy Grail [with Jones] was my lucky break. All I ever wanted to do was make movies. Terry Jones and I literally learned on the job. On day one, we were up in the highlands in Scotland at this great precipice shooting ''The Bridge of Death'' and the camera sheared its gears on the first shot.

Gilliam: （与Jones一起）执导《圣杯》是我幸运的突破。我一直以来最想做的就是拍电影。当时只有我和Terry Jones真正学过导演。在开镜第一天，我们就在苏格兰高地上的一个悬崖边拍“死亡之桥”的场景，我们的摄影机正式拍摄第一个镜头。

Jones It was a nightmare. We had such a small budget — 150,000 or 200,000 pounds — and everything went wrong. Our leading man, Graham Chapman, was having DTs because he was taking himself off the alcohol. He was going cold turkey.

Jones: 那是一场噩梦。我们只有很小的预算——150000到200000英镑——而且所有东西都乱套了。我们的主角，Graham Chapman，由于正处于戒酒瘾的过程中有点精神错乱（DTs, [医] 震颤性谵妄）。 

Cleese Graham was a tremendously good actor who basically ruined his ability with the booze. When you look at some of his performances in the first series before he really started to drink, they're superb. But once he started to drink, he couldn't remember the words. We were not very good about confronting people.

Cleese: Graham是一位极其优秀的演员，可惜因为酗酒而毁掉自己的能力。如果你看回他在第一季时的表演，那是一流的，那时他还没有真正开始酗酒。但一旦他开始酗酒，他就经常会忘记台词。我们那时还不是十分擅长于向他表达不满。

Palin I always thought there was a good physical thing — there were two tall Pythons and three medium-sized Pythons, and then there was Terry Gilliam, who's positively stunted. There was something about the height thing in Graham that he used very well. He looked like the Thoughtful Man puffing the pipe and all of that, and then he'd completely let rip, like in the ''Argument'' sketch. There were things he could do that none of the others could do as well. Life of Brian is a terrific performance: ''I'm not the messiah!''

Palin: 我以前总是想到我们有一个很好的身高搭配——有两个高个子和三个中等身材，然后是Terry Gilliam刚好是矮小的。在有些情形Graham的身高优势用得恰到好处。他看起来就像那个一边抽着烟斗的思考状的人物，然后又有像在“争论(Argument)”短剧里面那个咧开嘴大喊大叫的形象。他可以做一些其他成员都做不到的东西。《布莱恩一生》里面有个很精彩的片段：“我不是救世主！(I’m NOT the messiah!)”

Jones After The Holy Grail, John Cleese didn't really want to do it anymore. So we decided to do one series [season 4] without John. It was a bit odd.

Jones: 在我们拍摄《圣杯》之后，John Cleese并不想再做下去了。所以我们决定做一季没有John的（第四季）。结果出来有点怪异。

Cleese I felt we were repeating ourselves. And also I was writing with the alcoholic, and no one else wanted to.

Cleese: 我觉得我们当时有点重复自己了。而且另一个原因是我要与一个酗酒者一起写作，没有人会希望这样。

Idle John had been doing sketch comedy for far longer than any of us. And he was through with playing with that form — and bored with it. The others of us were just getting our stride.

Idle: John做喜剧的时间比我们任何一个都长。他已经完全精通了如何玩那种形式——而且也厌倦了。而我们其他人则仍然处在各自的进步状态中。

Palin John felt a little claustrophobic. He and Graham had written some wonderful sketches, but they were not writing such good stuff by the third series. It was just the desire to go off and try something with other people, like Fawlty Towers. That's when I felt rather lost. And I felt, we're never going to get anything as good again. Some of us got quite angry.

Palin: John感到一点幽闭恐惧症。他和Graham曾写出过不少绝妙的短剧，但他们到第三集的时候已经写不出这么优秀的东西了。于是产生了离开并尝试一下与其他人合作写东西的意愿，像《弗尔蒂旅馆(Fawlty Towers)》(John Cleese和前妻Connie Booth合作的情景剧)。并且我感觉到，我们再也不会得到像MPFC这样好的东西了。我们有些人因此而感到很生气。

Gilliam I had a theory that on the last season we should have been doing shows that were less and less funny so that people were switching off all over the country. And so by the time we were done with the last show, only two people would be watching somewhere up in Scotland, and then we would do the funniest show we'd ever done. I was outvoted.

Gilliam: 我还曾提出一个理论，说我们应该在最后一集做得越来越没趣，然后全国人民可以关闭电视了。于是到我们做完最后一集的时候，只剩下在苏格兰某处的两个人在看我们的节目，然后我们就做出我们有史以来最有趣的节目。不过可惜我的点子被否决了。

After Python disbanded, the group reunited for two more movies: 1979's Life of Brian and 1983's The Meaning of Life, which finally earned them some overdue riches. But despite their post-Python success, it's sometimes been hard to live up to the show's legend.

自Python们解散了以后，他们又重新联手过两次，分别是两部电影：1979年的《布莱恩一生(Life of Brian)》和1983年的《人生七步曲(The Meaning of Life)》，最终为他们赚得了迟来的富裕。但尽管他们后Python时代获得了成功，但是是很难的达到他们那套节目的传奇高度了。 

Cleese If you had a success, you begin to realize how Citizen Kane was a kind of boulder on Orson Welles' back. Because whatever you do, people say ''It was good, but not as good as that.''

Cleese: 当你获得过成功之后，你就会意识到《公民凯恩》是怎样成为了Orson Welles所背负的沉重压力了。因为不管你做什么，人们都会说：“干得不错，不过还是不如那个好。”

（由本blog作者terryoy翻译，转载请注明）

GRAHAM CHAPMAN'S MEMORIAL SPEECH

Delivered by John Cleese at his memorial service, Jan 1990
 
致Graham Chapman的悼词

- 由John Cleese在他的追悼会中演说，1990年1月
 
Graham Chapman, co-author of the 'Parrot Sketch,' is no more.

Graham Chapman，“鹦鹉”短剧的联合创作者之一，已经不再。

He has ceased to be, bereft of life, he rests in peace, he has kicked the bucket, hopped the twig, bit the dust, snuffed it, breathed his last, and gone to meet the Great Head of Light Entertainment in the sky, and I guess that we're all thinking how sad it is that a man of such talent, such capability and kindness, of such intelligence should now be so suddenly spirited away at the age of only forty-eight, before he'd achieved many of the things of which he was capable, and before he'd had enough fun.

他终结了自己的存在，丧失了生命，他安息了，他一命呜呼，跑路了，逃之夭夭，吹熄自己的灯火，呼吸了最后一口气，去了天上与轻娱乐事业的伟大领袖见面(这一段来自于他们创作的“鹦鹉”短剧的台词)。我想我们会认为，一个拥有如此才华，待人宽宏大量，和机智聪明的人，竟然在年仅48岁的时候，在这个他还没有得到他应得的很多成就，和在他还没有完全玩够的时候突然离去，是多么悲哀的一件事。

Well, I feel that I should say, "Nonsense. Good riddance to him, the freeloading bastard! I hope he fries. "

而此刻，我感到我要说的是：“胡说！居然给他溜掉了，这个老占便宜的大混蛋！我衷心祝福他被油炸~”

And the reason I think I should say this is, he would never forgive me if I didn't, if I threw away this opportunity to shock you all on his behalf. Anything for him but mindless good taste. I could hear him whispering in my ear last night as I was writing this:

而我之所以认为我应该这样说的原因是，如果我没有说这些话，如果我错过了这次为了他而把你们都吓一跳的机会，他永远不会原谅我。除了那些高品味的东西之外，一切都是为了他。昨晚我在写这些东西的时候他就一直在我耳边嗡嗡地说：

"Alright, Cleese, you're very proud of being the first person to ever say 'shit' on television. If this service is really for me, just for starters, I want you to be the first person ever at a British memorial service to say 'fuck'!"

“好吧，Cleese。你非常自豪已经成为了历史上第一个在电视机上讲‘shit’的人。如果这次追悼会是真正为我的，作为开场白，我要你成为全英国史上的第一个人在追悼仪式上讲‘Fuck’！”

You see, the trouble is, I can't. If he were here with me now I would probably have the courage, because he always emboldened me. But the truth is, I lack his balls, his splendid defiance. And so I'll have to content myself instead with saying 'Betty Mardsen...'

但问题是，我做不到。如果他在这里与我一齐的话，我可能就会有那样的勇气，因为他总是鼓励我要勇敢些。但事实上，我缺少他的特质，他的挑衅。因此我为了要自己满意只能取而代之地说：“Betty Mardsen！（英国一位著名的喜剧女演员）”。。。

But bolder and less inhibited spirits than me follow today. Jones and Idle, Gilliam and Palin. Heaven knows what the next hour will bring in Graham's name. Trousers dropping, blasphemers on pogo sticks, spectacular displays of high-speed farting, synchronised incest. One of the four is planning to stuff a dead ocelot and a 1922 Remington typewriter up his own arse to the sound of the second movement of Elgar's cello concerto. And that's in the first half.

但比我更加勇敢和更少胆怯的人在今天将陆续出现：Jones(Terry Jones) and Idle(Eric Idle), Gilliam(Terry Gilliam) and Palin(Michael Palin)。天知道下一个小时他们将会给Graham的名下带来什么东西。脱裤子，踩弹簧高跷的辱骂者，华丽的高速放屁演示，同步直播乱伦。。。他们其中一人还准备把一只死猫和一台1922年的Remington打字机塞到自己的屁股里演奏出Elgar大提琴协奏曲的第二乐章！而那也仅仅是上半场而已。。。

Because you see, Gray would have wanted it this way. Really. Anything for him but mindless good taste. And that's what I'll always remember about him---apart, of course, from his Olympian extravagance. He was the prince of bad taste. He loved to shock. In fact, Gray, more than anyone I knew, embodied and symbolised all that was most offensive and juvenile in Monty Python. And his delight in shocking people led him on to greater and greater feats. I like to think of him as the pioneering beacon that beat the path along which fainter spirits could follow.

因为你要明白，亲爱的Graham会喜欢这种方式。真的。一切都是为了他，除了那些好东西。那正是我会永远记住的他——当然，除了他那奥林匹克精神式的过度放纵。他就是坏品味王子。他就爱引起大家的震惊。事实上，Graham，我比其他人都认识得更多，是Monty Python里面最有攻击性和最幼稚的象征者和实践者。

Some memories. I remember writing the undertaker speech with him, and him suggesting the punch line, 'All right, we'll eat her, but if you feel bad about it afterwards, we'll dig a grave and you can throw up into it.' I remember discovering in 1969, when we wrote every day at the flat where Connie Booth and I lived, that he'd recently discovered the game of printing four-letter words on neat little squares of paper, and then quietly placing them at strategic points around our flat, forcing Connie and me into frantic last minute paper chases whenever we were expecting important guests.

以下是一些回忆。我记得当年和他一齐写“殡葬者”短剧台词的时候，是他建议了那句笑话“好吧，我们将会把她吃掉。但如果之后你感到不舒服的话，我们将会挖一个坟墓，好让你可以往里面呕吐。”。我记得在1969年的时候，他在我和Connie Booth一起住的地方每天写稿，我发现了他喜欢把很多特殊的四字母词汇都打印在一些方形小纸片上，并且放在了房间里面各个具有特别意义的位置，使得我和Connie总是在有贵宾驾临之前不得不疯狂地在最后一分钟前把那些不安分的小纸片搜寻出来清理掉。

I remember him at BBC parties crawling around on all fours, rubbing himself affectionately against the legs of gray-suited executives, and delicately nibbling the more appetizing female calves. Mrs. Eric Morecambe remembers that too.

我记得他曾经在BBC派对上大家跳舞的时候，在大家身边爬来爬去，与各个衣冠楚楚的行政人员的脚亲密接触，并且优雅地轻咬那些女士的小腿。Mrs.Eric Morcambe也会记得的。

I remember his being invited to speak at the Oxford union, and entering the chamber dressed as a carrot---a full length orange tapering costume with a large, bright green sprig as a hat----and then, when his turn came to speak, refusing to do so. He just stood there, literally speechless, for twenty minutes, smiling beatifically. The only time in world history that a totally silent man has succeeded in inciting a riot.

我记得他那次被邀请去牛津工会时，把自己打扮成一根胡萝卜走进大堂——一个完整的橙色胡萝卜套装，头顶一个绿色的胡萝卜头——然后，轮到他上台发言的时候，拒绝发言。他就站在那里，一个字也不说，整整二十分钟，在那里快乐地微笑着。那是世界历史上唯一一次由一个完全沉默的人成功地煽动的一场骚动。

I remember Graham receiving a Sun newspaper TV award from Reggie Maudling. Who else! And taking the trophy falling to the ground and crawling all the way back to his table, screaming loudly, as loudly as he could. And if you remember Gray, that was very loud indeed.

我记得那次Graham接受由Sun新闻报Reggie Maudling颁发的电视大奖。别无此人！拿了奖杯之后一头栽在地上，一步一步地爬回自己的桌子，还一边尽最大的嗓音大喊大叫。如果你也还记得的话，那次真是非常非常的大声。

It is magnificent, isn't it? You see, the thing about shock... is not that it upsets some people, I think; I think that it gives others a momentary joy of liberation, as we realised in that instant that the social rules that constrict our lives so terribly are not actually very important.

非常华丽，是不是？你要明白，关于吓人这事。。。我认为它不是引起部分人不安这么简单，我认为他给他人一种刹那间释放的快感，同时使我们意识到那些总是压抑着我们日常生活的社交惯例其实并不是真的那么重要。

Well, Gray can't do that for us anymore. He's gone. He is an ex-Chapman. All we have of him now is our memories. But it will be some time before they fade.
 
如今，Graham已经不能再为我们做那些东西了。他走了。他成为了一个前Chapman(ex-Chapman，即曾经的Chapman)。（这两句也是来自“鹦鹉”短剧的台词）。我们现在留下的就只有关于他的那些珍贵的回忆。但那些回忆肯定需要很长时间才会渐渐淡忘。

跟你说了好多次，我们之间是无可能的
我们来自两个不同的世界，隔了昼夜的时差
我习惯生活在白天，而晚上才是你最活跃的时间
我们之间的差别太大了，我们是不可能共存的

尽管在我那些孤独的夜晚
都依然能感受到你无时无刻在身边
但是这不会改变我对你的看法
你对我的追求在我眼里只不过是一种恼人的把戏
每当我从梦中清醒过来的时候
就会发觉你的存在让人多么讨厌

你从来没有了解过我的内心感受
你完全不明白我的想法
我不需要这样的你来体贴我
我已经对这样的游戏厌倦了
就这样吧，我们不要再见面了
我以后不想再见到你

死蚊子，再骚扰我睡觉我就灭了你！

2007.10.12 - .

电脑：left？
飞行员：right
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那是因为女性不知道哪里可以下载到盗版和免费游戏
来自广东省深圳市的pendy对新闻:业界报告:男性更愿意玩免费或盗版游戏的评论
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生活中最不安全的10个日常用品：
手机，笔记本电脑，菜刀，汽车，煤气罐，奶粉，酒，药，香烟，女人
来自辽宁省大连市的kinglu对新闻:网上最不安全的12个常用应用程序评选结果揭晓的评论
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“长老自哪里来？”
“贫僧自东土大唐而来。”
“要到哪里去？”
“镀金后回大唐而去。”
来自黑龙江省大庆市的zzz对新闻:国产IT业将集体出国推广 把品牌“秀”到国外去的评论
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Facebook
非死不可
来自IANA的匿名人士对新闻:Facebook注册cn域名 筹谋进军中国市场的评论
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做爱做的事，交配交的人
来自浙江省宁波市的厦大稀饭对新闻:狼爱上羊：中国网通流氓IM灵信评测的评论
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(未完待续)