So Different, Jennifer Lawrence
詹妮弗·劳伦斯：如此与众不同

◎ By Jonathan Van Meter 译 / 张晓敏

她有沙哑的声线、百变的造型，她是众多导演捧在手心的天才女演员，她是最年轻的奥斯卡影后，她是人气女王；其实，她还有疯狂的喜剧基因，她还是个能带low全场的女汉子——她就是独一无二的詹妮弗·劳伦斯。

Leave it to Jennifer Lawrence to choose the Odeon, a restaurant she plucked from a list because she liked the sound of its name. It opened on a corner in Tribeca long before Lawrence was even born and defined a style: execute everything perfectly, but don't take it all so seriously—a correct description of Lawrence herself. Indeed, Odeon has lasted for 30 years because, while it cares about great service and good food, it is committed above all else to being fun.

我把选见面地点的事儿留给了詹妮弗·劳伦斯，她从名单中挑选了奥德昂餐厅，因为她喜欢这家餐厅名字的发音。这家位于特里贝克街区(编注：在纽约的曼哈顿)一角的餐厅甚至在劳伦斯出生以前就开始营业了，有自己独特的风格：每件事都力求完美，但并不把它们太当回事儿——这句话用在劳伦斯身上正合适。实际上，奥德昂餐厅之所以能持续经营30年，是因为它除了注重周到的服务和美味的食物之外，还致力于做到乐趣高于一切。

Jennifer Lawrence—unlike, say, Jennifer Aniston or Jennifer Lopez—never looks the same. It's one of the reasons writers struggle to find words to describe her and often resort to unfortunate ones, like chameleon . David O. Russell, the man who directed Lawrence to an Oscar in Silver Linings Playbook, remembers bumping into her during awards season, 2011. "I would see this tall blonde at events, and I never understood who she was," he says. "She looked like an Orange County girl—or Malibu Barbie. And I was like, 'Who is that?' And someone would say, 'That's Jennifer Lawrence,' and I would say, 'The girl cooking a squirrel on a stick in Winter's Bone?' I never recognized her! She always looks different."

与詹妮弗·安妮斯顿和詹妮弗·洛佩兹不同，詹妮弗·劳伦斯看上去从来都与以往不一样。这也从一方面解释了为什么一些撰稿人绞尽脑汁地找词汇来描述她，结果诉诸笔端的通常却是“变色龙”这类不太好的词。大卫·O·拉塞尔执导的影片《乌云背后的幸福线》让劳伦斯获得一项奥斯卡奖(编注：最佳女主角奖)，他回忆起在2011年颁奖季偶遇劳伦斯的事情时这样说道：“我在一些场合见过这个高挑的金发女孩，但我一直没搞明白她究竟是谁。她看起来像是《橘子郡男孩》中的一个姑娘，或者像马里布芭比娃娃。我问周围的人，‘那是谁？’有人会告诉我，‘那是詹妮弗·劳伦斯。’我问，‘是《冬天的骨头》里那个把松鼠串在树枝上烤着吃的女孩吗？’我一直没认出她来！她看上去总是与以往不同。”

So different, in fact, that even after one of her two bodyguards comes into the restaurant to tell me that her arrival is imminent, when she finally walks in the door, I still don't recognize her. To be fair, she has on pitch-black Tom Ford sunglasses, and her hair is wet; she recently had it cut off into a Karlie chop, one that is half blonde and half brown. But before she even reaches the table, I can hear that raspy voice—the deep rumble of so much nervous energy. Yup, that's her.

她的外表如此多变。实际上，甚至在她的两个保镖来餐厅告诉我她很快就到之后，她终于走进门时，我还是没认出她来。不过这也情有可原，她戴着一副漆黑的汤姆·福特牌太阳镜，头发是湿的；她前不久把头发剪成了卡莉式的短发，一半金色，一半染成了棕色。但她还没走到餐桌前，我就听到了她那沙哑的声音——低沉又能量十足。没错，是她。

Lawrence is wearing a blush-colored sleeveless top, slouchy black pants, and a pair of slip-on mules. You can learn a lot about a person in seven hours. Little things, like the kinds of food they don't like—arugula, eggplant, goat cheese ("I have the taste buds of a five-year-old"), which TV show they're obsessed with ("Homeland"), the strange stuff they're afraid of ("I don't have nightmares about clowns or burglars or murderers. I have nightmares about thirteen-year-olds. They terrify me"). But you can also learn things that are super specific. For example, she got the nickname J. Law in seventh grade, but it was only this spring that she met J. Lo while hanging out at a party one night with Jimmy Fallon. "We planned out this whole thing, where we were going to spin around and over to her and go, 'Please dance with us!' But at the last minute, Jimmy pooped out, and all of a sudden I spun around by myself and said, 'Dance with ... me?' And she was like, 'Thanks, I'm just gonna watch.'"

劳伦斯身穿红色无袖上衣，黑色休闲长裤，一双不系带的拖鞋式便鞋。你可以在七个小时里了解一个人很多，知道关于这个人的一些小事，比如不喜欢的食物——芝麻菜、茄子和山羊奶酪(“我有五岁孩子的味蕾”)，最迷哪部电视剧(“《国土安全》”)，害怕哪些奇怪的东西(“我的噩梦里不会有小丑、强盗或是杀人犯，只有13岁的孩子，他们让我感到害怕”)。不过，你也能发现一些很特别的事。比如，劳伦斯七年级时就有了J·劳这个昵称，但直到今年(编注：本文写于2013年9月)春天的一个晚上，她和吉米·法伦一起在一个派对上玩儿时才遇到J·洛(编注：指詹妮弗·洛佩兹)。“我们计划好了整件事情，我们打算边跳边转，然后转到她面前跟她说‘请跟我们一起跳吧！’但吉米在最后一刻筋疲力尽了，突然间就剩我一个人在转，于是我只好说，‘和……我一起跳吧？’她说，‘谢谢，我看着就好。’”

And therein lies the biggest surprise about Jennifer Lawrence: she has the soul of a comedian and can riff on just about anything that crosses her path. She did a 20-minute monologue about sponges: "I wake up earlier in the morning when I have new sponges. That counter doesn't even see it coming." She segued into her incomprehension at people who don't share her "faith in sponges".

在我们相处的那七个小时里，我还发现了劳伦斯的最惊人之处：她有滑稽演员的激情，可以就她碰到的任何东西大侃特侃。关于海绵蛋糕她做了一个20分钟的独白：“当我有新的海绵蛋糕时我早上起得比平时要早，那张餐台甚至都没想到我会这么早。”她接着又谈到自己无法理解那些不和她一样“钟情于海绵蛋糕”的人。

The folks who know her best (which is to say, other actors and directors, as she has lived from one film set to the next for most of her adult life) all point to this playful side of Lawrence—this "giant goofball", as one person put it—as the most important thing about her. Her Hunger Games costar Woody Harrelson says she creates an atmosphere of constant game-playing on set. "She is one-of-a-kind, man. She is so herself. I love how she doesn't censor herself. She says the most outrageous shit. Just incredible, the stuff she'll say."

最了解她的人(也就是其他演员和导演，因为她成年后的大量时间都是在一个又一个片场度过的)都指出劳伦斯最大的特点就是爱玩，正如其中一位说的那样，她是个“大疯子”。在《饥饿游戏》中与她合作的男星伍迪·哈里森说她总能在片场营造出一种玩闹的气氛。“她是独一无二的，伙计。她就是她。我喜欢她那种不拘束自己的状态。她常常胡说八道，语出惊人，简直难以相信那样的话是从她嘴里说出来的。”

As Russell says, "She grew up with these two older brothers, so she will do an off-color joke that will shock you and make you laugh so hard. And then she just moves on." Jodie Foster, who directed her in The Beaver a few years ago, agrees, "It's one of the things that I love about her the most—her rapid-fire teenage-boy-humor brain."

正如拉塞尔所说：“她和两个哥哥一起长大，所以会开一些不太文雅的玩笑，让你震惊的同时又捧腹大笑。然后她却跟什么都没发生似的继续说别的。”几年前曾在影片《海狸》中指导过劳伦斯的朱迪·福斯特也赞同道：“我最喜欢她的其中一点就是她头脑灵活，有十几岁男孩特有的那种幽默。”

Moments after Lawrence first walks into the restaurant and sits down, she takes off her shoes to show me her toes. They are blue. She has been in Montreal all summer, shooting the fifth installment of X-Men in which she plays the supervillain Mystique, a hot chick with blue skin and yellow eyes who shape-shifts into normal people in order to assassinate those involved in anti-mutant activity. "They paint me blue every day," she says, "so this is what I'm dealing with." She sticks out her foot again and laughs. "I'm like Blue Swan."

在劳伦斯走进餐厅坐下一会儿之后，她就脱下鞋来给我看她那些蓝色的脚趾。她整个夏天都在蒙特利尔拍摄《X战警》系列电影的第五部。她在里面扮演大反派魔形女，那是一个蓝皮肤、黄眼睛的美女，可以变身成普通人去暗杀那些参与反对变异人活动的人。“他们每天都把我涂成蓝色的，”她说，“所以这就是我最近在做的事。”她又伸出脚来，笑着说：“我现在就像只蓝天鹅。”

As if one big studio franchise weren't enough, in the last year, Lawrence spent several months in Atlanta and Hawaii shooting the second Hunger Games film, Catching Fire, due out in November, after which she went directly to the set of American Hustle, the next David O. Russell film (scheduled for December), inspired by the late-seventies FBI sting operation known as Abscam, a near-farcical bribery scandal that brought down one U.S. senator and six congressmen.

就好像一部大制作的系列电影还不够似的，劳伦斯在去年还花了几个月的时间在亚特兰大和夏威夷拍摄《饥饿游戏2：星火燎原》，该片计划于11月公映。拍完这部电影后，她又径直赶到导演大卫·O·拉塞尔的下一部电影《美国骗局》的片场，该片(计划于12月公映)取材于上世纪70年代美国联邦调查局的一次诱捕行动——“阿布斯堪姆计划”，一个近乎闹剧的受贿丑闻，致使一位美国参议员和六位国会议员下台。

More than one person I spoke with about Lawrence worried aloud that she's working too hard. "Just for her sanity, I personally wish she would slow down a little bit," says Francis Lawrence who directed Catching Fire and in October will begin shooting the final two Hunger Games films in Atlanta, back-to-back. "I think that going from one set to the next will eventually take a toll. I hope at some point she gets some time off."

跟我谈起过劳伦斯的人中不止一人表示非常担心她，因为她工作太拼了。“仅是为了她的精神健康考虑，我个人希望她能稍微慢下来一点。”《饥饿游戏2：星火燎原》的导演弗朗西斯·劳伦斯这样说道。他10月就要开始在亚特兰大连续拍摄《饥饿游戏》系列电影的最后两部了。“我觉得从一个片场赶到另一个片场的工作节奏最终会累垮她。我希望她能找个时间休息一下。”

More than any other young actress in recent memory, Lawrence also seems to have an almost compulsive need to take full advantage of every opportunity that comes her way. "I couldn't say no," she says. "And then when I was on set, I was like, 'This is so much more important than a vacation. It's so much better for my brain to be creatively stimulated in this way.' It reminded me: this is what I love."

与我近期记忆中的其他年轻女演员相比，劳伦斯似乎还有一种近乎强迫性的需要去充分利用眼前的每一个机会。“我没法说不，”她说，“而且当我来到片场时，我就会说，‘这可比度假重要得多。用这种有创造力的方式来激励我的大脑会更好一些。’这会提醒我：这才是我热爱的事儿。”

One of the oddities of Jennifer Lawrence's life right now is that the character that she is most closely associated with—Katniss Everdeen from The Hunger Games—is on a trajectory that is, in many ways, similar to Lawrence's own. "When Winter's Bone was getting nominated," says Lawrence, "I had only done indies, and suddenly I was introduced to this brand-new world where I didn't feel like myself. I was in these weird gowns and listening to people talk about things I didn't understand. And I remember reading that in the book and being like, Oh, my God, I know exactly what this feels like. I don't know what it's like to get ready for your death, but I do know what it's like to be almost a puppet. And then when I was making the second film, I had become more acquainted with that world, and I think that's something that Katniss experiences. She is different when she comes back. She does feel more comfortable in the Capitol; she understands the people more, and it's not as eerie and scary and unfamiliar. She kind of knows how to work the system."

跟詹妮弗·劳伦斯联系最紧密的人物莫过于《饥饿游戏》里的凯特尼斯·伊夫狄恩，而劳伦斯现在的生活中古怪的事情之一就是凯特尼斯所走的路在许多方面都与劳伦斯自己的很像。“我以前只演过独立电影，当《冬天的骨头》被提名时，我突然被带到这个让我感觉不自在的完全不同的世界。我穿着奇怪的礼服，听人们谈论着我完全不懂的东西。我还记得曾在那本书(编注：指《饥饿游戏》)里读到类似的描写，然后我说，天啊，我对这种感觉再清楚不过了。我不知道为自己的死亡做好准备是什么感觉，但我确实清楚几乎成为一个木偶是什么感觉。后来当我拍《饥饿游戏》第二部时，我对那个世界已经了解得多一点了。我觉得那也是凯特尼斯经历的事情，她回到家乡后已经跟从前不同了，她在凯匹特确实感觉更自在些了，也更理解那里的人们，而且那里也没有那么怪异、可怕和陌生了。她有点知道如何利用这种社会体制了。”

I was admittedly thrown at first by the presence of Lawrence's bodyguards, whom we can see outside the Odeon, leaning up against a big black SUV. I had not fully internalized that the utterly honest person sitting before me—the same rambunctious young girl I had been seeing on TV, sassing interviewers and flirting with Jack Nicholson at the Oscars while being interviewed by George Stephanopoulos after having tripped on the voluminous skirt of her Dior dress as she was heading up the stairs to receive her statuette—that that girl is the very same girl who is now stalked by paparazzi everywhere she goes because she is young and beautiful and unpredictable and has been anointed the most exciting, completely realized movie star to come along in decades.

我必须承认，刚开始时劳伦斯的保镖的出现让我有些吃惊。在整个谈话过程中，我们可以看到他们在餐厅外面，倚靠着一辆黑色的大型SUV。我还没有完全意识到，坐在我面前的这个无比坦诚的人，就是那个我以前总在电视上看到的，在奥斯卡颁奖典礼上走上台阶去领奖时被自己的迪奥礼服长长的裙摆绊倒，之后接受乔治·斯蒂凡诺普洛斯采访时出言不逊，还和杰克·尼科尔森调情的那个桀骜不驯的年轻女孩；还没意识到那个女孩跟她——因为年轻、漂亮、神秘莫测而现在不管去哪儿都有狗仔队跟踪，并被认为是未来几十年内最有人气的(已经完全实现了)电影明星——是同一个人。

Apparently, she has not fully internalized it either. Whenever the tenuous little bubble of privacy she has created around us—through body language, facing away from the room—gets invaded, she becomes agitated. At one point, a party of four is seated next to us, and an otherwise sophisticated-looking woman at the table spots Lawrence, digs for her phone, and then holds it straight out and starts clicking away, as if documenting her visit to the Louvre. "Can you stop?" Lawrence pleads. With her head down, she grumbles to me under her breath. "Yeah, that was pretty aggressive," I say. "Me?" she says, looking mortified. "No, her." I say. "I'm just really starting to feel like a monkey in a zoo," she admits.

显然，她自己也还没有完全意识到这一点。每当她通过转头看向餐厅外这样的身体语言在我们周围建立的脆弱的隐私空间被侵犯时，她就会变得很焦虑。在我们谈话的过程中，有四个结伴而来的人坐在我们旁边那一桌。其中一个看上去很世故的女人认出了劳伦斯，翻出自己的手机，然后直直地就对着她开始拍，好像是要记录下自己在卢浮宫的见闻一样。“你能别拍了吗？”劳伦斯请求道。然后她低下头来，小声向我抱怨着。“确实是挺过分的。”我说。“我吗？”她说，一脸尴尬的样子。“不，是她。”我回答。“我只是真的开始感觉自己像是动物园里的猴子。”她说道。

All throughout our lunch at Odeon, the part of Lawrence that never let up was a kind of intense engagement with the world or the person in front of her. You could practically see her brain scanning the room, sifting through the data, and then spitting out something dryly observed, perfectly timed, or oddly profound. (At one point she picked up my RadioShack tape recorder and examined it: "This thing is archaic. Are you going to write this whole thing out longhand, with, like, a pen?") If there is a downside—and I didn't experience it as such—it might be that she's so busy connecting and processing that it overwhelms her. There were many moments when she was so excited to share the seven things that just popped into her head that it would render her breathless and momentarily incomprehensible. As Jodie Foster says about directing her, "It's hard for her to be superficial, to be girly and silly and unaware. And so my direction was often stupid things, like 'Move your hands a lot' or 'Giggle', just trying to loosen her up so she wasn't as aware of her own significance."

我们在奥德昂餐厅用餐的整个过程中，劳伦斯从头到尾都没有停止一种对眼前的世界和人的密切关注。你几乎能看到她的大脑在扫描整个餐厅，筛选数据，然后适时地说出直截了当的评述，或者一些怪异深奥的言语。(谈话中的某一时刻，她拿起我的RadioShack牌磁带录音机细细观察：“这是老古董了啊。你是打算用手，比如，拿笔，写出整篇报道吗？”)如果这有什么不好的话——虽然我并不这样认为——那可能就是她太忙着获取连接和处理数据，导致她有些应接不暇。谈话中有很多时候她太过兴奋想要分享脑子里刚刚冒出来的七件事，以至于说话时有些上气不接下气，让人一时难以理解她说的话。朱迪·福斯特谈到自己在片场如何指导她时，这样说道：“要让她表现得肤浅、女孩气、傻傻的和不自知太难了，所以我的指导通常听起来都有点傻，比如‘多动动你的手’或是‘咯咯地笑一下’，好让她放松一点，尽量忘掉自己的存在。”

劳伦斯趣事：Cake or Kick

想要感受詹妮弗·劳伦斯的幽默和她对蛋糕的热爱，那不妨看看下面这件趣事吧。在2013年的奥斯卡颁奖礼上，詹妮弗·劳伦斯获得奥斯卡最佳女主角奖。她在上台领奖时被礼服的裙摆绊倒，事后接受采访时，她对此解释说：“I was at the Oscars, waiting to hear if my name was called, and I kept thinking,'Cakewalk, cakewalk, cakewalk.' I thought, Why is 'cakewalk' stuck in my head? And then, as I started to walk up the stairs and the fabric from my dress tucked under my feet, I realized my stylist (造型师) had told me, 'Kick, walk, kick, walk.' You are supposed to kick the dress out while you walk, and I totally forgot because I was thinking about cake! And that's why I fell.”