电影《双重人格》

Submarine was all his own work, but The Double is drawn from a Dostoyevsky story about a man displaced by a version of himself with much more fun of parties. Well, someone claiming to be Richard Ayoade came into the studio and explained that Dostoyevsky's novella was a double story out on its own.
《潜水艇》由理查德·艾欧阿德包办剧本和导演，但《双重人格》则是改编自陀思妥耶夫斯基的小说。故事讲述了一个男人被另一个更有趣的自己所取代。一个自称为理查德·艾欧阿德的人来到了我们的演播室。他向我们解释，陀思妥耶夫斯基的这部中篇小说本身就具有双面性。

What was interesting for me about the story in particular as opposed to other doppelgänger narratives you have is that in this, when people see The Double, they don't find it remarkable and that to me seems very funny, that no one else would be bothered by such an outlandish occurrence. It didn't feel particularly mired in a sort of 19th century world view that, the idea of identity feels very, yeah, interesting to me.
对我而言，故事尤其有趣的，也是和其它双重人格故事不同的一点是，当人们观看《双重人格》时，他们没发现有什么不寻常的地方。没人对如此奇异的事件感到反感，我觉得这十分有趣，人们没有因19世纪的世界观感到困扰。我对当时一致性的思想也很感兴趣。

How did you achieve it? I mean how did you do it? The physical doubling, well, a lot of it is very old fashioned, no different to how George Méliès would have done it. You are not winding back the film, but you film one actor on one side of the screen and then the actor moves to the other side of the screen and films the other part. And then you just divide the screen in two. It's not David Fincher face replacement which is, I guess, the most modern way of doing it.你是怎么做到的？我是说，你是怎么拍摄电影的？让屏幕上出现两个相同的人，我用的是十分老旧的方法，和乔治·梅利埃用的方法一样。我没把胶片倒卷回去，而是先在屏幕一边对演员进行拍摄，再让演员到屏幕另一边拍摄，之后我再把屏幕一分为二。我没有用大卫·芬奇的面部替换法，这应该是最先进的方法了。