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发表于 2010-9-18 20:30:15 | 显示全部楼层 |阅读模式
Orlando gave it to the journalist Sophie Heawood and it is on The Times issue of September 18th. Miss Heawood took this interview by phone with Orlando on September 3th, when he was in LA.

It’s not usually easy to get access to stars but the British actor Orlando Bloom is on the phone to me from his house in Hollywood, despite being in the middle of preparing for The Three Musketeers and helping a friend to organise his wedding. “I’m the best man. It’s so important to get it right, especially if you haven’t even met the bride’s parents. I’ve been looking up speeches online, everything. I think I’m on top of it now; well, now that I’ve cut the swearing out.”

Bloom, 33, got married himself in July, to the model Miranda Kerr, who he had been dating for three years and who is expecting their first child in January. “We decided to elope. It was the most romantic thing — a bit spur-of-the-moment, but so great, so lovely, just the perfect fit for us. The wedding was something we were planning, but when we got to the location we were thinking of doing it in, which was a private island in the Caribbean, we ended up thinking, why would we wait? Why don’t we just do it now? Our families and friends are spread so dramatically across the world, from Australia to the UK to America, and I’m going to be working for such a long stretch, that it was, you know ... the way we got to do it was wonderful. It was just us.”

The reason Bloom is eager to talk, however, is not about weddings but because throughout his ascent to fame and fortune he has maintained the most unlikely of friendships with an underground London artist called David Miles, who lives in squats, gets by without money and makes art from rubbish he finds on the street. They’ve been friends since Miles helped a 17-year-old Bloom with his Art A-level back in Kent.

And now, Bloom is ****-a-hoop that, after 15 years of persuasion, Miles has agreed to show his art to the public. “It’s been like pushing a steam train up a hill getting him to do something like this,” Bloom says. “I would always say, David, for f***’s sake, you can’t just live as a creative and an artist unto yourself. It’s lovely to talk like that, but what about putting food on the table? But he doesn’t see the world like that, which is why I’m fortunate to have him as a friend.” Bloom recalls when he was first shooting Pirates of the Caribbean and living in a private bungalow at the Château Marmont, a very glitzy rock’n’roll-style hotel in Hollywood. “I brought David out to stay with me there for two and a half months. The whole bungalow became a studio, with David cutting and collaging and photographing and glueing. I’d come home from shooting and he’d have bought a giant 4ft Barbie doll at the 99 cent store and he’d be destroying it in the most beautiful way possible. This was at the time when Paris Hilton was big, and so the doll — well, David absorbed his environment. He’d hang out beside the pool with all these people and make art about it. When he wasn’t hanging his washing out and riding on the bus.”

I speak to Miles about those château days. “Ah yes, that was a piece called Love on the Outside, and it was a rather gruesome walking doll. Two pieces in the exhibition were completed there at the château, with Orlando.”

The exhibition is titled Because You’re Worthless, a play on the L’Oréal slogan, and is the first in a series called London, Paris, New York, Beverly Hills. It’s a far cry from the Kent house clearances Miles grew up going to with his junk dealer father. By the age of 13 he was drawing a picture a day without fail; by 16 he was earning his pocket money painting fakes.

He later created an infamous art squat in Highgate, North London, called Cholmeley Dene, that was featured in World of Interiors. In 1987 he lined the Groucho Club’s function room with thousands of hand-printed A4 sheets, refusing to let what he calls the “money people” buy anything, and instead of having an opening, celebrating the event with a closing instead. He also had one proper exhibition of his work, in 1985, “and I did all the right things and it was very successful, but it left me very unhappy. So I decided I would eliminate money and status, all of that, to find out what being an artist was all about. What is it for? Now I think it’s for transforming things in daily life. It’s not that it replaces money, but imagination and creativity get you a much better exchange rate. If you look around, you’ll see that we are already surrounded by abundance.”

It’s this world view that has provided Bloom with a much-needed counterbalance to his Hollywood success. “Throughout the years, the ups and downs and rounds and rounds of the madness of life that I’ve lived, he’s very much the guy I go to if I have a question about my work,” Bloom says. “At times he’s picked me up on stuff. He makes jokes about ‘the brand’ that he says I’ve become, and asks me why I first got into this. Do I go and do Pirates 4 or do I do five movies that people will probably never see? If I speak to David, he’ll say do five movies that no one will ever see because it will help me to grow. If I speak to anyone else, they’ll say the opposite. So he’s a great moral compass.”

And yet it’s clear that Miles has become very well-connected. He met Oberon Sinclair, now his gallerist, at Courtney Love’s house. The New York artist Tom Sachs is a dear friend. In fact, Sachs helped Bloom to make a piece for the exhibition, too, a wire sculpture of Miles himself.

“My only worry is that after David gets successful I might have to start paying proper prices for his art,” Bloom chuckles. “But you know what? I’d be more than happy to pay any price.”

发表于 2010-9-19 13:49:20 | 显示全部楼层

33岁的布鲁姆今年七月已经与相恋三年的名模米兰达完婚,他们的孩子可能将在一月诞生。“我们当时决定私奔,这简直太浪漫了,一时冲动的念头,却很伟大,也很美好,对我们来说太完美了。婚礼是由我们计划的,当时我们来到加勒比的一个私人小岛,在那里我们起了这个念头。我们忍不住想,为什么还要等?为什么不现在就做?我们的家人和朋友不可思议地把消息传遍了世界,从澳大利亚,到英国,再到美国。我要为未来的人生道路努力,那是精彩的属于我俩的道路(I’m going to be working for such a long stretch, that it was, you know ... the way we got to do it was wonderful. It was just us)。

布鲁姆热衷谈论不是婚礼,而是其它。在他不断成名期间,始终与一个伦敦地下艺术家保持着难以置信的友谊。这位艺术家名叫大卫米勒,他住在一座废弃的房子里,身无分文,却能把从街捡来的垃圾变成艺术品。布鲁姆17岁时,曾受过他的帮助,自那以后他们就成了朋友。(his Art A-level back in Kent,是不是帮他进行A-LEVEL艺术考试,我不确定)。(贫贱之交不可忘,感动~~)

布鲁姆回忆起加勒比海盗首映时,他住在好莱坞一家金碧辉煌的酒店Château Marmont的一间私人套屋里,“我把大卫带出来和我住了一个半月,整个套房成了一个画室,到处都是大卫的剪报和相片的剪贴。我从首映礼上回来时,他已经从99分便利店买回了一个4英寸大的巨大的巴比娃娃。然后他用尽可能漂亮的方式把它毁了。巴黎的希尔顿很大,大卫是被这个娃娃周围的环境吸引了。(这里不知道准不准确,是不是说大卫被环境吸引而买下娃娃,买完就后悔了。)He’d hang out beside the pool with all these people and make art about it. When he wasn’t hanging his washing out and riding on the bus(这句话,理解无能)

发表于 2010-9-20 16:52:29 | 显示全部楼层


这场展览会被冠名为“正因你一无是处”,是本次系列展会的第一场,此后还将在伦敦、巴黎、纽约和BEVERLY HILLS等地举办。米勒和他捡垃圾的父亲大不一样,13岁时,他就可以一整天不停地画一幅画,16岁时,他已经可以通过画假画赚零用钱(外国版张大千)。
后来,他在伦敦北部的海格特建了一个不太出名的艺术工作室,名叫“乔姆利溪谷”,其作品主要表现“内部的世界”。1987年,他又用数以千记的手绘A4纸稿创建了格劳乔俱乐部的功能室,并且拒绝向那些他称为“有钱人”的人们出售他的作品。他没有举办开幕仪式,只举办了闭幕仪式来庆祝。1985年,他还办过一个不错的作品展览会,“我做得很好,很成功,但是我并不开心。我想我应该抛掉名利,抛掉一切,去寻找一个艺术家的全部(真是个高尚的艺术家!!)。艺术究竟为了什么呢?现我想清楚了,就是为了改变生活中的方方面面(这句很哲理的话不知翻得对不对)。虽然不能换来金钱,但想象力和创造性可以让你身价倍增(a much better exchange rate,钱跟汇率的比喻,好比说两个人如果是同样面额的人民币,想象和创造力可以让其中一人变成美元。)看看周围,你会发现我们已经被团团包围了(汗~~啥意思)

这样的世界观对于在好莱坞大红大紫的布鲁姆来说受益非常(这话的潜台词好难翻啊,米勒和名利虚无观跟开花的成功相互抵消,所以开花仍然是原来的开花,不会被好莱坞的名利场侵蚀。哇哦,真理啊,真相啊,赶快记下来!!)“这么多年来,我的生活起浮不定纷纷扰扰(好无奈的开花啊),每当我工作上遇到问题时,总是去找他!”布鲁姆说,“他总能使我振作起来。他开玩笑说我变成了“品牌”,还问我最初的烦恼是什么。我要拍海盗四,还是去拍五部人们可能永远看不到的电影?如果我问大卫,他一定会回答去拍五部电影吧,人们不会看不到的,因为它会使我成长。(艺术大师说的句句真理,足可见开花当初放弃海盗四是下了多大决心,经过了多少的深思熟虑。米勒大师,我要崇拜你了!!!)可是我问其它任何人,他们说的都是相反的答案(哈哈,当然了,粉丝都想在海盗四里看到你啊,开玩笑啦)。所以,他是一个伟大的人生向导(嗯嗯,I AGREE)。
米勒离主流艺术家越来越近了(well-connected)。Oberon Sinclair现在是他在Courtney Love’s house的画廊经理人,纽约艺术家Tom Sachs也成了他的好朋友。事实上,Tom Sachs曾帮助布鲁姆完成他的展会作品,也帮助过米勒完成过一件铁丝塑像。(开花成天跟大艺术家混一起,怪不得气质那么超凡脱俗,冷一个~)
发表于 2010-9-20 17:41:16 | 显示全部楼层



发表于 2010-9-20 22:05:07 | 显示全部楼层
小提一个意见,“莱格拉斯和吉姆利比赛杀人”这句太惊悚了,改成"杀敌"吧,他们杀的并不是“人” XD
发表于 2010-9-20 23:03:06 | 显示全部楼层
小提一个意见,“莱格拉斯和吉姆利比赛杀人”这句太惊悚了,改成"杀敌"吧, ...
ilxwing 发表于 2010-9-20 22:05

 楼主| 发表于 2010-9-22 13:45:15 | 显示全部楼层

发表于 2010-9-22 13:58:19 | 显示全部楼层
本帖最后由 Tsvetenie 于 2010-9-23 09:05 编辑

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