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Scott Pilgrim turns 10: how the cult film gave fans a perfect snapshot of
Toronto's indie music scene
《歪小子史考特》上映十週年：完美呈現多倫多的獨立樂壇縮影，獻給搖滾粉絲的邪典電影

The movie based on Bryan Lee O'Malley's graphic novels featured some of the
city's biggest indie acts
這部電影是根據Bryan Lee O'Malley的漫畫故事改編而成，並有不少多倫多的大咖獨立藝人參與其中

Edgar Wright's film Scott Pilgrim vs. the World was supposed to be a hit whenit came out 10 years ago. Instead, in the years since it failed at the box
office, it has transformed into a cult classic. (Universal Canada)
十年前甫上映時，由Edgar Wright執導的《歪小子史考特》被視為強檔熱門。而雖然當初票房慘遭滑鐵盧，在時光推移下居然成為了一部邪典經典。（Universal Canada）

"You guys doing anything fun while you're in town?"
"Fun? In Toronto?"
「你們在市區有發生什麼好玩的事嗎？」
「好玩？你是指多倫多嗎？」

August 2010 felt like the perfect confluence of Canadian indie-rock culture.
On Aug. 2, Arcade Fire, the Montreal band that put its hometown on the music
map in 2004 with its breakout album Funeral, released its highly anticipated
third record, The Suburbs. It went on to debut at No. 1 on the Billboard 200.2010年的加拿大獨立搖滾文化已臻成熟，而該年8月似乎達到了巔峰。2004年時以首張專輯《Funeral》驚豔四座的樂團Arcade Fire，在音樂地圖上為家鄉蒙特婁光耀門楣後，於2010年8月2日發行了萬眾期待的第三張專輯《Suburbs》，並隨即空降成為Billboad 200大單曲的冠軍。

It was the apex of a decade that saw many Canadian acts including Broken
Social Scene, the New Pornographers, Wolf Parade and Metric breaking through
internationally, and the cherry on top came the following year when, in
February 2011, The Suburbs won the Grammy Award for album of the year. It wasa culmination of a growing critical consensus around Canadian music, a risingstar that also happened to catch Hollywood's eye. If a film blended in that
music and culture into its foundation, it, too, could be poised to ride that
wave of success, right?
十年前正是加拿大人在演藝圈發光發熱的時期。越來越多的加拿大藝人打開了國際知名度，如Broken Social Scene、the New Pornographers、Wolf Parade和Metric；而迅速竄起的加拿大音樂也吸引了好萊塢的注意，因此衍生的評論與支持也日益發酵。於是，加拿大人在2011年2月迎來了錦上添花的好消息：《The Suburbs》贏得了葛萊美年度最佳專輯的殊榮。因此，如果有人能將加拿大的音樂與文化融入電影中，那麼這部電影應搭上這波成功的熱潮才對。

On Aug. 13, 2010 Scott Pilgrim vs. the World was released. A film adaptation
of Bryan Lee O'Malley's graphic novel series, Scott Pilgrim, the Edgar
Wright-directed film was projected to be a hit. Michael Cera starred as ScottPilgrim, a boy who falls for the new girl in town (Mary Elizabeth Winstead),
but must defeat her seven evil exes in order to date her. Scott Pilgrim vs.
the World combined an eye-popping and fantastical comic book style with triedand true elements of musicals, action blockbusters, coming-of-age dramas and
rom-coms — all set in the city of Toronto.
2010年8月13日推出的《歪小子史考特》是改編自Bryan Lee O'Malley的小說漫畫，在
Edgar Wright的執導下預期將大受歡迎。由於Michael Cera飾演的主角Scott Pilgrim煞到剛搬來鎮上的女孩（Mary Elizabeth Winstead飾演），他必須打敗她七位邪惡的前男友才能成功與她約會。《歪小子史考特》將吸睛的奇幻漫畫風格與不敗的音樂劇元素、賣座動作情節、青少年劇情和愛情漫畫氛圍相結合，並以多倫多為所有故事的發生背景。

▍A flop-turned-cult hit
But, in its opening weekend, the film debuted at no. 5 and only earned $10
million, nowhere near the $85 million production budget that went into makingit. By commercial standards, it was deemed a flop. Some claimed it was too
Canadian, others argued that having Cera anchor the film was a mistake. It
would initially seem as though Hollywood made the wrong call altogether and
that the film's financial failure, much like the "Who is Arcade Fire?"
comments that greeted the band's Grammy win, was a sign that perhaps criticalconsensus was out of sync with mainstream taste, and that the popularity of
Canadian indie rock, among other elements of the film, wasn't enough to
bolster a film to worldwide profit.
▍砸鍋作品變成熱門的邪典電影
然而，該部電影在上映的第一個週末票房僅獲得了第五名，甚至最後以1,000萬的總票房作結，和8,500萬美元的製作預算相差甚遠。就商業角度而言，《歪小子史考特》可說是重大慘敗。有人認為這部片的「加拿大味」太重了，也有人認為找Cera主演才是大錯特錯。在那時看來，這一切似乎只是因好萊塢製片商同時犯下了許多錯誤決定而釀成；而這部電影的商業滑鐵盧也可能意味著當時的電影專業與主流品味相悖，就如樂團Arcade Fire在獲得葛萊美獎時，網友紛紛留言問道「他們是哪位？」。或者，也可說加拿大獨立搖滾在那時的普及程度，還不足以撐起一部電影的國際票房。

But almost immediately after its theatrical run wound down, the film formed acult following (not without the help of a ceaselessly enthusiastic Toronto
fanbase). Now, 10 years later, it's being heralded as a film that was ahead
of its time, predating the mega success of box office-smashing superhero
films (the Marvel cinematic universe launched in 2008, but took some years toreally take off) and acting as the launching pad for some of film and TV's
biggest stars now (Brie Larson, Aubrey Plaza, Anna Kendrick).
不過，就在該部電影的戲劇宣傳結束沒多久，在多倫多熱情粉絲不放棄的推廣下，該部電影旋即擁有了一批奉其為邪典的粉絲。十年後的今天，這部電影被譽為是走在時代尖端的漫改先驅（票房必賣的英雄電影漫威宇宙雖早在2008年推出第一部作品，但也花了數年才紅遍全球）；甚至，還是如今票房電影和電視影集中許多大明星的發跡起點，如Brie
Larson、Aubrey Plaza和Anna Kendrick。

The film is also a neat snapshot of that indie-rock era. Written between 2004and 2010, O'Malley's books were loosely based on his time living and playing
music in Toronto. "I was in a bunch of bands," O'Malley told Weird Girls. "I
always play music on and off; comics kind of took off more than music, but
I've always enjoyed music." That part of his life, and his experiences
lugging band gear across the city's vibrant music scene, had one of the
biggest influences on Scott Pilgrim.
事實上，《歪小子史考特》也稱得上是當時獨立搖滾圈的完美縮影。這本由O'Malley自
2004年寫至2010年完成的作品，有部分是以他住在多倫多時玩音樂的一段歲月為背景。
O'Malley這麼對Weird Girls說道：「我當時是斷斷續續地在玩音樂、也參加過不少樂團。在我的人生中，漫畫算是比音樂重要一點點，但我仍不放棄對音樂的熱愛並享受其中。」而他這一段人生過程，和曾扛著樂器走在街頭、參與多倫多樂壇勃發展的經歷，對該部電影的影響可謂至關深遠。

Protagonist Scott (who is named after a song by '90s Halifax band Plumtree)
is a bassist in a band called Sex Bob-omb, and most of the series' adventuresrevolve around a series of battle-of-the-band gigs that would also double as
battlegrounds for Scott and the villainous exes of Ramona Flowers, the objectof his affection/obsession.
電影中的一連串冒險主要是以一系列的樂團battle為故事核心。主角史考特在樂團Sex
Bob-omb（樂團名是參考九零年代成軍於哈利法克斯的樂團Plumtree某首歌的歌名）中擔任貝斯手，為了爭取心儀對象Ramona Flowers的芳心而決定與她各種邪惡前男友對決，進而展開一系列的樂團battle。

When time came to translate Scott Pilgrim from the page to the big screen,
Wright had a sturdy blueprint for its visual identity. But how would they
bring the sound of the series' universe to life?
在決定將史考特的故事從書本上重現於大螢幕上時，Wright已在心中確立了其視覺形象的藍圖。不過，這些製片要如何將這部漫畫世界中的音樂呈現給觀眾呢？

▍Creating the sound of Scott Pilgrim vs. the World
The answer was a mix of local and international talent. Behind the scenes,
Sloan frontman Chris Murphy was tapped as the musical director, teaching and
guiding actors through performing as musicians on-camera. (Mark Webber and
Alison Pill, who play two-thirds of Sex Bob-omb, had never picked up an
instrument in real life prior to shooting the film.) For its soundtrack,
Wright called up friend Nigel Godrich and Beck to helm Sex Bob-omb's scrappy
garage-rock anthems, giving the band just enough of a polish so that the
performances were enjoyable to watch, but also sloppy enough to be believablethat a group of twenty-somethings could throw them together.
▍打造《歪小子史考特》的音樂內容
透過將在地人才與國際專家的技術結合，劇組找到了答案。樂團Sloan的主唱Chris
Murphy成為該片的音樂指導，教導並指引演員們如何在鏡頭前「演」一個音樂人（因為
Sex Bob-omb的另外兩名成員Mark Webber和Alison Pill在拍攝前從未碰過任何樂器）。至於《歪小子史考特》的電影原聲帶製作，Wright則邀來了音樂人好友Nigel Godrich和Beck來形塑Sex Bob-omb較為粗糙的車庫搖滾（garage-rock）曲風。如此一來，具一定音樂水準的演員將能在電影中呈現讓人享受的樂團表演，但同時稍嫌落漆的表現也足以讓人相信這是年輕人二十幾歲該有的樣子。

Local indie-rock heroes Broken Social Scene and Metric were also brought
onboard to round out the sonic identities of other featured fictional bands:
Crash and the Boys, and Clash at Demonhead.
加拿大本土的獨立搖滾看板名人Broken Social Scene和Metric也加入他們的行列，協助塑造片中其他虛構樂團的音樂風格，像是Crash and the Boys，以及Clash at Demonhead。

Clash at Demonhead, particularly, was inspired by Metric, a fact that singer
Emily Haines has called both flattering and insulting. "It's sort of like a
nightmare version of us," she told TIFF. When the band members were first
approached by Wright to contribute a track to the film, the synth-rockers
pulled up "Black Sheep," a track that missed the cut for their fourth studio
album, Fantasies, but felt like the perfect fit for the Brie Larson-fronted
Clash at Demonhead, a Toronto outfit that has gained international acclaim.
(According to Aubrey Plaza's Julie Powers, Clash at Demonhead opened for the
Pixies.)
特別的是，Clash at Demonhead其實是受到Metric啟發而創造的樂團，而這件事讓該樂團的主唱Emily Haines認為既榮幸又不好意思。她向TIFF表示：「我覺得他們根本是我們
Metric的噩夢版。」此外，當導演Wright初次向團員們接洽並希望他們為電影寫首歌時，這群合成搖滾人馬上拋出了〈Black Sheep〉。這首歌是他們未能收錄進第四張錄音專輯《Fantasies》中的一首歌，而該曲的風格正好適合以Brie Larson為主唱的Clash at
Demonhead。這個充滿多倫多風情的樂團在片中獲得不少國際的讚聲，且Aubrey Plaza飾演的 Julie Powers還說Clash at Demonhead居然受邀為the Pixies的暖場嘉賓。

"When I had finally heard, in the film, her version of it," Haines recalls,
"I think she did a great job, it's completely different from me ... I only
wish I could be as badass as the characters he created. I'm glad that we
inspired him, but that it wasn't too close to us."
Haines回想道：「當我終於在電影中聽到Larson唱的版本時，我覺得她表現得很好，跟我風格完全不同。真希望我能像電影中創造的角色一樣耍狠耍帥。總之，我很榮幸我們成為創作的靈感之一，只是Clash at Demonhead跟我們樂團的實際風格並不相像。」

Larson's band takes the stage at Lee's Palace, one of the only real music
venues featured in the film, shining a light on the physical scene in Toronto(The Rockit was also featured but because it closed in 2005, they had to
recreate the entire set.) Even restaurant chains like Pizza Pizza and Second
Cup were cleverly shot in the same neighbourhoods to maintain a geographical
continuity that most films shot in Toronto rarely abide by — that's if
Toronto is lucky enough to get to play itself, another anomaly.
Larson的樂團登台演出的Lee's Palace是全片少數幾個真實存在的音樂場地之一，而這也是成為片中多倫多實際場景的亮點之一（The Rockit雖然也出現在電影中，但因其早在
2005年便關門大吉，劇組得重建整個布景才能重現場地）。此外，為維持地理環境的連續性，這部片連Pizza Pizza 或Second Cup這種連鎖餐廳都會刻意選在同一社區取景，但其他同樣以多倫多為背景的電影卻很少如此操作；僥倖的話，這座城市或許還有機會以「本尊」之名在電影中出場，只是這到時也會成為另一段奇談了。

Broken Social Scene's contributions were slightly different from Metric's.
Their songs for Crash and the Boys, one of Sex Bob-omb's battle-of-the-bands
opponents, were a far cry from the anthemic rock songs the band is best knownfor. So instead, members Brendan Canning and Kevin Drew created something
that was heavier than what they would normally produce, with instruments
thrashing up against each other in short, powerful bursts — literally so
short that, in the film, Scott's roommate Wallace heckles them from his seat:"It's not a race, guys."
Broken Social Scene為本片原聲帶貢獻的成果與Metric有些不同。Sex Bob-omb其中一個battle的對手Crash and the Boys正是演奏他們所寫的歌，而該曲的風格與其原先激勵人心的招牌樂風有著天壤之別。由團員Brendan Canning與Kevin Drew攜手打造的這首歌，不僅節奏較他們平常的風格還要強而有力，兩人甚至要求所有樂器以簡短、強勁的爆發力同時大力敲擊。事實上，這首節奏的急促程度讓片中坐在觀眾席的史考特室友Wallace都忍不住挖苦道：「你們是在比誰快嗎？」

Throughout the film, Wright ensures that every corner of the screen and its
setting honours the city it takes place in. For Wright, Scott Pilgrim vs. theWorld is a love letter to O'Malley's heartfelt comics, but the film is also alove letter to Toronto. Characters are spotted reading issues of alt-weekliesEye Weekly and Now Magazine; Scott and his pre-Ramona love interest, Knives
Chau, frequently shop at the record shop, Sonic Boom; Ramona has a New
Pornographers album cover in her living room. Haines, whose voice doesn't
technically come up during the Clash at Demonhead performance (all the actorsrecorded their own vocals, which were used in the film), can be heard later
on as Broken Social Scene's "Anthems for a Seventeen-Year-Old Girl" is playedin the background in one pivotal scene. These are all Easter eggs lovingly
planted for true Torontonians to see — and to feel seen.
為了向這座城市致敬，導演Wright對片中出現的每個角落和場景都非常小心翼翼。《歪小子史考特》不僅僅是寫給O'Malley這部溫暖漫畫的情書，也同時是一封寫給多倫多的告白。舉例而言，電影中的人物會閱讀《Eye Weekly》和《Now Magazine》等週刊、史考特和前任情人Knives Chau時常去逛一間叫「Sonic Boom」的唱片行，而女主角Ramona的客廳則貼著一幅New Pornographers的專輯封面海報。此外，Haines的聲音一開始雖未出現在Clash at Demonhead的表演中（因本片所有演員會另外錄製聲音以用於電影中），但後面重要的某幕以Broken Social Scene的〈Anthems for a Seventeen-Year-Old Girl〉作為背景音樂時，觀眾便能聽到她的聲音。而除了要讓真正的多倫多人發現這些隱藏彩蛋外，導演的貼心舉動也是為了讓多倫多人感到被世界所看見。

▍How has the film aged?
Of course, Toronto is made up of many thriving music scenes, from punk to hiphop. (It is, after all, the home of the biggest hip-hop artist in the world.)So Scott Pilgrim's representation of the city's indie-rock scene is fairly
narrow and, quite notably, white. But that, too, is reflective of how indie
rock, as a genre back in the early to mid-2000s, was mostly dominated by
white acts. Even a scan of the audiences in the film show a mainly white
demographic, further alienating a character like Knives who is often referredto as just a "Chinese schoolgirl" in the film.
▍這部電影是如何轉大人的？
無庸置疑的是，多倫多的樂壇蓬勃發展，從龐克到嘻哈等風格都應有盡有（畢竟這裡也是世界知名嘻哈歌手Drake的家鄉）；而《歪小子史考特》不僅反映出這裡的獨立搖滾圈較為狹隘，且眾所皆知地對白人族群有利，也反映了這門從2000年代早期發展至中期的音樂種類，多是以白人樂手為主流。甚至對片中觀眾的種族光譜加以檢視時，也會發現群眾中的白人占了多數，從而讓Knives一類通常只被視為「中國裔女同學」的電影角色更加孤立。

But I can relate to Knives. As someone who fits her description — a
Chinese-Canadian who was born and raised in Toronto — and who attended many
shows at Lee's Palace and various other venues across the city, being one of
a handful of non-white concert attendees is a very real experience. And the
film, whether it was deliberate in its representation or not, was honest in
its depiction of those spaces instead of leaning into Toronto's prominence asone of the most multicultural cities in the world.
而筆者本身也是多倫多土生土長的中國裔加拿大人，也去過Lee's Palace和多倫多的其他場地看過很多表演，所以像Knives做為非白人演唱會上少數來賓的感受，對筆者而言可說是非常真實。無論導演是否有意為之，但《歪小子史考特》的確將多倫多的各種面貌忠實呈現在觀眾眼前，而不刻意著眼於這座城市包容多元文化的優點。

Underneath all the portals and superpowers, though, Scott Pilgrim is a
perfect snapshot of the Toronto music scene in the 2000s. From the iconic
landmarks to the less talked about lack of representation, Toronto's
indie-rock scene provided the film with a grounded and lived-in foundation
atop which Wright built a colourful, fantastical world. And in the 10 years
since it came out, the film has already aged into quite a time capsule: SonicBoom has since moved locations twice; the Lee's Palace interior will
definitely throw off tourists who come in hoping to grab a beer at the back
bar, which has been redesigned (and which was, at the time of filming,
leading the crew to recreate the original layout); the Rockit is now on a
rapidly growing list of venues that have shuttered.
撇開傳送門和超能力等奇幻元素不談，其實《歪小子史考特》在細看之下，可說是多倫多2000年時期的樂壇縮影。無論是代表性的地標或因不具標誌性而較少提及的特色，在
Wright為該片打造的繽紛、奇幻世界觀中，多倫多當時的獨立樂壇也成為其中的穩定基礎。《歪小子史考特》在推出了十年後彷彿濃縮成一個時光膠囊，畢竟片中的唱片行SonicBoom早已搬了兩次家；此外，Lee's Palace的室內設計經過重新整修後，原想來此在後面吧檯喝上一杯啤酒的旅客也都敗興而歸（這項工程也使得劇組在拍片時必須重建原本的面貌），而Rockit如今也關門大吉，眼見停業的景點清單在短期內越列越長。

With those community-oriented spaces growing more vulnerable every day due tothe COVID-19 pandemic, Scott Pilgrim's valorization of music venues reminds
us of the importance of these places and why we must continue to help keep
them alive, however possible. Watching scenes of crowded parties and fans
standing shoulder to shoulder will definitely elicit fond memories of
communal gatherings, but as a whole, re-watching Scott Pilgrim makes us miss
live music the most, eager to reignite the scene with loud, buzzing bands.
這類群聚的在地空間雖因新冠疫情變得日益危險，幸好《歪小子史考特》點出了這些地方的價值。除提醒人們這些地方存在的重要性外，也道出了人們應想盡辦法守護的原因。擁擠的人潮、肩並肩的歌迷，看著《歪小子史考特》出現的這些場景總讓人想起那些與人相聚的美好回憶；更甚者，重溫這部電影會讓人最懷念的是聆聽現場表演的震撼，並迫不及待能再次看著嘈雜的樂團大聲演奏並為之感動。

Until the next time we're allowed to step into Lee's Palace, though, Scott
Pilgrim vs. the World is the next best thing: a dream-like universe that we
can continue finding comfort in.
雖然疫情使人暫時無法踏進Lee's Palace，但觀看《歪小子史考特》仍讓我們有機會盡情享受音樂。至少，置身在這夢幻般的漫畫宇宙中，我們隨時能找到心靈上的安慰。

歡迎到粉絲團分享文章～

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哈哈 就是風格很強烈啦

影片

長文才精彩呀