那些“汗津津”的夏日电影

Cherishing Sun-Baked Cinema

那些“汗津津”的夏日电影

‘Lifeguard’ (1976)

《救生员》(Lifeguard)(1976)

I was 17 in the summer of ’76, when “Lifeguard” opened. If you weren’t 17 yourself then and bored and oversexed, you probably didn’t see it, and I can’t tell you to go running to iTunes now to download it. It’s there, but barely. Not even one customer review.

1976年夏天《救生员》上映的那会儿，我17岁。如果当时你不是17岁，不无聊而且也不性欲过剩，那你可能没看过这部电影。我不能对你说：快登陆iTunes把它下载下来吧。那上面是有，但几乎找不到了。甚至连一条用户评论都没有。

Surprisingly it’s PG, because if you asked me, I’d say it was all about sex. About growing up and accepting adulthood too, but mostly about sex. There’s a scene on iTunes that features the stars, a rakish Sam Elliott seducing the busting-out-of-her-bikini Kathleen Quinlan, and it’s barely watchable.

出人意料的是，这是一部PG(家长指引)电影，因为如果你问我，我会说整部电影都是性。绝大部分都是性，虽然也和成长以及接受成年之殇有关。 iTunes上有个片段，内容是放荡的萨姆·艾略特(Sam Elliott)引诱穿着比基尼、身材呼之欲出的凯瑟琳·奎伦(Kathleen Quinlan)，这段简直让人不忍心看。

But still I remember “Lifeguard” all these years later, and that counts for something, doesn’t it? Isn’t that what art is, really? A work that makes you see the world differently, that answers questions you didn’t know you had, that perfectly captures a time and a place, that inspires you?

但我这些年来始终记得《救生员》这部电影，这一点就可以说明一些问题了，不是吗?一部让你以不同的方式看待世界的电影，回答连你都不知道你会有的问题，它完美地捕捉了一个时空，并且激励了你，这样的电影难道不正是艺术吗?

It was America’s bicentennial that summer. New York, where I went to high school, was invaded by tall ships and paralyzing heat. My buddy Eric and I were traveling the junior tennis circuit in his father’s Buick, passing through towns like Poughkeepsie and Albany. We lost early most weeks and filled the time until the next tournament with bowling and movies.

那年夏天正好是美国庆祝建国两百周年。纽约，我上高中的地方，正被大帆船和热浪侵袭。我和死党艾瑞克(Eric)开着他老爹的别克车，追着青少年网球巡回赛跑，穿过一座座像是波基普西和奥尔巴尼这样的小镇。最开始的几周我们都在迷路，而到下一场锦标赛开始前，我们一直靠打保龄球和看电影来消磨时间。

“Lifeguard” was one of those movies. Sam Elliott plays Rick Carlson, an aging (30!) lifeguard in Los Angeles who knows there’s more to life than beach parties and one-night stands with teenage girls and stewardesses but can’t bring himself to take a real job at a Porsche dealer even if that’s the only way to win the heart of his old high school flame, the very, very, very pretty Anne Archer.

《救生员》就是其中的一部。萨姆·艾略特饰演瑞克·卡尔森(Rick Carlson)，一个洛杉矶老气的(30岁了!)救生员。他明白比起沙滩派对或是和未成年少女、空姐搞一夜情，生活还有更多内容，但他还是没有在一个保时捷经销处谋得一职半位，而这是唯一能赢得高中时暗恋的那个非常非常非常漂亮的安妮·阿彻(Anne Archer)芳心的办法。

So where was the sex? Well, Sam Elliott was so damn good-looking in that sleazy, ’70s bathing-trunks-and-mustache way (predating “Baywatch” and “Magnum, P.I.”) that he could pretty much charm the bra and panties off of anybody. But there was also something wildly sexy about Los Angeles, the city. Somehow I knew it held the key to my future, and “Lifeguard” was the sales pitch: sunsets and muscle cars and beach houses and lazy sex on unmade beds.

那么，性呢?嗯，萨姆·艾略特穿着70年代那面料稀薄的泳裤、留着髭须的样子真是太帅了(这种扮相比《海滩救护队》[Baywatch]和《夏威夷神探》[Magnum, P.I.]都来得早)，帅得完全可以脱下任何一个女人的胸罩和内裤。不过电影也表现了洛杉矶狂野性感的一面。不知怎的，我感到这座城市掌握着我未来的钥匙，而《救生员》就是它的卖点：日落、肌肉车(muscle car)、海滨别墅，以及凌乱的床上那慵懒的性爱。

Talk about inspiration. Six years later I was living out there in a roach-infested, sun-drenched apartment on Pico, driving a ’69 Plymouth Satellite to the beach on weekends, hoping to meet girls, dreaming of a Hollywood career. The only thing I didn’t have was the mustache.

说说激励吧。六年后，我住在皮科里韦拉的一间蟑螂横行、阳光明媚的公寓里，周末开着辆69年的“普利茅斯卫星”去海滨逛，想认识女孩，做着好莱坞的明星梦。我唯一没有的东西就是八字胡。

The shambling style of the movie was typical ’70s: rough around the edges. The director, Daniel Petrie, won an Emmy that year for his elegant TV movie “Eleanor and Franklin,” but “Lifeguard” had a relaxed, unpolished quality that made it feel very real, a peek at adulthood if you didn’t follow all the rules.

电影那种拖沓的风格是典型的20世纪70年代特色：结构比较凌乱。该电影的导演丹尼尔·皮特里(Daniel Petrie)，于同年凭借他那部优美的电视电影《埃莉诺和富兰克林》(Eleanor and Franklin)赢得艾美奖，但《救生员》随意而原始的品质使得电影本身看上去非常真实，如果你不遵守所有的规则的话你就能通过它一瞥成人生活。

The screenplay by Ron Koslow is full of clunkers but also gems like the opening line: “The only place jogging is going to get you is right back where you started,” which seemed profound to my unformed teenage brain. Most important, “Lifeguard” is about making choices. That’s what the best movies are always about, and that’s what I remember most: the horror of realizing at 30 that your best years may be behind you, and that only drudgery and self-hatred lie ahead.

罗恩·科斯洛(Ron Koslow)写的剧本虽然很老套，却也不乏闪光点，比如说电影的开场白：“慢跑唯一能带你去的地方，是回到你的起点，”这句话对于当时还是懵懂少年的我来说挺深刻的。最重要的是，《救生员》所讨论的是选择。这是最好的电影一直都在讨论的，也是我印象最深的：在而立之年幡然惊觉年华已逝，眼前剩下的只有乏味的工作和自我憎恨 。

Sitting there in my tennis shorts in a multiplex in Poughkeepsie, that sure motivated me. In a strange, popcorny, cliché-ridden, summer-movie kind of way you could say that “Lifeguard” saved my life. — DAVID FRANKEL, director of “Hope Springs,” opening Aug. 10

穿着网球短裤，坐在波基普西的一个电影院，想想，那经历的确激励了我。你可以用一种奇怪的、爆米花式的、尽是陈词滥调的、夏日电影式的方式说，正是《救生员》拯救了我的生命。——大卫·弗兰科尔(DAVID FRANKEL)，将于2012年8月10日上映的《希望温泉》(Hope Springs)的导演。

‘Clueless’ (1995)

《独领风骚》(Clueless)(1995)

“Big,” “Terminator 2” and the flawless “Risky Business” are all seminal summer movies. But none are quite as quotable as “Clueless” (1995). It’s the story of Cher Horowitz, a vapid Beverly Hills girl, and the trials of her popular social life. Cher’s world was everything my New Jersey upbringing was lacking, other than a protective, Italian father à la Nick Tortelli (from “Cheers”). I had just graduated from high school and didn’t know what “valet” was, but it sounded amazing.

《长大》(Big)、《终结者2》(Terminator 2)以及完美无瑕的《乖仔也疯狂》(Risky Business)都是创意十足的夏日电影。但它们无一能与《独领风骚》(1995)相媲美。这是一部关于比弗利山庄的一个无聊女孩雪儿·霍洛维茨 (Cher Horowitz)，和她那万人迷般的社交生活的电影。雪儿的世界是我在新泽西长大时所无法想象的，除了有一个爱护备至的像尼克·托特里(Nick Tortelli，源自电视剧《干杯》[Cheers])那样的意大利老爹。我那时才刚高中毕业而且还不知道什么是“贴身男仆”，不过这字眼听起来酷毙了。

Alicia Silverstone was that chick from Aerosmith’s “Cryin’ ” video. But long before “Legally Blonde,” her Cher, below, managed to balance a contempo-casual superficiality with a lovable sweetness. Brittany Murphy in particular shines as the new girl in need, singing “Rolling With the Homies” and asking the age-old question “If I’m too good for him, then how come I’m not with him?” We were introduced to Donald Faison, Jeremy Sisto and our generation’s Dorian Gray, the everlasting Paul Rudd.

艾丽西亚·西尔维斯通(Alicia Silverstone)就是史密斯飞船乐队(Aerosmith)的《哭泣》(Cryin’ )音乐录影带里的那个小妞。但是在《律政俏佳人》(Legally Blonde)很久以前，她饰演的雪儿，如下文，就已经成功地在“肤浅的时髦”和“惹人喜爱的甜美”之间掌握了平衡。布兰妮·墨菲(Brittany Murphy)像个纠结的一年级女生，唱着《与友同行》(Rolling With the Homies)然后问“如果说我配他绰绰有余，那为什么我们不能在一起?”这种老掉牙的问题。我们在片中认识了唐纳德·法森(Donald Faison)，杰瑞米·西斯托(Jeremy Sisto)和我们那一代的道林·格雷(Dorian Gray)——永远的保罗·路德(Paul Rudd)。

With a budget of $12 million, the writer-director Amy Heckerling, whose first feature was the spot-on classic “Fast Times at Ridgemont High,” captured the voice of teenage cluelessness with lines like “You guys talk like grown-ups.” At a party I still want to “do a lap before we commit to a location.”

拿着1200万美元的预算，编导艾米·海克林(Amy Heckerling)——她的处女作是那部经典的《开放的美国学府》(Fast Times at Ridgemont High)——捕捉了青少年的懵懂无知，并配上了“你们说起话来像大人一样”这样的台词。去派对时，我还想着“在一个地方落脚之前先兜上一圈。”

“Clueless” taught us phrases like “She’s a Monet,” gave new meaning to the term “grassy knoll” and offered the truism that “everywhere in L.A. takes 20 minutes.” It was quintessential ’90s, from teen-speak to fashion. I wanted “nice stems” and plaid jackets that matchy-matched pleated skirts. And kids were on cellphones — in school!

《独领风骚》教给了我们一些习语，如“她就是个莫奈”(指只能从远处看的美女。——译注)，赋予了“长满青草的小丘”新的含义(指懒鬼。——译注)，还证明了“在洛杉矶，去任何地方都只要花20分钟”的真实性。它们从青少年的俚语变成潮流，它们是20世纪90年代的精髓。我也想要“nice stems系列指甲油”，还有那种跟百褶裙是绝配的格纹夹克。而且孩子们都用上了手机——就在学校里!

“Clueless” is an incredible example of a girl-centric film that transcends the genre. Most important, the movie carries a positive message of do-gooding. Because if you can’t help the people of Pismo Beach, at least you can help your friends find love in Los Angeles. — LORENE SCAFARIA, writer and director of “Seeking a Friend for the End of the World,” opening June 22

《独领风骚》是一部极为典型的、以女孩为中心并超越了“类型”的电影。最重要的是，电影为“行善”传递出了正面信息。因为就算你帮不了庇斯摩海滩的人们，你至少可以帮助你的朋友在洛杉矶收获爱情。——劳伦·斯卡菲利亚(LORENE SCAFARIA)，6月22日上映的《末日倒数缘结时》(Seeking a Friend for the End of the World)的导演。

‘Jaws’ (1975)

《大白鲨》(Jaws)(1975)

Once upon a time, in a galaxy far, far away, I was 9. It was August 1975, and I had just returned home from my two-month getaway to Calamigos Star C Ranch in Malibu. The talk that summer among the pimpled or surf-ratty junior staff was of the first must-see movie event described to all of us A.D.D., impressionable campers: “Jaws.”

很久很久以前，就像银河系那么久，那一年我9岁。那是1975年8月，我刚结束在马里布的卡拉米格斯C星农场为期两个月的锻炼回到了家。那个夏天里，长着粉刺或是热衷于冲浪的营地初级职员，整天对我们这些好动又容易受影响的露营者念叨着，有一部电影绝不容错，那就是：《大白鲨》。

All we heard was that it was scarier than any “don’t get out of the car” campfire terror tale, and how “real” it was. A spoiler made the rounds at camp: mid-movie a bald, bug-eyed, dismembered head rolls out of the hull of an attacked boat, much to the screamy, bubble-blowing chagrin of an adorably feisty and young Richard Dreyfuss, the little know-it-all nebbish with a pocket full of cash and a noggin full of shark knowledge.

我们听说，这电影比任何一个“不要走到车外”的露营恐怖故事都还要惊悚，而且非常“真实”。一段剧透在营里传开了：影片中途，会有一颗秃顶暴眼的脑袋从一艘受到攻击的船上滚下来，很可能就是那个喜欢大叫还不时发火、精力极其充沛的年轻的理查德·德莱弗斯(Richard Dreyfuss)的头，他是个无所不知但没有用武之地的人，很有钱，还有满腹的鲨鱼知识。

The junior counselors who were all (now that I think about it) way too young to be responsible for the well-being, safety and, frankly, lives of us campers, told us endlessly of what were clearly God’s original aquatic “Hunger Games,” and we reacted by boycotting the pool, for fear of becoming chlorinated appetizers.

初级辅导员都太嫩了(现在想想是这回事)，负责不了我们这些露营者的乐趣、安全以及，老实说，我们的生命，只会不停地对我们说上帝创作的水中“饥饿游戏”(Hunger Games)到底是什么，我们因此就都远离泳池，害怕会变成泡着氯水的开胃菜。

I became obsessed with seeing the movie that everyone had seen but that I was too young to see. I was infuriated and outraged by the idea that some faceless strangers could dictate how scared I was allowed to get, let alone what I was allowed to see with my insatiably curious eyes.

我开始梦想着去看那些大家都看过、而我因为太小还不能看的电影。某些莫名其妙的陌生人一厢情愿地认为看到电影会把我吓坏，还要对我那不知餍足的好奇的眼睛能看什么电影划一个范围，想到这个我就非常不爽。

Being the con artist in training that I was — I fancied myself the Artful Dodger of Brentwood — I talked my parents into taking me to the world’s first horror blockbuster. Here’s what I remember of that hot August night in breezy Santa Monica. Sitting between my parents, holding their giant sweaty hands as a naked Chrissie was dragged brutally through the water, leaving the audience to imagine the hideous, gory, chewing happening just beneath sea level. Also: the little crabs crawling about her cloudy bluing remains; Robert Shaw’s nails on the chalkboard; the sweet missing dog playing fetch; the annoying freckly kid being devoured for making the mistake of kicking in the water and choosing a vibrant yellow raft; knowing the head was literally about to roll when Hooper (Mr. Dreyfuss) started going after the shot-glass-size shark tooth, closing my eyes and hearing the audience scream as I got legit air, when my parents, jumping up, pulled me out of my seat. I remember the “who’s got the coolest scar” contest, the freakishly real-seeming animatronics shark leaping for the bloody chum, the air barrel race (God, I love that still), Quint’s death and, of course, the catch phrase of the year: “Smile, you son of a bitch!”

作为一个油嘴滑舌的人——我曾幻想我是《雾都孤儿》(Brentwood)里的神偷道奇(Artful Dodger)——我成功地说服了父母，让他们带我看这世界上第一部恐怖大片。关于那个轻风吹拂的圣塔莫妮卡的炎热的八月夜晚，下面是我所记得的内容：我坐在父母中间，当赤裸的克里丝(Chrissie)被残暴地从水中拖了出来时，我抓住了他们汗津津的大手，观众们在想象刚刚水下发生了怎样恐怖而血淋淋的一幕。还有这些：小小的螃蟹在她浑浊发蓝的尸体旁爬来爬去;黑板上罗伯特·肖(Robert Shaw)的指甲;那只会玩飞盘的失踪了的可爱小狗;那个吵闹的满是雀斑的小孩，因为踢水和选了黄色的筏子而被吞食;当胡珀(Hooper，由德莱弗斯饰演)开始追着酒杯大的鲨鱼牙齿跑的时候，我知道他的脑袋马上要骨碌碌滚下来了，立刻闭上眼睛，听着观众们高声尖叫，感觉得意洋洋，正当此时，我父母跳了起来，把我从座位上拽走了。我记得那场关于“谁开的车最酷”的争论，记得那只为了捕食而飞跃起来的、看起来异常真实的电子动画鲨鱼，记得充气垫比赛(老天，我现在还很喜欢这个)，记得昆特(Quint)之死，当然还有当年那句妙语：“笑一笑，你这狗娘养的!”

Let’s get real. It was the total package as movies, especially summer movies, go. It took me two years to go back in the ocean, and to this day I refuse to miss Shark Week on TV. — ADAM SHANKMAN, director of “Rock of Ages,” opening June 15

说点实际的吧。要说电影，尤其是夏日电影，那还真是一箩筐。我花了两年才敢再度去海里游泳，而一直到今天，我都不想错过《鲨鱼周》(Shark Week，发现频道每年有一周集中播放关于鲨鱼的记录片。——译注)。——亚当·山克曼(ADAM SHANKMAN)，6月15日上映的《摇滚岁月》(Rock of Ages)的导演。

‘Body Heat’ (1981)

《体热》(Body Heat)(1981)

I watched my favorite summer movie, Larry Kasdan’s brilliantly stylized film noir “Body Heat,” with Joel and Ethan Coen, around the time we were getting ready to shoot “Blood Simple,” on which I was the cinematographer. It was inspirational for us, and any time we shot an insert for “Blood Simple” we called it “the Larry Kasdan panty insert,” so named because of a specific moment in “Body Heat” when William Hurt pulls off Kathleen Turner’s panties. Kasdan then cuts to an insert of a piece of carpet, and the panties are dropped in from above frame. Years later I confessed to Kasdan that I felt the angle on this insert was too high, and he agreed, complaining that he couldn’t get the cinematographer, Richard Kline, to lower the camera.

劳里·卡斯丹那(Larry Kasdan)这部极具风格的黑色电影《体热》，我是和科恩兄弟(Joel and Ethan Coen) 一起看的，它成了我最喜欢的夏日电影。那时候我们正在筹拍《血迷宫》(Blood Simple)，我担任电影摄影。这部电影对我们而言很激动人心，而且我们每次给《血迷宫》拍插入的镜头，都称其为“劳里·卡斯丹内裤式插入镜头”，之所以这样命名，是因为《体热》中威廉·赫特(William Hurt)脱下了凯瑟琳·特纳(Kathleen Turner)的内裤的那个特定的时刻。卡斯丹随即把镜头切到地毯上，而内裤就从上一个画面里落了下来。多年之后我对卡斯丹坦言，我认为这个镜头切得太高了，他认同这一点，并抱怨说他没法叫摄像师——理查德·克莱恩(Richard Kline)——把摄影机压下来。

“Body Heat” made me sweat. There was so much perspiration in that film that everyone shined and dripped like a cold mint julep on a humid Florida day. The sex was hot, as was Kathleen Turner. The plot, a suspense thriller as taut as Turner’s body, is full of unexpected performances. Has Ted Danson ever been better? Any time Turner speaks, she exudes smoke and promised promiscuity.

《体热》让我大汗淋漓。电影中有太多汗水了，每个人都闪闪发亮，并且像是潮湿的佛罗里达天气里的一杯冰凉的薄荷朱利酒那样滴着水。电影中的性相当热辣，跟凯瑟琳·特纳(Kathleen Turner)一样。情节则充满了料想不到的桥段，悬念就如同特纳的身体那样扣人心弦。特德·丹森(Ted Danson)还能更出彩一些吗?每次特纳一开口说话，她就会吐出烟雾并且答应与人发生关系。

I’m not much of a summer movie guy, since I can’t watch scary movies, ghosts, violence, blood or films about the supernatural. But “Body Heat,” a smartly written and directed thriller with unexpected twists and a breakout performance by a young Mickey Rourke, was a vivid summer pleasure I’ve enjoyed many times since. — BARRY SONNENFELD, director of “Men in Black 3,” opening May 25

既然我不看惊悚片、鬼片、暴力片、血腥片或是与超自然有关的电影，我就不能说是一个喜爱夏日电影的人了。但是《体热》，一部编导巧妙的惊悚片，带着意想不到的跌宕以及米基·洛克(Mickey Rourke)的突破性表演，是一件我多次享受其中的生动的夏日乐事。——巴里·索南菲尔德(BARRY SONNENFELD)，5月25日上映的《黑衣人3》(Men in Black 3)的导演。

Y Tu Mamá También (2001)

《你妈妈也一样》(Y Tu Mamá También)(2001)

Alfonso Cuarón’s absurdly poignant road trip saga “Y Tu Mamá También” is my quintessential summer movie. Not just because it’s a sweaty marriage of teenage hormones and political unrest, but also because it recalls specifically the summer of 2002, a fateful, raucous summer my friends and I still refer to as the Summer of “Y Tu Mamá También.”

我认为阿方索·卡隆(Alfonso Cuarón)这部尖酸得荒谬的公路传奇《你妈妈也一样》是夏日电影的经典制作。不仅因为该电影是青少年荷尔蒙和政治骚动的一场汗津津的联姻，还因为它让我回想起2002年的那个夏天，一个决定性的、喧嚣的夏天，依旧被我和我朋友叫做“你妈妈也一样”之夏。

From its opening moment (Diego Luna making love under a “Harold and Maude” poster) to its last image (Gael García Bernal, vacantly requesting the check at a diner) the film is a nonstop narrative juggernaut that accomplishes something astonishing. It is a perfectly rendered contrast of a particular time in history and a particular time in personal growth. Coming-of-age stories, like “American Graffiti” or “Diner,” are set against the backdrop of a “simpler time.” But “Y Tu Mamá También” takes place in 1999 Mexico at the tumultuous end of the 71-year presidential reign of the Institutional Revolutionary Party.

从电影开场开始(迭戈·鲁纳[Diego Luna]在《哈洛与穆德》[Harold and Maude]的海报下做爱)一直到最后一个画面(盖尔·加西亚·贝纳尔[Gael García Bernal]神情茫然地为餐点买单)，电影就在不间断地叙事轰炸间，达成了它惊心动魄的成就。它做了一次完美渲染的对比，特定的历史时间与特定的人物成长时间之间的对比。成长故事，例如《美国风情画》(American Graffiti)或是《餐馆》(Diner)，都是设定在“纯真年代”的背景下的。但是《你妈妈也一样》则发生于1999年的墨西哥，正处于革命制度党长达71年的统治混乱的尾声。

The characters’ journey is an intoxicating, defiant romp in spite of the decay, violence and misery around them. This only reinforces the film’s shattering moral: Adolescence is not just fading nostalgia. It’s a spastic awakening to your own mortality.

角色们的旅程是一场迷醉而肆无忌惮的嬉耍，尽管腐朽、暴力以及痛苦就在他们周围。这一点只会提升电影那震撼人心的寓意：青春期并不只是褪色的怀旧。它会给你的道德意识带来类似痉挛的觉醒。

I saw “Y Tu Mamá También” during its limited New York release. I stumbled out of the theater in an inspired daze. The rest of that night was a blur of tequila, East Village bars and dear friends who have all since grown up. That hedonistic bravery stuck for the next months.

我是在纽约有限的上映期间观看《你妈妈也一样》的，在一阵激励人心的晕眩中我踉跄着走出影院。那个夜晚的剩余部分由龙舌兰的酒渍、东村酒吧和一些自此一夜长大的亲爱友人组成。那一份享乐主义的无畏一直持续到了接下去的几个月。

It was my first summer in Manhattan. It was my first summer at the legal drinking age. It was the summer after Sept. 11. It seemed everyone was chasing highs and ducking for cover. My loss of innocence mingled with a national anxiety. It was my last summer as a “kid” before all that debauchery would have repercussions.

那是我在曼哈顿的第一个夏天。那是我到了合法饮酒年龄的第一个夏天。那是“9·11”事件之后的夏天。似乎所有人都在醉生梦死、逃避现实。我遗失的纯真与全国性的恐慌交织在一起。那是我作为“孩子”的最后一个夏天，在那之后，一切的纵情酒色都将产生后果。

When I look back at that time in my life, I feel the same warm melancholy evoked by Cuarón’s brilliant film. Youth is a reckless time. The yearning to relive it is outmatched only by the relief that it’s over. — LESLYE HEADLAND, writer and director of “Bachelorette,” which opens Sept. 7

当我回头去看我人生中的那一段时光，我被卡隆的精彩的电影忧郁地唤起，感受到同样的温暖。青春就是一段无所顾忌的时光。唯有对青春已逝的释怀，凌驾于重返青春的渴望之上。——莱丝利·赫德兰(LESLYE HEADLAND)，9月7日上映的《未婚女子》(Bachelorette)的编剧兼导演。