瑞士军刀男

瑞士军刀男的最后一个场景和开头形成了环形叙事，曼尼的尸体剧烈地放屁，从水上漂离了那群来自“正常社会”、用嫌恶眼神看着他和汉克的人。

这个场景给我留下的印象尤为深刻，因为在一群神色或惊恐或鄙夷的成年人中间，有一个儿童发出了笑声，对她来说这个场景是滑稽好笑而非不堪入目的。

看完本片后仔细想来，这个环形叙事的安排非常巧妙。

平庸观众如我，在电影开头看到密集的放屁情节无疑是会感到尴尬不适的，然而在经过一个半小时影片中对放屁、性欲、无法融入社会的孤独和stalking这类平常看起来不那么体面的行为的探讨，在看到最后的场景时，观众对那具“行为不当”的尸体感觉已经全然不同了。

“正常社会”有时候很怪异，当一个儿童异想天开，相信仙灵和鬼怪，玩过家家游戏的时候，人们认为这是再正常不过，甚至是富有想象力的。

而当一个成年人那样做的时候，他就会被描述成弱智，怪胎甚至creepy。

这两种人之间要真说有什么差异，也就是年龄不同罢了。

最后一个镜头莫名令人想到小飞侠和青鸟之流的儿童奇幻冒险故事，也许那个场景里偷偷藏了一个只有孩子才能看见的永无乡或者青鸟，以至于能引他们发笑，而成年人们只看到一具诡异的尸体。

在电影中，曼尼和莎拉分别代表了虚幻与现实的两个世界，而究竟要前往哪个世界的决定权掌握在主角汉克自己的手里，在曼尼所代表的理想世界里，他是是领导者和裁决者，是个流落荒岛的冒险者，是个靠谱的朋友，在正常社会里有一个美满的生活，所以他要回去。

然而在沙拉代表的现实中，如他自己所说，你越了解我，你就会越讨厌我。

他是一个一事无成的失败者，害怕和自己暗恋的女人搭话，和家人缺乏沟通，躲在莎拉家后面的林子里偷窥她的生活。

在理想世界里，汉克和曼尼用一堆垃圾堆出了自己的房屋，朋友和乐队成员，在那里他们同时和想象出来的莎拉恋爱，在落入水中时亲吻对方。

曼尼作为一具能说话的尸体，对现实世界一无所知，汉克给他灌输外来世界的知识：你不能随便和人搭话，不能随便在别人面前唱歌，不能在别人面前直接表达性欲，不能在别人面前放屁，人们不喜欢那样。

然后曼尼问：那我们为什么还要回到现实世界呢，听起来在那里我们什么都不能做。

你是我最好的朋友，而你甚至不能在我面前放屁，这太糟糕了。

那一刻是汉克这个现实社会里的孤独者离永远逗留在自己搭建出来的理想世界最近的时候，观影时我也在想，为什么不留下来，为什么要回到那个不断被他人打量审判的现实世界里去呢。

至于那些不论生理心理，被人认为是不体面的事情，又到底有什么错，无非是放开身体的自然需求和心理迷恋而已。

当然这种思想只能存在于曼尼的世界里，现实生活中我尽量避免和人谈性，倒不是我觉得性这件事本身是多么的上不得台面，而是当人想和你谈论这件事的时候，他们想谈论的往往不是性本身，或是对他人的迷恋欣赏，大多数时候他们只想借着这个话题夸耀自己。

然而就像每一个自我感觉无法融入主流社会的人一样，汉克的内心仍然有着回归现实融入现实的渴望和需求，而手机屏保上莎拉的照片就是吸引他回归的动机。

尽管他内心其实知道，人生不是闯关游戏，莎拉也不是关底的奖励，不是他成功离开荒岛就能得到莎拉的。

人生就是由一次次“也许这次我能成功呢”和一次次的失望组成的，盯着手机里莎拉的照片，汉克想再尝试一次，他也再一次地失望了。

在电影的结尾，回归现实社会的一刻，代表理想世界的曼尼彻底死去了，教会他飞翔的小飞侠回到了永无乡。

汉克本可以选择像温迪一样长大，融入成人世界，顶替曼尼的身份，让曼尼的尸体做那个怪胎和变态stalker，以后甚至还有机会和莎拉保持联系。

但是在曼尼死去之后，汉克意识到曼尼所代表的东西比做一个正常人更重要，他的需求从融入社会转为了自我接纳。

别人可以觉得他是怪胎，但他不能让人把曼尼的尸体扔进停尸间放个几周，再办一场无人到场的葬礼下葬。

于是他面对渴求猎奇新闻的媒体坦白了自己的身份，抢走了曼尼的尸体一路逃跑到海岸边。

“我很抱歉，我只是想给你其他人生活中所拥有的一切，以及那些在遇见你之前我觉得自己不配拥有的东西，他们可能会笑话我们，可能会用奇怪的绰号称呼我们，可能会觉得我们很奇怪，但是他们想什么都不重要了。

我只请求……你不要死。

” 汉克对曼尼的尸体这样说。

这部电影在B站上的标签是喜剧和冒险，这一点上令人想起了布达佩斯大饭店，而两部电影的复杂程度都远超任何标签能够定义的。

瑞士军刀男从某种意义上来说比布达佩斯大饭店更加复杂，因为片中真实和虚幻的边界更为模糊。

不论曼尼是具有超能力的、会说话的尸体这件事是真是幻，无可否认他是汉克人格的一部分投射，因此这段话可以被看作汉克在回归现实世界后，对自己内心缺失了的板块的告白。

在回归现实社会之后他才意识到，他曾经以为自己需要的东西，并不是必要的。

和曼尼在一起搭建梦想的那些时候，他们可以在他们想要的任何时候歌唱舞蹈，彻夜饮酒举办派对，不需要在乎“别人”是怎么想的。

因此他对把他铐起来的警察说，对在场的所有人说：“我希望你们能看见那场景，那美极了。

”正常的社会人们当然认为面前的是一个不可理喻的疯子，用摄像机和怀疑厌恶的眼神对准了他，毕竟成年人的眼睛是看不见青鸟的。

在这一点上，本片使用了转换视角的手法让观众能够体会汉克和现实世界人眼中的不同。

在汉克和曼尼在一起举办派对的那些片段，观众从他们的视角看到这一切，场景中的光线柔和，即使在黎明和水下的场景中使用了冷色（背景里还是有暖色成分），使用了大量大光圈近景和慢镜头，以此营造出一种不真实甚至梦幻的视觉效果。

在汉克和曼尼眼里这一切是自由而美好的，而在影片末尾，从外人的视角看他们搭建的房屋和假人时，色彩则被调节得富有现实感，换言之，更接近人们平时看景物时的颜色，甚至更加冷锐。

在这种视角中，汉克和曼尼建造的小世界显得狭窄残破，连那些由苔藓和破烂铁皮组成的假人都平添了阴森感。

中间有一个镜头切到了摄影记者摄像机里记录的视角，扫过那一片铁皮假人，观众几乎可以从这个镜头里想象出这则新闻会被如何播出，会如何被人评头论足，成为第二天茶水间里的谈资。

曼尼彻底死去之前说的一句话耐人寻味，即使他知道他爱的莎拉可能完全不是真实的莎拉，但他仍然对汉克说：“别让她知道我有多爱她。

”这句话像是对所有有过stalking经验的人的速写，尽管真正有stalking行为的是汉克。

包括我自己在内，认识的很多人都或多或少的有过stalking行为（当然一般仅限于查看对方的社交网络信息），从对方社交网络上的只言片语里拼凑出一个自己迷恋的幻象。

干这种事情的时候，最害怕的是不小心手滑点到赞被对方发现，人就是这么古怪了，一边拼命想要表达对对方的好感，一边又比害怕任何事物都还要害怕被对方发现。

刚看到本片的开头的时候，我对后来的走向其实不太看好。

当时觉得片头即使对于一部独立电影来说也太跳脱了，当然看到结局本片再次深刻教育我了一记不要随意下结论。

从结构上来看，曼尼是提问者，从开头他开始提出一系列问题：什么是死？

什么是欲望？

什么是爱？

什么是现实？

什么是生？

而汉克则用行为一点点探索和揭开这些问题的答案。

这部在我看来开头可以说是癫狂的电影，最后竟然以一种悲伤又豁达的方式一点点圆了回来。

本片的另一个令人喜爱的点在于，通过汉克和曼尼这两个相通又不同的角色，满足了观众在观影过程中对角色的三种需求：recognition（一个角色的真实性），alignment（一个角色能够与观众产生共鸣的程度），allegiance（观众对一个角色道德/意识形态的赞同程度）。

汉克作为一个其貌不扬，没有什么显著成就又害羞的平凡人，在recognition上无疑是达标的，现实中他就像是在公共交通上、街边随处可见的那种普通人。

而他作为一个无法完全融入现实社会的孤独者的特质，又是能够引起大部分独立电影观众的共鸣的。

在allegiance方面，他作为一个跟踪者就不那么能够符合观众的道德要求了，于是这一方面的缺失就由曼尼的角色来填补，尽管曼尼时不时会出现不合时宜的发言和表现，但这些都可以用他是一具不谙世事的尸体的原因来解释，广泛意义上，曼尼在这部影片中，仍然是真善美的代表。

影片的结尾严格意义上不是个能让人长舒一口气的结束，抛下了许多疑问不曾解答，然而对主角汉克来说，这已经是一个阶段的结束了。

他的小飞侠漂流着离他远去，但汉克知道曼尼仍未死去，总会在某一个地方存在着。

同时，他也从别人眼里的怪人活成了自己眼里的怪人，尽管后者并不一定比前者少痛苦一点，为自己做怪人总比终日提心吊胆，害怕成为别人眼里的怪胎要轻松些。

---首发 2016-10-17 22:05:13---我就是一个彻头彻尾的废柴，和Hank一样的废柴。

很破，很空虚，很脏，很没用，很过时，没有人爱。

但我的最初，不是这个样子。

不懂是非黑白，不知食色性。

然而我是全能的。

饿了就吃，困了就睡，对于世界的凶险全无意识，可冥冥之中如有神助，就这么傻乎乎孤零零生存在这颗星球上。

然而并不止如此，我有至亲，有对他们来说我很重要的人。

在这人与人交织成的回忆里，我长大了，被教育该做什么，不该做什么，如何交朋友，如何进行一场谈话。

我有了许多珍贵、快乐的回忆，虽然会被爸爸骂弱智，被妈妈开的玩笑吓到，被同学们取外号嘲笑，但总而言之，我还是长大了，甚至在某个时刻遇到了我心目中完美的TA。

我心中所有的愿望就是能够和那个人在一起，手牵着，躺在同一张床上，戴上婚戒，生一个孩子，再生一个孩子，柴米油盐好辛苦，但没关系，我们在一起。

可这都是我的幻想，此时的我已经成了一个没用的人，连自己都不喜欢自己，更没有勇气去走近TA。

失望，怀疑，是不是从此再没有资格去和喜爱的人在一起，甚至那个人已经组建了自己的家庭，纵然没有自己的陪伴，过得幸福美满。

真相是幸福在和我毫不相干的地方。

环顾自己，只是一个孤孤单单奇怪没用的人。

如果有人能接受自己就好了，就算我是这么差劲废柴的一个人，如果有一个人，能让我在TA面前毫无顾忌地放屁，让我卸下盔甲，展现软弱无助的自己，就好了。

不是每个人都能像Hank那样足够幸运，遇到自己的Manny。

但是我可以自己接受自己。

在所有人都认定自己很奇怪的时候，坚定地站在自己这边，因为我们的存在是有意义的，这个宇宙是包容的，所有的一切都有存在的意义。

Everything, everywhere matters to everything.---2019.10.22，20：40-我曾经稚嫩的人生中有那么几年时间，被冷漠的现实撞的头破血流，怀疑自己的价值，就像是看这部电影的时候，期望有一个Manny，让自己卸下所有伪装，完全接纳自己。

在我写这部分文字的时候，再过5天时间，我就要完成的婚礼了。

婚礼筹备时，司仪给我发了一份新娘问卷，有些题目还是要认真思考一下答案，甚至是我平时没有深入思考过的。

比如：你心目中的婚姻是什么样的。

是什么样的呢？

首先两个人是要过日子的。

但是仅仅过日子就相当于是室友啦，搭搭伙过。

更重要的是，彼此成全，成全彼此做真实的自己，也接纳真实的彼此。

想起《卧虎藏龙》里，俞秀莲对玉娇龙说，要诚实地对待你自己。

这句话讲出来有点意思的，俞秀莲明明是更隐忍的角色，和李慕白互相倾慕多年而不敢说一个字。

玉娇龙天不怕地不怕一个任性自我丫头，却被俞秀莲说要诚实对待自己？

这句话讲出来，除了象征俞秀莲这个任务的遗憾，再深一层思考，诚实对待自己，也是诚实对待自己所坚持、追求的东西。

如今的我的工作、生活，是小时候的我没有设想过的。

但是目前我的状态，还是让自己满意的。

实际经验和技能上还缺乏一些，心里的状态和韧劲，让我对接下来的人生有信息。

感谢生活，也感谢我自己。

Swiss Army Man前半部分算是有趣但并不太出彩的荒诞片，相信大部分人和我一样以为整部影片就只是讲主角Hank靠着尸体Manny为精神寄托，乐观求生的励志故事。

然而最后几分钟却出现了让人叹服的大反转，揭露出一个残酷真相：Hank并没有迷失荒岛，他只是一个不能融入社会生活的废柴，整个故事都是他躲在暗恋女生家后山上的幻想。

所以我觉得这部电影大概是为了讨论这么一个问题：人更应该追求现实世界的成功还是内心世界的满足？

我常在街上看到酗酒嗑药到不能自理的人，他们衣衫褴褛举止怪异，但看起来面露满足和快乐。

我想大多人并不羡慕这种快乐，离这种人远远的并且在面对酒精和毒品时以他们为戒，提醒自己要理智自律地活着。

我虽坚信人生的终极目标是追求快乐而非生存繁衍这些程式化的任务，却也并没有选择像这些疯子一样放纵自己在另一个世界里沉沦。

人就是这么矛盾：我们一面告诫自己理性处事委曲求全，一面又羡慕洒脱歌颂自由；一面憧憬长安市上酒家眠的意境，一面嘲笑身边的每一个醉汉。

有时我也像这些醉汉一样沉湎于自己的精神世界，那一刻我清楚地知道别人眼里我就是一个疯子。

我也因此换位想到，每一个看上去的疯子都可能只是沉浸在我所不能理解的快乐之中而已。

而这部电影的厉害之处就在于，先把我们放在一个疯子的视角，跟着他一起疯，同时插入一些对人生哲理的思考来说服你，让你更深入地理解疯子，同意疯子。

当你已经不知不觉地和疯子站在一边的时候，再揭露他是个疯子的事实。

这个时候观众的反应也不难料想：清醒理性的观众会一脸WTF，气愤于导演的愚弄摔门而去。

而对作为半个疯子的我，这个真相就像是把我对人生预设的一种可能过了一遍一样，又怎么能不为之动容呢？

我想大多数人虽然同意幻觉可以支撑我们活下去，但都不赞成躲进精神世界里逃避现实。

这大概是出于两个原因：首先，我们还是有基本的生存需要。

过度沉浸在幻觉中可能影响我们生存的能力，所以大多数疯子虽然有短暂的快乐但最后还是死路一条。

我想本片中Hank一开选择自杀也是这个原因。

更可怕的是，我一直隐隐担心，其实精神上的享受也多半以物质享受为根基，缺少根基的精神享受可能难以稳定存在。

这一点影片诠释得非常好。

Manny这个角色大概就代表着Hank在物质方面欲望的投射。

因此Manny的举止带有一些Hank的本我的特点：比如在询问遇到女神怎么办的时候，Manny直接问的就是我可不可以吻她，可不可以跟她啪啪。

不难想象，Hank躲在女神家的后山上每天刷着女神的ins，虽然感情上是满足的，但一定也觉得缺少了点什么。

但为了压抑自己的原始冲动，这种欲望只能借看到女神照片就勃起的Manny宣泄出来。

Manny在最后也因此质问Hank，为什么我想干啥你都要拦着。

这根本就是超我对本我的调教嘛！

同样在现实生活中，很多阿宅也许都发过我有偶像我不需要谈恋爱的豪言壮语。

虽然这种虚拟的爱可以满足感情上的需要，但有些最原始的欲望却无法在偶像身上得到满足。

当然爱情这个话题太复杂，不深入讨论。

其次，人是社会的动物，且可以彼此精确交流。

所以构建自己的精神世界也需要他人配合。

你可以告诉自己我过得很快乐，也可以欺骗自己外人的鄙视其实都是妒忌，但他们怜悯目光会一直躲在你内心深处拷问你，最终成为让你整个精神世界崩塌的蛀虫。

这也是为什么Hank只能远离家人，选择自我流放的原因。

人为了在这个社会里和平相处，设立了各种条条框框，一方面确保了大家相安无事，一方面也成为了阻碍了我们尽情享受自己的精神世界的枷锁。

社会认同的需要决定了我们的精神满足感很大程度上被他人的目光所左右。

Manny问Hank，为什么我们不能尽情地放屁，为什么大家不放下一切的约束，一起高兴地唱歌跳舞就好了。

是啊我也想随时随地忘我地起舞，但在这无奈的社会里，我们只好收紧自己的屁，循规蹈矩地迈步。

在Manny的唆使下，Hank最终以一个逃生者的形象出现在Sarah家的草坪上。

显然，作为欲望化身的Manny不能继续存在，他的最后一句话是：别让Sarah知道我有多喜欢她。

这代表重回社会的Hank不得不为了他人的眼光约束起自己。

而Sarah发现真相之后，Hank已经不可避免地成为大家眼中的疯子。

为了捍卫自己的精神世界，他唯一能做的就是再次逃离人群与世隔绝。

结尾的情节则更可悲：当Hank走投无路被追到海边时，众目睽睽之下，Manny放着屁在海水里抽动起来仿佛活了一般。

众人惊诧的目光中，Hank再次绽放出快乐的笑容。

正如之前所说，构建自己的精神世界需要他人的配合。

当真相大白天下后，Hank无法继续自己一个人坚信这段虚构的旅途以及从中获得快乐，所以他需要这样一个证据让他人也相信Manny的存在。

不难猜测，这一幕应该也只是Hank的幻想。

当我们一开始从一个荒岛逃生者的视角看Hank，就觉得他幻想出关于Manny的一切，苦中取乐，这种求生的信念值得称道。

但当我们发现他其实只是个躲在别人后山上逃避现实的疯子，有些人就会觉得真是恶心。

殊不知对很多人来说，在这个社会里好好地生存，可能并不比荒岛求生容易呢。

正因为快乐地活着是如此不易，我们需要的幻想可能比我们以为的要更多一点。

于是，我们躲进自己的精神世界里，或多或少地都成了“疯子”：被坏人欺负就幻想恶有恶报；付出没回报就念想有志者事竟成；看别人挥金如土，就劝自己知足常乐；没法跟喜欢的人在一起，就觉得单恋的感情也很美好。

我们总需要一点幻想才活得下去。

我们比起躺在大街上的醉汉和瘾君子，也许只是程度把握得好一点而已。

by Matt Mulcahey 原文：http://filmmakermagazine.com/99076-fart-to-the-heart-larkin-seiple-on-swiss-army-man/#.V_UGi_l96Hs

Larkin SeipleFilmmaker: How did you meet Swiss Army Man co-directors Dan Kwan and Daniel Scheinert (aka “Daniels”)?Seiple: We all studied at Emerson College in Boston but I didn’t really know them until after. I met Dan Scheinert because he was in a comedy troupe with one of my roommates. After college [the Daniels] made their first music video and I saw it at a small festival put on by other music video directors called “Videomacher” in Los Angeles. The majority of the videos screened were these big budget “professional” projects and Daniels had made their video for literally no money with a 7D and it just blew everyone else’s video out of the water. I tracked down Scheinert after the screening and gushed about how their video had blown my mind and it made all of the other work feel stale. I had completely forgotten we were surrounded by other directors and very loudly said something like, “You guys destroyed it. Everything else here is crap.” And he was like, “Shhhh.” (laughs) I told them that I wanted to work with them and then they called me to do [Foster the People’s Grammy-nominated music video] “Houdini.”Filmmaker: At what point did you first hear about Swiss Army Man and how did the idea evolve before you started shooting?Seiple: I got involved about a year before [we shot it]. The Daniels were constantly revising the script. It was a very zany script and some of the ideas [from earlier drafts] were even crazier [than what’s in the final film], things like laser eyes and an endless rope made of hair. They kept trying to find this balance between touching and bizarrely comedic, a story you could laugh at but also have it resonate with you. I think they distilled the idea to “a fart to the heart”.Filmmaker: Did anything get cut because of budget or was everything cut for story?Seiple: It was all for story. They would have a great idea that was really fun, but then they would realize that it completely took away from the story or it killed the rhythm so they would scrap it.Filmmaker: Where did you end up shooting?Seiple: We quickly discovered that southern California does not have beautiful forests and no real underbrush that makes forests lush and majestic. We ended up going to northern California, which has one of the most beautiful forests in the world. There’s a place in Eureka in the Redwoods called The Avenue of the Giants that is just stunning. These trees are so huge that you feel like you’re surrounded by ancient ancestors. It’s very quiet too. It reminded me of how the forests feel in Princess Mononoke. There’s just naturally a sense of magic to it.Filmmaker: How about the beach location for the opening scene?Seiple: That beach was also in Eureka. The project was actually shot in three different cities, which made it very challenging. We shot a lot of the bus sequence and a lot of the technical builds in the woods in a small forest outside of San Francisco that matched the redwoods in Eureka. Then we shot in Los Angeles for two weeks — everything in the water tank was shot there, we shot the opening fart scene of [Manny, played by Radcliffe] shooting across the water, and we shot the bear scene because it’s the only place you can get a bear. We also shot all the cave work [in LA]. The cave is actually the cave they used for the Batman TV show, where the Batmobile drives out. So we started in San Francisco, came back to Los Angeles, and then we ended in Eureka with a small crew going to get all of these wonderful moments in the most beautiful forest we could find.Filmmaker: How long was the shoot?Seiple: I think we had 25 days, but we had travel days on top of that. Then we got an extra day to do pick-ups on the very last day of the shoot. That was just me and the directors. Scheinert is the same exact build as Paul Dano so we just kept [Dano’s] wardrobe and shot a lot of the travelogue shots [with Scheinert doubling him], all these beautiful vistas of Scheinert walking around with the dummy.Filmmaker: Are any of the wide shots of Manny and Hank (Dano) crossing that ravine on the giant pipe actually Scheinert and the dummy or is that a VFX composite?Seiple: No, that shot is fake. We were scouting for hours east of Eureka trying to find a place to shoot that [practically]. We didn’t find one but we found a perfect location for our plates. However it was five hours from any major city and we knew we could never come back. Luckily we brought a Red Epic camera so we were able to capture plates for the ten or so angles we needed for the sequence.That pipe sequence was actually shot with several different pieces put together. There’s the shots of them getting onto the pipe, for which we built a fake pipe into a ditch near the side of a road. For the profile angles we broke down and rebuilt the pipe on a ridge so that our background felt high up and far away. Lastly, when they’re hanging off the pipe and for the falling plates, we had to bring in a crane and suspend them and shoot that [against] greenscreen.Filmmaker: You shot the film in July of last year. How did you get it ready for Sundance the following January? That’s incredibly short turnaround.Seiple: Oh yeah, it was nuts. We had an on-set editor, which helped us just emotionally to be able to come back in every day and have a scene from a week ago to look at and see that it was working or if we needed to do pickups. Once we wrapped, Daniels and their editor didn’t stop [working] until Sundance. It was crazy. I think Dan Scheinert was doing VFX comps on Christmas Day.Filmmaker: Did you have a DIT coloring dailies for the on-set editor?Seiple: We did. I had my DIT Matt Conrad, who has done the last three movies with me and for the most part all my commercials and music videos. He built a LUT that we would tweak per scene. For example in the forest there’s all this green bounce everywhere so you’re constantly trying to neutralize that so people’s [skin tones] don’t look like an alien’s. Or if we were cheating a scene for dawn we would warm the highlights and add a bit of magenta. We were able to apply the LUT to our dailies so as they edited they could discern what images worked.Filmmaker: Did you go back and tweak the color grade any more after Sundance?Seiple: We did, but it’s pretty close [to what screened at Sundance]. We went back and tweaked some of the crazier sequences, like some of the night work was really tricky to keep the continuity with a bear and a fireball and all of these visual effects shots. We also added a level of grain to the final version that wasn’t at Sundance to fight the digital look of it. It came off very sharp at the first screening and we just wanted to find a way to soften it a little bit more.Filmmaker: You used Cooke Anamorphics with the Alexa XT?Seiple: Yeah. The Cookes are a really lovely set of lenses. At a T4 or a 5.6 they’re pristine and very sharp, but if you shoot them around a T2.8 they start to have all these little inconsistencies that look really lovely on camera. The 75mm goes really soft on the top and bottom when you shoot wide open, which helped enhance some of the more subjective close ups.

Filmmaker: I read an interview where Daniels talked about the very different processes of Radcliffe and Dano. How do you take into account actors with different working methods when you’re planning the order of your coverage?Seiple: If it was a different movie I’d have a great answer for you, but for this movie we were hustling and moving very fast so those choices came down to “this is the shot that makes the most sense to do next and we’ve only got three takes to do it.” It was very easy to shoot Daniel as he’s always static, but Paul really likes to be in the moment and just let it happen. That’s challenging, because he jumps and moves and darts around a lot and as a camera operator you’re just like, “Alright, he’s still. Nope! He’s over here now.” In one of the opening shots of the film when Paul first hears the fart and he snaps up, you can see in the movie that the camera was not ready for him to pop up and so the camera does a slow drift up to catch up to him. I begged Daniels, “Just give me one more,” but they loved it.Filmmaker: Walk me through the fake Mannys. Did each have a specific function?Seiple: We had a small brigade of Mannys. One was stunt Manny, where the face work wasn’t as precise but he was about the weight of a human being so we could throw him around realistically. One was a much lighter Manny that I think had the best face work and we would use that for things like the scene where the raccoon [chews on Manny’s face]. There’s one take that they took out that I wish they would’ve kept where the raccoon goes right for Manny’s eyelid and pulls it open and it was terrifying. (laughs) That Manny was also super lightweight so Paul wouldn’t mess his back up by carrying around 150 pounds of weight every day. And then there was the floating Manny that we built a small air tube into so that it could consistently fart and float in the water. The floating dummy was a little tricky because we had to have multiple people on strings pulling him at the same time you had a guy running with an air tank so the dummy could emit farts.But ultimately we used Daniel Radcliffe more than anything else. Paul does carry Daniel quite a bit. When a scene wasn’t working with the dummy, we’d say, “Alright, let’s just do it with Daniel.” Daniel was also really insistent on trying to be in every shot he could to support Paul. We ultimately only used the dummy for things that a human shouldn’t do.Filmmaker: Did the AD supply your on-set fart noises?Seiple: Actually either Kwan or Scheinert would do it when we were shooting because the farts had to be very specific. They all have a different emotion to them. I don’t know if the video made it [online], but when Manny first starts farting on the beach Scheinert was conducting him off camera, literally like a symphony of farts. Scheinert would raise his arms and bring them down and raise them again and then simmer it down. It was a pretty interesting sight to behold.Filmmaker: Tell me about the set-up for the opening title card shot – which is a super wide shot of Hank riding Manny like a fart-propelled jet ski. Both the actors and the camera are moving at a pretty good clip.Seiple: That whole sequence, like everything else, was pieced together. All of the shots of Paul and Radcliffe were done with them on a giant boogie board dragging them through the Pacific Ocean with some gnarly waves. They could at any moment get tossed off, which is a little intimidating if you don’t like swimming in the middle of the ocean. So we shot all of their close-up work like that and then we had a stuntman dressed in Paul’s gear and we put the dummy on a very small knee board and the stuntman would climb on and we would get like 10 seconds of footage before he got knocked off by a wave.Filmmaker: So the stuntman was being pulled by some type of boat?Seiple: Yeah, I think it was a motorboat pulling them and then in post we removed the wake and the foam caused by it. The camera was on a zoom lens tracking with them at high speed on a flat-bottom boat. That scene was bananas to shoot and shooting in the ocean is very frustrating. Everything is always drifting or changing with the current so we figured the best solution was to shoot on a zoom, on a crane, with a remote head so we could literally swing the camera anywhere we had to. We barely got all the shots. We grabbed the last one at dusk and there was a very beautiful sunset but it lit the water with oranges and pinks so in post we had to color grade the crap out of it and force blue back into the water. That was a very challenging scene to shoot/grade because it goes from hard sunlight to soft sunlight to sunset and we had to make that all feel like it takes place at the same time. Luckily we had Sofie Borup color grade the film and she did a wonderful job.Filmmaker: Do you have any horror stories about the bear or the raccoons?Seiple: The raccoons were good. I believe their names were Boris and Natasha. Raccoons can really only either grab something or run away and each of the raccoons had a specific move that it could do. So they weren’t too bad, we just had to do a lot of takes and they were constantly trying to escape, which made the owners nervous because we were in a giant forest.The bear was challenging to shoot in that we didn’t have a lot of time with it. We had to set up an electric fence around the bear wherever we were shooting just in case something went wrong, which is nerve-wracking to shoot any sequence where you’re surrounded by an electric fence for your protection. The owners also seemed a little intimidated by the bear. (laughs) They looked very nervous when he wasn’t in the cage. Its main lure was ice cream sandwiches. They would throw five or ten of them back into his cage whenever they finished a take. He loved them. The bear’s name was Tag and he was very sweet but you could hear him rolling around in the cage and you thought, “My god, how much does he weigh?” The suspension on the truck was just shaking.One tricky part was that he photographed much darker than we expected so we had to redo all of our lighting once we actually framed up on the bear. Our gaffer, Matt Ardine, had designed a wonderful lighting setup of moving lights on Condors and thank god they were all remote controlled. We were able to pan and tilt them remotely and increase the intensity, so once the bear came out we quickly re-lit the scene and over-lit the hell out of it just so we could see the bear. So when we shot the bear it looked like a high key comedy with super bright moonlight and a vibrant background and it was supposed to be a moody scene at night. In post we had to go in and basically bring down [the levels on] everything but the bear.Filmmaker: In addition to the Alexa you used the Phantom Flex 4K for a few sequences, including the shots where Manny and Hank burst out from underneath the water in slow motion.Seiple: That was a big moment in the movie for Daniels and they wanted it to be otherworldly so we decided to shoot it at a high frame rate to enhance that state of awe. That was half stuntmen and half real actors. The shot of them initially bursting out of the water is just Paul and Daniel (Radcliffe) in the shallow end of a pool jumping out of the water from underneath, which looked great. Then for the wide shot we built a system of trusses over the pool and had high-speed cable rigged to two stuntmen underwater. On action the motor would go and it would rip these guys upwards out of the water. We shot that against greenscreen and combined it with the plates we shot four months earlier on that scout.Filmmaker: What frame rate did you end up shooting at?Seiple: I think it was 1,000 [frames per second]. At that speed you get a 4K image. If you shoot 2,000 frames per second you get a 2K image. We went for the higher resolution because we knew that we had to cut it out of the greenscreen and we needed all the resolution we could get.Filmmaker: Did you have to pump a lot of light onto the actors to expose for a frame rate that high?Seiple: We had plenty of light. The tricky part was matching it to those plates we’d already shot. When we shot the plates it was sunny but partly cloudy so it’s direct light but soft. To match that light we shaded the pool in a 20’x20’ of Full Grid rigged off a Condor to soften the sunlight. Then to give them a subtle edge we spotted in two M90s just off camera.

Filmmaker: There’s some behind the scenes footage out there that shows how you shot the sequence in which Radcliffe – propelled skyward by an ignited fart – falls back down to earth through a series of tree branches. In the footage you see a Red Epic rigged to a Doggy Cam and crew members whacking Radcliffe with branches.Seiple: The choice that we made to make it a body mount POV shot of Manny falling through the trees was really done because we didn’t know how to shoot it any other way. We created a moving light rig around Radcliffe using LED tubes to make it as though the moonlight is circling him as he falls. It wasn’t actually a Doggy Cam mount. It was some funky mount rig my key grip Nick Kirsten had found. We couldn’t afford Doggy Cam.Filmmaker: Did you use the Epic for that just because it’s smaller and lighter?Seiple: Yeah, we did it for the weight. The Alexa Mini either wasn’t out yet or we couldn’t get our hands on it, I don’t remember which. And the (higher) resolution (of the Epic compared to the Alexa) helped a little bit too so that in post they could zoom in or reframe a little bit. But mainly it was because we didn’t want to put all this weight on Daniel Radcliffe while he was also being hit by branches.

首先我是认为曼尼是一个真实存在的神迹。

影片结尾，当汉克搂着曼尼这具尸体说那是我们俩一起做的的时候，众人脸上满是混杂着恶心、轻蔑的神情，而汉克的老爸是也是一副“老子怎么摊上这么个倒霉儿子”的羞耻感和无奈感。

但是当曼尼乘屁而去的时候，众人眼里就全然是震惊和错愕了，而老爸则欣慰的笑了起来，“原来我儿子不是疯子竟真有这般奇遇”。

我认为只有曼尼真的从一具尸体活过来才能解释最后众人的反应的差异。

当然也有人认为曼尼活过来引得众人惊愕是汉克脑海中的幻象。

不过这从现实到幻象也太无缝对接了一点。。。

我个人不喜欢这种解读。

其实如果把这部电影作为彻底的悲剧来看，那么曼尼活过来就是幻象，汉克终生被人当做疯子，即使是完成了自我救赎，也只能活在自己的世界里；如果给出一个阳光的结尾，那么众人见证汉克并非疯子，同时他也在和曼尼接触中得到自我救赎，走出心霾，拥抱新生活。

我个人更加喜欢阳光一点的结局。

因为从社会角度分析汉克这个人来看，他实际上一点都不像一般意义上离群索居的怪人一样反常，反而是一个懂得并且遵循世俗规则的人，甚至可以说是一个善良细腻的人。

他自慰的时候会想起母亲（尽管并非是违背人伦的想法），但考虑到社会伦理规则，这仍然让他感到不安，所以他连自慰都尽可能避免。

他在公交车等公共场所，完全按照约定俗成的准则，显得和众人一样，隔离、冷漠、不去打搅别人。

他放屁会躲着人，即使只在面对曼尼的时候也一样。

他爱上萨拉，当知道不可得的时候，那就尽可能的不去打搅萨拉的生活，萨拉甚至不知道他的存在。

他能够像一个正常人那样制止曼尼，安慰那个被曼尼一副“天真无邪”样子吓到的小女孩。

他平日里对曼尼的种种“教育”，完全看不出来他有哪一点“反社会”的倾向，反而是一个谦谦绅士的样子。。。。

这样内在的一个人，不该受到如此折磨的。

实际上，折磨汉克的也是他自己。

每一个具有不同程度社交恐惧的人，都是太过在意别人的看法，恐怕都有一点“万一他们发现了你，却无法像我一样理解你怎么办”，“如果他们发现我是一个胆怯、丑陋、没用的人怎么办”的担忧，其实和他人本无不同的，却被这些担忧所干扰，不敢大方展示自己，思前想后畏首畏尾，然后更加封闭，最后恶性循环。。。

其实曼尼一番动人的说教我倒觉得就是一般鸡汤的套路的了，没什么特别值得说的。

不过不管如何，汉克是在这一系列过程中完成了自我救赎，至少他接纳了自我。

无法想象以往的连对女神打个招呼都不敢的汉克会做出当众抢尸的做法，也无法想象以往的汉克会当众放屁。

但是这个所谓“阳光一点”的结局其实有着非常“黑暗的内核”。

那就是汉克在别人眼中的救赎是通过曼尼这具尸体当众复活来实现的。

我看着众人无奈的看着搂着尸体在河里挣扎的小丑一般的汉克，我看着众人好像发现精神分裂的神经病一样看着汉克在森林里的杰作，我看着萨拉一副要吐的样子看着把尸体抱在怀里的汉克。。。

尽管汉克自己已经完成了救赎，也许他可以心安理得的自得其乐，但是他由于自我突破而产生一系列“太过不考虑他人看法”的行为却更加让他实际上更加隔离了人群和社会。

最终曼尼用乘屁而去这个神迹，带给了汉克彻底的拯救。

汉克自己的内心已然获救，而曼尼的复活也让他人眼里的汉克不再是疯子，而是确实有过一段非常的奇遇。

从此汉克就可以开心、放松、正常的生活、交友、恋爱。

但“黑暗的内核”是，电影之外的普通人啊，你如何让自己的曼尼当众复活来取得他人的理解呢？？？

【这很重要吗？

不，这不重要。

】

《瑞士军刀男》在太平洋的一座孤岛之上，一位名叫汉克的青年看尽云卷云舒，潮起潮落。

自他流落孤岛起，已不知过去了多少时日，在近乎无限的无聊时光里，他感受海浪的抚摸，回望自己的生活，却发现自己一直像奴隶一样过活。

他看着眼前那黄色的海滩与地平线相接，找来了一根绳子，打算就此了解自己的人生，直到他挂上去的那一刻，他猛然看见沙滩上有一具身着西装的人影。

囚困于孤独之中的汉克本想近距离观瞧，但粗粝的绳子已然扼住了他的咽喉，他拼命的挣扎，最终将绳子挣断，在他在大口嗅吸着清新的空气的同时，跌跌撞撞地迈向那具人影，但最终他见到的只有冰冷的尸体。

那是具不断放屁的尸体，一开始，汉克还相信着科学，他深知那是尸体内不断乱窜的细菌所释放的气体，但孤独良久的他不由自主的放弃了科学精神，他认为这次相遇即是天意。

他借助尸体的屁，将他当做摩托艇，驾驶着他远渡大洋，回到了陆地。

为了感谢尸体帮助他回到陆地，汉克打算带着他一起寻找救援，起码那帮助他回归亲人的回报，不至于在不知名的地点腐烂生蛆。

但很快他就意识到了自己的错误，在孤岛之上，他就缺少水与食物，他的体力没怎么空余到可以辅助他驼起尸体，虽然他没走多久就发现了人类随意丢弃的垃圾，但是这地方是个密林，与其在这里等待救援还不如动身前行，背负尸体肯定让他步步维艰。

在艰难前行后，汉克找到了一个山洞，他和尸体分别睡在山洞的里外，此时下了大雨，但哪怕他快速的制造了一个过滤装置，也只能在大雨里喝到寸许净水，直到他发现尸体可以存储水，他便疯狂的汲取尸体中的净水饮用。

直到此时，那具已经确认死亡的尸体突然开始说话，他除了眼睛和嘴巴以外没有任何地方可以动弹，就像一个高位截瘫的人在挣扎，他自称自己叫做曼尼。

汉克已经无法分清事情的真相，他知道自己疯了，但是却宁愿深入这疯狂的幻觉，他开始和曼尼交谈，曼尼失忆了，就像一个天真的孩童，对于任何事物都有近乎无限的好奇，他能很快地理解汉克说的一切，并以汉克不喜欢的形式说出来。

难耐孤独的汉克决定带着曼尼一起上路，他们在途中不停的畅谈，渐渐地，汉克发现曼尼就像一把瑞士军刀一样万用，可以储存净水、可以用手指摩擦生火、可以用喉咙将石头变成子弹发射、可以用牙齿给他刮胡子、甚至，他可以用充血翘起的海绵体指路。

他的万能让汉克不再艰难，他的陪伴也让这困苦的状况有了一丝慰藉，但这寸许微光始终也无法淡化汉克长久以来的心理障碍。

他恐惧正常的社会，拒绝正常的社会，只有这森林才能成为他的归宿，他见证过汽车在他面前行驶，但他放弃出声叫喊，因为他在犹豫，他在困惑，他无法离开这森林和曼尼。

曼尼的存在是一种超现实的答卷，汉克清楚地知道这一切不是真的，但他愿意投身其中，因为那些看似被人们厌恶的事情却被曼尼做了出来，那是他做不到的事，他无法当众放屁、无法搭讪、无法对着刚见面的女孩说我想上你，曼尼打破了世俗的常规，寸寸勇气被曼尼强行赋予了汉克。

汉克其实随时带着手机，哪怕没有信号也没有多少电，但他仍旧会不时的开机，看看锁屏上的那个不认识他的女性，那是他暗恋的对象，也是他的梦魇。

但因屁而开的旅途也因屁而争执，曼尼的世俗常规是超然的，他可以公然放屁，但汉克却无法做到，他害怕人们的眼光。

最终因为熊的袭击，汉克近乎瘫痪，但从来无法动弹的曼尼却为了救汉克而浑身沾染烈焰不停的爬行，最终吓退了熊。

二人的身份也就此转换，汉克被曼尼背着前进，直到回归了文明社会，曼尼死去了，而汉克第一个遇见的人是梦中情人的女儿。

很快梦中情人也来到了他的面前，但正如他所料，对方并不认识他，但还是为他报了警。

当警察赶到，汉克看着被装进裹尸袋的曼尼五味杂陈，身后传来的是父亲急切的呼喊，最终汉克下定决心，当着所有人的面掳走了曼尼，他带着曼尼来到海边，在他的耳边倾诉衷肠，然后在众人面前发出了响亮的屁，并且毫不犹豫地承认是自己所为，此刻的他仿佛和曼尼合二为一。

但汉克仍旧在不停呼喊着曼尼复苏，他不在乎自己会被怎么对待，他只希望曼尼能够离开，然后回归大海，前往下一个需要他的人的所在。

最终，在众目睽睽之下，第二次死去的曼尼再次复苏，屁声响彻云霄，他再次化身摩托艇，借助屁的动力在海上一骑绝尘。

这个由屁开始的故事也由屁而终。

【END】

接下来是我的看法这是一部很奇特的悲喜剧，屎尿屁在众多喜剧的表演手法里都是一些比较低俗却也特别万用的东西，但用多了难免会显得审美疲劳，但《瑞士军刀男》并不一样。

它由屁而启，又以屁终，中途也在不停的穿插屁的身影和利用屁点火和引发矛盾冲突的导火索，十足的黑色幽默确实让电影有一番不同的意味，但是过于无节操的荒诞情节与黑色幽默，让整部电影的外在形式大于实际内容，从写实主义转变为无厘头的超现实主义，这里面的转变是非常快的，而如此快速的转变也让我有了三个不同的想法。

想法一在电影中，汉克怎么流落荒岛其实并没有交代清楚过，那么结合他和曼尼的冒险过程和以及电影结尾的放屁，可以猜测实际上汉克从始至终都没有流落过荒岛，他只是一个自小失去母亲、被父亲念为智障、没有朋友、没有生存意义的想要自杀的可怜人。

他最终臆想出了一具不存在的尸体和看见尸体会有所反应的众人，借助这种臆想来寻找回自我的价值，来佐证自己的存在。

最后鼓动曼尼离开，也是证明自己的心已经彻底不在乎这些过去的阴云了。

想法二流落荒岛不是真实的，但遇见曼尼是真实的，曼尼真的只是一具尸体。

他无法行动、无法储存干净水、无法帮助汉克赶走熊，他的语言是汉克的投影，不是真实的自我，而是臆想的自我，他们只是一起生活在汉克梦中情人的房子后面不远处。

电影里的汉克是个拥有极强动手能力却对于现实社会不断逃避的人，曼尼如同瑞士军刀一般的全能性，是他心目中的自己，他人眼中的自己，他希望自己是个不被社会以及人们的眼光所困囚的人，于是利用曼尼来封闭自我，实际上那所有的旅途都是他自己做到的。

而曼尼也不过是个跳桥自杀的人。

最终汉克将曼尼的尸体放逐，发现真正的自我，接受真正的懦弱，哪怕有那丑陋或是自己认为不堪的一面，也能归回勇气的彼岸。

想法三汉克真的流落了荒岛，曼尼也是真的死了但没完全死，而汉克也真的是因为万能的曼尼而回到了文明社会并且找到了勇气，整部电影就是一部超现实主义的电影。

曼尼的存在是一种意向，他是为了对于世人的爱而存在，他是为了周围那所有迷失在狭间之地的灵魂而存在，他为那来自世界的每个角落的人而存在。

那些在身体即将被溺毙时发出诞生自灵魂的求救的人找到了曼尼，而曼尼也找到了他们。

汉克就是这样的人，他即将在物理和精神上被双重溺毙，而曼尼出现了，他轻而易举的赋予了汉克爱的意义，所以汉克爱上了他。

曼尼的存在把他拖出了如梦似幻的泡影，教会他，纵使马车的轮子无影无踪，也会要乘着它前往天空。

而最终汉克真的被拯救，曼尼也就不再需要留下来了，他需要去拯救更多像汉克一样的人，直到人人都可以敞开心扉，交换爱。

以上就是三种想法，我个人会偏向第三种，原因是我喜欢这种欣然接受一切爱，让恩怨隔阂统统消弭的展开，打开封闭的心，让曼尼为大家带来每个人都值得的爱，让大家清楚每一天都值得被爱，无论发生什么事情都可喜可贺。

这样才比较有趣。

以为是鲁滨逊漂流记，但星期五和希望都没有出现，只有一具奇怪的尸体。

以为是荒岛余生，但曼尼不是知心友人，而是瑞士军刀，无所不能。

以为是荒野生存，但并没有远离城市，丛林臆想而已。

以为是月球，但其实不孤独。

不孤独在于乍见之欢，在于交谈的起始，在于浪漫的演绎，在于内心的丰盈。

这样的渴望驱使人穿透丛林，挣脱荒岛，来到你的窗前。

但是现实如熊口，旁人如深渊。

你只能缩回躯体，唤醒曼尼，于海面上驰骋，直到所有偏见都无法追及。

人终究是感性的动物，心灵满足便是终极追求。

至于方法和手段，无关紧要了。

本来想说这部电影有两种分类可能，一种是剧情片，即男主角是废柴屌丝，很多细节都是自己幻想出来；另一种是奇幻片，即一切场景都是真实存在，男主角最后真的得到了别人认同。

但是，看了这么多一边倒的倾向于第一种类型的影评后，我突然想说，本片不是开放式结局。

原因很简单，第二种可能更符合对美好生活的向往。

倾向于第一种的大多是现实派，混迹社会多年，久经世间沧桑，除了人性阴暗面就是社会背景分析。

其实生活本应多一些单纯，多一些简简单单的真善美，而不需要事事都逻辑分析。

表面上一副洞察一切，看穿万事背后真理的样子，实际并没有太多的可能，事实就摆在眼前，仅此而已。

打个夸张的比方，别人夸你今天气色不错，你可以真心感觉气色好，也可以当他随口说，更可以想难道暗示我之前气色差？

在这里只想强调一点：加上结尾才把电影完全释放出来。

导演并不是想让大家自作主张的以为男主角是个废柴，恰恰相反，他不但希望肯定前面的所有故事和情感，更想证明男主角已经征服他爸他女神和所有人！

结尾才最最打动人啊，它让前面屎尿屁有了意义，不至于前面虽然恶心又感人但最后回味起来只剩恶心！

而且结尾把整片的孤独感推到了一个极致。

再次向上面的影评提示：本片不同于《禁闭岛》或者《盗梦空间》，它就是直讲直叙，并非开放式结局！！！

By Russell Goldman and Adam Holisky原文：http://www.indiewire.com/2016/06/daniels-swiss-army-man-seven-events-1201691207/

The cast and crewThey initially pitched the film to studios as a joke.When the duo were going around Hollywood to meet with producers about potential projects, the “Swiss Army Man” concept was intended as a joke…until someone told them to make it.“Most of our feature film ideas were so we could pitch crazy things when we go to studios,” said Daniel Kwan. “We did it so we could hang out with producers who would go, ‘What do you think about the next G.I. Joe’? or something, and we would go, ‘What do you think about this movie?’”“Deep down we really wanted to make ‘Swiss Army Man’,” said Daniel Scheinert. “Eventually one producer said, ‘Why don’t you just make it?’ He said, ’That sounds great. You should write it.’ Then we were like, ‘Oh no, now we have to write it.'”From there, the Daniels started writing and the tone of the entire project came together instantaneously.“As soon as we started writing it, we never thought, ‘Let’s make a movie that starts with a fart and the whole movie is fart jokes,'” said Scheinert. “There was no real draft that was just that. It was always like, ‘It’s going to end with a fart that’s going to make you cry.’ This is gonna get sincere, we’re gonna play it straight. The content is funny and the execution will be glorious.”They went to the Sundance Labs in 2014, and their film got torn a new one.In 2013, the Daniels submitted a draft of the “Swiss Army Man” screenplay for the Screenwriters Lab at the Sundance Institute. They would go on to attend the Screenwriters Lab in 2014, as well as the Directors Lab, the Composers Lab and a Producers Summit.“Thank God he bought that shitty land,” said Scheinert, referring to Robert Redford’s original purchase of Sundance in Utah.“You’re placed with no cell reception and hanging out with other filmmakers who were trying to develop their voice,” said Scheinert. “And you’re not allowed to write. They don’t let you, it’s all about talking and processing, talking and processing. It’s a marathon.”“It’s what film school should be,” he continued. “They take your creative project, and they make you think about it hard and talk about it real hard. There’s no real perspective logic to it besides putting two people in a room. We came out of it with a stronger understanding of what we refused to change [in the script] and what needed a lot of changing.”One of the advisors at Sundance Labs critiquing their work? Quentin Tarantino.The original independent giant sat down with the Daniels at the Screenwriters Labs. His advice for them was predictably hilarious.“Every single day you’re talking to advisors who are just industry professionals,” said Kwan. “One of the people who read our script and talked to us was [Quentin] which was absolutely insane. It was so much fun to talk to him about the movie. I was like, ‘let’s not talk about our movie, so in ‘Kill Bill’…”“I was so scared,” said Scheinert. “He’s a no filter kind of guy. One idea he had was that we should put the ‘Gilligan’s Island’ theme song somewhere in there. Like, ‘It should be he’s farting and there’s the Gillian theme song floating behind them.'”“You sit down with these advisors for three hours at a time,” said Kwan. “You’ll do the same thing the next day and it’s exhausting. They’ll contradict each other – one person will be super encouraging, the next dismissive. It’s wonderfully chaotic.”“He also wanted us to shoot on film and we didn’t,” joked Scheinert.The video for “Turn Down For What” started as a break from screenwriting,but became integral for the film.The DJ Snake and Lil Jon music video, which currently sits at over 500 million views on YouTube, was borne out of the Daniels’ impulsion to make something impulsive.“We had finished draft two of ‘Swiss Army Man,’ and we were exhausted emotionally from academically trying to wrap our heads around a feature film,” said Kwan. “We were trying to get intellectual. And a music video is the opposite of that. You just let the id take over and see what happens.”“The song kind of inspired us,” said Scheinert. “We were like, ‘Wow, this is really stupid.'”Directing the music video gave the Daniels the inspiration for how to configure an element of “Swiss Army Man” they struggled with during writing: The ability for the corpse Manny’s boner to function as a compass, pointing in specific directions on cue.“We upped our boner game for ‘Swiss Army’=,'” said Kwan. “[Turn Down for What] was just a broomstick with a hole in the back of his pants. There were no visual effects. And ‘Swiss Army Man,’ we had an animatronic one built. It could point left and right. This was almost like a test shoot. So ‘Swiss Army Man’ inspired ‘Turn Down for What,’ not the other way around.”“We certainly didn’t suspect this video would be a calling card or help us get the movie made, but it did,” said Kwan.Daniel Radcliffe was a dream to work with on set.The Daniels weren’t expecting to score Harry Potter for their weird indie film. Yet not only did he fit the bill for the part – an amazing actor who could also sing – he was down for the insanity.“We respected the risks he’d already been taking as an actor, so we thought he might be down,” said Scheinert. “And he can sing – he was in ‘How to Succeed in Business’ on Broadway, so he checked that box. And we don’t like having assholes on set – we want our two lead actors to be fun to hang out with and be cool, and we’d heard nothing but sweet things. Paul was like, ‘I’d love to work with Daniel Radcliffe.’ So we reached out.”“We Skyped with him and he asked if he could do his own stunts,” said Scheinert. “And we were like, ‘That’s the best question! You’re hired. And yes!'”Though Radcliffe did not actually set himself on fire, he was willing to put himself in scenes in place of the dummy versions of Manny they created for the shoot.“We didn’t know the guy,” said Scheinert. “He obviously had every right to not want to lie in the cold dirt for most of the day. But at the end he wanted to. He went, ‘If Paul’s going to be in the scene, I want to be in the scene.'”“It kind of set the tone for everyone,” said Kwan. “If Harry Potter is going to lie in the dirt for hours, I can’t say shit. Nothing I’m doing is worth complaining about. It was so much fun having there in almost every scene. We only used the dummy with it looked like someone would die.”Getting the right bear for the film took some challenges.One unique problem on the “Swiss Army Man” set was the need for a bear in a scene late in the movie. “We didn’t want to do a CG bear, because we couldn’t afford it and it really doesn’t look that good,” said Scheinert. “Even in ‘The Revenant’, which is an amazing movie, the bear looks like a video game almost. We wanted to hire a real bear or something else that felt real.”“One of our ideas was to shoot a real bear and then comp its face onto an animatronic bear so it could do exactly what we wanted, but you could see the mouth and the eyes,” said Kwan.The lead they got on animatronic bears – a man in Pennsylvania who owns one of the best animatronic bears in the country – wasn’t interested.“We were like, ‘Come on over, it’ll be fun!’ and he was like ‘a hundred thousand dollars.'” said Scheinert. “We asked if he could cut us a deal and he said, ‘I read the script. Didn’t like the poop stuff. I think I’ll stick with commercials.'”Ultimately, The Daniels had to settle for the real deal. “Tag the bear did a great job,” said Scheinert. “He didn’t need CG, he’s just real. He’s just a cool little bear.”There was no genre to fall back on while shooting – they had to pave a new way of creating things.There was nothing easy about shooting “Swiss Army Man,” from volatile weather to working with children to shooting on boats to shooting underwater to lighting someone on fire.“Usually you can fall back on a genre or something and go, ‘It’ll be great!'” said Kwan. “With us, we were like, ‘I don’t know man, we’re making something crazy, it might not turn out well.'”Accomplishing the shoot came from the Daniels’ desire to make a film that wasn’t just fun or funny, but something audiences would find human.“There’s two halves of ourselves,” said Kwan. “One is rebellious and fuck-you and whatever, the other just wants to make something really sweet. When we work on a thing, the idea can be crazy and then two months from now it’ll be done and we’d just go, well, that was fun. So we’ll try to bring some value to it.”“One of the reviews we read labeled it as neo-sincerity, like a post-post-modern sincerity,” said Scheinert. “We’re self aware of the fact that every story’s been told been told before, that you see two people fall in love in every single movie .But beyond that we still want to know love and still want to understand beauty.”“The more sincere you go with something so stupid, the funnier it is,” said Kwan.

在看这部奇葩的电影之前，你需要做好充分的心理准备，因为电影里充斥着大量低俗的桥段和有很大可能引发你身体不适的情节，三思而后看吧。

当你做好准备后，你会发现这是一部另类的童话，大有否极泰来之美。

一开始，你可能会认为这哥们就是个恋尸癖，跟一具尸体搞不清楚，好恶心。

但是越看到后面，特别是他用树枝和垃圾建造了巴士、舞会等各式各样的场景后，我的天，这个屌丝简直温柔得逆天了。

是的，每一部电影都有它打动观众的点，而这部电影在恶心观众的同时，让你认同它的世界观的同时，也打动了各位屌丝的内心。

不要介意我这样说，大家都是屌丝这一点你不要否认，要不你没事逛什么豆瓣呢？

下面说说具体的几个点吧。

画面1，汉克看向手中刚刚捡到的木塞子太邪恶了，我居然第一秒就想到了这是要塞住曼尼的菊花，谁让他老放屁呢，我真是老司机啊。

这个画面导演很聪明地让绝大部分观众一下就找到了猜到了接下来剧情的快感，很好的增加了观众不经意间的认可。

而后来电影通过汉克对屁的觉悟，让我们理解了导演的意图。

曼尼用屁救了困于孤岛的汉克，但是汉克获救后嫌弃曼尼的屁（好一个白眼狼）。

通过汉克对屁的重新感悟和认可，刻画了汉克重新对自己人生的感知，可以说是人生的升华。

画面2，阳光斑斓的“公交车”上，曼尼握着“莎拉”的手莎拉是汉克伪装的，为的是给曼尼感悟什么是爱情，以开启曼尼的各种功能。

一开始，汉克是很不情愿男扮女装的，觉得很别扭。

但是一来二去，他居然发自内心的喜欢上了莎拉这个角色，只要一带上红色的自制假发，就不由自主的变身莎拉，和曼尼爱得不亦乐乎，各种各样童话般的浪漫也就此展开。

好吧，能把和尸体谈恋爱这个污的情节搞得如此感人，导演你赢了。

画面3,曼尼在海浪中，放着屁，绝浪而去本片基本上所有的角色都出现在这个场景中，他们震惊于曼尼的奇特，只有汉克，那眼神中透露出来的欣慰和不舍，这两种截然相反的感情，不得不说这哥们演技真棒。

曼尼的离去，象征着所有不合理和怪诞的离去，而对于汉克来说，所有美好的童话也随之破碎，众人的满意也可能是某个人的失意。

我讲讲我的看法，《瑞士军刀男》这部奇葩电影我是这样分析的，曼尼就只是一具意外死亡的尸体，被汉克在水边捡到。

而汉克一直都只是在离他暗恋的女人不远处的森林里，并没有流落荒岛。

捡到尸体后的汉克由于长时间得不到父亲的理解，也得不到长时间暗恋的女人的爱，发生了癔症，幻想着尸体活了过来，还给尸体取了名字，叫曼尼。

汉克为曼尼做的事情就是他要为自己圆的一个梦——汉克扮演莎拉，曼尼扮演汉克，从他们相遇到相爱，他们度过了短暂却美好的梦幻人生，直到被熊袭击，汉克才不得不找到居民区求救。

看，这样的剧情是多么合理，又多么悲伤，到底是承受了多少悲伤和不解，汉克才会被摧残得做这样的事情来安慰自己，真是鬼知道汉克经历了什么……最后，这部另类的“屌丝的悲哀”踏踏实实在光棍节来临之际，抚慰了广大屌丝的心，不要怕，没人关爱算什么，来来来，咱自己幻想一个。

在幻想的世界里，你就是自己的神。