瑞士军刀男

你真的以为《瑞士军刀男》是部僵尸基佬片？

之所以会看这部片子，是因为演员是哈利波特以及阳光小美女的哥哥。

不过没有想到《瑞士军刀男》竟然是我看过的僵尸片中脑洞最清奇的一部。

片子开头是阳光小美女哥哥扮演的现代鲁滨逊（汉克）准备上吊自杀的场景，当他边哼着歌给自己打气的时候，突然间看到了不远处沙滩上搁浅的哈利波特（曼尼）。

汉克仿佛看到了生的希望，放弃自杀奔向曼尼，却发现他只不过是一具尸体。

失望的汉克准备回去再次自杀，突然间那具尸体却开始放起屁来（what?黑人问号脸），并顺着海浪像快艇般划向海中。

汉克彻底放弃自杀的念头，唱着歌跑向海边，拿起套马的缰绳（上吊时断掉的套绳），骑上屁之快艇哈利波特号，向着大海冲锋而去。

短短十分钟，故事就这么神展开了…

汉克骑着僵尸哈利波特号快艇之后，在汉克教导曼尼认识这个世界的过程中，曼尼渐渐复活，更是展现出18般武艺：自动饮水机（按胸部，自来水从口中喷出），导航仪（此处真心羞射），打火机（屁屁吾郎甲烷喷射器）刮毛刀（牙齿），机关枪（口中喷射异物），打桩器（身体变硬技能开启）等等。

而汉克也带着这只瑞士军刀男边愉快地在野外生存，边玩起了假扮暗恋女孩的恋爱过家家。

后来竟然假戏真做，汉克与曼尼竟然渐渐爱上了对方，水中激吻并拔开“喷射器”木塞一同冲出水面，一起规划在荒野中的未来生活…直到最后汉克也是在众人不理解的目光中，包括老爸与前暗恋女生的面前向“死去”的曼尼大声表白。

看到此处，真心觉得这是一部僵尸片中的断背山，是断背山的僵尸版，让人为之动容。

可是转念一想，觉得此片必有深意。

再回头去看，果然别有洞天：这不是一部僵尸基佬片，而是一部自爱片。

僵尸曼尼其实就是汉克他自己，全片讲述的不过是一个自以为被世界，甚至被自己抛弃的卢瑟如何重新接纳自己，爱自己，重新融入社会的故事。

私以为解码此片的纲领在于从死到生，从生到死到生的关键节点。

这里从死到生的转换，不只是指曼尼从尸体渐渐复活，也指汉克从死中脱险。

根据这些关键节点可以大概拼凑出真实的故事。

关键节点1：汉克与曼尼相遇，汉克放弃自杀念头。

真实世界：万念俱灰的汉克准备上吊结束自己的生命，只可惜绳子质量太差，自杀未遂。

但也是在这个过程中，发现自己死灰一般的心中竟然还留有一丝生的执念，于是重新打起精神，准备再试着生活一次。

（此处用曼尼比喻汉克那颗垂死的心）关键节点2：曼尼复活之开启自来水和说话功能。

真实世界：汉克尝试接触外部世界（社会），但以失败告终，觉得自己可能也就这样孤独至死。

但另一方面自己有唱歌给自己打气“There is gotta be a better way to get out of here.” 于是心中勇气渐渐燃起，开始打理自己的生活起居。

（曼尼复活，口吐自来水，开始说话）

汉克唱歌给自己打气关键节点3：汉克教曼尼认识世界真实世界：汉克开始梳理自己存在在这个世界的意义。

家在哪里？

什么是生活？

我是谁？

（是垃圾还是是特别的，最终得出自己就像瑞士军刀男一样，有创意，动手能力强，生存技能全）生活的意义是什么？

（寻找自己的幸福，寻找爱）为什么逃离了家到了“荒野”？

（因为觉得自己没人爱，自己没价值，自己不爱自己）

汉克梳理自己的人生

关键节点4：为了躲避猛兽，失足摔下山谷，九死一生看到了手机上暗恋女孩的照片。

真实世界：汉克继续梳理自己的生活，回忆起无用的一生中，最美好的时刻竟是在公交上遇见那女孩的时候。

爱情的力量进一步点燃了汉克的生命力。

他开始修饰自己的仪容，并在幻想与女孩相遇场景的过程中重构自己的信心，尝试变得更加有自信和魅力。

（军刀男化身汉克重现与女孩相遇场景，刮毛等功能进一步开启）他可能还去参加了一些社交活动，并得到了一些积极的反馈，并开始被人所理解。

这让汉克渐渐开始接纳自己，喜爱自己。

但这时还未能完全面对自己，过去的阴影仍然阴魂不散（军刀男功能全开，两人举办派对，讨论汉克妈妈早逝对他的伤害，并尝试接吻但未遂，两人有了些隔阂，进一步走出荒野）关键节点5：落水遇险，并激吻脱险。

真实世界：汉克进一步逼着面对自己的心结，终于在突破一系列困难之后，真正面对了真实的自己并接纳了他。

（激吻）第一次觉得自己是可爱的，就好像从深海中浮出水面能大口呼吸一样快乐。

水中激吻关键节点6：遭遇棕熊，险些丧命真实世界：当汉克洗心革面从头做人之后，鼓起勇气去面对爱人的时候，却发现她早已嫁为人妇。

这次重创让汉克差点又被打入原型，心如死灰，死亡的念头又再一次升起。

（军刀男功能失效，汉克被熊叼走，放弃求生欲望，另此处证明两人为一人的证据是汉克脑中能闪过军刀男的所思所想，且曼尼对汉克说也许是你的脑子创造了我，阻止你自杀，胡思乱想，不眨眼镜，不吃东西）。

但回忆起以前，汉克还是发现自己心中有东西放不下，就这么离去不甘心。

也许是出于对操蛋生活的反叛和愤怒，生活的意念又一次熊熊燃起。

（曼尼全面复活，肢体能够活动并退散了棕熊）关键节点7：见到初恋，曼尼死去真实世界：回到社会，见到挚爱，发现自己完全不被对方所接纳。

或许是出于想要融入社会的目的，汉克将自己真实的一面隐去，以一个正常人，甚至是别人的面貌和身份活着。

（曼尼死去，汉克假装是曼尼）。

但是后来汉克发现这不是真正的自己，这不是他想要的幸福，假装别人并不快乐，他想做真实的自己，即使周边的人觉得他是怪胎也无所谓。

最后他学会了不去在意他人的目光，忠于自己，也真正完完全全接纳了自己，并获得了自由。

（汉克在采访中承认自己的真实身份，不管初恋，父亲以及其他人的眼光，将曼尼带走，并表白，而曼尼最后因为汉克当众放屁而复活并远去。

这代表了汉克完完全全接纳了自己，人格真正独立了，因此假想的曼尼也可以心满意足地“走了”。

）就是在这样来回地失败与抗争中，汉克从一个心死之人（曼尼）学会了接受生活中地苦难与不完美，学会了珍惜那些美好地回忆，最重要的是学会了爱自己，获得了人格独立，重新复活（汉克）。

以上就是我对瑞士军刀男表世界和里世界的解读。

欢迎大家一起探讨哦。

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。

人人都有怪人朋友。

或者说，人人都有怪癖。

王小波说，一个人只拥有此生此世是不够的，他还应该拥有诗意的世界。

但不是所有人都有王小波的趣味。

有的人，把搏击当成「诗意」（《搏击俱乐部》），有的人的诗意，是充气娃娃（《充气娃娃之恋》、《空气人偶》、《我的机器人女友》），有的人是捆绑（《捆着我，绑着我》），有的人是一具已经开始腐败的尸体。

本片主人公汉克，就是一个暗恋人妻、玩弄尸体的怪人。

张岱说，人无癖不可与交，以其无深情也。

像《瑞士军刀男》这样售卖怪癖奇观的电影，「深情」是它唯一的假面、终极的伪装。

因「深情」之名，使所有的不道德、不伦事件甚至罪恶都可原谅。

换句话说，「深情」是一块明摆着的痒痒肉，是通往观众情绪高潮的阴道，导演把观众挠高潮了，观众就会和自身的经验产生共情，甚至失去判断的能力。

像歌里唱：「若你喜欢怪人，其实我很美」。

这是讲故事的魔力。

它帮观众原谅、宽恕，甚至迷失是非。

如果有一位风度翩翩、帅如安东尼奥·班德拉斯的男子站你面前，彬彬有礼地说：「我今年23岁，有5万块存款，在世上孤身一人。

我愿意作你的好丈夫，你孩子的好父亲。

」试问哪位少女经得住这样深情的挑逗？

还不快快献上手脚，甘心情愿地让他用红绳绑成大闸蟹。

有些群众的眼窝子浅，连马加爵、药家鑫的洗白都敢相信，那些前仆后继地嫁给监狱重刑犯的女人就更别提了。

我甚至怀疑，有一天希特勒和爱娃的故事也会作为爱情故事，进入很多人的朋友圈。

只有没讲好的故事，没有「深情」征服不了的怪癖。

怪癖和深情是《瑞士军刀男》的核。

前者创造奇观，吸引眼球，填充导演喜好屎屁尿的一点私货；后者是令观众共情的武器，一出俗套而廉价的商业包装。

电影的成功之处，其一是很有创意地抓住了「尸体」这个梗，拍得耳目一新；其二是很好地平衡了恶趣味和深情的比例。

至于中间塞的一些有关人性、性欲、爱情之类的思考，看似富有哲学深意，实则滥俗不堪。

如果你真要学做人，出门左转伯格曼，何必找两死宅呢？

唯一的问题，是故事讲得还不够好，这是我不感冒《瑞士军刀男》的地方。

它仅有30分钟的容量，抻长到97分钟之后，塞进许多令人尴尬到脸酸的桥段，反而不能紧凑密集地翻包袱。

我不喜欢影片里那些MV式的抒情段落，情绪太过泛滥，像兑了水的可尔必思一样廉价。

我不满足汉克暗恋人妻的行为，居然只有公交偶遇和关注Instagram两种手段，没达到变态死宅全方位人肉的应有表现。

导演偷懒，稀释了故事的紧实度。

好在保罗·达诺和丹尼尔·雷德克里夫的表演稍微撑起了这个稀薄的故事。

捆绑也好，恋尸也好，电影的本质只有一个：孤独。

孤独是存在的普遍状态，越有怪癖的人，越显孤独。

当孤独辛辛苦苦地找到一个窗口，便会倾尽全力把所有深情都投射到那个对象上，把对象变成幻想。

「你越了解我，你就会越不喜欢我」。

汉克爱上了他的幻想，孤注一掷，奋不顾身。

人人都有怪癖，唯有孤独恒常如新。

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？？？

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.

一部很奇特的影片，主要戏份就只有两个人物，两位演员表现都很精彩，尤其是保罗达诺，毕竟绝大部分的都靠他一个人的表演。

只有两个角色，大量的台词组成，这样的影片能让观众欣赏90分钟而又不觉得厌烦，反而还能是不是觉得有趣，这已经算是成功了，不过，本片也同时有着很多缺点，想讲述的哲学问题或者生活问题太过泛泛而谈，没有能让人击中内心深处的点，最后的升华也是仅仅靠着一个复活的场景，其实这往往是软弱无力的表现而已。

无论如何这还是值得一看的奇特影片，保罗达诺确实是一个怪才，很期待他即将导演的作品。

这个故事，并不是什么生与死的互动，也并不是什么人尸之间的基情，这是一个屌丝在末路中选择自绝，但仍然被对人与人之间爱的渴望唤醒内心的自我，试图拯救自己以及接纳自己的故事。

故事究竟是喜剧还是悲剧？

结局描绘了两个场景：既有可能主角疯了，也有可能是确实存在神奇的manny并且hank得到了众人的相信。

而实际究竟是什么？

或许并不是主角真的疯了，也不是存在manny这个神奇的尸体。

而是没人爱的hank，选择了拯救自己，接纳自己，自己爱自己，却只能看着那个自我远，留下外在的已经癫狂的自己面对众人厌恶的目光。

能够得到安慰的或许是，那个自我再次回到了海上，自由地飘荡与飞翔。

似乎只要见到了那个具有能量的自己，其他人便能投来肯定的目光。

电影《瑞士军刀男》的两位导演原本是业内知名的MV导演，因为一个有趣的小故事，才萌发了拍摄一部长片的想法，最终得到这部奇怪的电影。

所以，无论是从剧情还是对白，以及笑点来说，《瑞士军刀男》都是一部足够奇怪的电影。

首先，最奇怪的当然是这个让人一头雾水的名字。

根据大多数人的阅读习惯，大概会把片名断句为“瑞士，军刀男”，意指一个来自瑞士带着军刀的男人。

但看了电影，才真正明白片名的含义——一个像瑞士军刀一般有着无数功能的男人，准确来说是一具尸体。

这具尸体除了无法自行移动之外，简直无所不能。

说话、思考都是雕虫小技，牙齿作夹子，头作锤子也是不在话下，更厉害的是身体当作移动饮水机，放屁当作喷射器，口腔当作机关枪，甚至连勃起的丁丁都可以作为回家的指南针。

这具尸体可谓是居家旅行、闯荡江湖之必备神器，抢购千万认准“哈利·波特”品牌。

因为在电影中出演这具尸体的演员正是以哈利·波特这一角色火遍全球的丹尼尔·雷德克里夫，所以观影过程中一直在想，如果真的流落孤岛，到底是这具瑞士军刀般的尸体好用还是带上一个会魔法的小哈利好用。

当然，从这部电影最后的结果看来，大概是这具尸体更管用吧。

因为尸体不仅仅有着瑞士军刀般各种各样实用的功能，还在开导人心、鼓励精神方面有着非凡的功能电影从孤身一人流落孤岛的汉克准备上吊自杀开始，却在临死之前遇到了这具尸体，并给他取名为曼尼。

最终汉克依靠着曼尼各种神奇功能的帮助，成功地逃离孤岛，穿越丛林，回到了人类的世界。

可事实的真相也就此被真正揭露。

原来，根本没有什么叫作曼尼像瑞士军刀一般的尸体，而汉克也从来没有流落孤岛。

汉克也不是真正的汉克，他的原名其实是曼尼。

电影中的所有故事都只是生活失败的他的幻想而已。

他本身是一个典型的失败者，一事无成，连自己的父亲都觉得他是一个智障。

每天坐公交车的他暗恋着同一班车上的一个女孩，却只敢偷偷拍照作为手机桌面，始终没有勇气前去搭讪。

所以他躲到了暗恋女孩房子后面的山林中，当起了一个与世隔绝的野人。

在这里，他用垃圾构筑了一个新的家园，甚至搭建出那辆经常偶遇女孩的公交车。

在这个过程中，这具尸体便是他幻想出来帮助自己的人。

可以说，这正是同一个他的两面性。

一面是无能怯懦的他本身，另一面却是无所不能又无知无畏的“瑞士军刀尸体”。

所以他们两个人一直在聊天，聊天的话题从生活本身到爱情与性，无所不含，但其对话的目的终究还是让失败的曼尼找回继续生活的自信，可以再次回到社会。

当然，这一目的在电影的最后也算达成了。

至少他的父亲微笑着看着他，似乎理解了他的世界。

但是那个被暗恋的女孩以及世界的其他人似乎依旧是一脸“What the fuck”的表情。

不过这一切对于主角曼尼来说，都已经不重要了，他已经完成了自己与自己、自己与世界的和解。

这是一部非常有新意，但是缺点也非常明显的电影。

电影最有趣的设定当属这具像瑞士军刀般无所不能的尸体，尤其是各种功能的实现真的是脑洞大开，让人眼前一亮。

除此之外对话中的屁屎尿以及各种各样的荤段子也算笑点之一。

但是正如前文所说，电影来源于一个有趣的小故事，但最终被硬生生地拍成一部时长一个半小时地电影。

所以在很多地方显得有些拖沓冗长，部分情节也有些强行说教人生道理而显得无聊。

而这些所谓的人生道理无非是生活颓废、一事无成之时，自己改如何接受自己，别人又该如何不歧视自己，社会又该如何接纳自己。

电影试图在哲学范畴上更好地表达这些内容，但终究还是因为糟糕的剧本和叙事能力变得像老太婆的裹脚布一般，又臭又长。

总体而言，生活艰难，有这么一部充满屁屎尿、能够让人笑到前仰后翻的电影倒也不错。

不用深究电影究竟讲了什么，或者有没有成功表达什么，只要让人发笑了，那就不枉这看电影的一个半小时。

“Maybe we're all ulgy, dying sacks of shit, and maybe all it will tame is one person to just be okay with that, and then the world will be dancing and singsing and farting, and everyone will feel a little bit less alone.”“Manny , you have no idea how nice that sounds.”

大一入学的第一个月看的这部电影，来自一个作家普二丁的微博推荐。

当时的B站还可以看这种大尺度的片子，看完之后好久才听说这具尸体是丹尼尔演的，没有一点哈利波特的影子。

不过还是蛮帅的🤭，让电影的浪漫氛围有了颜值基础hihi荒诞却又充满了浪漫。

那时我的心理状态还很糟糕，看完这部电影之后觉得被深深地治愈了。

找到了当时的说说，记录一下：great&crazy绝境之处新生的感觉，治愈灵魂的神启。

从黑暗的深渊中走出，一个梦幻的世界。

“因为总有一天，你变的屎，会和我变的屎相遇。

”多么恶心、怪异，却又该死的浪漫啊。