【Keanu Reeves】旧文节选：Liberation

哈哈，这篇报道就是那个记者说，日月在变化，星辰在流转，而kenau坐在那里，他在沉默
这个记者把Kiki写成了一个特别有品的怪咖

继续生平和电影介绍
After a while, we take a rest from this dark San Francisco hotel bar and go outside so that he may smoke a cigarette. His hair is short, and he's looking smart: a black suit jacket, black everything else. Occasionally passers-by shout comments: "The Matrix! Point Break! You take care!"
He scratches his right leg, lifting his trouser to reveal a wide, curved scar. Another motorcycle accident, this one in 1996. "It's my hook, or my question mark," he says, fingering the scar tissue. "Maybe it's both. It depends on how you look at it."
How do you think of it?
"Both. It's a particle, it's a wave."
One of Reeves other movies awaiting release is The Gift, co-written by Billy Bob Thornton, a semifictionalized account of Thornton's mother's life as a small-town psychic. Most characters Reeves finds himself playing have a fair chunk of innocence at their centers, but in The Gift, which is directed by Sam Raimi, he plays a nasty wife beater called Donnie Barksdale.
"It's a part I don't get to play that often," he says. "It was a great experience." In preparation for life as a wife beater, he spent three weeks in Georgia learning how to be a redneck. "You know," he says, "Donnie motherfucking Barksdale." He got a truck, and he ended up borrowing a white-fleeced Levi jacket from a guy in a bar who told him he didn't look nearly redneck enough in his jeans and shirt. "I wanted to find out the thinking," Reeves explains. "I met this one guy, and he ended up by the end of the night beating up his girlfriend. In front of the bar."
Didn't you feel like stepping in?
"Of course. The way it happened is a long story. That I'm not going to tell."
I suppose you must have been thinking, "This is great, this is just what I needed"?
"Yeah, sure."
Does that make you feel guilty?
"We're all guilty. [laugh] Do I feel guilty? I wish that didn't happen. I didn't punch her in the head. I wish he hadn't."

虽然好累，还是贴完吧，主要是我没带电脑，用的手机
介绍他早年几个片子，ted还有惊爆点
After success as a teen actor in Toronto, Reeves moved to Los Angeles in the mid-Eighties."The day I landed in L.A., they wanted me to change my name," says Reeves. "A studio executive called his agent," recalls Erwin Stoff, his manager for seventeen years, "and said, That's a name that will never appear on a marquee." They brainstormed a few options and eventually settled on his initials: K.C. Reeves. (Keanu's middle name is Charles.) "It only lasted for a couple of months. It's so not who I am," he says. "One of the lessons."
The lesson being?
"I don't know. Other people say, if you want to do what you want to do, you have to do this. And the lesson being: You know what? You don't. You don't."
It was 1989s "Bill and Ted's Excellent Adventure" that first made Reeves notably famous and also sparked talk of Reeves as the Western world's dreamy hot new pinup. I suggest to him that he never seemed comfortable being a sexually attractive icon.
"Really? [Sarcastically] In Bill and Ted's Excellent Adventure I was a sexual icon?"
You know the weird thing: I believe so. Even then.
"Perverts."
For a while, it was often assumed that Reeves would be forever typecast as the affable, spacey, dump California teenager and, more worrying, that anyway he had more or less been playing himself.
"That's frustrating," he says. "That's very frustrating."
A further twist was given to all this when, early in the surf-and-sky-dive thriller Point Break, Reeves character was referred to as "young, dumb and full of come," a line that was often subsequently used with glee as though it referred to Reeves himself. Asked how he felt about this, he says, "What do you think?" then free-associates: "There's something good about it, something bad, something happy, something sad. There was also another great term. What was that? Himbo. Bimbos and himbos." He laughs.
"I get no respect!" Then, with heavy sarcasm: "It drove me to drink. I was insane with grief. I would drive endless miles along Mulholland highway. It was terrible and frustrating and awful, but there was nothing I could do." At the end of this I tell him I have no idea what level of sincerity he is now talking on. "4.5," he says. Out of ten? I ask. "That I don't know," he replies.

他最喜欢的莎士比亚，忘记是不是这篇，他说他最喜欢麦克白
It was not, in terms of acting, his most challenging role?
"No. While I was making it, I learned Hamlet."
Because you had room in your head?
"Yes. I had room."
So what does that tell us about Speed?
"It ain't Shakespeare."
Reeves feels strongly about his Shakespeare. There is a real boyish gusto in his voice when he talks about it. "I tend to throw out a little Shakespeare once in a while," he says. "I do love it. It's like this kind of code that once you start to inhabit it with breath and sound and feeling and thought, it is the most powerful and consuming and freeing at the same time. Just, literally, elemental in sound, consonants and vowels."
He says that he knows a few sonnets and soliloquies by heart, and that he brings Hamlet with him when he travels. He has a copy here in San Francisco, presumably somewhere near the Archers of Loaf. He likes to recite parts of it out loud, alone in his room. "I love the melancholy, I guess, perhaps, of it," he guesses, perhaps.
Reeves had acted in some Shakespeare when he was younger and attended some workshops. His first high-profile brush was a Don John in Kenneth Branagh's version of Ado About Nothing. Then, in 1995, he agreed to play Hamlet onstage for a month in Winnipeg. "What I learned," he says, "is that as far as you can go, Hamlet just looks at you and goes, 'How about here?' It's beautiful and terrifying. I feel that Hamlet is one that even great actors," he mentions, as he puts it, "Mr. Daniel Day-Lewis." Day-Lewis pulled out of Hamlet midway through a run in London, partly, it is said, due to the emotions it stirred up about his recently deceased father.
You're not a man without father issues.
"Right. What I found out in doing the play was that it brought up for me all the anger that was inside me for my mother. I mean, it surprised me, just what was there, and I hadn't seen that before."

他的乐队，他94年开玩笑说他是这世界上最差的bass手：）
In 1987, Keanu Reeves went down to Sunset Boulevard and bought himself a bass guitar. "I wanted to learn to play bass," he says. "I liked the sound of the bass. I found my ear following it in music." He was most influenced by Peter Hook's playing in Joy Division: "It's kind of a bass line but a melody line. And kind of romantically epic, in a gothic kind of way." (Reeves' Joy Division favorites: "Love Will Tear Us Apart," "Ceremony," "Atmosphere.")
A while later, he went up to a guy in a grocery store near his house, because the guy was wearing a hockey shirt, and Reeves wanted to find a local hockey game. The shirt wearer was another actor, Robert Mailhouse. The two of them started playing hockey together and then music. "He lived right under the Hollywood sign in Beachwood Canyon," Mailhouse recalls. "He had this great garage; you opened these doors and it overlooked this hillside." They would jam, sometimes alone, sometimes with friends. "I'd never met anyone who loved his bass so much," says Mailhouse. "Actually walked around the house with it." Reeves would blow up amps trying to duplicate Peter Hook's bass tones. Their first public performance was in a friend's bar. Mailhouse filched the name Dogstar from Henry Miller's Sexus. A new guitarist, Bret Domrose, joined and soon became their singer and principal songwriter. "One of the first things I remember about him," says Domrose, "is that I thought he was eccentric in a sense that he was drinking a real nice bottle of wine out of a coffee mug. Probably it was a hundred-dollar bottle of wine. It was a Montana State Highway Patrol mug."
When Domrose first suggested that they try to get a record contract, the other guys in the band said they weren't interested. Three months later, Reeves said that they were ready. A first album, Our Little Visionary, came out in 1996, though not in America. Their first American album, Happy Ending, has just been released. In Dogstar, Reeves mostly keeps his head down and plays the bass, but he also helps write the music. "He's really the most creative, melodic bass player," says Domrose. "He comes in with what he calls the Reeves ditties."
I ask Reeves: Is it just a hobby?
"I don't know. We play in a band. We fucking make music. We try to make records. We hang out. Is it a hobby? I don't know. We get paid, so isn't that professional? So, OK, I'm a professional hobbyist."
"I think he enjoys getting on the bus and traveling," says Mailhouse. "You get on and just do whatever ten guys will do on a bus. He really likes that."
"As the tour goes along," Reeves says, "one becomes more and more of a pirate. You lose a little of the civilization of it."
What are the signs that piracy is imminent?
"You start wearing a parrot on one shoulder, and a patch, and going, Arrrrrrhhhhh! Saying, Aye, matey. Thar she blows. Oh, wrong book."
"He's a really giving person," Mailhouse says.
"He'd give you his last shoe. Really smart, too. He's incredibly booksmart. He's a really interesting person who doesn't talk a lot of shit."
I ask Mailhouse how Reeves has changed in ten years.
"I don't worry about him as much," Mailhouse says. "I used to worry about him. Because I think of him as one of my best friends in the world, was he going to crash his motorcycle, or this or that. We did some wild things. I guess it's just growing up. I don't know maybe it had something to do with River Phoenix, maybe. Losing someone close to him. But now I'm just proud of him. He's getting to do it the right way."