有趣灵魂说
诺贝尔文学奖得主、土耳其国宝级作家奥尔罕·帕慕克，终于等来了他想要的Netflix剧集。但这条路，他走了六年。曾有好莱坞公司想改编他的《纯真博物馆》，却把故事改得面目全非。帕慕克怒而起诉，耗费两年半拿回版权。再次合作时，他一页一页审核剧本，把定稿附进合同，甚至自掏律师费——只为守护那个发生在1970年代伊斯坦布尔的痴恋故事。73岁的帕慕克还在剧中客串了自己。他说："这不是表演，我就是演我自己。"
译文为原创，仅供个人学习使用
The New York Times | THE GLOBAL PROFILE
纽约时报｜全球人物特写
Nobel Novelist Orhan Pamuk Finally Gets the Netflix Series He Wanted
诺贝尔文学奖得主奥尔罕·帕慕克终获其想要的Netflix剧集
After publishing more than 20 books and winning a Nobel Prize, the Turkish author fought to bring a celebrated novel to the screen — on his own terms.
在出版了20多本书并荣获诺贝尔奖之后，这位土耳其作家终于争取到将其一部著名小说搬上荧幕——并且是按照他自己的方式。
By Ben Hubbard
Visuals by Emin Ozmen
Ben Hubbard interviewed Mr. Pamuk in Istanbul and has read most of his books, some more
than once.
本·哈伯德 报道 埃明·厄兹曼 视觉贡献
本·哈伯德在伊斯坦布尔采访了帕慕克先生，并读过他的大部分书籍，有些甚至读过不止一遍。
Orhan Pamuk in his office in Istanbul, in an apartment building named for his family.
奥尔罕·帕慕克在他位于伊斯坦布尔的办公室里，这栋公寓楼以他家族的名字命名。
六年前，土耳其作家、诺贝尔奖得主奥尔罕·帕慕克收到了一份根据他最著名的小说之一《纯真博物馆》改编的电视剧计划情节概要。当他翻阅这些页面时，感到万分震惊。
制作公司在将这本超过500页、讲述20世纪70年代和80年代伊斯坦布尔一段痴恋的故事浓缩到荧幕时，所做的改编远远超出了帕慕克先生认为合理的范围，添加了许多他认为严重偏离其叙事轨道的曲折情节。因此，他进行了反击，起诉该制作公司以收回其故事的权利。
"那段时期我做噩梦，按照我的标准支付了一大笔钱给加州律师，还担心着：如果他们按照他们写的那样拍摄，我该怎么办？"帕慕克先生说道。他说话的地方是他那摆满书籍的办公室，位于他家族在伊斯坦布尔建造、也是他长大的那栋公寓楼的顶层。
他在2022年赢得了诉讼，随后又与一家土耳其制片公司再次尝试，这次他强加了条件，以保持对故事的控制。四年后，他终于对结果感到满意。上周五，《纯真博物馆》作为一部九集剧集在Netflix上线。
这次流媒体首播标志着现年73岁的帕慕克职业生涯晚期的一个首次。作为土耳其最著名的小说家，他的小说、回忆录、散文和摄影书籍已被翻译成数十种语言。他于2006年获得诺贝尔文学奖。
Netflix剧集进一步扩大了他作品的覆盖面，将他的小说带到世界各地的电视屏幕上。
"当然，每个小说家都希望自己的小说被改编成电影，"他说。"大多数时候，动机要么是金钱，要么是名气，我也有这些人性的弱点。"
在小说中，凯末尔将芙颂生活中的物品编目，包括数千个丢弃的烟头，并在一个博物馆中展出。现实版的博物馆收藏着同样的物品。
帕慕克先生出生在尼尚塔什一个富裕的世俗家庭，那是伊斯坦布尔一个与城市欧化精英阶层相关的时尚街区。
他曾梦想成为一名画家，并从建筑学院退学，之后转向小说创作，探索土耳其的奥斯曼历史、其西方化愿望以及两者之间的紧张关系。他的妻子是一家医院的院长；他与第一任妻子育有一女，并有一个孙女。
包括《黑书》、《我的名字叫红》和《雪》在内的小说提升了他的国际知名度。诺贝尔奖委员会在授予他世界顶级文学奖时写道，他"为文化的冲突与交织发现了新的象征"。
帕慕克先生大量书写伊斯坦布尔，他的故事里充满了从他记忆中提取的地点。他的许多角色都在他童年家步行可达的范围内生活、工作和被杀。在附近的一栋大学建筑里，一个角色坠入爱河；另一个角色未能通过入学考试。
在附近散步时，他哀叹自己年轻时那些木屋已被乏味的公寓楼、高档咖啡店和拥挤的人行道所取代。"很难继续爱这个地方，这个街区，因为它已经变了，"他说。
一个曾被称为阿拉丁小店、帕慕克先生和他的一位角色经常光顾的街角商店，现在成了一家男装连锁店。在帕慕克先生早已不复存在的中学旧址上，矗立着一座新的购物中心。
"就是个购物中心，普普通通的购物中心，"他说。"没什么意思。"
在伊斯坦布尔帕慕克先生的同名博物馆中展出的《纯真博物馆》手写稿。
这个街区在2008年出版的《纯真博物馆》中占据重要位置，该书详尽地讲述了一个资产阶级单身汉凯末尔的故事，他无可救药地爱上了一个年轻、贫穷的女店员芙颂，并在自己生活偏离正轨后，花费数年时间策划如何接近她。
凯末尔和他的母亲住在一间公寓里，阳台能俯瞰一座历史悠久的清真寺。这两处地点都离帕慕克先生的办公室不远，凯末尔和芙颂幽会的那栋楼也在附近。
在书中，凯末尔通过偷窃他联想到心爱之人的日常物品——盐瓶、发夹、咖啡杯、鞋子、一把牙刷、一个吃了一半的蛋筒冰淇淋以及4213个烟头——来记录他的痴迷。小说高潮过后，他在一个博物馆里展示了这些遗物，书名由此而来。
这个故事已经成了一个多部分的系列作品。2012年，帕慕克先生在伊斯坦布尔开设了一个真正的纯真博物馆，里面陈列着书中的物品。他撰写了一份博物馆宣言和目录。2015年，他参与了一部相关的纪录片。
为了增加一个荧幕改编版本，帕慕克先生在2019年与一家他描述为"好莱坞制作公司"、但拒绝透露名称的公司签订了合同。但该公司的构想包括对故事的重大改动，例如让凯末尔使芙颂怀孕，这是帕慕克先生无法容忍的。
"改动太多了，"他说。"一旦你那样做，书的其余部分就完全不是我的书了。"
他说，他花了两年半时间，以及大量的法律费用，才终止了那份合同。
一旦收回版权，他便开始与一家土耳其公司Ay Yapim洽谈剧集制作事宜。
这一次，他以一种与他小说主角似乎不无相似的细致入微的方式掌控着整个过程。
伊斯坦布尔尼尚塔什街区周边的景象。自小说发生的时代以来，这里已经发生了巨大变化。
他说，他要求不预付稿酬，并且在剧本最终确定前不签署合同，以确保制片方不会对故事进行不当的发挥。
他确保片尾字幕不仅会提到他的书，还会提到他的博物馆，剧中的一些场景就是在那里拍摄的。
他规定，无论该剧集多么成功，都不会有第二季，因此故事的结局将保持不变。
他反复与编剧和制作公司负责人凯雷姆·贾塔伊会面，审阅每一集的草稿并提出修改建议。
一旦文本最终确定，他和贾塔伊先生都在全部九集的每一页上签字认可。帕慕克先生将签署好的剧本附在合同中，以锁定他的构想。
"一旦剧本像这样制作出来，并且我们确信如果他们不按此拍摄，就会完蛋或者上西伯利亚去，那时我才放心了，"帕慕克先生咧嘴笑着说。
在一次采访中，贾塔伊先生证实了帕慕克先生的深度参与。他将剧本创作过程描述为独一无二，并表示该剧集耗时四年完成，比他19年从业生涯中的任何其他作品时间都长。
"奥尔罕先生要求很高，"他提到这位作家时用了土耳其语的尊称。"对于一个作家、制片人和小说原作者来说，这样一页一页地过稿子并不容易。"
贾塔伊先生意识到，经过两年的工作，他们仍然没有签署合同，这意味着帕慕克先生随时可能退出，使他们的努力付诸东流。
该公司搭建了基于20世纪70年代尼尚塔什的布景。他们选了土耳其的当红小生塞拉哈廷·帕萨利饰演凯末尔，以及名气较小的埃伊尔·坎代米尔饰演芙颂（"我们希望她会出名，"帕慕克先生说）。
该公司还聘请了女性导演泽伊内普·居纳伊，这也是帕慕克先生的首选。
帕慕克先生说，小说出版后，他曾因聚焦于男性角色的视角而受到土耳其女权主义者的批评。
"尽管我试图避免中东男性常见的误解或偏见，但不幸的是，我是一名中东男性，我完全接受所有的女权主义批评，"他说。
由女性执导，他说，能更多地展现女主角的视角。
剧集完成后，帕慕克先生看完了全部九集，贾塔伊先生打电话询问他的看法。
贾塔伊先生记得当时很紧张，不知道这位小说家会作何反应。
"他非常高兴，"贾塔伊先生回忆道。"他说他喜欢。"
演员塞拉哈廷·帕萨利饰演的凯末尔，以及埃伊尔·坎代米尔饰演的店员芙颂，在《纯真博物馆》中。图片来自Netflix。
帕慕克先生说，他希望这部作品能被视作一部"杰出的电影"，并吸引游客参观他的博物馆。该剧以土耳其语制作，并配有英语和其他语言的字幕和配音。
这部剧集也为帕慕克先生带来了另一个职业生涯里程碑：他的表演处女秀。在几个场景中，他扮演了著名作家奥尔罕·帕慕克本人，凯末尔向他讲述了自己的痛苦经历。
帕慕克先生表示自己并不特别期待首映派对和其他热闹场合，并淡化了他在荧幕上的首秀。
"你不能称之为表演，因为我就是演我自己，"他说。
当被问及帕慕克先生的表演时，贾塔伊先生说，它达到了目的。
"他还行，"他说。"但他是个更好的作家。"◾
Safak Timur contributed reporting from Istanbul.
沙法克·蒂穆尔对本文有伊斯坦布尔报道的贡献。
Ben Hubbard is the Istanbul bureau chief, covering Turkey and the surrounding region.
本·哈伯德是伊斯坦布尔分社社长，负责报道土耳其及周边地区。
Six years ago, the Turkish author and Nobel laureate Orhan Pamuk received the plot summary of a planned television adaptation of one of his most celebrated novels, “The Museum of Innocence.” As he flipped through its pages, he was horrified.
The production company had taken liberties far beyond what Mr. Pamuk considered reasonable in condensing for the screen his 500- page-plus tale of obsessive love in Istanbul in the 1970s and ‘80s, adding plot twists that he felt egregiously diverted his narrative. So he struck back, suing the producer to reclaim the rights to his story.
“I had nightmares during that period, paying a lot of money by my standards to the California lawyer and worrying about, what if they shoot it the way they wrote it?” Mr. Pamuk said, speaking in his book-lined office on the top floor of the apartment building that his family built in Istanbul and where he grew up.
He won the suit in 2022 and tried again with a Turkish producer, this time imposing conditions to maintain control of the story. Four years later, he is finally happy with the outcome. On Friday “The Museum of Innocence” will launch as a nine-part series on Netflix.
The streaming premiere marks a late career first for Mr. Pamuk, 73, Turkey’s best-known novelist, whose books of fiction, memoir, essays and photography have been translated into scores of languages. He was awarded the Nobel Prize in Literature in 2006.
The Netflix series further expands his work’s reach, putting his novel on televisions across the world.
“Of course every novelist wants his or her novel to be converted into a film,” he said. “Most of the time, the motivation is either money or popularity, and I carry these vices.”
PIC
In the novel, Kemal catalogs items from Fusun’s life, including thousands of discarded cigarettes, and displays them in a museum. The real life version of the museum houses the same objects.
Mr. Pamuk was born into an affluent, secular family in Nisantasi, a chic Istanbul neighborhood associated with the city’s Europeanoriented elite.
He dreamed of becoming a painter and dropped out of architecture school before turning to fiction, exploring Turkey’s Ottoman past, its Western aspirations and the tensions between them. His wife is a hospital director; he has one daughter from his first marriage and one granddaughter.
Novels including “The Black Book,” “My Name is Red” and “Snow” raised his international profile. The Nobel committee, in awarding him the world’s top literary prize, wrote that he had “discovered new symbols for the clash and interlacing of cultures.”
Mr. Pamuk has written extensively about Istanbul and his stories feature sites plucked from his memories. A number of his characters lived, worked and got killed within walking distance of his childhood home. In a nearby university building, one character fell in love; another failed her entrance exam.
During a stroll around the area, he bemoaned how the wooden houses of his youth had been replaced by bland apartment buildings, fancy coffee shops and crowded sidewalks. “It is hard to continue to love this place, this neighborhood, because of how it has changed,” he said.
A corner store once known as Alaaddin’s Shop, which Mr. Pamuk and one of his characters frequented, was now a men’s clothing chain. On the site of Mr. Pamuk’s long-gone secondary school stood a new shopping center.
“It’s a mall, a regular mall,” he said. “Nothing interesting.
PIC
A handwritten draft of “The Museum of Innocence” on display at Mr. Pamuk’s museum of
the same name in Istanbul.
The neighborhood features prominently in “The Museum of Innocence,” published in 2008, which relates in copious detail the story of a bourgeois bachelor, Kemal, who falls hopelessly in love with a younger, poorer sales clerk, Fusun, and spends years scheming to be near her as his life drifts off course.
Kemal and his mother live in an apartment whose balcony overlooks a historic mosque. Both are down the street from Mr. Pamuk’s office, as is the building where Kemal and Fusun meet for trysts.
In the book, Kemal catalogs his obsession by pilfering everyday objects he associates with his beloved — saltshakers, hairpins, coffee cups, shoes, a toothbrush, a half-eaten ice cream cone and 4,213 cigarette butts. After the novel’s climax, he displays these relics in a museum, giving the book its name.
The story is already a multipart franchise. In 2012, Mr. Pamuk opened an actual Museum of Innocence in Istanbul featuring objects from the book. He wrote a museum manifesto and catalog. In 2015, he participated in a related documentary.
Hoping to add a screen adaptation, Mr. Pamuk signed a contract in 2019 with what he described as “a Hollywood production company” that he declined to name. But its vision included major alterations to the story, such as Kemal getting Fusun pregnant, that Mr. Pamuk could not abide.
“Too much change,” he said. “Once you do that, the rest of the book is not my book at all.”
It took him two and a half years, and lots of legal fees, to terminate the contract, he said.
Once he had the rights back, he began talks with a Turkish company, Ay Yapim, about the series.
This time, he controlled the process with a punctiliousness that seems not unlike that of his novel’s main character.
PIC
Scenes around the Nisantasi neighborhood in Istanbul. Much has changed since the time in which the novel takes place.
He asked for no advance payment and did not sign a contract before the script was finalized, he said, to ensure that the producer took no undue license with the story.
He ensured that the credits would mention not just his book but also his museum, where some scenes were filmed.
No matter how successful the series was, there would be no second season, he decreed, so the story’s ending would stand.
He met repeatedly with the scriptwriter and the head of the production company, Kerem Catay, reviewed the drafts of each episode and suggested changes.
Once the text was finalized, he and Mr. Catay both signed off on every page of all nine episodes. Mr. Pamuk amended the signed script to the contract to lock in his vision.
“Once the script was produced like this and we were assured that if they don’t shoot this, they’ll end up in Siberia or hang, then I was reassured,” Mr. Pamuk said with a grin.
In an interview, Mr. Catay confirmed Mr. Pamuk’s deep involvement. He described the scripting process as unique and said the series took four years to complete, longer than any other in his 19 years in the business.
“Orhan Bey has high standards,” he said, referring to the author with a Turkish honorific. “It wasn’t easy for a writer, a producer and the writer of the novel to have this going-page-by-page thing.”
PIC
“Of course every novelist wants his or her novel to be converted into a film,” Mr. Pamuk
said. “Most of the time, the motivation is either money or popularity, and I carry these
vices.”
Mr. Catay realized after two years of work, he said, that they still had no contract, meaning that Mr. Pamuk could have walked away at any moment, rendering their efforts worthless.
The company built a set based on Nisantasi in the 1970s. It cast a Turkish heartthrob, Selahattin Pasali, as Kemal and the lesser known Eylül Kandemir as Fusun (“We’re hoping that she’ll be famous,” Mr. Pamuk said).
The company also hired Zeynep Gunay, a female director and Mr. Pamuk’s preference.
After the novel was published, Mr. Pamuk said, he had been criticized by Turkish feminists for focusing on the male character’s perspective.
“Although I tried to avoid the common misconceptions or prejudices of Middle Eastern men, unfortunately I am a Middle Eastern man and I accept all feminist criticism completely,” he said.
Having a woman directing, he said, added more of the heroine’s point of view.
Once the series was done, Mr. Pamuk watched all nine episodes, and Mr. Catay called to get his thoughts.
Mr. Catay remembered being nervous about how the novelist might react.
“He was so happy,” Mr. Catay recalled. “He said he liked it.”
PIC
The actors Selahattin Pasali as Kemal, and Eylül Kandemir as the shopkeeper, Fusun, in “The Museum of Innocence.” via Netflix
Mr. Pamuk hopes the production will be received as a “distinguished film” and draw visitors to his museum, he said. The show was produced in Turkish and dubbed and subtitled in English and other languages.
The series also gave Mr. Pamuk another career milestone: his acting debut. In a few scenes, he plays the famous author Orhan Pamuk, to whom Kemal recounts his ordeal.
Mr. Pamuk, who said he was not particularly looking forward to the launch party and other hoopla, played down his onscreen premier.
“You can’t call it acting because I’m playing myself,” he said.
When asked about Mr. Pamuk’s performance, Mr. Catay said it served its purpose.
“He’s OK,” he said. “But he’s a better writer.”
