具体描述
We were nourished and sustained by the feeling that we were doing something of value.<br > Just as the original M*A*S*H people had first been put there to keep the Army machine<br >going and then found themselves caught up in the saving of lives， we had been assembled to<br >keep the television machinery humming along and later found out that if we tried hard<br >enough and cared enough we could do more than just fill time--we could explore compas-<br >sion and we could rage against death and pain. In the beginning， not everyone knew what our<br >show could become. We came in to tell jokes and stayed to touch the edges of art.<br > The crucial ingredients， I think， were the caring and the trying.<br > From my first week at the studio， when Gene Reynolds and I wheedled and cajoled the<br >executives to keep to a shooting schedule that included a day s rehearsal for every show， we<br >knew we were trying for quality. Rehearsal is expensive， but it gives the actors and the writ-<br >ers a chance to find things that are new， instead of throwing together a bunch of gags that<br >have worked before. Originality is unexplored territory. You get there by carrying a canoe--<br >you can t take a taxi.<br > But no matter how you wheedle， time and money are still limited. And caring is accom-<br >plished mainly by getting less sleep.<br > We threw ourselves into M*A*S*H and we let it soak up our nights and days.<br > I remember going with Larry Gelbart to a Chinese restaurant one night after a twelve- or<br >fifteen-hour day to talk about story ideas; and then， after climbing wearily into our cars， still<br >unable to let go， we stopped at every red light on Wilshire Boulevard and called ideas to each<br >other through our open car windows.<br > Larry frequently stayed up all night in order to have a finished script for us on rehearsal<br >day， and sometimes so did I. We were infected somehow by the characters we had created and<br >were living their lives. I remember many mornings standing in the shower with my face<br >turned to the spray trying to unglue my eyelids. And you never forget that special ache at<br >night when you lie down and can hear your bones moaning to one another. But these years<br >still are the best time we ve ever spent--and I don t think any of us feels we ll ever know<br >anything like it again. The working conditions may have been rough--the lack of air every<br >time we d shoot a scene in The Swamp， the icy drafts that blew through the holes in the roof<br >of Stage 9， even the occasional infestation of fleas in the bed ticking--but we learned to keep<br >pushing on， and that will keep us going all our lives.<br > When we look back on this， I think we ll be grateful for having learned how far caring can<br >take you. And for having had the luck to be among this many people who cared this much.<br >We ll be glad we had this unique concept that is M*A*S*H， and ~ve~ll ~e glad we had one<br >another.<br ><br >
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从阅读体验上来说，这本书更像是一部深度的人物志群像。它没有将重点仅仅放在那几位家喻户晓的明星身上，而是给予了大量篇幅给那些往往被忽略的幕后英雄——那些天才的化妆师、不知疲倦的道具管理员，乃至那些负责餐饮的后勤人员。作者的笔触细腻而充满敬意，他描绘了这些普通人在创造非凡艺术过程中的奉献与牺牲。比如，书中关于如何设计出那些逼真却又不失美感的战地伤口化妆的描述，简直是一门微缩的科学艺术。这使得整本书的视野不再局限于“明星八卦”的层面，而是扩展到了对一个复杂有机体——一个电视制作团队——的全面解构。通过这些不同层级人物的视角交织，我仿佛参与了一场跨越数十年的集体回忆，感受到的是一种由无数个微小但关键的齿轮共同驱动的巨大机器的轰鸣声，这远比我观看剧集时所感受到的要丰满得多。
评分此书在情感基调上保持了一种罕见的平衡：既有对创作巅峰的由衷赞美，又毫不留情地指出了那些伴随而来的精神消耗和职业倦怠。它并没有美化这个过程，反而清晰地展现了成功背后所付出的个人代价。书中对于剧集核心人物的“疲惫感”的描写，特别是当剧集进入中后期时，演员们如何努力去维持角色的新鲜感和可信度，读来让人心酸。作者通过引用大量当事人的日记、未公开的信件片段，构建了一个多维度的叙事空间，让历史的温度直接扑面而来。这使得阅读过程充满了张力，你既为剧集的伟大成就感到振奋，又为创作者们在漫长拍摄周期中所经历的煎熬感到同情。它成功地将一出喜剧的诞生史，变成了一部关于人性、坚持与艺术极限的严肃探讨。
评分这部作品简直是电视黄金时代的活化石，它以一种近乎残酷的坦诚，剖开了那段光辉岁月背后的真实面貌。我印象最深的是作者对于剧集核心冲突——军医的理想主义与战争的非理性之间的拉扯——的细腻刻画。它不仅仅是简单地讲述“如何拍出一部成功的剧集”，而是深入挖掘了创作团队在面对巨大的社会压力和审查制度时，如何巧妙地运用黑色幽默作为武器，来表达对越战的深刻反思。书中那些关于选角过程的轶事尤为精彩，那种微妙的化学反应，不是凭空产生的，而是经过无数次试镜、争吵和妥协后才铸就的。特别是几位主要演员之间复杂的人际关系，被描绘得淋漓尽致，它们的影响力甚至渗透到了角色之间的互动中，使得银幕上的火花显得如此真实可信。读到那些关于幕后制作的细节时，你会发现，每一帧画面、每一句台词的背后，都凝聚着无数人的心血和挣扎，远比我们坐在沙发上看到的要复杂得多。这本书成功地捕捉了那种“在混乱中寻找秩序”的创作精神，让人对这部经典剧集的敬意油然而生。
评分不得不提的是，这本书在考据工作上的严谨程度令人肃然起敬。它不仅仅是依赖记忆和传闻，而是深入挖掘了大量的官方档案、行业报告以及法律文件。例如，关于某一集剧本的多次修改和审查过程的论述，详尽到令人难以置信，清晰地展示了艺术创作是如何在一个特定的历史时期，在法律、道德和政治的夹缝中求生存的。这种对“不可见之文件”的挖掘，为那些仅仅通过重播了解这部剧集的年轻观众，提供了一个全新的、充满历史厚重感的视角。它将这部剧从“怀旧经典”的宝座上请下来，放到了一个更宏大的文化和历史背景中进行审视。读完之后，我对剧集的喜爱更深了一层，因为它不再仅仅是一部优秀的娱乐作品，而是一份珍贵的历史文献，记录了一个时代的声音和挣扎，其价值远超荧屏本身。
评分这本书的叙事手法极其具有节奏感，它并非采用传统的线性时间轴，而是像一位经验丰富的老编辑，在剪辑不同时期的素材。某一章会突然跳跃到某一季的拍摄现场，聚焦于某个特定事件的幕后花絮，而下一章又会沉浸在对编剧哲学理念的深度剖析中。这种非线性的叙事结构，反而完美地模拟了长期制作一部周播剧所经历的那种碎片化、高压力的工作状态。我尤其欣赏作者对技术层面——比如摄影机角度的选择、如何在有限的布景中营造出战地医院的真实感——的讲解，这些内容对于非专业人士来说，不仅没有丝毫枯燥感，反而充满了迷人的洞察力。它让你意识到，那些看似随意的镜头切换，实际上是经过深思熟虑的艺术决策。更令人震撼的是，作者毫不避讳地揭示了商业运作的残酷性，比如收视率的波动如何直接影响到角色的生死存亡，这种对“艺术如何屈服于市场”的探讨，是全书中最引人深思的部分之一，让人在怀旧之余，多了一层对电视产业本质的理解。
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