THE RAP BATTLE SCENES WERE INTENSE. FILMING THEM ACTUALLY  FELT LIKE BEING IN A CLUB. I was having some serious flashbacks. When I used to go at it with other emcees, I was never really thinking about theatrics. But looking back, rap battles were always very visual. If you ended a rap by saying your opponent was garbage, maybe you'd bust out a garbage bag and throw it at him. People use all kinds of things in battles to bring lyrics to life. Rap battling can be very physical-- waving your arms to match your flow and shit, when you're all up in somebody's face. It's like being a conductor, only the orchestra you're conducting is your own stupid ass.
Battle的戏份紧张极了。拍摄那组镜头，我感觉就像真的置身于俱乐部中一样。我真切地感受到了记忆的闪回。从前我对战其他MC时，从未仔细考虑过舞台效果。但回过去看，battle还真是视觉系的。如果你在说唱的结尾声称对方是垃圾，你很可能会抽出一个垃圾袋朝他扔过去。在battle里，人们会运用各种东西以使歌词活起来。Battle也可以是动作系的——在你狠狠打击对方的同时，挥动你的手臂为自己助威，绝对事半功倍。那就好比你在指挥，只不过你所指挥的乐队只有你自己这个蠢货而已。

   Paul and I were involved in choosing the beats for the battles. I was adamant about using the instrumental to Mobb Deep's "Shook One Pt.2." That was the song in '95, so it worked perfectly for the period the movie was set in. The music was crucial. It helped maintain the authenticity of the whole thing. I was able to use the intensity I'd developed in battling but also demonstrate some of the control an actor needs to make the role believable. I think y'all believed me!
Paul和我负责选择battle的伴奏。我坚持要用Mobb Deep的“Shook Ones Pt.2”的背景音乐。那是95年的经典之作，与电影的年代设定完美契合。音乐很重要，好的音乐有助于整部电影的真实性。我既能够运用我在battle中建立起来的紧张感，同时又显示出了一个演员所需的控制力，以使角色令人信服。我猜你们真信了！

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Proof and I used to go to St. Andrew's all the time to perform. It's one of the places where we got our start. The battle scenes in 8 Mile were filmed on a set that was designed after the basement there, which is called The Shelter.
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话外音：Proof和我过去常去St. Andrew 表演。那是我们起步的地方之一。那里的地下室名叫The Shelter。 Battle的场景就是根据那个地下室搭建的。

IT WAS THE STRAIGHT-UP DRAMATIC ACTING THAT WAS MORE OF A CHALLENGE.Sometimes I'd say, "Curtis, I wouldn't say this," and he would say, "You're not you in this movie. You're Jimmy Smith, Jr." Yeah, okay, but the material was so parallel to my life that I felt like I really knew the stuff. We'd talk about the character and me in the third person:"I don't think Jimmy Smith, Jr, would say this. I don't think he would do this." And:" Marshall definitely wouldn't say this." I would ask Curtis if I could do a line the way I would say it, and he'd let me go for it. I don't think any of that stuff was used in the movie, though. I realized that we just had to trust each other, Curtis and I. He had to trust me on the music and the raps in the movie, and I had to trust him on the acting and directing. In that game, I was a student. And I was there to learn.
真正的挑战是纯表演的部分。有时候我会说，“Curtis，我不会说这种话。”他就会说，“在这部电影里你不是你自己。你是Jimmy Smith，Jr。”是的，没错，可是这个剧情同我的过去太相似了，我觉得自己知道一切。我们会用第三人称谈论角色和我：“我不认为Jimmy Smith，Jr会这么说。我不认为他会这么做。”以及：“Marshall肯定不会这么说。”我问过Curtis有些台词我是否能以自己的方式来说，他同意了，但我不记得电影里有用到。在合作的过程中，我意识到了Curtis和我必须相互信任。在音乐和电影的说唱部分他必须相信我，而在表演和导演方面我必须相信他。在那个领域，我只是个学生。我是去学习的。

   Some scenes were easier to shoot than others. The lovemaking scene probably took about a minute and a half to film. It wasn't fun-- being basically naked in fron of other men and women you don't know-- but luckily I don't have too much of a problem showing my ass to the world. I'm the hip-hop Dirk Diggler. Then there were scenes that just took forever. The nighttime driving scenes were endless. The window would be down so the camera could get a close-up of my face, and I'd be driving in the wind in the winter in the dark: not cool.
   有一些戏份，比起其他的来，更容易拍摄一些。ML那场戏大约拍了一分半钟就结束了。那并不有趣——在你并不认识的男人女人面前近乎裸体——幸运的是，我并不介意向世人展示我的屁股。我是hip-hop界的Dirk Diggler。{译者废话：Dirk Diggler是电影《不羁夜》里的主角，是一个A片影星。}而有一些戏则仿佛得拍一辈子。那场在夜里开车的戏，怎么也过不了。因为必须摇下车窗摄像机才能拍到我的面部特写，于是乎我冒着冬天的寒风，在一片漆黑中开车：不惬意。

The house-burning scene caused some drama in Detroit. Some folks protested. When I coming up, there was this thing called Devil's Night, which used to go down the night before Halloween. Basically, kids would burn down abandoned houses, which were easy to come by in my hometown. The city of Detroit finally cracked down on it, but Devil's Night was definitely still poppin' during the time 8 Mile is set, so it had to be a part of the flick. What we were trying to portray in the scene was something most of us can relate to: we all do stupid things as kids, and there kids are just fucking around. In the scene, I pick up a photograph-- proof that a family once lived in this pit of a house. The scene shows how fucked up poverty can be, and points to the positive message of the movie: that no matter where you come from, whether it's the north side or the south side of 8 Mile, you can break out of it if your mentality and drive are right. Breaking out is the point of the film.
那场烧房子的戏在底特律造成了一些骚动，因为有的居民反对。在我出道时，有着一个叫做Devil’s Night的日子，通常在万圣节之前。节日的主要活动就是由孩子们点燃废弃的房屋。这种房子在我的家乡很常见。底特律城最终取消了这一节日。但是根据电影设定的时代背景来看，Devil’s Night绝对是盛行的。这个节日必须成为电影的一部分。我们试图在银幕上描绘的，是同我们大部分人有关的事：当我们还是孩子时，多多少少都做过蠢事，而我们这些孩子只不过是胡闹罢了。在这场戏里，我捡起了一张照片——曾经有家庭居住在这幢房子里的证据。这场戏展现的是贫穷TM能糟糕到什么程度。同时，也传递了电影的积极信息：无论你来自哪里，不管是8 Mile的北边还是南边，如果你的心态和动力正确，就能破茧而出。冲出困境就是这部电影的主题。

{译者废话：以下是上面提到的95年经典之作}