故事发生在二十世纪五十年代的伦敦，雷诺兹（丹尼尔·戴-刘易斯 Daniel Day Lewis 饰）和妹妹西丽奥（莱丝利·曼维尔 Lesley Manville 饰）一起经营着名为“伍德科克之家”的制衣所，在伦敦当时的上流社会之中，能够穿上雷诺兹亲手缝制的礼服是每一个王公显贵和明星名流的愿望 一次偶然中，雷诺兹在餐馆里遇见了名为阿尔玛（薇姬·克里普斯 Vicky Krieps 饰）的女服务生，两人一见钟情。雷诺兹将阿尔玛领入了五光十色的花花世界，但阿尔玛眼中却一直凝望着雷诺兹的身影。在生活中，雷诺兹是一个特别难缠和挑剔的怪人，朝夕相处之下，他和阿尔玛之间屡屡产生矛盾。眼看着雷诺兹的态度越来越冷淡，阿尔玛知道，自己必须采取行动，来捍卫她的爱情。
You've said that the conception for this really started when you were sick one day in bed – how did you go from that to a romance between a fashion designer and his model? [Laughs] I think that's a long leap between a lot of stones!
Walk us through this. So yes, I was sick and my wife [actress Maya Rudolph] was taking care of me. And my imagination just took over at some point, where I had this thought: "Oh, she is looking at me with such care and tenderness ... wouldn't it suit her to keep me sick in this state?" I don't know a lot about that disorder, Munchausen [symdrome] by proxy – that's too hot for me to handle. But that moment was enough to ... it gave me an idea that such a thing could be served up with some spark of mischievousness and humor that might, in a larger picture, lend itself to what it means to be in a long-term relationship, you know. And the balance of power that can happen in that. Not just in a creative relationship either – how men and women interact isn't exclusive to an artist and his muse or shit like that. PTA在采访里谈到想拍这种题材的原因：某天PTA生病了，躺在床上胡思乱想，妻子Maya Rudolph（喜剧演员）照顾着他，用很温柔的眼光看着他。看到妻子这样子，PTA心想：在这种情况下，让我不舒服是不是适合她？ 虽然那时PTA在发高烧，但是这给了他灵感，伴随着一点点的恶作剧和幽默，来适应长期的（婚姻）关系；婚姻中双方相互制衡，这是关于男女双方如何互动而不仅仅是艺术家和他的缪斯这种特殊例子。
Anderson pictured a man like that: complicated, unyielding, fanatical. What might happen if that man, who'd spent his life meeting and discarding women, met one who turned out, however improbably, to be his match? He was thinking about Hitchcock's Rebecca, in which Joan Fontaine enters into a marriage with a domineering man, played by Laurence Olivier, that is not what it seems. Anderson wondered: "What if halfway through Rebecca, Joan Fontaine said, You know, I've had enough of your shit?" Anderson cast the steely British actress Lesley Manville as Woodcock's sister, a character who provides another echo of Rebecca, in which traces of the man's past life and old loves keep bursting ominously through.
Fashion, like prospecting for oil, was not an obvious subject for Anderson, who's been wearing the same rumpled white dress shirt since the '90s. But, he said, "you just gotta start listening to the airwaves a little bit." On a trip to India, he saw a photo of the Spanish designer Cristóbal Balenciaga in an airport. "That coincided with a conversation I had had a couple weeks before about Beau Brummell," the 19th-century Englishman who is credited with inventing the modern men's suit. "And I had had in my pocket a story between a man and a woman where the dynamic was about power—the power shift between a strong-willed man and a woman." Day-Lewis would play the man. Vicky Krieps, a relatively unknown actress from Luxembourg, would play the woman, Alma. Anderson began reading more about Balenciaga, who, he said, had "taste, skill, talent. The full package. He could sew a button on a dress. He could make the most complicated dress. He had that level of skill." Most important for the character of Woodcock, Anderson said, "he was protective of his work."
After we first met, Anderson and I began exchanging e-mails. In one back-and-forth, we discussed how certain things in his work recur. Like nearly every other Anderson film, Phantom Thread is at heart about a blended family who can barely stand each other, but at the same time need one another—Woodcock and Alma are in love, or they hate each other; Manville's character, Woodcock's sister, Cyril, is in some ways even more unforgiving than either, but she's also the one who teaches them how to survive. Like Boogie Nights' Dirk Diggler, Woodcock's character is shaped by a now absent mother and blessed with one special talent that leads him toward both doom and salvation; like Punch-Drunk Love's Barry Egan, Woodcock wants to be loved but has no idea how to ask. At its center, Phantom Thread is about a wounded man who finds it nearly impossible to bridge the gap between himself and everyone else. "It's what flows out of me," Anderson said, by way of explanation, or lack of one. "Turn on the faucet and that's what comes out."
原文链接：https://theplaylist.net/paul-thomas-anderson-phantom-thread-20171215/ I hear that, but I find it very, very different from “Rebecca.” It’s very different and that’s a good thing, it’s not at all meant to be a homage. I mean, that’s your greatest fear when you’re inspired by something. I spent a long time trying to mimic things and then you sort of realize, “What if I tried to do something else that came more from me?”
Sometimes when you mimic something, it comes out all wrong in the best way possible. For sure. You don’t want to be a Xerox machine. PTA表示phantom thread并不是为了致敬《蝴蝶梦》，《蝴蝶梦》带给他灵感，但是他并不是复印机，他不是要模仿《蝴蝶梦》。
Let's talk about the relationship between Cyril and Reynolds – how different was it on the page versus what we see onscreen? You know what you can't write? Just how comfortable those two are are sitting together in silence. You can give them dialogue that indicates just how close and co-dependent they are. But I think if you just filmed Daniel and Lesley, you would get a feeling of intimacy between them, just because of their natural comfort with each other. What we did – in hindsight very intelligently, I might add – was to get Lesley on board like nine months before. We sort of saw the horizon line and knew that, this is an actress that's booked up. We want her to do this. We better ask her now.
The side benefit of that was that she had time to think about it, to get to talking about it with Daniel so they could cook up whatever delicious long, sordid history they can cook up. And with them, no way that doesn't come to the table. She is one of the greatest actors I have ever worked with. I mean, just a fucking joy to watch. I had a front row seat and would be on-set, wide-eyed, everyday thinking, "Is she fucking putting me on? Is she really this good?" What's that Bad Santa line? [Goes into angry Billy Bob Thornton voice] "Goddamit, are you fucking with me?" [Laughs] There was a lot of that.
There’s definitely, the rules that he has, even the rules probably have rules and those rules are governed by other rules. And it’s just a very spoiled way of living and it’s probably the kind of thing that is granted to an artist, a designer like this, which generally they are given what they want. They are given a house to behave as they want as long as they continue to provide the designs and things like that, that they are allowed to act like the worst kind of children really. And I would imagine that growing up, he was spoiled by his mother and that the sister was absolutely marginalized and told that she wasn’t good enough but she was good enough to run the business and that she should be in charge of it. And that was the dynamic that we dreamed up and hopefully is clear in the film.
男主和姐姐Cyril亲密无间，男主自小被母亲宠坏，姐姐Cyril自小被边缘化，被告知她不如弟弟优秀，但是她可以作为两人生意的主管人。 电影主要以女主作为叙事主体，她取名为Alma（拉丁文的意思是滋养、养育）的一个原因，是她想成为男主的感情支柱，她称男主 a "hungry boy"（饥饿的男孩），并滋养他。Alma不希望代替男主的姐姐或者去世的母亲的位置，而是想成为和男主的爱情中的唯一。
原文链接：https://thefilmstage.com/features/lesley-manville-on-the-power-dynamics-in-phantom-thread-deleted-scenes-and-ptas-humor/ I spoke with Vicky Krieps and she said there’s an opening of the film that was shot but wasn’t used, with her character at a church and you realize her mother had passed away. It was stuff we don’t see, but it helped her form the character. When it comes to your character, was there stuff you shot or talked about that helped you form Cyril? There was only really one scene that of mine that was lost. I mean, Christ, along the way Paul lost a lot of little subplots. A lot. There’s a lot of woman coming to the couture house that had gone. All sorts of minor, not major, but minor subplots that ended up going. He did cut one scene with Vicky and I which was kind of halfway through the relationship of getting to know each other when Cyril starts to see that this relationship with Reynolds is slightly more serious than most of the other woman that have been in his life. It was in the country house and Alma finds his mother’s wedding dress that Reynolds thinks he lost. Because Reynolds says, “I don’t know where it is know. It’s probably ashes.” Actually, Cyril had kept it, but hadn’t told Reynolds. Alma finds the dress and they have a kind of strange conversation about this wedding dress and then Cyril asks her to keep it quiet from Reynolds that she’s still got it. But that went, and I could see why it would go, because actually you get that Cyril is warming to Alma just through the way Cyril is looking at her and smiling at her.
其实电影有一段戏是Alma在男主Reynolds的旧房子发现了他为母亲缝制的婚纱，这条婚纱Reynolds以为已经遗失其实是被姐姐Cyril藏起来了，Cyril告诉Alma不要让Reynolds知道，然后说了预告的那一句 May I warn you of something, my brother can feel cursed, that love is doomed for him .然后Alma表示理解。这场戏因为时长问题被删掉了，但这是两人关系变好的证明，Cyril在电影后段对Reynolds说我挺喜欢Alma，就是这个原因。
PTA: I think you should take the mushrooms very literally and not metaphorically. I don’t think that she wanted to kill him, but I think that she recognized in this man who was incredibly self-obsessed and impossible to break through, that in his moments of weakness, he was vulnerable and he was generous and he was open. And logic would lead her to think, well how could I possibly recreate some of those moments? Maybe with a small amount of mushrooms I can put him flat on his back, and I can kind of reset him and bring him back down and to try to rekindle our romance that way. It’s a very peculiar way of going about things, but it worked. And I never thought as specifically as something like Asperger’s, but he is definitely not like everybody else.
Q: What I love about the first strategic poisoning in the film is that you don’t really know what Alma’s intentions are — if they’re lethal, or just punitive.
A: Exactly right (laughs). You, know, it’s just a thimbleful, so … we shot some good close-ups we ended up taking out that made her intentions a little clearer. She’s looking at the mushroom book and you see the words “not lethal,” and “extreme stomach pain,” that kind of thing.
当时，PTA 还得去 google 这个人是谁，因为 Johnny 的这句玩笑引起了他的兴趣。随着他对时尚相关历史了解的深入，慢慢地他为之前就在脑海中浮现的一个男人和另外一个女人和他的姐妹之间可能发生的故事找到了可以承载的现实素材。非常巧的是，由男性主创的时尚帝国大部分都有一个家族姐妹来支持商业运营，旧时的 Hardy Amies 家族如此，现在赫赫有名的 Valentino 和 Versace 时尚帝国也如是。
FX 台正在热播的《美国犯罪故事》第二季就是以 Gianni Verscace 之死作为主线，他的妹妹 Donatella 在 Gianni 死后的第一件事就是延迟品牌的上市进程，以免在脆弱时刻资本入侵争夺品牌主控权，这是保住失去帝王的帝国第一步，稳定是关键。
为了筹备本片，Mike 得以进入英国第二大博物馆 Victoria & Albert Museum 并获得特权去亲自接触那些在时尚世界留名的服装设计，包括 Givenchy、Balmain、Balenciaga、Charles Frederick Worth、Victor Stiebel 和 Norman Hartnell。
虽然有着着基督教风格的 Woodcock 工作室灵感来自 Cristobal Balenciaga，而 Reynolds 那些古怪行为和要求又让人不由得联想起老佛爷 Karl Lagerfeld，设计服装风格又很容易找到 Charles James 的影子，但电影里的所有服装，却都是完完全全的原创作品，每一套都是根据具体的剧情来进行设计和缝制。
但蓝色与演员 Lesley 的超白肤色实在不是很搭，所以 PTA 和 Mike 将其改成了黑色（其实 Mike 为了更加上照，实际是用了深灰色的面料），简单、优雅，看上去就是 Woodcock 工作室出品，担当得起门面。
Reynold's Suit
Daniel Day-Lewis 在剧中的服装，全部服装均由 Savile Row 萨维尔街的 Anderson & Sheppard 定制而成，再由 Mark 按照 50 年代伦敦当时的裤型稍作修改。
Good Morning, Nana & Biddy
你知道在影片开头，Reynolds 和工作室里各女裁缝师一一打招呼，但只叫了 Nana 和 Biddy 的名字吗？不是因为时长的问题，而是在这些演员里，只有这两位扮演者 Sue Clark 和 Joan Brown 是真正有着超过 50 年经验的女裁缝师，PTA 和 Mike 在 Victoria & Albert 博物馆收集资料时，就是这两位女士担当义务讲解员的。
Phantom Thread可能是今年颁奖季唯一一部可以与Call Me By Your Name媲美的爱情片。我之所以要把两部电影拿到一起比较，不仅仅因为两者的摄影、音乐和剧本都已经达到类似的高度，而两部电影也全然不顾时代背景、社会意义等大环境，仅仅醉心于描述两个主人公之间的故事。它们都用最小的格局，用四两拨千斤的力量，展现了最惊心动魄的爱情。复古的基调，唯美的画面，在Phantom Thread的极致视听盛宴中，我再次感叹电影作为第七艺术的伟大。
病态与毁灭,或者,是爱与救赎?nn很多观点认为这部电影展示的是SM,病态扭曲的感情,被毁灭的艺术，我不这么认为。SM、掌控欲和依恋,与艺术争夺爱人等因素,我相信影片里都有,虽然这些因素在普通爱情里都或多或少地存在,但在本片中它们确是重要情节。然而，我还是将这个故事看作一份普通的爱情,一份温暖——暗黑但温暖的爱情。
n首先,Reynolds的敏感挑剔是他们这个房子的规则,他姐姐Cyril是他的敏感性格的保护者,而Alma是所有人里唯一对此不以为然的人,她质疑Reynolds的种种规则太过夸张。nReynolds是不好接触的人,但更困难的应该是和他谈恋爱。Reynolds才华卓绝,但也把他整个人都给了工作,还不要说他将他的规则置于所有感情之上,让人感到冷漠。Alma不像Joanna只会展示幽怨的眼神,她坚持用自己的方式探寻爱情,不仅因为她的性格,还因为她知道,Reynolds的方式,不应该是爱情的样子。nReynolds掌控着爱情主权,是因为他自我封闭,感情的表达像是施舍:Alma帮他抢回礼服他激动地吻她,但衬托在日常生活中这就像一个Alma自己赚取来的感情表达。公主来的那天早上Reynolds高兴,轻松,对Alma友好,Alma笑着笑着失了神,这个失神能说明Reynolds这种状态的稀有。所以那顿争执的晚餐中Alma说:“我想和你在一起,我想拥有你。”nAlma制造了Reynolds那个让自己喜欢的状态。无助,坦白,依赖,像个被宠坏孩子的Reynolds又回来了,也许就像他还是一个孩子,还有母亲可以依恋,没在工作和孤寂的路上迈入封闭的时候。虚弱的身体让他不再遮掩内心的脆弱,现在,他只有在这种情况下才真实自然,不再对抗掩饰。在最虚弱的时候,Reynolds看见了母亲的幻影,他倾诉对她深切的思念。当Alma走进房间,在昏黄的灯光下,在母亲的幻影旁照顾他,也许那时他确认了自己最渴望的东西——人情温暖。n事情或许起源于Reynolds十六岁给母亲做婚纱时,那个诅咒,但没什么能阻止他做这件事。母亲不在后,Reynolds生活里就只剩下make dress一件事了。他事业辉煌,但没有伴侣,他唯一深爱的母亲已经去世,华服,他的生活,没有人和他分享。不论过去怎样,现在他几乎相信了那个诅咒。但在这个虚弱,幻觉,渴望的夜晚之后,Reynolds相信他可以打破诅咒,可以被爱了。他开心地向Alma求婚,希望能得到正常的感情,给这个房子带来生机。n之后的懊悔是必然的。我相信Reynolds清楚,所谓诅咒很大程度来源于自身。第一次约会时Alma问他为什么不结婚,他说道:“我无药可救。”nAlma难看的吃相,粗俗的行为对于Reynolds是一种刺痛;可对她来说(对任何一个正常人来说),爱必定会越界,且越界可以承受。nReynolds是爱Alma的,争吵过后他没让Alma离开,求婚(虽然是虚弱的作用,但至少产生了比较大的感情),担心地去party找她。当他终于忍受不了对姐姐说Alma不适合这座房子,她让他们站到了对立面,并带来了连绵不断的阴影时,他想要摆脱她,因为他承受不了:比起爱一个人要承受的折磨,以往生活的孤寂、对爱的期望让他更加熟悉,对他更容易。nReynolds的诅咒在于他自相矛盾。在抱怨Alma之前,他和姐姐谈的是第一个出场顾客,伯爵夫人Henriata。伯爵夫人去了别的裁缝那里,Reynolds说他不喜欢被抛弃;当Cyril提到chic,他表现出了极度的愤怒。Reynolds不会去赶时髦的趋势,正如他天性孤高和后天造就的隔绝封闭,所以他不得不忍受伯爵夫人离去,不得不忍受无法和别人建立关系的痛苦。n第三次陷入虚弱之前,Alma对Reynolds说:“我想要你静静地躺着,无助,脆弱,毫无保留,只有我来帮助你,然后我想让你重新坚强起来……”我想让你回到最初的状态,我想让你在有人爱和陪伴的情况下,真正坚强起来,不是再那样伪装坚强。Reynolds接受这一切,不仅因为爱Alma,不仅因为他有受虐倾向,不仅因为他今后可以依恋某人了。而是因为,Alma很大程度上是对的,他知道自己痛苦的根源在于自己;因为他的人生没有出路。n这个故事关乎人生,关乎爱,而不仅仅是当中的SM,病态感情。Alma的确想要掌控,想要在Reynolds的生活里占据地位,Reynolds的确是依恋别人的性格。那些亚文化可以成为一部作品的主题,但在这里,从病态的角度出发,是解释不通整个故事的。每一个形似“暗黑”的举动,背后都存在现实的原因,将暗黑与现实结合,我们会得到一场独特的爱与救赎。n后来Alma照顾起Reynolds的礼服,她承认当她成熟些后她更理解Reynolds,可能更能体会他的坚持,挑剔了。但要说是Alma毁了Reynolds的天才和艺术恐怕并不正确。伯爵夫人的离去已经预示着时尚界将迎来的转变,事实上,这对Reynolds是个极危险的打击和考验。然而更重要的是,这种观点忽视了艺术对Reynolds生活的毁灭。n归根到底,没有一个人——即便是艺术家,或者,尤其是艺术家,生命里可以不需要爱。n
原文链接：https://www.rollingstone.com/movies/features/paul-thomas-anderson-on-phantom-thread-daniel-day-lewiss-retirement-w514196
You've said that the conception for this really started when you were sick one day in bed – how did you go from that to a romance between a fashion designer and his model?
[Laughs] I think that's a long leap between a lot of stones!
Walk us through this.
So yes, I was sick and my wife [actress Maya Rudolph] was taking care of me. And my imagination just took over at some point, where I had this thought: "Oh, she is looking at me with such care and tenderness ... wouldn't it suit her to keep me sick in this state?" I don't know a lot about that disorder, Munchausen [symdrome] by proxy – that's too hot for me to handle. But that moment was enough to ... it gave me an idea that such a thing could be served up with some spark of mischievousness and humor that might, in a larger picture, lend itself to what it means to be in a long-term relationship, you know. And the balance of power that can happen in that. Not just in a creative relationship either – how men and women interact isn't exclusive to an artist and his muse or shit like that.
PTA在采访里谈到想拍这种题材的原因：某天PTA生病了，躺在床上胡思乱想，妻子Maya Rudolph（喜剧演员）照顾着他，用很温柔的眼光看着他。看到妻子这样子，PTA心想：在这种情况下，让我不舒服是不是适合她？
虽然那时PTA在发高烧，但是这给了他灵感，伴随着一点点的恶作剧和幽默，来适应长期的（婚姻）关系；婚姻中双方相互制衡，这是关于男女双方如何互动而不仅仅是艺术家和他的缪斯这种特殊例子。
原文链接： https://www.gq.com/story/the-dark-optimism-of-paul-thomas-anderson
Anderson pictured a man like that: complicated, unyielding, fanatical. What might happen if that man, who'd spent his life meeting and discarding women, met one who turned out, however improbably, to be his match? He was thinking about Hitchcock's Rebecca, in which Joan Fontaine enters into a marriage with a domineering man, played by Laurence Olivier, that is not what it seems. Anderson wondered: "What if halfway through Rebecca, Joan Fontaine said, You know, I've had enough of your shit?" Anderson cast the steely British actress Lesley Manville as Woodcock's sister, a character who provides another echo of Rebecca, in which traces of the man's past life and old loves keep bursting ominously through.
Fashion, like prospecting for oil, was not an obvious subject for Anderson, who's been wearing the same rumpled white dress shirt since the '90s. But, he said, "you just gotta start listening to the airwaves a little bit." On a trip to India, he saw a photo of the Spanish designer Cristóbal Balenciaga in an airport. "That coincided with a conversation I had had a couple weeks before about Beau Brummell," the 19th-century Englishman who is credited with inventing the modern men's suit. "And I had had in my pocket a story between a man and a woman where the dynamic was about power—the power shift between a strong-willed man and a woman." Day-Lewis would play the man. Vicky Krieps, a relatively unknown actress from Luxembourg, would play the woman, Alma. Anderson began reading more about Balenciaga, who, he said, had "taste, skill, talent. The full package. He could sew a button on a dress. He could make the most complicated dress. He had that level of skill." Most important for the character of Woodcock, Anderson said, "he was protective of his work."
After we first met, Anderson and I began exchanging e-mails. In one back-and-forth, we discussed how certain things in his work recur. Like nearly every other Anderson film, Phantom Thread is at heart about a blended family who can barely stand each other, but at the same time need one another—Woodcock and Alma are in love, or they hate each other; Manville's character, Woodcock's sister, Cyril, is in some ways even more unforgiving than either, but she's also the one who teaches them how to survive. Like Boogie Nights' Dirk Diggler, Woodcock's character is shaped by a now absent mother and blessed with one special talent that leads him toward both doom and salvation; like Punch-Drunk Love's Barry Egan, Woodcock wants to be loved but has no idea how to ask. At its center, Phantom Thread is about a wounded man who finds it nearly impossible to bridge the gap between himself and everyone else. "It's what flows out of me," Anderson said, by way of explanation, or lack of one. "Turn on the faucet and that's what comes out."
PTA想制作一部蝴蝶梦那样的电影（但并不像《蝴蝶梦》），简而言之，就是一个有才华和控制欲的男人，终于遇到一个可以和他抗衡的女人，两人相爱也相互憎恨。
原文链接：https://theplaylist.net/paul-thomas-anderson-phantom-thread-20171215/
I hear that, but I find it very, very different from “Rebecca.”
It’s very different and that’s a good thing, it’s not at all meant to be a homage. I mean, that’s your greatest fear when you’re inspired by something. I spent a long time trying to mimic things and then you sort of realize, “What if I tried to do something else that came more from me?”
Sometimes when you mimic something, it comes out all wrong in the best way possible.
For sure. You don’t want to be a Xerox machine.
PTA表示phantom thread并不是为了致敬《蝴蝶梦》，《蝴蝶梦》带给他灵感，但是他并不是复印机，他不是要模仿《蝴蝶梦》。
原文链接：http://news.mtime.com/2018/02/08/1578056-2.html#content
保罗·托马斯·安德森：我觉得丹尼尔那天说的话很对，他说服装和追求者真的没有什么关系。他想说的是我们知道我们想要拍摄一部什么样的电影——一部关于一个男人和一个女人的电影。
这是一部爱情片，看一段浪漫的爱情如何与家庭关系相契合。所以我们对故事大概有了一个想法，有了需要（身体和情感）的概念——当你卧病在床时你看着某人并意识到你需要他们，这意味着什么；当你健康的时候，你的性格一成不变，就好像你不需要任何人一样。
《霓裳魅影》始终应该都是围绕这个男人和一个女人之间的感情，任何其他事情都只是为了支撑这个故事。所以任何时候我都会因为其他事情变得很兴奋，丹尼尔、乔安妮和迪伦都非常的棒，他们都确保让我回归主线。
【男主与女主、姐姐的关系】
原文链接：https://www.rollingstone.com/movies/features/paul-thomas-anderson-on-phantom-thread-daniel-day-lewiss-retirement-w514196
https://www.youtube.com/watch?v=2cEtLfYOEIU
http://emanuellevy.com/review/featured-review/phantom-thread-paul-thomas-anderson-about-his-collaboration-with-daniel-day-lewis/
Let's talk about the relationship between Cyril and Reynolds – how different was it on the page versus what we see onscreen?
You know what you can't write? Just how comfortable those two are are sitting together in silence. You can give them dialogue that indicates just how close and co-dependent they are. But I think if you just filmed Daniel and Lesley, you would get a feeling of intimacy between them, just because of their natural comfort with each other. What we did – in hindsight very intelligently, I might add – was to get Lesley on board like nine months before. We sort of saw the horizon line and knew that, this is an actress that's booked up. We want her to do this. We better ask her now.
The side benefit of that was that she had time to think about it, to get to talking about it with Daniel so they could cook up whatever delicious long, sordid history they can cook up. And with them, no way that doesn't come to the table. She is one of the greatest actors I have ever worked with. I mean, just a fucking joy to watch. I had a front row seat and would be on-set, wide-eyed, everyday thinking, "Is she fucking putting me on? Is she really this good?" What's that Bad Santa line? [Goes into angry Billy Bob Thornton voice] "Goddamit, are you fucking with me?" [Laughs] There was a lot of that.
There’s definitely, the rules that he has, even the rules probably have rules and those rules are governed by other rules. And it’s just a very spoiled way of living and it’s probably the kind of thing that is granted to an artist, a designer like this, which generally they are given what they want. They are given a house to behave as they want as long as they continue to provide the designs and things like that, that they are allowed to act like the worst kind of children really. And I would imagine that growing up, he was spoiled by his mother and that the sister was absolutely marginalized and told that she wasn’t good enough but she was good enough to run the business and that she should be in charge of it. And that was the dynamic that we dreamed up and hopefully is clear in the film.
男主和姐姐Cyril亲密无间，男主自小被母亲宠坏，姐姐Cyril自小被边缘化，被告知她不如弟弟优秀，但是她可以作为两人生意的主管人。
电影主要以女主作为叙事主体，她取名为Alma（拉丁文的意思是滋养、养育）的一个原因，是她想成为男主的感情支柱，她称男主 a "hungry boy"（饥饿的男孩），并滋养他。Alma不希望代替男主的姐姐或者去世的母亲的位置，而是想成为和男主的爱情中的唯一。
原文链接：https://thefilmstage.com/features/lesley-manville-on-the-power-dynamics-in-phantom-thread-deleted-scenes-and-ptas-humor/
I spoke with Vicky Krieps and she said there’s an opening of the film that was shot but wasn’t used, with her character at a church and you realize her mother had passed away. It was stuff we don’t see, but it helped her form the character. When it comes to your character, was there stuff you shot or talked about that helped you form Cyril?
There was only really one scene that of mine that was lost. I mean, Christ, along the way Paul lost a lot of little subplots. A lot. There’s a lot of woman coming to the couture house that had gone. All sorts of minor, not major, but minor subplots that ended up going. He did cut one scene with Vicky and I which was kind of halfway through the relationship of getting to know each other when Cyril starts to see that this relationship with Reynolds is slightly more serious than most of the other woman that have been in his life. It was in the country house and Alma finds his mother’s wedding dress that Reynolds thinks he lost. Because Reynolds says, “I don’t know where it is know. It’s probably ashes.” Actually, Cyril had kept it, but hadn’t told Reynolds. Alma finds the dress and they have a kind of strange conversation about this wedding dress and then Cyril asks her to keep it quiet from Reynolds that she’s still got it. But that went, and I could see why it would go, because actually you get that Cyril is warming to Alma just through the way Cyril is looking at her and smiling at her.
其实电影有一段戏是Alma在男主Reynolds的旧房子发现了他为母亲缝制的婚纱，这条婚纱Reynolds以为已经遗失其实是被姐姐Cyril藏起来了，Cyril告诉Alma不要让Reynolds知道，然后说了预告的那一句 May I warn you of something, my brother can feel cursed, that love is doomed for him .然后Alma表示理解。这场戏因为时长问题被删掉了，但这是两人关系变好的证明，Cyril在电影后段对Reynolds说我挺喜欢Alma，就是这个原因。
【关于"game"】
原文链接 ：https://www.youtube.com/watch?v=2cEtLfYOEIU
https://www.youtube.com/watch?v=Xn0jUdBxKlo
Reynolds一直希望这段“爱情长跑比赛”能出现可以和他抗衡的“对手”，Alma不是那种唯唯诺诺的女孩，她敢于和Reynolds对抗，这是Reynolds所渴望的。
【关于毒蘑菇】
原文链接： http://emanuellevy.com/review/featured-review/phantom-thread-paul-thomas-anderson-about-his-collaboration-with-daniel-day-lewis/
PTA: I think you should take the mushrooms very literally and not metaphorically. I don’t think that she wanted to kill him, but I think that she recognized in this man who was incredibly self-obsessed and impossible to break through, that in his moments of weakness, he was vulnerable and he was generous and he was open. And logic would lead her to think, well how could I possibly recreate some of those moments? Maybe with a small amount of mushrooms I can put him flat on his back, and I can kind of reset him and bring him back down and to try to rekindle our romance that way. It’s a very peculiar way of going about things, but it worked. And I never thought as specifically as something like Asperger’s, but he is definitely not like everybody else.
原文链接：http://www.chicagotribune.com/entertainment/movies/ct-mov-paul-thomas-anderson-phantom-thread-interview-0110-story.html
Q: What I love about the first strategic poisoning in the film is that you don’t really know what Alma’s intentions are — if they’re lethal, or just punitive.
A: Exactly right (laughs). You, know, it’s just a thimbleful, so … we shot some good close-ups we ended up taking out that made her intentions a little clearer. She’s looking at the mushroom book and you see the words “not lethal,” and “extreme stomach pain,” that kind of thing.
PTA已经在电影里给了暗示，有个镜头是女主在翻查书籍，找一些“不会致命，而是导致疼痛的蘑菇”。
女主下毒并非是想杀死男主，因为男主只有在生病的时候才变得坦率真诚，所以女主想着让男主吃下一点点毒蘑菇让他生病，然后她就可以照顾他让他变得坦率，两人就可以重燃他们之间的浪漫情怀。这种逻辑虽然古怪，但是男主和女主都并非是一般意义上的正常人，这种方法反而有效。
一个人的喜欢，常常毫无道理可言。n道理都是用来说服别人或者说服自己的，而对于爱和喜欢，说服无效。nn比如这部片子，前一百分钟都是屎啊，复古华丽版的霸道总裁爱上我的戏码，要多玛丽苏有多玛丽苏。全靠刘易斯深邃的眼眶和杠杠戏品勉强支撑了，还有刘易斯的姐姐，感觉比女主更有戏。
但是後半小时确实是深深、深深地撼动了我。就像一个爱人，他有千百种毛病，只唯一一点好，而这一点好恰恰是别人所缺失而我又极其需求的，只这一点就成了通关秘籍，足够我对他不计前嫌、死心塌地了。n n世上只有一种英雄主义,就是在认清生活真相之后依然热爱生活。nn延展到爱情也同样适用的——世上只有一种爱情足够动人，那就是在认清恋人的丑恶虚伪之后依然爱之如初，甚至更加热切。n
n比如作为明星绝缘体的我，却对爱德华·诺顿粉得不行，有多粉呢，假使每人只能粉一位男演员，那我粉的就是他了。确实是因为他完美演绎了《面纱》里我最爱的那段告白。
还有欧神的《拜金女郎》，之前看的时候就爱惨了。n故事是讲一个拜金女狐狸精费尽心机设下圈套去勾引一个豪门公子，败露之前想要卷款潜逃，却被未来公公留住，甚至苦苦哀求她不要离开自己的儿子。nn“你会喜欢他的……哪怕你没有爱意，请你装出真爱，哪怕不能坚持一生一世，请尽量维持更长的时间……”nn这是怎样颠倒的世界，简直让人瞠目结舌。nn在《失恋三十三天》里黄小仙和富商讨论过这个问题，那时候富商给出的答案是“省事儿、稳定”，因为奢侈品是永恒存在的，感情却太过飘渺易逝，所以找个拜金女综合性价比是最高的。对么？也对。只是多少显得精于算计了些，不够可爱。nn而《拜金女郎》的回答就明显高阶得多。
到这里欧神觉得还不够，在后来写的侧记里又专门进行了解释。
参见欧神自己的婚姻，也叫人唏嘘。他去年在自己的生日晚宴上开场第一句话就是对妻子告白：“文倩，我爱你。”停一停又说：“文倩，我们分手吧……我是说，我们离婚吧，文倩……”然后文倩愤而离场，欧神紧追而去，留下一众宾客面面相觑。确实是欧神会做的事情啊。
nn在《史记·晋世家》里有这样一个小插曲：n
n丈夫说：等我二十五年，二十五年还不回来，你就嫁了吧。妻子笑了，她早已看透了男人的虚伪：二十五年，我墓上的柏树都长大啦……n但仍心甘情愿待之以柔情，甚至是慈悲：虽然是这样，我也还是等你的。nnn而这部片子里的刘易斯呢，他体面、严苛、冷漠、偏执、高高在上。却在片尾眼睁睁看着年轻的小丫头片子在他面前，一边用毒蘑菇给他做晚餐，一边朝他露出甜美微笑。nn他看着她对照着书甄别，用刀一一切碎，看着她洗手、擦干。他们冷静对视。然后女孩往锅里放黄油——他最厌恶的黄油——放了一块又一块。他看着她放入蘑菇，倒蛋液，翻炒，撒上葱花，装盘。看着她高山流水的倒茶，明知他厌恶。nn他从一开始的震惊，到不可置信，到慌乱，甚至悲从中来，到后面的镇定。他想，小丫头片子，就让我看看你的花招吧。nn他甚至穿上外套，铺上餐巾，重新拿出绅士的派头来。他们平静对话“需要酒吗”“不”“那就一杯水吧”他拿起餐盘闻一闻香气，放下来，拿起刀叉，切开，换成右手执叉，喂入口中。从头到尾紧紧盯着女孩，而女孩回视他，带着惯常的坦然自若。他开始咀嚼，缓慢的。而女孩说：nn“我要你，nn平躺在床上，nn感到无助、柔软，
脆弱而坦诚，nn只有我可以帮助你，nn然后你重新强壮起来……”nn终于，他郑重其事吞下毒蘑菇——这一场长久的对峙落下帷幕，他心甘情愿匍匐于爱人面前——几乎是带着深沉的爱意和喜悦，他对女孩说：nn“在我发病之前，吻我吧，爱人”nnn哦，这世界啊，爱情有千百种。有人爱善良，有人爱邪恶，有人爱深邃，有人爱肤浅，nn而我，我已在这世界享用过太多的荣誉、追捧、夸赞和爱慕，这使人厌倦。nn我独爱你能让我脆弱。
与以前提名中总有一两个或超级英雄或太空歌剧类服装类别不同，今年奥斯卡最佳服装提名的 5 部电影，《美女与野兽》（服装分析点击这里）、《水形物语》、《至暗时刻》、《维多利亚与阿卜杜勒》和《魅影缝匠》（影评点击这里），似乎所有作品极有默契地全部回归了传统的服装设计领域，通过一针一线的艺术将角色丝密无缝地融入电影世界当中，完完全全地为剧情服务。
相对于其余 4 部提名作品，服装在《魅影缝匠》中的作用和影响要显得更名正言顺和重要一些，因为影片本身讲述的就是 50 年代英国伦敦高级定制设计师 Reynolds 及其缪斯女神 Alma 之间诡异的爱情故事，那就免不了出现大量时装定制屋场景和相当规模的定制服装。
尤其是主角们 Reynolds、Alma 和 Cyril 三人在任何场合（会客、定制屋工作、社交晚宴、日常生活等）身上所穿任何服装的质量、美感和搭配，都潜移默化地影响着影片和角色的可信度。
这不仅仅是导演 Paul Thomas Anderson 的工作，同时还是 Daniel Day-Lewis 和本片服装总设计师 Mark Bridges 的工作。
PTA 过往的作品或他本人与时尚两个字几乎没有交集，《魅影缝匠》的灵感来源最开始要追溯到某个派对上 Jonny Greenwood，英国乐队 Radiohead 吉他手，同时也是《魅影缝匠》配乐者（拿下了奥斯卡提名）， 夸他像 Beau Brummell，后者是英国史上现代化了伊顿学院服装第一人。
当时，PTA 还得去 google 这个人是谁，因为 Johnny 的这句玩笑引起了他的兴趣。随着他对时尚相关历史了解的深入，慢慢地他为之前就在脑海中浮现的一个男人和另外一个女人和他的姐妹之间可能发生的故事找到了可以承载的现实素材。非常巧的是，由男性主创的时尚帝国大部分都有一个家族姐妹来支持商业运营，旧时的 Hardy Amies 家族如此，现在赫赫有名的 Valentino 和 Versace 时尚帝国也如是。
FX 台正在热播的《美国犯罪故事》第二季就是以 Gianni Verscace 之死作为主线，他的妹妹 Donatella 在 Gianni 死后的第一件事就是延迟品牌的上市进程，以免在脆弱时刻资本入侵争夺品牌主控权，这是保住失去帝王的帝国第一步，稳定是关键。
《魅影缝匠》的时间和地点设定在 50 年代的英国伦敦。第二次世纪大战（1939-1945）后，慢慢复兴的时装产业有着两个平行的世界，一个是以 Christian Dior 为首的 New Look 巴黎帝国，亚马逊在 2016 年出品的《巴黎时装》其中的 Sabine 工作室就是以 Dior 作为原型（可惜只出了一季）。
另外一个更为隐晦却同样力量庞大的时尚分支，落在了英国伦敦的 Savile Row 萨维尔街。和 Dior 这一类动不动有着几百人的大型工作室不同，伦敦的时装品牌以小而精（并常常兄妹/姐妹共同经营）见称，Digby Morton、Peter Russell、Hardy Amies、John Cavenagh 和 Michael Donéllan 是其中的行业领衔者。这样的背景，对即使是获得了三次奥斯卡提名、2012 年凭《艺术家》拿下最佳服装奖、和 PTA 合作了 8 次的 Mark Bridges 来说，也还是挑战甚大。
为了筹备本片，Mike 得以进入英国第二大博物馆 Victoria & Albert Museum 并获得特权去亲自接触那些在时尚世界留名的服装设计，包括 Givenchy、Balmain、Balenciaga、Charles Frederick Worth、Victor Stiebel 和 Norman Hartnell。
虽然有着着基督教风格的 Woodcock 工作室灵感来自 Cristobal Balenciaga，而 Reynolds 那些古怪行为和要求又让人不由得联想起老佛爷 Karl Lagerfeld，设计服装风格又很容易找到 Charles James 的影子，但电影里的所有服装，却都是完完全全的原创作品，每一套都是根据具体的剧情来进行设计和缝制。
在不够 6 个月的时间里，服装设计师 Mark Bridges 特别为电影制作包括婚纱、晚宴礼服和日常服装等超过 50 套原创服装。大部分的作品都是手工缝制而成，每套服装平均使用 6 - 8 码（5 至 7.3 米）的布料，光是女性角色的服装面料就已经高达几百码长度的面料。
每一套都是根据特定的演员（包括电影中那场春季走秀模特和贯穿全片的各个女客人）身材来进行定制，而不是先有成品再来选相对应尺寸的演员。
Lavender Piece
个人觉得这件薰衣草紫的晚装最为惊艳，结合 50 年代英国风格之余还带有一点点 restoration 时期（1660-1685）的韵味，Danial Day-Lewis 亲自选择了丝绸的颜色。原来在 PTA 的剧本里对这件服装的设定是丝绸面料在战争中被 Reynolds 保留了下来，但随着剧本和服装设计的不断进行，Woodcock 工作室成了一个非常善用蕾丝的定制作坊，所以面料的搜寻方向也相应有了变化。
Mark 的团队跑遍了伦敦，挖到了一段长 3 米宽仅 7 厘米、源自 17 世纪的 Flemish 蕾丝。
Flemish Lace 不仅仅是 Flanders 佛兰德地区（前欧洲公爵的封地，包括现时法国和比利时的部分地区）的一种蕾丝工艺，更是这个独特地区的一种文化遗产，全盛时期由 1550 年到 1750 年，以线轴蕾丝为特征（相对于针织蕾丝来说）。
现时将产自安特卫普、梅赫伦、班什和瓦朗谢讷的蕾丝都统称为 Flemish 蕾丝，电影中Reynolds 也说了这是他在二战中在安特卫普抢救回来的一段蕾丝（电影里他说的是 16 世纪晚期）。因为这种面料数量有限，所以 Mark 的每一刀都非常慎重，一旦剪错就再也没有办法回头了。
Dark Floral Dress
这条礼裙本身其实没有太大亮点，但结合着剧情看就显得非常特别了，因为这是 Alma 第一次开始与 Reynolds 有正式的冲突，由原来的纯屈从的状态变成更主动地表达和争取自己想的东西。
Crimson Lace Debut
在 Woodcock 春季秀之上 Alma 穿着这件深红晚礼服第一个走向观众，正式奠定了她在 Reynolds 心中第一缪斯的地位。在下摆上同样用上了 Woodcock 家最具标示性的蕾丝同时，还在晚礼服上增加了口袋的设计。在 20 世纪前，受细腰线条审美影响，口袋曾在非常长的一段时间内成为女性礼服的禁忌，因为增加口袋就意味着流畅线条的放弃。
但 Mike 在这里为口袋的增加赋予了一些新的想法，这是一条专门为主办晚宴派对的女主人度身定制的款式，在整场派对上不停穿梭招待客人的女主人，一个小小的口袋所起的功能就非常关键，而蕾丝的设计又大大提高了整体的美观度，所以为何不可呢。
但在这里有一个不太符合当时实际情况的表演，就是 Alma 在走秀过程都带着微笑（甚至到后来已经开口笑了），虽然导演别有用意，但在当时定制秀里，所有模特都是一律被要求表情冷漠的。
Inspired by Balenciaga
受 Balenciaga 刺绣工艺的启发，Alma 第一件正式的葡萄红晚装将一些小圆片隐藏在刺绣之下以营造一种隐隐发光的效果，颜色太亮容易俗气，若没有了这些若隐若现的闪光，葡萄红又会显得略为沉闷。
Cyril's Daily Look
灵感来自 Balenciaga 工作室的销售部着装风格，海军蓝（接近黑）和简单的珠宝，看起来专业但又不会抢走他们想要向顾客推荐的服装的焦点。
但蓝色与演员 Lesley 的超白肤色实在不是很搭，所以 PTA 和 Mike 将其改成了黑色（其实 Mike 为了更加上照，实际是用了深灰色的面料），简单、优雅，看上去就是 Woodcock 工作室出品，担当得起门面。
Reynold's Suit
Daniel Day-Lewis 在剧中的服装，全部服装均由 Savile Row 萨维尔街的 Anderson & Sheppard 定制而成，再由 Mark 按照 50 年代伦敦当时的裤型稍作修改。
Good Morning, Nana & Biddy
你知道在影片开头，Reynolds 和工作室里各女裁缝师一一打招呼，但只叫了 Nana 和 Biddy 的名字吗？不是因为时长的问题，而是在这些演员里，只有这两位扮演者 Sue Clark 和 Joan Brown 是真正有着超过 50 年经验的女裁缝师，PTA 和 Mike 在 Victoria & Albert 博物馆收集资料时，就是这两位女士担当义务讲解员的。
The Collections
50 年代的伦敦和不曾在历史上出现的 Woodcock 工作室，这些都是 PTA、尤其是 Mark 服装设计的时候时刻紧记的背景，即使 Reynolds 有着自己的品味和风格，但却也并未如 Dior 或 Balenciaga 这样能够完成和创作出可以划入时尚历史的作品，Woodcock 只是战后伦敦定制大潮中普通的一员，注定要淹没在时尚大军当中。
但也正是这样的谨慎和定位，才不至于让服装本身过多地影响角色和剧情的走向，他们只需要以最优雅的姿态承载着 Reynolds 和 Alma 之间的哥特恋情，即已足以。
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Phantom Thread可能是今年颁奖季唯一一部可以与Call Me By Your Name媲美的爱情片。我之所以要把两部电影拿到一起比较，不仅仅因为两者的摄影、音乐和剧本都已经达到类似的高度，而两部电影也全然不顾时代背景、社会意义等大环境，仅仅醉心于描述两个主人公之间的故事。它们都用最小的格局，用四两拨千斤的力量，展现了最惊心动魄的爱情。复古的基调，唯美的画面，在Phantom Thread的极致视听盛宴中，我再次感叹电影作为第七艺术的伟大。
《魅影缝匠》在上映前并没有大张旗鼓地宣传，直到奥斯卡颁奖季才进入欧洲影院，让人不免担心它很难像其他已经在其他电影节打响声势或者收割奖项的电影一样攻城略地。然而我的担心是多余的。且不说它依然斩下奥斯卡六项提名（其中原创音乐，服装设计这两个奖项获奖几率很大），它再一次让Daniel Day-Lewis拿下了奥斯卡最佳男主角提名，也被提名最佳影片，最佳导演，女配角；即便相对于《水形物语》和《三块广告牌》不占优势，这部电影依然是导演PTA最优秀的作品之一，从艺术的高度，它几乎快要赶上于当年和《老无所依》厮杀，差一点斩获奥斯卡最佳影片的《血色将至》。退一万步来说，即使它在奥斯卡颗粒无收，它依然是我看过的最美的爱情电影之一。
之所以说《魅影缝匠》的艺术造诣高，是因为PTA不仅这次出其不意拍了一部他从未涉猎的时装片，不仅如此，这部《魅影缝匠》还绝对是PTA所有电影里最精美、最奢华的一部。作品中上世纪五十年代的伦敦被格外优雅地还原，Woodcock的宅邸，以及他的办公室里接待的达官显贵皇亲国戚，都入流且高端，这甚至让Tom Ford这种从时尚业跨界过来的导演都汗颜。况且，PTA擅长做大格局电影，他的电影往往拥有宏大的背景，角色之间的关系错综复杂，譬如《木兰花》简直是一部关于人性的教科书，而《不羁夜》则拍出了色情产业一个时代的陨落。然而这部《魅影缝匠》的格局极小，故事仅仅落足在男主角Reynolds和女主角Alma之间，唯一稍微有分量的配角也不过是Reynolds的姐姐Cyril，这个格局甚至比PTA拍过的爱情小品《私恋失调》还要小。然而就在这不超过十个的场景、针头线脚的零碎之中，PTA完成了他最擅长的也是最厉害的人际关系解构：这一次，是爱的对垒和博弈。
说到对垒和博弈，PTA最成功的作品当然是《血色将至》，石油大亨和乡村牧师之间的恩怨纠葛跨越多年，最终汇成了一部个人，甚至是美国西部开放的史诗，这也是它饱受赞誉的原因。此外，PTA另一部关于博弈的电影是《大师》。在《大师》里，PTA对现实进行隐喻，主角Hoffman和Phoenix相爱相杀，互相依存的师徒、乃至像父子般的关系在科学教的背景下，显得暧昧且模糊。这一次在《魅影缝匠》里，PTA干脆抛去了隐喻，完全纯粹地讲两人之间的爱情。用他自己的话来说，这是一个奇怪的爱情故事，在爱情里的两个人互相摸索，甚至出现了为了得到爱，而不惜让对方病痛、为了感受爱，甘愿被对方下毒的情节，可以说是十分大胆且另类了。然而PTA的厉害之处就在于，他聪明地避开了爱情的伦理问题，用一个固执、追求完美的控制狂的角色来实现这一切的合理性：在他的这个故事里，Reynolds得到爱的唯一正确打开方式，只能是通过他的敏感和脆弱。只有那时候，他才能放下所有的防备，爱情才有可能来得顺理成章。
“云想衣裳花想容”，这句在《妖猫传》里说了无数次以至于有点腻味的话，我倒是觉得特别适合放在《魅影缝匠》里。它说的是一个有点巨蟹座般恋母、处女座般龟毛、天蝎座般毒舌、然而又是双鱼座般敏感的Reynolds Woodcock，如何在锦衣华服、绫罗绸缎的包裹围绕中，追求他事业的完美，全然不顾爱情的对等。然而谁也不能预料最终俘获他的，是一个普通的餐厅服务生Alma。她普通却智慧，为了爱铤而走险，最终解开了Reynolds的千千心结，降服了这个几乎无法降服的爱情冤家。
据透露，《魅影缝匠》PTA原本拍了130分钟，有大概10分钟被删减了。饰演Cyril的演员Manville解释说删减的部分本是一场Cyril和Alma对彼此好感提升的戏，但PTA直接换成了现在电影里的那幕Cyril在早餐时因为Alma和Reynolds对峙的戏，还有一幕关于Reynolds母亲的婚纱的戏也被删除。而饰演Alma的演员Krieps则说PTA把不少关于Alma身世背景的戏给删除了。其实Alma是在战后随着父兄一起从德国最后逃到英国来的，她是卢森堡人，之前生活在一个小渔村，甚至在那里还交过一个男朋友。我觉得PTA之所以要把这些内容删除，是为了更专注地讲述Alma和Reynolds两人之间爱情的对垒和博弈。
想到这可能是DDL作为演员的最后一部作品，我对《魅影缝匠》的感情格外深，看电影的时候特别入迷，完全沉醉在DDL那优雅的一颦一笑中。当他在餐厅点餐说他饿了，还拿走了Alma的记录时，性格中俏皮可爱的一面暴露无遗；而当他又气又爱，追到新年舞会翘首寻觅时，我整个人都被他的情绪调动，感受到爱的忧伤；而当他婚后看到Alma吃相难看，不由得倒吸一口冷气时，小幽默又让人冷俊不禁。DDL的表演已经是出神入化了的，他所有的喜怒哀乐都融入到电影中来，就连他自己平时特别执着的木工爱好（据说他息影有很大一个原因是因为他特别喜欢木工），也和电影里Reynolds对服装设计的热爱如出一辙，PTA是专门为DDL写的这个剧本请他出山的吧！
关于女星Vicky Krieps，她的表演浑然天成，不少人说她在电影里和DDL平分秋色，大家看到了一颗冉冉升起的巨星。在采访她时她很谦虚地说她一直想尝试一些英语电影，没想到得到了PTA的垂青，能和DDL对戏。然而她很快发现，DLL也是很有血肉的人，虽然她第一场戏就很紧张，而且她只能自个在酒店房间里去克服这些情绪。然而我觉得她真的演活了Alma这个角色，特别是在Alma和Reynolds婚后，她的个性逐渐鲜明凸显，就连一场本该是DDL表现演技的新年宴会，她短暂的对垒依然不输颜色。而片尾的那场“烹饪”，她那悉心研磨爱情毒（灵）药时亦正亦邪的表情姿态，十分令人叹服，几乎要压倒DDL的气焰，妙哉。
至于下毒这一幕，我看引发了不少讨论，甚至有人对两人之间是否是真实的爱情产生质疑。诚然，电影讲述的并非传统意义上的甜蜜爱情，它剑走偏锋选择了一个小众乃至奇怪的恋情，势必招来两极分化的评价。然而爱永远是主观的，不管它有多畸形有多另类。如果我们能接受《水形物语》里的人兽相恋，能接受《以你的名字呼唤我》里Elio看到Oliver吃下带有他精液的桃子而感动的哭，为什么不能接受《魅影缝匠》里的爱情药丸呢？Alma认真学习烹饪食谱，就是为了找出那些不会致命但能带来疼痛的蘑菇，她并没有毒杀Reynolds的歹心，目的仍是为了得到他的爱。而Reynolds愿者上钩，甘心为她去经历身体的痛苦，说白了也是为了感受爱情。蘑菇不过是催情剂，它并没有扭转爱情本身的存在。爱情让人饮鸩止渴，让喝下毒药的人甘之如饴，正因为爱本身让人迷幻让人失去理智。爱是占有，是信任，是悄悄在霓裳羽衣里缝下的注脚和密语，是在争吵和甜蜜后解开的千千心结，亦是孤注一掷，研习毒理后山上采药，面带微笑，一口口吃下爱的毒蕈。
翻页了：https://movie.douban.com/review/9133796/?start=100#comments