My introduction to the Madonna Inn came as a young boy when we would take summer vacations to a nearby town. My dad would take us into their gift shop bathroom, which was a huge waterfall that functioned as the men's urinal. So as a kid, this was the most amazing thing I had ever seen.
我介绍麦当娜旅馆是一个小男孩，我们将暑假去附近的一个城镇。我爸爸会带我们去他们的礼品店浴室，那是一个巨大的瀑布，起着男人的小便器的作用。所以，小时候，这是我见过的最令人惊奇的事情。
There are a lot of hardcore 'Napoleon' fans, and they do the research and find photos of what I look like when I'm not 'Kip-ified.' Those fans recognize me. It happens maybe once a week, where someone will come up to me and be, like, 'Dude, you're Kip.' And I'm, like, 'Yeah, my name's Aaron.'
有很多“拿破仑”的铁杆粉丝，他们做了研究，找到了我没被“Kip-fied”时的样子照片，那些粉丝认出了我。可能每周一次，有人会来找我，比如说，‘老兄，你是基普。’而我，比如说，‘是的，我叫亚伦。’
It's just this little comedy about this group of guys, and their local hangout is a pool hall, and it's starting to get taken over by this big corporate, evil kind of guy. And it's just about them trying to save the day and their little pool hall in the process of it all. It's called 'Think Tank.'
这只是一个关于这群家伙的小喜剧，他们当地的聚会是一个游泳池大厅，它开始被这个大公司，邪恶的家伙接管。他们只是想在这一切的过程中拯救这一天和他们的小泳池大厅。它被称为“智囊团”
I like to mix pieces in my art direction from the '60s or the '40s and the '90s and present-day stuff. To me, that feels very real. When I go into people's houses, it's not all today.
我喜欢把60年代、40年代和90年代的作品和现在的东西混合在一起。对我来说，这感觉很真实。当我走进人们的家里时，这不是今天的全部。
If I do a certain number of ads, I have to do a personal project in between, just for my own sanity. I still consider myself a punk-rock kid.
如果我做了一定数量的广告，我必须在其间做一个个人项目，只是为了我自己的理智。我仍然认为自己是个朋克摇滚小子。
The mindset that I have on every project I take on is, 'How do I make this interesting enough for me to want to stop and look at it?' So in that regard, what I do behind the camera, whether it's still or motion picture, is the same.
我在每一个项目上都有这样的心态：我如何让这个有趣到足以让我想停下来看它呢？所以在这方面，我在相机后面做的事情，不管是静止的还是电影的，都是一样的。
With the work that I do as a director, I've got dialogue, camera movement, and character blocking to help create a tone to the piece. In photography, those elements are somewhat void so that tone becomes a bit more subtle but still equally important.
作为一名导演，我的工作就是通过对话、镜头移动和角色遮挡来为作品营造基调。在摄影中，这些元素有些空洞，所以色调变得更加微妙，但仍然同样重要。
I feel as if I've been fairly successful with maintaining a cohesive tone between the work I make as a photographer and as a director.
我觉得作为一名摄影师和一名导演，我在工作中保持了一种连贯的基调，这似乎是相当成功的。
I don't want to do the nerdy, goofy guy again. That was really fitting for the 'Napoleon' world, but that's kind of where I want it to stay.
我不想再做那个书呆子，傻子了。这真的很适合“拿破仑”的世界，但那正是我想要它停留的地方。
Being an actor really, really strengthens me as a director. There's just a certain type of understanding that comes from having been there and knowing how much is really being asked of actors that helps me.
作为一个演员真的，真的加强了我作为一个导演。只有一种理解，来自于在那里，知道有多少是真正需要演员帮助我。
In the total darkness, poetry is still there, and it is there for you.
在完全的黑暗中，诗还在那里，它就在那里等着你。