THE CONCEPT OF FATE comes up a lot in conversation with Julia Roberts. 'I don't want to toy with the gods,' she'll say. Or, 'I don't want to tempt the fates.' This is understandable since by any accounting she has been phenomenally lucky: a career that has lasted more than 25 years and includes a best-actress Oscar, legs that are still coltish at 46 and a marriage that has sailed past the decade mark and given her three kids. But these days, she's trying to live a life more ordinary, admittedly a difficult proposition for someone who found superstardom at 22 with 1990's Pretty Woman and to date has brought in $2.6 billion in box office receipts-almost twice the annual GDP of Belize. So tinkering is not something that Roberts is keen to do.

命運(yùn)的概念反復(fù)出現(xiàn)在和茱莉亞?羅伯茨(Julia Roberts)的交談中。她會(huì)說：“我可不想和神明鬧著玩，”;或者“我不想試探命運(yùn)。”不難理解她為什么會(huì)這樣說。想想看，無論從哪方面看，上天對她都是那么地眷顧：堅(jiān)持了超過25年的演藝事業(yè)和一項(xiàng)奧斯卡最佳女主角獎(jiǎng)、46歲依然修長的美腿、一宗超過十年的婚姻和三個(gè)孩子。不過，最近她開始嘗試過普通一些的生活，坦白地講，對于一個(gè)22歲就以《風(fēng)月俏佳人》(Pretty Woman)一舉成名、迄今帶來26億美元票房收入(是拉美小國伯利茲年GDP的近兩倍)的人而言，這并不容易。所以，無謂忙碌的生活也并非羅伯茨所熱衷的。

Nor is she eager to scrutinize the inner workings of her life, as though doing so might destroy the fine balance between being an acclaimed actress director Mike Nichols compares to Greta Garbo and her quiet existence in Malibu, where she has lived since 2007. 'We're just grateful for the sense we have of being like any other family down the street. I don't question it, frankly,' says Roberts, who the morning of WSJ.'s photo shoot is settling in with a plate of scrambled eggs and toast that she offers to her tousle-haired children, 9-year-old twins Hazel and Finn and 6-year-old Henry. (She tries to instill sibling harmony as much as the next mother, handling a skirmish over toys with a quick 'Guess what? We are sharing everything.')

她也并不急于去研究自己生活的內(nèi)在軌跡，做為一個(gè)被導(dǎo)演麥克?尼科爾斯(Mike Nichols)認(rèn)為可與葛麗泰?嘉寶(Greta Garbo)相提并論的著名女演員 , 仿佛這樣做會(huì)摧毀這種身份與過平靜生活之間的微妙平衡。羅伯茨從2007年開始就一直住在加州馬布里市。“我們只是對能和街上的其他家庭一樣過普通的生活而心存感激。坦率地說，我并不懷疑這一點(diǎn)，”羅伯茨說。她在為WSJ.雜志拍攝照片的那個(gè)早晨，還準(zhǔn)備了一盤攤雞蛋和烤面包給她幾個(gè)頭發(fā)還亂糟糟的孩子：九歲的雙胞胎夏素(Hazel)和芬恩(Finn)、六歲的亨利(Henry)。(和普通的媽媽一樣，她一有機(jī)會(huì)就會(huì)向孩子們灌輸兄弟姊妹間要和睦相處的觀念，解決他們爭搶玩具的小糾紛時(shí)不忘匆忙說句：“猜猜怎么著?我們什么東西都會(huì)和彼此分享。”)

This is the life that Roberts, in her own Garbo-esque way, is trying to protect-a relative rarity in today's Hollywood, where so many stars mine their personal lives to generate self-branded mini-industries. But that would go against another cornerstone of Roberts's philosophy: that of deep gratitude for 'having found your 'people,'' as she calls the family she created with cinematographer husband Danny Moder, whom she married in 2002. So although last night she made an appearance at a party thrown by one of her agents, CAA's Kevin Huvane, and tomorrow she will walk the Academy Awards' red carpet in a custom Givenchy gown, she seems content right where she is-dressed in a sweater and jeans, newly blond hair pulled back, her delicately lined face free of makeup, with her children climbing into her lap to collect hugs.

這就是羅伯茨用她自己那種“嘉寶式”的方式要努力保護(hù)的生活。這在當(dāng)今的好萊塢實(shí)屬罕見，這里有許許多多的明星為了樹立自我品牌、打造自己的小天地不惜挖掘炒作個(gè)人生活。而這和羅伯茨的另一大人生觀相違背：對“找到屬于自己的人”深懷感激，“自己的人”在她口中是指和身為電影攝影師的丈夫丹尼?莫德(Danny Moder)所組建的家庭。他們2002年結(jié)婚。因此，雖然前一個(gè)晚上她會(huì)出席她的一個(gè)經(jīng)紀(jì)人CAA的凱文?霍維恩(Kevin Huvane)組織的派對、第二天又身穿紀(jì)梵希(Givenchy)的定制禮服走上奧斯卡金像獎(jiǎng)的紅毯，但下一分鐘她又一臉滿足地過著平常人的生活：身穿T恤牛仔、新作的金發(fā)扎在腦后，皺紋隱現(xiàn)的臉上不施粉黛，孩子們爬上膝頭要和她擁抱。

Almost all of her acting work is shot around their schedule, even her most recent: an adaptation of The Normal Heart, a play about the early fight against AIDS, airing on HBO this month. 'By the time we had kids, I had accomplished things and felt secure about that part of my life,' says Roberts. 'I was so joyful moving into the family phase of my life in a sincere way.' When the twins arrived in 2004, she had been working for 18 years, and she'd been a marquee name since the release of her second film, 1988's Mystic Pizza. From 1997 to 2001, a Julia Roberts vehicle pretty much guaranteed an average opening weekend of $25 million, and most went on to earn well over $100 million. She had become so famous by the time she was expecting Hazel and Finn, her part in 2004's Ocean's Twelve was rewritten so that her character could pretend to be a pregnant Julia Roberts. But from then on, Roberts seems to have tried to slow things down, and after Henry was born in 2007, the family moved full time to a relatively modest, secluded house that Roberts and Moder built on a sprawling lot in Malibu.

她幾乎所有拍戲的工作都圍繞孩子們的時(shí)間表來安排，甚至包括最近的電影：由舞臺(tái)劇《平常心》(The Normal Heart)改編的一部片子，講述的是艾滋病出現(xiàn)初期與之斗爭的一些事情，今年五月在HBO電視臺(tái)播出。“在有孩子之前，我完成了許多事情，這部分人生讓我感到很安心，”羅伯茨說，“我真的很高興能進(jìn)入生命中家庭生活這一階段。”到2004年雙胞胎孩子出生的時(shí)候，她已經(jīng)演18年的戲。自從她第二部電影、1988年的《現(xiàn)代灰姑娘》(Mystic Pizza)之后，她就一直是演藝圈響當(dāng)當(dāng)?shù)娜宋?。?997年到2001年，茱莉亞?羅伯茨的名字就是電影周末首映票房平均2,500萬美元的保證，她絕大多數(shù)的影片票房都超過了一億美元。2004年在懷夏素和芬恩的時(shí)候，她的名氣已經(jīng)是如日中天，當(dāng)時(shí)她在拍攝《十二羅漢》(Ocean's Twelve)，編劇甚至為她修改了劇本，讓她在劇中的人物假裝成懷孕了的茱莉亞?羅伯茨。不過從那以后，羅伯茨似乎開始有意讓演藝事業(yè)慢下來。到2007年亨利出生后，他們一家人幾乎把所有的時(shí)間都耗在 素而又僻靜的家中，這套住宅是羅伯茨和莫德在馬里布的一大片地上蓋起來的。

As a result, 'for a long time,' she says of her children, 'they weren't even aware I had a job because I was home so much.

因此，“很長一段時(shí)間以來，”她說她的孩子們“都不知道我有工作，因?yàn)槲铱偸谴粼诩依锩妗?/p>

Now they get it.' Still, they have never seen the best-actress Oscar she received for 2000's Erin Brockovich, the film for which she became the first Hollywood actress to be paid $20 million.(Her Oscar ended up at her older sister Lisa's New York apartment, Roberts says, breaking into a gleeful smile. 'They were doing this photo album where everyone who visited the apartment would pose with it.')

現(xiàn)在他們知道了。”不過，他們從沒看過為她贏得奧斯卡最佳女演員獎(jiǎng)的2000年影片《永不妥協(xié)》(Erin Brockovich)，她也因?yàn)檫@部片子成為首個(gè)片酬達(dá)到2,000萬美元的好萊塢女演員。(她的奧斯卡小金人最后被擺在了姐姐麗莎(Lisa)在紐約的公寓里面，羅伯茨說到這忍不住笑了起來，“每個(gè)到訪她公寓的人都會(huì)和小金人的合影，他們還為此做了本相冊，。”)

'That's what Julia has been best at, maintaining their real life,' says Nichols, who has been a constant reassuring presence for Roberts since directing her in 2004's Closer. 'It's the little things that tell the tale. When you visit them, there is nobody working at their house, sweeping their hall. There are toys all over, and it's just Julia and Danny and the kids. She always slips away from the center.'

“這就是茱莉亞最拿手的：維護(hù)他們真實(shí)的生活，” 尼科爾斯說。自從羅伯茨參演了他2004年執(zhí)導(dǎo)的《偷心》(Closer)之后，他們就一直保持聯(lián)系。“從很多小處能看出她的性格。你去她家的時(shí)候，會(huì)發(fā)現(xiàn)家里沒有工人幫她打掃客廳什么的。玩具扔得到處都是，家里只有茱莉亞、丹尼和孩子們。她總是從焦點(diǎn)位置偷偷溜走。”

It's a life she's hard-pressed to give up, so she filmed The Normal Heart during the children's summer and Thanksgiving vacations, with them in tow. The project is not from the typical Julia Roberts playbook: There are no big laughs, no fairy-tale romance and certainly no big hair, which is coiled into a low bun as Roberts plays the tightly wound, wheelchair-bound Dr. Emma Brookner, a polio victim who has become an AIDS doctor. It's a small but pivotal role in an ensemble piece, an unflinching movie about the 1980s AIDS crisis in New York City, adapted by activist playwright Larry Kramer and director Ryan Murphy (the creator of Glee) from Kramer's original 1985 play. The character of Dr. Brookner-based on the real-life Dr. Linda Laubenstein, also a polio survivor and New York City physician who treated early AIDS cases-is a vociferous campaigner for AIDS research funding and a proponent of the wildly unpopular, and at the time scientifically unsupported, recommendation of abstinence.

這是一種她不得不經(jīng)常放棄的生活。因此在她會(huì)選擇在孩子暑假和感恩節(jié)假期的時(shí)候拍攝《平常心》，這樣就能帶著他們一起工作。這部片子的劇本并不是典型的羅伯茨風(fēng)格，沒有爆笑情節(jié)、沒有童話般的愛情故事，當(dāng)然也沒有大蓬頭，因?yàn)榱_伯茨扮演的是有小兒麻 癥、坐在輪椅上的醫(yī)生艾瑪?布魯克納(Emma Brookner)，頭發(fā)被盤成一個(gè)低發(fā)髻，她后來成了艾滋病醫(yī)生，是一個(gè)戲份不多、但對情節(jié)推動(dòng)起關(guān)鍵作用的角色。這是部群戲片子，講述了20世紀(jì)80年代紐約市艾滋病危機(jī)期間發(fā)生的故事。由活動(dòng)人士、劇作家拉里?克萊默(Larry Kramer)和導(dǎo)演瑞恩?墨菲(Ryan Murphy)(《歡樂合唱團(tuán)》(Glee)主創(chuàng))根據(jù)克萊默1985年的原創(chuàng)話劇改編。影片中布魯克納醫(yī)生的一角根據(jù)琳達(dá)?勞本斯特恩(Linda Laubenstein)醫(yī)生的真實(shí)經(jīng)歷創(chuàng)作，勞本斯特恩是紐約市一名內(nèi)科醫(yī)生、也是一名小兒麻 癥幸存者，她處置了艾滋病出現(xiàn)伊始時(shí)的病例。在片子中，布魯克納醫(yī)生為籌集艾滋病研究基金奔走疾呼，她還支持當(dāng)時(shí)在科學(xué)上尚不支持、也不被大多數(shù)人所認(rèn)可的禁欲建議。

The material is difficult and, according to Murphy, who also directed her in 2010's Eat Pray Love, calls upon Roberts to evoke the same sort of 'emotional advocacy' she displayed in Erin Brockovich. Roberts deflects his theory with a grin. 'Ryan just likes it when I'm yelling,' she says, laughing and switching into a deep drawl. 'He's like, 'I love it when Lady gets mad, cheeks get red.''

這樣的題材很難拍，而且據(jù)墨菲說，他找來羅伯茨想激發(fā)出她演《永不妥協(xié)》時(shí)那種為權(quán)利而戰(zhàn)的情緒狀態(tài)。墨菲是2010年羅伯茨主演的《美食、祈禱和戀愛》(Eat Pray Love)一片的導(dǎo)演。羅伯茨提到他的想法時(shí)咧嘴一笑，打趣道，“瑞恩就是喜歡我大喊大叫的樣子，”她笑起來，轉(zhuǎn)而慢吞吞地說，“他是那種‘我就喜歡看女人發(fā)怒、兩腮通紅的樣子’”。

'I selfishly wanted to see Julia do this role,' Murphy admits. 'There is a famous scene where her character just explodes. Julia has said her heart is directly connected to her brain, so when she has an explosion you believe it and you feel it. She is someone who has been able to harness not just anger but passion.'

“我希望茱莉亞來演這個(gè)角色是有私心的，” 墨菲承認(rèn)道，“里面一個(gè)著名的場景是她演的角色爆發(fā)的場面。茱莉亞曾說過，她的心思直接和意念相連，所以當(dāng)她爆發(fā)的時(shí)候，很讓人信服、也能讓人感同身受。她是一個(gè)不僅能駕馭憤怒情緒、也能駕馭激情情緒的人。”

Locating that passion is crucial for Roberts. 'Part of the attraction [to a role] is to something that aligns within you to that person,' she says. In fact, she had already turned down the role of Dr. Brookner twice (the film option had previously been held by Barbra Streisand ) because she saw only the character's hostility and rage. But when Murphy brought this version to her, Roberts thought, 'This is getting ridiculous. I need to pay attention to why this keeps coming back to me.' Watching a documentary about polio provided an epiphany. 'I suddenly understood who she was in terms of this scary, inexplicable plague-what originally seemed [to me] to be anger was actually her determined pursuit to be part of a solution that she wasn't part of with the first plague that she experienced. Everything fell into place for me after that. I could see these are just really scared people who won't give up on finding the answers.'

找準(zhǔn)這樣的激情對于羅伯茨很重要。“一個(gè)角色的吸引力部分在于把你的內(nèi)心與角色貼近在一起的東西，”她說。事實(shí)上，她曾兩次拒絕出演布魯克納一角(電影改編權(quán)原為芭芭拉?史翠珊(Barbra Streisand)所有)，因?yàn)樗谶@個(gè)角色身上只看到了敵意和憤怒。不過，當(dāng)墨菲把這一版的劇本拿給她看時(shí)，羅伯茨想，“這太滑稽了，我倒要看看為什么這個(gè)劇本總是來找我。”一部有關(guān)小兒麻 癥的紀(jì)錄片讓她茅塞頓開。“我突然明白從這個(gè)可怕難解的病癥角度看她是怎樣的一個(gè)人，最初我看到的憤怒情緒實(shí)際上是她一種堅(jiān)定追求，追求因?yàn)樽约旱牟』甲屗盁o法企及的答案。自那以后，對我而言所有的事情豁然開朗。我可以理解這些不過是真正心懷恐懼的人，他們不會(huì)放棄尋找答案。

Roberts prepared extensively for the role, interviewing a doctor who worked with the late Dr. Laubenstein and bringing a 1980s-era wheelchair home for practice. 'It was the most actor-y I've ever been,' she says. 'But you don't want to be bumping into walls and doorjambs and scraping your knuckles on things. I thought being in a wheelchair would be so easy and quiet, but it was actually quite tiring.'

羅伯茨為這個(gè)角色做了大量的準(zhǔn)備工作，她采訪了和勞本斯特恩一起工作過的一名醫(yī)生、還找來上世紀(jì)80年代的輪椅在家練習(xí)。“這是我見過的最難演的角色，”她說，“不過沒人想總是撞倒 上、門柱上，讓膝關(guān)節(jié)到處磕磕碰碰。我以為坐在輪椅里很輕松也不費(fèi)力，實(shí)際上這是件很累人的事情。”

Despite being shot mostly from the waist up, she wore a heavy orthotic shoe with a significant lift to mimic a polio survivor's leg. 'It was really just for me,' she says. Roberts also studied the effect a slightly paralyzed lung would have on her breathing pattern. 'I think I drove Ryan crazy.'

雖然絕大部分的鏡頭只拍腰部以上，但羅伯茨還是穿了只沉重的矯正鞋，大幅提升腿部高度來模仿出小兒麻 癥患者的腿。“這真的只是為我自己，”她說。她還研究了輕微的肺部麻 對人呼吸方式的影響效果。“我想我快把瑞恩逼瘋了。”

'I've never seen her work harder,' says Murphy. Her efforts also earned her the respect of her co-stars, including Mark Ruffalo, who plays Ned Weeks, a writer and activist who joins forces with Dr. Brookner in the fight against AIDS. 'My first couple days I was terrified-she is part of the royalty of Hollywood,' he says. 'But it was like butter. She was so easy and accommodating and egoless. You had this person who is the star of all their movies be an ensemble player in a humble, timid, reflective way.'

“我從沒見她這樣地用功過，” 墨菲說。她的努力也為她贏得了戲里其他演員的尊重，包括馬克?魯法洛((Mark Ruffalo)，他在戲中扮演作家、活動(dòng)人士內(nèi)德?維克斯(Ned Weeks)，他布魯克納醫(yī)生并肩作戰(zhàn)一起對抗艾滋病。“最開始的幾天我有點(diǎn)提心吊膽的，她可是好萊塢最大牌的明星之一啊，”他說，“不過這聽起來像是奉承話，但她真是平易近人、隨和無私。這個(gè)在其他電影里的大明星，卻甘心出演一個(gè)群戲角色，而且那么謙卑、小心、有想法。”

'My preference would forever be ensemble,' says Roberts. 'It's where I started, and it's what I love. It's just fun and interesting to see what your fellow actors are coming up with. Mystic Pizza was like that, Steel Magnolias was like that. It's like being in a big family.'

“群戲角色永遠(yuǎn)都是我的最愛，”羅伯茨說，“它是我演藝生涯的起點(diǎn)，也是我所愛的。和對手演員?戲真的好玩又有趣?！冬F(xiàn)代灰姑娘》就是這樣的戲、《鋼木蘭花》(Steel Magnolias)也是。大家就像一個(gè)大家庭。”

THIS LATEST FILM was literally a family affair, as Moder was the director of photography. He and Roberts have collaborated on six films, starting with The Mexican in 2001, where they first met on set. 'I find it nerve-wracking in the best schoolgirl kind of way, and he knows that and is a good sport,' she says. 'I am usually hoping he's not looking into the camera and thinking, 'What is she doing?' We have worked together a lot and whenever we get there, I think, 'Why are we doing this again?' But it's great, and it allows us to travel together.'

這部《平常心》也確實(shí)是個(gè)家庭活動(dòng)，莫德在其中擔(dān)任攝影導(dǎo)演。他和羅伯茨從2001年的《墨西哥人》(The Mexican)開始，已經(jīng)合作了六部電影?！赌鞲缛恕芬彩撬麄儌z人第一次在片場見面。“我發(fā)現(xiàn)這就像學(xué)校尖子生那樣讓人大傷腦筋，他知道這一點(diǎn)，也應(yīng)付得來，”她說，“我總是希望他不要一邊盯著攝像機(jī)一邊想‘她在干嘛?’我們合作過很多次，每次合作的時(shí)候，我總想‘我們?yōu)槭裁从忠黄鹋膽?’不過，這樣其實(shí)挺好，因?yàn)槲覀兛梢砸黄鹇眯小?rdquo;

'Her family is a major part of what she does,' adds Bradley Cooper, her co-star in 2010's Valentine's Day and the 2006 Broadway play Three Days of Rain, during which, he recalls, a dressing room was turned into a playroom for the 1½-year-old twins. 'Her children are always around.'

“家庭是她工作生活的重要部分，”和她一起出演2010年《情人節(jié)》(Valentine's Day)一片的布萊德利?庫柏(Bradley Cooper)說。他們還一起主演了2006年百老匯舞臺(tái)劇《三日雨》(Three Days of Rain)，他回憶說，當(dāng)時(shí)她把一個(gè)化妝間變成了游戲室，供當(dāng)時(shí)還只有一歲半的雙胞胎兒女玩耍。“她總是把孩子帶在身邊。”

And as several hapless paparazzi have found, she is willing to go into lioness mode to protect her cubs. 'I think there is a dehumanization that goes with fame, especially in the present culture of it, which isn't the culture I started off in,' she says. 'There wasn't this analysis of every iota of every moment of every day,' she continues. 'Nobody cared about what you wore, nobody cared what haircut you had, if you had on makeup or didn't-it's become this sort of sport.'

而且，幾個(gè)倒霉的狗仔隊(duì)已經(jīng)發(fā)現(xiàn)，為了保護(hù)自己的孩子，她會(huì)不惜把自己變成像母獅一樣彪悍。“我覺得伴隨名氣而來的還有人性的失喪，特別是在當(dāng)下名利文化氛圍中，我剛?cè)胄械臅r(shí)候不是這樣的境況，”她說，“那時(shí)沒有人在意你穿什么衣服、梳什么樣的發(fā)型、是不是化了裝?，F(xiàn)在它已經(jīng)變成了一種游戲。”

Roberts is nostalgic for the Hollywood of her early career, where having arrived meant a dinner invitation to agent Sue Mengers's house and 'there seemed to be a method to it,' she says. 'You had your job and you got paid $1, and you got your next job and got paid $2. It made sense to me.' Today, when the only surefire hits are star-packed blockbusters like The Avengers or tentpole franchises starring relatively unknown actors, it's unclear who can reliably open a movie anymore. (It's telling that both Roberts's current film and her most recent one, August: Osage County, were adapted from plays that have a more narrow, focused appeal. Meanwhile, Pretty Woman is currently being transformed into a splashy Broadway musical.) 'It used to be that you could build from weekend to weekend and people talked,' says Roberts, who also has a production company. 'Now, if there have been two showtimes and it hasn't sold 10 bazillion tickets, you're dead in the water.

羅伯茨十分懷念她剛出道時(shí)好萊塢的時(shí)光，那時(shí)候躋身好萊塢意味著一份去經(jīng)紀(jì)人蘇?曼杰斯(Sue Mengers)家晚宴的邀請函，“似乎總有種辦法可以做到”，她說。“我做完工作，拿到一美元;然后得到第二份工作，拿到兩美元。這對我而言合情合理。”如今，一定能保證有高票房的影片只有像《復(fù)仇者聯(lián)盟》(The Avengers)這類群星云集的大制作和由名氣較小演員主演的系列片，沒有人知道誰會(huì)是票房的靈藥。(值得一提的是，羅伯茨目前這部片子和最近一部作品：《八月：奧色治郡》(August: Osage County)都改編自舞臺(tái)劇，它們吸引的觀眾群更加狹窄和集中。而同時(shí)，《風(fēng)月俏佳人》也正在被改編成炫目的百老匯音樂劇。)“以前你可以從一個(gè)周末演到下一個(gè)周末，人們慢慢發(fā)表評論，”羅伯茨說，她也有自己的制作公司，“而如今，如果已經(jīng)給了你兩個(gè)好的檔期，但票房沒有賣出天文數(shù)字，那你就算徹底完蛋了。”

'I don't consider myself a celebrity, [at least not] how it is fostered in our culture today,' she adds. 'I don't know if I'm old and slow, but there seems to be a frenzy to it.'

“我不把自己當(dāng)成一個(gè)名人，(至少不是)現(xiàn)今文化氛圍下催生的那種名人，”她又說。“我不知道是不是自己老了、反應(yīng)慢了，但現(xiàn)在人們對名人的態(tài)度似乎有些狂躁。”

Recently that frenzy caught up to Roberts when her half-sister Nancy Motes died at 37 from a possible drug overdose in early February. Motes, who had worked on Glee as a production assistant, allegedly left a suicide note reportedly alluding to her estrangement from her family. Interviews with Motes's friends and acquaintances fed daily headlines. Meanwhile, Roberts maintained her silence, choosing to grieve privately.

最近羅伯茨遭遇了這樣的狂躁情緒。今年二月初，她同母異父的妹妹南希?莫茨(Nancy Motes)疑因吸毒過量死亡，終年37歲。莫茨曾在《歡樂合唱團(tuán)》擔(dān)任制片助理，據(jù)稱她留下一份遺書，有報(bào)道稱她在遺書中暗示她和家人關(guān)系疏離。一時(shí)間莫茨朋友熟人的訪談充斥著每日報(bào)紙的頭條，與此同時(shí)，羅伯茨卻始終保持沉默、選擇避開公眾目光哀悼逝者。

When asked about her sister's death, Roberts's face tightens as she pauses and looks toward the ocean. 'It's just heartbreak,' she says, tearing up. 'It's only been 20 days. There aren't words to explain what any of us have been through in these last 20 days. It's hour by hour some days, but you just keep looking ahead.

當(dāng)被問及她妹妹之死的問題時(shí)，羅伯茨表情變得嚴(yán)峻起來，她停頓片刻、向海上望去，“這真的讓我傷心欲絕，”她說著眼淚掉了下來，“到現(xiàn)在只有20天的時(shí)間。在過去的20天里，沒有什么能形容我們所經(jīng)歷的一切。有時(shí)候，我們是一個(gè)小時(shí)一個(gè)小時(shí)熬過來的。不過，你要堅(jiān)持向前看。”

'You don't want anything bad to happen to anyone, but there are so many tragic, painful, inexplicable things in the world. But [as with] any situation of challenge and despair, we must find a way, as a family,' she continues before straightening up in her chair. 'It's so hard to formulate a sentence about it outside the weepy huddle of my family.'

“沒人希望別人發(fā)生不好的事情，但是世界上有那么多的悲劇、苦難和無法解釋的事情。無論是何種困境、經(jīng)歷怎樣的絕望，我們作為一個(gè)家庭必須想辦法解決，”她繼續(xù)說道，隨后從椅子上坐直，“在我哭做一團(tuán)的家人之外，很難組織起一句話來形容。”

One of the things that surely has helped Roberts through this time is her near-daily meditation. 'Meditation or chanting or any of those things can be so joyous and also very quieting,' says Roberts, who has introduced the practice to her children. 'We share and just say, 'This is a way I comfort myself.''

要說這次真有什么東西幫助羅伯茨度過了難關(guān)，那就幾乎每天都要進(jìn)行的冥想。“冥想、或是誦經(jīng)等等類似的行為可以把人變得很愉悅，也很平安，”羅伯茨說，她還教孩子們也這樣做。“我們彼此分享，我說，‘這是我安慰自己的一種方式’。”

Perhaps this too is why she has a very Zen-like calm about not having any other movies lined up after The Normal Heart, something that would have been unthinkable for Roberts a few years ago. But, she says, she's been content to 'find new creative outlets at home, with my family, as I get older and work as an actress less.' It's a commonplace luxury she has worked hard to attain. 'As odd as it is to say,' says Cooper, 'I feel that she is coming into her own.'

這也許還是她在《平常心》之后沒有任何片約但仍能保持禪靜的原因。要在幾年前這對于羅伯茨而言簡直是不可想象的事情。不過，她說，她很滿意在家里和家人一起找到新的排解方式，隨著我日漸變老，作為一個(gè)女演員的工作量也會(huì)不斷減少。”這是她努力了那么長時(shí)間才實(shí)現(xiàn)的再普通不過的奢望。“聽起來有點(diǎn)奇怪，” 庫柏說，“我感覺她正在找回自己。”

How does she feel about not having another role in the pipeline? 'It's nice. We have the rest of the school year,' she says, brightening at the thought. 'The thing about being a parent is that as your kids get older, Fridays start to get super exciting again, and Sundays start to get melancholic. Spring break is exciting again.'

她自己是如何看待沒有片約這件事的呢?“這不錯(cuò)啊，孩子們還要上課，”她說到這眼睛一亮，“做父母就是這樣，隨著孩子慢慢長大，會(huì)和他們一樣一到周五超級興奮、一到周日就不高興、等到春假又會(huì)再次興奮起來。”