(单词翻译:单击)
Hanks felt typecast, forever some fantastical, hapless man-boy looking for love.
汉克斯觉得自己被定型了，永远扮演的是酷爱幻想、寻找爱情的倒霉男孩。
He wanted to play adults who were complicated, who understood the bitterness of compromise.
他想扮演的却是思想复杂、懂得妥协之苦的成年人。
If need be, he’d wait until the right roles came along or until he could proactively nudge them into existence.
如果有必要，他会等到合适的角色出现，或是等到他能够主动推动这些角色的产生之时。
The six films he released from 1992 to 1995, his imperial phase, may have satisfied this requirement in very different ways, but every one of them – A League of Their Own, Sleepless in Seattle, Philadelphia, Forrest Gump, Apollo 13, and Toy Story – was a critical and commercial triumph; for Philadelphia and Forrest Gump, he won back-to-back Best Actor Academy Awards.
1992年到1995年是他的辉煌时期，他在此期间发行的六部电影可能以不同的方式满足了这一要求，但每部电影——《红粉联盟》、《西雅图夜未眠》、《费城故事》、《阿甘正传》、《阿波罗13号》和《玩具总动员》——都获得了评论界和商业届的成功; 凭借《费城故事》和《阿甘正传》，他连续获得奥斯卡最佳男演员奖。
(Steve Martin once joked that Hanks “took a shortcut to becoming a movie star – he only made hits”.)
(史蒂夫·马丁曾开玩笑说，汉克斯“走了一条成为电影明星的捷径——他只拍热门电影。”)
One itch palliated, others emerged.
一个渴望缓解了，又出现了其他的渴望。
As an antidote to the seemingly endless and repetitive promotional demands of Forrest Gump, Hanks began to write a screenplay: a sweet tale of a one-hit-wonder band in the ’60s, That Thing You Do, which he would direct and star in as well.
为了解决《阿甘正传》似乎无穷无尽、重复不断的宣传需求，汉克斯开始编写剧本：一个关于一支60年代红极一时的乐队的甜蜜故事--《挡不住的奇迹》，汉克斯也是这部电影的导演和主演。
He also started a production company in 1998, and since then he has spent much of his time developing projects, most distinctively prestige-TV series on subjects that interested him: the history of space exploration, the birth of America, World War II.
他还在1998年创办了一家制片公司，从那以后，他把大部分时间都花在了开发项目上，其中最具特色的是他感兴趣的主题——太空探索史、美国的诞生、第二次世界大战——的著名电视连续剧。
But the stream of movies with Tom Hanks on the marquee has never sputtered.
但汤姆·汉克斯大银幕上一部又一部的电影从未被差评过。
Just in the past two years, he’s been a stranded post-apocalyptic survivor who builds a robot for company (Finch), a suicidal misanthrope who finds his better self in modern-day Pittsburgh suburbia (A Man Called Otto), a grieving old-world wood-carver (Pinocchio), Elvis Presley’s duplicitous manager (Elvis).
就在过去的两年里，他是一个世界末日后陷入困境的幸存者，为公司制造了一个机器人(芬奇)；他是一个有自杀倾向的厌世者，在现代匹兹堡郊区找到了更好的自己(一个叫奥托的男人)；他是一个旧世界悲伤的木雕工(匹诺曹)；他是埃尔维斯·普雷斯利的两面派经理人(埃尔维斯)。
This June, he appears in Wes Anderson’s Asteroid City.
今年6月，他又出现在韦斯·安德森的《小行星城》中。
When Hanks reads something he likes, he is known to reach out to the author.
当汉克斯读到他喜欢的东西时，众所周知，他会主动联系作者。
Here in London, he tells me that he just finished Blitz Spirit, a book about everyday Britons’ lives during World War II, and has written to the author, Becky Brown, informing her, “You wrote the most fascinating book I’ve ever read.”
在伦敦，他告诉我，他刚刚读完一本关于二战期间英国人日常生活的书--《闪电战精神》，他写信给作者贝基·布朗告诉她: “你写的书是我读过的最引人入胜的书。”
The writer Ada Calhoun says that she and Hanks have periodically corresponded on literary subjects ever since she received a typewritten letter from him praising her book St. Marks Is Dead: The Many Lives of America’s Hippest Street.
作家艾达·卡尔霍恩说，自从她收到汉克斯寄来的一封称赞她的书《圣马克斯已死：美国最时髦街道的许多生活》的打字信后，她和汉克斯就会定期对文学话题进行通信。
