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Scott Pilgrim turns 10: how the cult film gave fans a perfect snapshot of
Toronto's indie music scene
《歪小子史考特》上映十週年：完美呈現多倫多的獨立樂壇縮影，獻給搖滾粉絲的邪典電
影

The movie based on Bryan Lee O'Malley's graphic novels featured some of the
city's biggest indie acts
這部電影是根據Bryan Lee O'Malley的漫畫故事改編而成，並有不少多倫多的大咖獨立藝
人參與其中

Edgar Wright's film Scott Pilgrim vs. the World was supposed to be a hit when
it came out 10 years ago. Instead, in the years since it failed at the box
office, it has transformed into a cult classic. (Universal Canada)
十年前甫上映時，由Edgar Wright執導的《歪小子史考特》被視為強檔熱門。而雖然當初
票房慘遭滑鐵盧，在時光推移下居然成為了一部邪典經典。（Universal Canada）

"You guys doing anything fun while you're in town?"
"Fun? In Toronto?"
「你們在市區有發生什麼好玩的事嗎？」
「好玩？你是指多倫多嗎？」

August 2010 felt like the perfect confluence of Canadian indie-rock culture.
On Aug. 2, Arcade Fire, the Montreal band that put its hometown on the music
map in 2004 with its breakout album Funeral, released its highly anticipated
third record, The Suburbs. It went on to debut at No. 1 on the Billboard 200.


It was the apex of a decade that saw many Canadian acts including Broken
Social Scene, the New Pornographers, Wolf Parade and Metric breaking through
internationally, and the cherry on top came the following year when, in
February 2011, The Suburbs won the Grammy Award for album of the year. It was
a culmination of a growing critical consensus around Canadian music, a rising
star that also happened to catch Hollywood's eye. If a film blended in that
music and culture into its foundation, it, too, could be poised to ride that
wave of success, right?
十年前正是加拿大人在演藝圈發光發熱的時期。越來越多的加拿大藝人打開了國際知名度
，如Broken Social Scene、the New Pornographers、Wolf Parade和Metric；而迅速竄


On Aug. 13, 2010 Scott Pilgrim vs. the World was released. A film adaptation
of Bryan Lee O'Malley's graphic novel series, Scott Pilgrim, the Edgar
Wright-directed film was projected to be a hit. Michael Cera starred as Scott
Pilgrim, a boy who falls for the new girl in town (Mary Elizabeth Winstead),
but must defeat her seven evil exes in order to date her. Scott Pilgrim vs.
the World combined an eye-popping and fantastical comic book style with tried
and true elements of musicals, action blockbusters, coming-of-age dramas and
rom-coms — all set in the city of Toronto.
2010年8月13日推出的《歪小子史考特》是改編自Bryan Lee O'Malley的小說漫畫，在


▍A flop-turned-cult hit
But, in its opening weekend, the film debuted at no. 5 and only earned $10
million, nowhere near the $85 million production budget that went into making
it. By commercial standards, it was deemed a flop. Some claimed it was too
Canadian, others argued that having Cera anchor the film was a mistake. It
would initially seem as though Hollywood made the wrong call altogether and
that the film's financial failure, much like the "Who is Arcade Fire?"
comments that greeted the band's Grammy win, was a sign that perhaps critical
consensus was out of sync with mainstream taste, and that the popularity of
Canadian indie rock, among other elements of the film, wasn't enough to
bolster a film to worldwide profit.
▍砸鍋作品變成熱門的邪典電影


But almost immediately after its theatrical run wound down, the film formed a
cult following (not without the help of a ceaselessly enthusiastic Toronto
fanbase). Now, 10 years later, it's being heralded as a film that was ahead
of its time, predating the mega success of box office-smashing superhero
films (the Marvel cinematic universe launched in 2008, but took some years to
really take off) and acting as the launching pad for some of film and TV's
biggest stars now (Brie Larson, Aubrey Plaza, Anna Kendrick).

Larson、Aubrey Plaza和Anna Kendrick。

The film is also a neat snapshot of that indie-rock era. Written between 2004
and 2010, O'Malley's books were loosely based on his time living and playing
music in Toronto. "I was in a bunch of bands," O'Malley told Weird Girls. "I
always play music on and off; comics kind of took off more than music, but
I've always enjoyed music." That part of his life, and his experiences
lugging band gear across the city's vibrant music scene, had one of the
biggest influences on Scott Pilgrim.


Protagonist Scott (who is named after a song by '90s Halifax band Plumtree)
is a bassist in a band called Sex Bob-omb, and most of the series' adventures
revolve around a series of battle-of-the-band gigs that would also double as
battlegrounds for Scott and the villainous exes of Ramona Flowers, the object
of his affection/obsession.
電影中的一連串冒險主要是以一系列的樂團battle為故事核心。主角史考特在樂團Sex


When time came to translate Scott Pilgrim from the page to the big screen,
Wright had a sturdy blueprint for its visual identity. But how would they
bring the sound of the series' universe to life?
在決定將史考特的故事從書本上重現於大螢幕上時，Wright已在心中確立了其視覺形象的
藍圖。不過，這些製片要如何將這部漫畫世界中的音樂呈現給觀眾呢？

▍Creating the sound of Scott Pilgrim vs. the World
The answer was a mix of local and international talent. Behind the scenes,
Sloan frontman Chris Murphy was tapped as the musical director, teaching and
guiding actors through performing as musicians on-camera. (Mark Webber and
Alison Pill, who play two-thirds of Sex Bob-omb, had never picked up an
instrument in real life prior to shooting the film.) For its soundtrack,
Wright called up friend Nigel Godrich and Beck to helm Sex Bob-omb's scrappy
garage-rock anthems, giving the band just enough of a polish so that the
performances were enjoyable to watch, but also sloppy enough to be believable
that a group of twenty-somethings could throw them together.
▍打造《歪小子史考特》的音樂內容
透過將在地人才與國際專家的技術結合，劇組找到了答案。樂團Sloan的主唱Chris


Local indie-rock heroes Broken Social Scene and Metric were also brought
onboard to round out the sonic identities of other featured fictional bands:
Crash and the Boys, and Clash at Demonhead.


Clash at Demonhead, particularly, was inspired by Metric, a fact that singer
Emily Haines has called both flattering and insulting. "It's sort of like a
nightmare version of us," she told TIFF. When the band members were first
approached by Wright to contribute a track to the film, the synth-rockers
pulled up "Black Sheep," a track that missed the cut for their fourth studio
album, Fantasies, but felt like the perfect fit for the Brie Larson-fronted
Clash at Demonhead, a Toronto outfit that has gained international acclaim.
(According to Aubrey Plaza's Julie Powers, Clash at Demonhead opened for the
Pixies.)
特別的是，Clash at Demonhead其實是受到Metric啟發而創造的樂團，而這件事讓該樂團
的主唱Emily Haines認為既榮幸又不好意思。她向TIFF表示：「我覺得他們根本是我們

Demonhead。這個充滿多倫多風情的樂團在片中獲得不少國際的讚聲，且Aubrey Plaza飾
演的 Julie Powers還說Clash at Demonhead居然受邀為the Pixies的暖場嘉賓。

"When I had finally heard, in the film, her version of it," Haines recalls,
"I think she did a great job, it's completely different from me ... I only
wish I could be as badass as the characters he created. I'm glad that we
inspired him, but that it wasn't too close to us."


Larson's band takes the stage at Lee's Palace, one of the only real music
venues featured in the film, shining a light on the physical scene in Toronto
(The Rockit was also featured but because it closed in 2005, they had to
recreate the entire set.) Even restaurant chains like Pizza Pizza and Second
Cup were cleverly shot in the same neighbourhoods to maintain a geographical
continuity that most films shot in Toronto rarely abide by — that's if
Toronto is lucky enough to get to play itself, another anomaly.
Larson的樂團登台演出的Lee's Palace是全片少數幾個真實存在的音樂場地之一，而這也
是成為片中多倫多實際場景的亮點之一（The Rockit雖然也出現在電影中，但因其早在


Broken Social Scene's contributions were slightly different from Metric's.
Their songs for Crash and the Boys, one of Sex Bob-omb's battle-of-the-bands
opponents, were a far cry from the anthemic rock songs the band is best known
for. So instead, members Brendan Canning and Kevin Drew created something
that was heavier than what they would normally produce, with instruments
thrashing up against each other in short, powerful bursts — literally so
short that, in the film, Scott's roommate Wallace heckles them from his seat:
"It's not a race, guys."


Throughout the film, Wright ensures that every corner of the screen and its
setting honours the city it takes place in. For Wright, Scott Pilgrim vs. the
World is a love letter to O'Malley's heartfelt comics, but the film is also a
love letter to Toronto. Characters are spotted reading issues of alt-weeklies
Eye Weekly and Now Magazine; Scott and his pre-Ramona love interest, Knives
Chau, frequently shop at the record shop, Sonic Boom; Ramona has a New
Pornographers album cover in her living room. Haines, whose voice doesn't
technically come up during the Clash at Demonhead performance (all the actors
recorded their own vocals, which were used in the film), can be heard later
on as Broken Social Scene's "Anthems for a Seventeen-Year-Old Girl" is played
in the background in one pivotal scene. These are all Easter eggs lovingly
planted for true Torontonians to see — and to feel seen.
為了向這座城市致敬，導演Wright對片中出現的每個角落和場景都非常小心翼翼。《歪小
子史考特》不僅僅是寫給O'Malley這部溫暖漫畫的情書，也同時是一封寫給多倫多的告白
。舉例而言，電影中的人物會閱讀《Eye Weekly》和《Now Magazine》等週刊、史考特和
前任情人Knives Chau時常去逛一間叫「Sonic Boom」的唱片行，而女主角Ramona的客廳
則貼著一幅New Pornographers的專輯封面海報。此外，Haines的聲音一開始雖未出現在
Clash at Demonhead的表演中（因本片所有演員會另外錄製聲音以用於電影中），但後面
重要的某幕以Broken Social Scene的〈Anthems for a Seventeen-Year-Old Girl〉作為
背景音樂時，觀眾便能聽到她的聲音。而除了要讓真正的多倫多人發現這些隱藏彩蛋外，
導演的貼心舉動也是為了讓多倫多人感到被世界所看見。

▍How has the film aged?
Of course, Toronto is made up of many thriving music scenes, from punk to hip
hop. (It is, after all, the home of the biggest hip-hop artist in the world.)
So Scott Pilgrim's representation of the city's indie-rock scene is fairly
narrow and, quite notably, white. But that, too, is reflective of how indie
rock, as a genre back in the early to mid-2000s, was mostly dominated by
white acts. Even a scan of the audiences in the film show a mainly white
demographic, further alienating a character like Knives who is often referred
to as just a "Chinese schoolgirl" in the film.
▍這部電影是如何轉大人的？


But I can relate to Knives. As someone who fits her description — a
Chinese-Canadian who was born and raised in Toronto — and who attended many
shows at Lee's Palace and various other venues across the city, being one of
a handful of non-white concert attendees is a very real experience. And the
film, whether it was deliberate in its representation or not, was honest in
its depiction of those spaces instead of leaning into Toronto's prominence as
one of the most multicultural cities in the world.


Underneath all the portals and superpowers, though, Scott Pilgrim is a
perfect snapshot of the Toronto music scene in the 2000s. From the iconic
landmarks to the less talked about lack of representation, Toronto's
indie-rock scene provided the film with a grounded and lived-in foundation
atop which Wright built a colourful, fantastical world. And in the 10 years
since it came out, the film has already aged into quite a time capsule: Sonic
Boom has since moved locations twice; the Lee's Palace interior will
definitely throw off tourists who come in hoping to grab a beer at the back
bar, which has been redesigned (and which was, at the time of filming,
leading the crew to recreate the original layout); the Rockit is now on a
rapidly growing list of venues that have shuttered.
撇開傳送門和超能力等奇幻元素不談，其實《歪小子史考特》在細看之下，可說是多倫多
2000年時期的樂壇縮影。無論是代表性的地標或因不具標誌性而較少提及的特色，在


With those community-oriented spaces growing more vulnerable every day due to
the COVID-19 pandemic, Scott Pilgrim's valorization of music venues reminds
us of the importance of these places and why we must continue to help keep
them alive, however possible. Watching scenes of crowded parties and fans
standing shoulder to shoulder will definitely elicit fond memories of
communal gatherings, but as a whole, re-watching Scott Pilgrim makes us miss
live music the most, eager to reignite the scene with loud, buzzing bands.


Until the next time we're allowed to step into Lee's Palace, though, Scott
Pilgrim vs. the World is the next best thing: a dream-like universe that we
can continue finding comfort in.
雖然疫情使人暫時無法踏進Lee's Palace，但觀看《歪小子史考特》仍讓我們有機會盡情
享受音樂。至少，置身在這夢幻般的漫畫宇宙中，我們隨時能找到心靈上的安慰。

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