Jeanie, Will and Adina are three senior citizens connected by a special relationship. They view their bond as a shield from the loneliness of aging.
﻿珍妮，威尔和阿迪娜 是三名老年人， 他们因为一种特殊的关系 紧密联系在一块。 他们的关系是用来抵抗 因衰老而带来的孤独感。
I first met them at a retirement home in Los Angeles, where I had been photographing for three years. I saw as they approached the gate one night, and felt an immediate connection to them. Although I didn't know the details of their love triangle, I intuitively felt that I had to find out who they were. Questioning a nurse a day later, she said to me, "Oh, you're talking about the threesome."
我第一次见到他们 是在洛杉矶的一家老人院， 我在那儿从事拍摄工作有三年。 有一晚，在我看到他们走近 老人院门口的时候， 就立即被他们吸引了。 虽然我并不清楚他们 三角恋的细节， 但直觉告诉我有必要去了解他们。 一天后，我询问了一名护士， 她跟我说， “你说的是那三角黄昏恋吧。”
(Laughter)
（笑声）
I was intrigued.
我很好奇。
(Laughter)
（笑声）
The trio set out on a daily adventure to coffee and doughnut shops, bus stops and street corners. I soon learned that the purpose of these outings was solace and a search for meaning. The trio sought to combat their alienation by literally integrating themselves in public streets. Yet, even when arm in arm, no one saw them.
这三个人每天都结伴出门冒险， 到咖啡厅，甜甜圈店， 公交站和街角去转悠。 我很快就明白他们出游的目的 是为了寻求安慰， 和探索生命的意义。 他们三个人用这种方法 对抗这种被疏远的孤独感， 将自身与公共街道彻底融为一体， 然而，即便他们手挽手的走在街上， 也没有人注意到他们。
We often think that as we age, we lose the desires held in our youth. Actually, as a teenage photojournalist when I met the trio, I saw their behavior as a mirror to the fears of exclusion and desires for intimacy that I also carried. I related to their invisibility, which pained me during my childhood but has become my greatest asset as an immersive documentarian, because I can just fade into my empathy. As we walked down the streets of Hollywood, in a neighborhood of screenwriters, actors and filmmakers, the trio assumed the invisibility that each senior does. I would ask myself, "How is it that no one else sees these three human beings? Why is it that I am the only one who sees them?"
我们经常想，随着我们年龄增长， 我们就会失去年轻时的欲望， 但事实上，作为一名少年摄影记者， 当我遇到他们三个人时， 我把他们的行为视为一面镜子， 反映了对被排斥的恐惧， 以及对被亲近的渴望， 而我对此感同身受。 我对他们被人无视的经历感同身受， 这让我在童年时期十分痛苦， 但是这段切身经历成为了 我作为纪实摄影师最宝贵的财富， 因为这样我可以淡化自己的同理心。 随着我们沿着好莱坞的街道行走， 在这一个编剧，演员， 和制片人比比皆是的社区里， 他们三个人所承受的漠视， 是每位老年人都在承受的。 我会问我自己， “怎么会没有人注意到 这三个人呢？” “为什么我是唯一 一个注意他们的人？”
Years later, as I began to share this work with the public, I noticed that people are largely uncomfortable with this story. Perhaps it is because the trio doesn't assume conventional notions associated with love, romance or partnership. They were unseen in public and shunned by their peers. They wanted to belong somewhere but only seemed to belong with each other. I wanted to belong somewhere, too. And my camera has been a catalyst for me to belong everywhere.
几年后，当我开始和大众 分享我的这组作品时， 我注意到，大部分人听完 这个故事后感到很不舒服， 也许是因为他们三个人的故事 不符合世俗对爱情，浪漫， 伴侣关系的传统看法。 他们在公众面前被视而不见， 也被他们的同龄人所不容。 他们也想身有所属， 但似乎他们只属于彼此。 我也想找到我的容身之处， 而我的镜头帮助我更快的 融入每一个地方。
But beyond challenging sociocultural norms about the elderly, the trio sheds light on fear of remoteness. At the end of each day, they return to their respective retirement homes. Under the surface of their aloneness, there is a desire for community, for their people. There was a sense that they were each yearning for their tribe, but that comfort comes with compromise, because Will cannot commit to one woman.
但除了挑战了世俗对于长者的看法外， 他们三个人也诠释了对于 被疏远的恐惧。 在每天结束的时候，他们回到 他们各自的老人院， 在他们孤独的表面下， 有着他们对融入社区的向往， 对被人关爱的渴望， 他们每个人都渴望遇到 与他们志趣相投的同类人， 但那样的安慰往往 伴随着妥协， 因为威尔无法只对 一个女人做出承诺。 
Sitting with Jeanie one day in her apartment, she said to me, "Sharing Will is a thorn in your side. A relationship between a man and a woman is private. It is a couple, not a trio."
有一天在珍妮的公寓里， 我和她坐在一块，她对我说：  “与别人分享威尔是很烦恼的， 男女之间的感情应该是私人的， 是属于两个人的，不是三个人的。”
My process is to essentially become the people I document by spending years with them as an observer-occupant, to create a safe space, to then become hidden in plain sight.
我的工作就是最终成为我 所记录的人， 以一个的观察者——居住者的身份， 通过与他们相处多年， 建立一个安全的空间， 然后从一个显眼的位置隐身。
I was about 17 when I met the trio, and I shadowed them for four years. We actually see, in the breakdown of social development, that adolescence and old age look strikingly alike, because both are periods of identity confusion. I identified with the women. But also with Will, who made me aware of the divide in me. The schism that we each often have about what we crave and the actuality of our situation.
遇到他们三个人的时候， 我才17岁， 我跟踪记录他们的生活四年。 分析社会的发展阶段， 我们其实发现， 青春期和老年期其实惊人的相似， 因为这两个阶段都充满了 对身份认知的困惑。 我认同那两名女性， 但同样的，我也认同威尔， 他让我意识到了我内在的分裂， 而这种分裂是我们每一个人 都具有的： 我们内心渴望的， 以及我们实际的处境。
Before shooting this series, I was also in love with two different people who knew about each other, being the object over which they fought. But I also knew what it was like to be at the base of the triangle, like Jeanie or Adina, asking myself, "Why aren't I enough?" I would look through my viewfinder and see three elderly figures, and it became impossible to deny that regardless of age, we were each in pursuit of filling the proverbial hole through other people.
在拍摄这系列纪录片之前， 我同时爱上了两个人， 他们之间相互认识， 所以我成为了他们争吵的对象。 但我能理解，成为这段三角恋的 基底是什么样的感受， 就像珍妮和阿迪娜一样， 我不断地问我自己： “为什么我这么贪婪呢？” 我透过我的摄影机， 看到了三个年迈的身影。 我们无法否认， 无论年纪大小， 我们每一个人都试图通过他人， 填满自身内心的空洞。
Perhaps the discomfort of looking at Jeanie, Will and Adina's story is truly a reminder that even at the end of life, we may never reach the fantasy we have envisioned for ourselves. Thank you for listening.
也许我们之所以听完珍妮，威尔， 还有阿迪娜的故事感到不舒服 是因为他们恰恰提醒了我们， 即便是在生命的最后关头， 我们也许也永远无法实现 曾经自我幻想的完美爱情。 谢谢大家的聆听。
(Applause)
（掌声，呐喊）