2014年1月31日 星期五

詩人 W.D. Snodgrass, 臨終受訪的感想



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W.D. Snodgrass, Pulitzer-winning poet, at Emory University in Atlanta in April 2008. Erik S. Lesser for The New York Times
Somber news comes with the territory I patrol as obituaries editor for this newspaper, and it was in that capacity I learned that W.D. Snodgrass was dying.
A colleague had been reading email one morning in the fall of 2008 when he called up a message that had been sent overnight. It was from a woman, he said, who wanted to advise the obit desk that her husband, a poet, was losing his fight with cancer. Knowing that The Times, for practical reasons, will often prepare an obit while the subject is still alive, she said, she wanted to give us a heads-up about his condition.
What was the poet’s name, I asked.
“W.D. Snodgrass,” my colleague said.
It brought me up short.
In the winter of 1976, I was a graduate student at Syracuse University, and Snodgrass, a Pulitzer Prize winner, was a literary celebrity on campus. Our paths had no reason to cross in the classroom; he was teaching poetry, I was being schooled in journalism. But I had an assignment — to write a profile of a person of my own choosing — and I suppose it was the residual English major in me that drew me to someone in the literary trades. So I called him and he agreed to an interview, inviting me to his house.
It was a wet, cold and gray March morning when I drove deep into the frozen farmland of central New York. Snodgrass’s house sat back from the road on a snow-covered slope that beyond the backyard steepened into a wooded hill. He greeted me at the door. Tall, bearded and robust at 50, he had the merry eyes of a man perpetually amused by the world.
We talked about poetry and his life for probably an hour. I went home and wrote the article, received a satisfying grade and peddled the piece to an alternative weekly newspaper in Syracuse. Happily it was accepted — my first professional byline — earning me enough to buy dinner (at a diner).
I didn’t hear from Snodgrass afterward, but no matter: The world spun on, and as it did, the half-dozen copies I’d saved were scattered to who knows where, until the pile had dwindled to one, left to yellow in a box under similar memorabilia.
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The author's first article as a professional journalist. 
But now, as he lay dying, I had a fleeting thought: What if I went to see him again, to talk about his life, literature and perhaps, with his so near, death? I contacted his wife, Kathy Snodgrass, a critic and translator of literary works. She talked it over with De, as his friends and family called him, and soon got back to me.
“When I asked De his thoughts on an interview,” she wrote in an email, “he pretty much said no, not for what I’m guessing is the most frequent response, that someone isn’t prepared to admit the end is near, but rather that he thinks dying persons’ opinions on life and art are suspect.”
It had been 32 years, and though the words came filtered through his wife, his tone and manner suddenly returned to me: direct, impatient with high-flown sentiment and a bit disarming, not unlike his poetry. I feared I had left a misimpression, however. I did not want to speak to him for his obituary, I assured Ms. Snodgrass. This would be an article that he might, if he held on, actually read.
Two days later she wrote back: “De says yes, he’d be happy for you to come interview him.”
So on a brisk fall morning, I again drove deep into central New York, now heading north from New York City on a trip that began in sunshine and a wildfire of foliage but soon, predictably, cooled and clouded over.
William DeWitt Snodgrass spent a half-century or more writing poetry, most of it vigorous and plain-spoken. In the 1960s, the poet and critic Gavin Ewart was unequivocal in calling him “one of the six best American poets today.” (“Who the other five are would be arguable,” Ewart added.) Some critics placed Snodgrass in the confessional school, which by his lights was a wrongheaded and too-easy label, as if his poems were nothing more than a coming clean about his transgressions. His verse was a one-man soul-baring operation — honest, sometimes piercingly frank, often wry and witty — that might uncover universal truths along the way.
He could mock himself (“Your name’s absurd,” he wrote in an early poem); proclaim his presence (“Snodgrass is walking through the universe”); and mine his anguish, as he did in “Heart’s Needle,” probably his best-known poem, about the loss of a child through divorce. He wrote:
Winter again and it is snowing;
Although you are still three,
You are already growing
Strange to me.
His was an inward-turning art that appealed to a generation younger than his — one torn between communitarian ideals and a self-involved thirst for emotional and professional fulfillment.
He published more than 30 books of poetry, criticism and translations. He taught generations of young writers and read his work in public often and avidly with a theatrical flair, a product of his formal voice training as a younger man and an ear for music he said he had been born with. He won a fair share of acclaim, most notably in the form of the Pulitzer in 1960, for the volume “Heart’s Needle.” His friend and mentor Robert Lowell found inspiration in that collection, Snodgrass would recall proudly.
I found him in a spare room at the top of a narrow staircase sitting up in bed, a tube in his nose. I pulled up a chair, and so did Ms. Snodgrass.
The poet did not remember our interview from 32 years earlier, and when I heard this I blinked a couple of times and looked down at my notebook, humbled. I suppose we delude ourselves to think that whatever impression we leave with others will be lasting.
Despite his illness, Snodgrass was in fine spirits, and for the next hour or more he talked to me again about his poetry and life: the failed ambitions to be a musician, a timpanist; his war experience in the Navy in the Pacific; his joining a writing workshop at the University of Iowa, switching from playwriting to poetry and finding himself learning from the likes of Lowell, John Crowe Ransom, Karl Shapiro and John Berryman; the suicide of a young friend with whom he had exchanged poems in the mail and then discussed them over the phone.
He told of growing up in Beaver Falls, Pa., where he played the violin well and tennis badly. He spoke of his conflicted feelings about his parents: the obstinate mother he blamed for his sister’s death from asthma at 24, the competitive father, an accountant, who believed that his son’s winning the Pulitzer “unhinged his position” of authority in the family, or so the son said.
But, as his wife had intimated, Snodgrass would not speak of illness or death. (“Everybody has said everything that can be said about it,” he declared.) Nor would he discuss more vaporous matters like the source of his creative impulse. “That’s a critic’s question,” he would say.
Still, I had enough material and drove away with every intention of writing about him and our meeting again after so many years.
We all know about good intentions. Soon came a pileup of holidays, end-of-year workplace responsibilities and my own habits of procrastination, and it was January before I started.
Then, on the morning of Jan. 14, I logged on to my computer to find an item by The Associated Press. W.D. Snodgrass, it said, had “died at his upstate New York home after a four-month battle with inoperable lung cancer.”
I let loose an expletive and sagged in my chair. I who had been taught on the job about the unpredictability of death had not learned my lessons well enough. Whatever I might write now he would never read. Still, I couldn’t let it end there. I contacted Ms. Snodgrass, expressed my condolences and assured her that, yes, we would publish an obituary.
I had edited obituaries for several years but had never assigned myself to write one; we have an able staff of reporters. But it was clear to me that I would have to write it – not because I knew the material, which I fairly did, but because I felt compelled to finish what I had begun that fall morning as I’d headed back into central New York to knock once again on the poet’s door.
I’m not entirely sure what lesson to draw from this. Writing the obit and seeing it published oddly put me in a mournful mood, one I had never felt in a job that demands detachment. I suppose that with Snodgrass’s death, I was forced to acknowledge what else had passed away, my youth. But I also felt a quiet satisfaction. On a country road I had retraced some steps, and a path taken long ago had somehow, fittingly, come full circle.

Isabella Rossellini, David Attenborough, Jean-Claude Carrière,






Isabella Rossellini: Shrimp foreplay and anchovy orgies

(Jody Shapiro)
(Jody Shapiro)
The Italian model and actor brings her Green Porno web series to the stage with a one-woman show.
David Attenborough has an unexpected rival: Isabella Rossellini is bringing her Green Porno short films to the stage.
Commissioned by the Sundance Channel in 2008, the 40-part web series features the star of Blue Velvet and Wild at Heart dressed as creatures including an earthworm, a squid and a spider to explain the mating rituals of the animal kingdom.
Rossellini is embarking on a global tour with a one-woman show adapted by French screenwriter Jean-Claude Carrière, who collaborated with Luis Buñuel on films like Belle de Jour and The Discreet Charm of the Bourgeoisie. The octogenarian helped Rossellini turn her animal sex videos into a theatrical take on a scientific lecture with fluorescent costumes and paper puppets.
From the masturbation of dolphins and the wild orgies of anchovies to snail sadomasochism and shrimp foreplay, Rossellini showcases her knowledge of natural history; the actor enrolled in a degree in animal studies at New York University five years ago.
After a successful run in New York, Green Porno is travelling to Londonand Adelaide in February and March.

2014年1月30日 星期四

張超英,張秀哲,張寬敏,陳柔縉



花王的臉 偷偷在改變

  
花王在台灣已是老牌子,在她的出生地日本,更老。花王現在有洗衣精、洗髮精、洗面乳,產品琳瑯滿目,1890年面世當時,花王只是一塊「石鹼」的商品名。
「石鹼」即日文的香皂。19世紀下半葉,日本已經有很多歐美舶來的石鹼。一位叫長瀨富郎的24歲年輕人,1887年在東京開了「長瀨商店」,專賣一些「洋小間物」,像是洋菸、火柴、皮鞋、洋傘、帽子、咖啡和洋酒等等,其中石鹼最孚人氣,美國的「蜂印」化妝用石鹼更是大牌子。
很快,長瀨老闆不想只當個賣外國香皂的商人,他聘請一位藥劑師協助,跨足石鹼製造業。有了產品,接下來就要取個響亮的名字。當時稱洗臉用的香皂「顏の石鹼」,長瀨老闆靈光一閃,想取名「香王」,發音和「顏」一樣,都念「ka-o」。長瀨富郎很慎重請來精通漢詩的書道家永坂石埭一起商量,永坂先生建議「華王」,讀音和香王相同。一經激盪,華跟花兩字相通,長瀨富郎隨之提議「花王」,兩人終於意見一致。
老牌都有個讓人難忘的商標圖案,森永有天使,仁丹有翹鬍子元帥,花王則是有個半月臉,也來自長瀨富郎的發想。他進口一款鉛筆,商標是星月,因此得到靈感。不過,百年的花王半月臉易容多次,早期濃眉老成,新近大眼俏麗。最早的半月臉還會吹氣,吐出「花王石鹼」四個字,伴有星星,長瀨認為如此設計有高品質的感覺。

作文比賽轟動全台

日本時代一開啟,花王跟著就來台灣了。本來由一家台北站前的化妝品代理商「大崎公司」經銷,到三○年後期,花王在現今台北西門町設「出張所」(類似辦事處),1940年更設立「台灣花王株式會社」,之後改造台中沙鹿的一座糖廠,生產香皂和食用油,大概有300位左右的台灣籍員工。
早期花王和台灣更可愛的因緣還有1937年的有獎作文比賽。花王送出大獎,要請6位小朋友同遊日本半個月,結果,吸引了全島小學生投出5500多篇稿子。最終得獎名單出爐,其中有兩個台灣小孩,一位是新竹竹北六家公學校(今六家國小)的郭清棟,另一位是台南市媽祖宮公學校(今安南區海東國小)的林文穎。
掐指推算,郭清棟和林文穎現在頂多也是88歲,或許還可以找出他們,跟大家說說當年從大阪玩到名古屋、東京,再轉回京都、奈良,那趟花王帶給他們驚喜的旅程。 
編按:商標圖取自花王官網
《老牌子到台灣 陳柔縉》 http://www.appledaily.com.tw/appledaily/article/forum/20140130/35612051/%





張超英
張超英口述 陳柔缙執筆《宮前町九十番地》台北:時報出版,2006
張英超不提他在日本出版的著作,或許是自謙,或許是因為主題是介紹台灣之文化與社會習俗的,回到台灣,似乎是多餘的。其實不然,譬如說,龍山寺為什麼佛道雜收呢?他在日文書解釋:當時統治的日本,將民間道教定為非法的邪教,必須清除之,所以龍山寺收容之…….。這其實不是本文的要點。
我很佩服的是,以作者的家世,竟然能當完三十幾年的公務員,兩度退休;姑且不談諸如他59歲去學開飛機之壯志。這本書,貫穿著如何對台灣的前途有好處的苦心,它也給我們一台灣家族的關係簡圖,執筆者陳柔缙,很擅長此道,所以政治大學的台灣企業家族研究小組,都必須向她請教,請她去交流。


宮前町九十番地 台湾をもっと知ってほしい日本の友へ / 張超英 陳柔縉

 ------

書名 「勿忘臺灣」落花夢
作者 張秀哲
編者 陳柔縉審定
出版社 衛城出版
出版日期 2013-02-27

  一個不肯受到殖民政權綑綁的臺灣知識份子
為尋求臺灣自主之路而漂浪的人生

來自一九四七年的聲音,二二八紀念出版!
張炎憲、李筱峰、曹長青 專文推薦

日治時期
●他曾豪氣以一圓日幣把中山北路豪宅租給中國當駐臺領事館
●他曾經與蔣渭水聯手阻止日本在臺灣開放買賣鴉片政策
●魯迅幫他翻譯的《國際勞働問題》寫序
●蔣渭水、杜聰明是他的結婚介紹人
●革命同志張深切說他,長得就像托洛茨基,如果除掉了少爺脾氣,便是一個好革命家

一九四七年二二八事件後,對於十幾歲的張超英來說,父親張秀哲從此成為沉默的存在,他滿臉鬍子地被家族從警總營救出來後,從此封閉在自己的書房。一九四七年八月這本《「勿忘臺灣」落花夢》出版了,但很快又因故收回煙滅。此後的父親成為一個活死人,餘生抑鬱以終。
只有在《「勿忘臺灣」落花夢》裡,張秀哲是一個不同的父親,是個活躍的革命家。這本書裡,他如夢一樣地回憶了自己在一九二○、三○年代的年輕歲 月,以熱情與豪氣在中國宣傳臺灣解放,反對殖民統治,即使入獄也未曾後悔。他交遊廣闊,在廣州組織「臺灣革命青年團」,與魯迅、郭沫若、戴季陶、甘乃光往 來,自費印行小冊《勿忘臺灣》與雜誌《臺灣先鋒》,革命是他的事業。
《「勿忘臺灣」落花夢》重新出版,彷彿是皆已離世的父子兩人,透過出版繼續在時空對話,其中更有許多珍貴的一手文獻,可以窺見當時日治時期臺灣知 識份子的心靈世界,以及對日本、中國的觀察。張秀哲自己在書中緒言提道,這本書是「臺灣解放運動的一頁史實速寫」,「在已往數十年來,是不能在臺灣自由公 開赤裸裸的寫出來!況且先前在帝國主義者蠻行統治的時代,極端壓制之下,都是沒有機會公開發表的,而同志們都星散了,也沒人肯用功寫出來的。」如今,就是 它再度現身的時刻,也是張超英心中真正父親的復活。



我 的好友張寬敏醫師曾提供「勿忘臺灣落花夢」珍藏舊本,重新製版再刊發行,除讓張秀哲半生念茲在茲救台愛國精神不至灰滅,且與身為人子的被其家教過之張超 英,因此可以減輕遺憾 ,為台灣留下至為寶貴的見證...張寬敏醫師不幸於日前高齡辭世,訂今(25)日上午10點在台北市首座天主教堂,台北市民生西路245號天主堂(聖母無 原罪主教座堂),舉行追思出殯儀式,回顧他生前常常公開慨歎「台灣人迄今還是奴隸」,如今斯人安息主懷,還是希望在天之靈能庇佑台灣故土~

2014年1月29日 星期三

台灣的新佛教徒Meeting Taiwan's new-age Buddhists By Cindy Sui

http://www.bbc.co.uk/news/world-asia-25772194


Meeting Taiwan's new-age Buddhists


Volunteers serve food at a Tzu Chi event on 18 January 2014Taiwan's Buddhist organisations are increasingly looking to help out those in need
Sorting through a large pile of used clothes and household items, Hsiao Hsiu-chu is the picture of a new-age Buddhist.
The 63-year-old retiree used to practice her religion by praying at temples, but now she volunteers seven days a week at a recycling centre to raise funds for Taiwan's Buddhist association Tzu Chi.
"I have no time to go to temples. Praying is not important. Coming here every day is like praying," said Ms Hsiao.
This is not how most people practice Buddhism in Chinese-speaking or even non-Chinese Buddhist societies. Their faith is usually self-focused: praying for protection in their current life and to be born into a better life after they die.
But Taiwan is leading a quiet, yet powerful movement that has turned traditional Buddhism on its head, converting many Buddhists such as Ms Hsiao into doers, not just believers.
Hsiao Hsiu-chuFor Hsiao Hsiu-chu, Buddhism means taking action rather than praying
Burning paper money and incense is discouraged - it's bad for the environment. Going to temples is low priority. Even praying too much is frowned upon.
The focus now is on what the Taiwanese call "humanistic Buddhism" - caring for others and for society. It returns Buddhists to the core principles of Buddhism - speaking good words, thinking good thoughts and doing good deeds.
"According to Buddhism, it's not enough to have benefits for oneself only, you must also have benefits for others. We should try to help as many people as we can to be relieved of suffering," said Head Abbot Hsin Bao of another major Taiwanese Buddhist association, Fo Guang Shan.
The practice has helped Taiwan's leading Buddhist organisations expand in unprecedented ways.
Statues of the Buddha at the Fo Guang Shan temple in southern TaiwanThere are thought to be between half and one billion Buddhists around the world
Tzu Chi Foundation - which is at the vanguard of the movement - has seven million followers, including two million overseas.
Its 100,000 volunteers in Taiwan are seen everywhere in their trademark blue shirts and white trousers. They recycle plastic bottles to raise charity funds, check on elderly people living alone, provide support to poor and at-risk families, tutor children and help respond to natural disasters.
Another influential Taiwanese Buddhist group, Dharma Drum Mountain, regularly holds "Buddhism 101" classes to teach people how to apply the philosophy to their lives.
In one recent class for about 200 people, a psychologist used Buddhism's teachings to advise students on how to recognise and work on their own negative emotions, and how to deal with troubled family relations.
"Buddhism's teachings can be used everyday and where's the best place to use them? In your family," Yang Pei told the class.
Fo Guang Shan, meanwhile, holds youth camps for children.
"These organisations are very different from traditional Buddhism," said Kuo Cheng-tian, a professor at National Chengchi University. "They emphasise lay believers running temples and Buddhist organisations, not just monks. And they use ordinary believers to lead charity missions."

Buddha statue at the Fo Guang Shan temple in KaohsiungAnnual cleaning is a big event at the Fo Guang Shan temple in Kaohsiung, in southern Taiwan.
1/5
It is unclear how many Buddhists there are in the world. Buddhism is not an institutionalised religion and many Buddhists also believe in other faiths. But some estimates suggest there are half a billion to one billion Buddhists globally, making it the world's fourth largest religion.
What makes Taiwanese Buddhism unique is its strong emphasis on helping society. Tzu Chi, for example, has provided post-disaster relief in more than 84 countries, including in the Philippines, where it recently paid 50,000 households to rebuild homes destroyed by Typhoon Haiyan.

Buddhism in China

With growing pressure in their rapidly changing society, people in China are increasingly turning to Buddhism. But while a lot of money has been poured into rebuilding temples destroyed during the Cultural Revolution, and the temples have collected a vast amount in entrance fees or donations, they don't have the practice of giving back to society, said Fu Xinyi, a Nanjing University academic who specialises in Buddhism.
"They build temples for tourism, for money, but they don't know how to spread Buddhism's ideology," Mr Fu said. "This is regrettable. Society has so many problems, Buddhism should play its role in helping people and giving them spiritual guidance."
Mainland China can learn from Taiwan, he said, but the government's suspicion of religions will limit Taiwanese Buddhists' ability to spread humanistic Buddhism there.
"They can spread the ideology, but the actions can't be as big as in Taiwan because the government will feel threatened," Mr Fu said.
Still, China's people and even leaders are becoming more familiar with Taiwan's Buddhism.
Tzu Chi is the first foreign non-governmental religious organisation to be allowed to set up a branch in China. Chinese President Xi Jinping also recently met with Fo Guang Shan's Master Hsing Yun, who is popular in the mainland.
Chinese leaders may be realizing Buddhism can be a stabilising force in society.
And although Buddhist groups have traditionally been less active, compared to Christian counterparts, in spreading their religion, that is changing.
Taiwan's major Buddhist associations have their own TV channels, publishing houses, and news agencies, as well as hospitals and universities. They send volunteers to schools to teach children about good behaviour, through storytelling.
But they say they are not trying to convert non-believers.
"We see no need for you to be converted; we're not aiming to proselytise," said Chien Tung-yuan, a Tzu Chi spokesman. "From the beginning, Shakyamuni (Buddha) taught people to help those who are suffering, without conditions, and not to want anything in return."
Changing the way Buddhism is practiced has not only led to a revival of the religion in Taiwan, but its expansion overseas.
Fo Guang Shan, for example, has 200 temples worldwide, including 20 in Europe and 24 in the US, not just for overseas Taiwanese but local people.
Dharma Drum Mountain, meanwhile, has 125 chapters worldwide, while Tzu Chi boasts many branches in 48 countries. In Malaysia, its members jumped from 100,000 to one million last year.
"We want to use Taiwan as a base to spread Buddhism to mainland China and the rest of the world," said Fo Guang Shan's Head Abbot Hsin Bao.
A mass wedding at Dharma Drum Mountain in northern TaiwanA mass Buddhist wedding in northern Taiwan: Part of a trend to make the religion an integral part of daily life
Taiwan is also helping mainland China rediscover the religion. Although Buddhism has nearly 2,000 years of history in China, it had diminished in importance in recent centuries because of wars, political turmoil and suppression, and a focus on modernisation.
Millions of Chinese listen to Taiwanese masters' teachings on DVDs or MP3s. They download material from websites and spread them online.
With improved relations between the two sides in recent years, many Chinese Buddhists leaders and adherents are now able to travel freely to Taiwan. Taiwan's Buddhists also can more easily spread their message in the mainland, even if it is in low-key ways such as repairing a temple or promoting "reading clubs" - similar to Bible study.
A volunteer cuts a man's hair at a Tzu Chi event on 18 January 2014Affluence means Taiwanese Buddhists have more time to help out, like at this hair-cutting session
Scholars believe Taiwan is playing a key role because many charismatic Buddhist leaders fled to the island after the Communists took over the mainland in 1949. Influenced by the respected late Buddhist leader Taixu's calls for contributing to society to gain enlightenment, the masters and their disciples made the idea a reality.
Taiwan's groups were also influenced by Christianity, adopting practices such as doing charity work.
At the same time, growing wealth here meant Taiwan's middle class, especially elderly people, have more money and time to help others, as they seek meaning in life.
Back at the Taipei recycling centre, more bags of used clothes arrive for Ms Hsiao to sort.
She said putting Buddhism's teachings to practice has given her the strength to cope with her mother's sudden death and helped her improve relations with her children.
'It's opened the knot in my heart,' Ms Hsiao said. Her advice to other Buddhists: "Don't just believe in Buddhism, do something to help others."

李安 Ang Lee

「人生不是那麼簡單,你要勇敢、真誠地去面對,就能開拓出很大的空間!」- 李安


洛杉磯時報卻認為本屆奧斯卡的最大冷門是,李安擊敗了呼聲最高的《林肯》名導史蒂芬史匹柏(Steven Spielberg),抱走最佳導演大獎,洛杉磯時報分析,雖然結果出乎意料,但李安與史蒂芬史匹柏2度在最佳導演獎項交手,都是由李安勝出。上一次是 2006年,李安以《斷背山(Brokeback Mountain)》擊敗了史蒂芬史匹柏的《慕尼黑(Munich)》。

由李安執導大熱門影片《少年派的奇幻漂流》,拿下奧斯卡最佳導演、最佳原創音樂獎、最佳攝影獎和最佳視覺效果獎四項大獎,成為頒獎禮最大贏家。
「因為機會難得,接下來我應該會接拍『埃及豔后』,和安潔莉娜裘莉合作。」李安透露他今年的拍片計畫。
李 安以「少年PI的奇幻漂流」入圍十一項奧斯卡,讓台灣再次為他沸騰!李安不只一次在受訪時表示:「這部電影不在台灣,拍不出來!」他也驕傲地表示當他帶著 一百五十個來自世界各國的工作人員在台灣進行拍攝工作時,還有人看到台灣的各種設施,覺得美國才是第三世界,在這裡似乎沒有什麼是不可能的!
從 台灣第一部入圍奧斯卡的電影「喜宴」,到全亞洲第一個拿下奧斯卡最佳導演的榮耀,李安帶著台灣的記號登上國際主流舞台,這次得知「少年PI」拿下多達十一 項入圍時,他笑著表示志不在得獎,但是:「如果有贏的話,最大的好處就是,我可以在全世界面前謝謝台灣」;第八十五屆奧斯卡金像獎頒獎典禮將在台灣時間二 月二十五日舉行。
其實他早在宣傳時就不斷感謝台灣,因為「少年PI」就算是在技術、設備都成熟的好萊塢,仍然是個「不可能的任務」,他也坦 言雖然非常喜歡這個故事,但其實剛開始壓根兒不想把它拍成電影,因為此舉有如「搬石頭砸自己的腳」,而讓他完成這個艱困任務的,就是台灣給予的全力支持。
「少年PI的奇幻漂流」全球票房至二月十日(大年初一)止,已超過一百六十億台幣。李安春節前曾利用宣傳空檔返台謝票,儘管已是好萊塢一級大導,他回家還是會去巷口吃一碗麵,這就是李安的魅力所在,無論在哪裡,他都仍然是那個保持初衷的台灣導演。 (記者封以恩)

好萊塢向來愛以美國觀點敘事,即便說的是他國故事。美聯社報導,李安希望「少年Pi」內含的國際感性,能逐漸成為好萊塢習以為常的一環。
李安說:「這是全球電影文化。主流電影語言大體上由好萊塢和美國人所建立,因此是美國式的。雖然有一些歐洲導演,但還是美國精神。」
「我認為這裡建立的電影語言,是當你要嘗試做某些不一樣的事情時所面臨的最大障礙。你要知道,全世界看待事物的觀點都不同,他們有不同的生命體驗。」
Boxofficeguru.com經營人潘迪亞(Gitesh Pandya)說:「這部電影幾乎沒有美國元素。我們看到愈多這類以全球為背景的非正統電影確實能夠賺大錢的例子,就能夠朝這方向邁出一步,試著找到更多這類電影。」
好萊塢現在仍公式盛行,故事大多反映美國品味,不過在李安、彼得傑克森(Peter Jackson)、吳宇森等海外導演的努力下,電影角色已逐漸增加多樣性,題材也呈現更寬廣的世界觀。
李安說:「它現在還不是主流。有朝一日吧。那需要業界經年累月建立。電影文法當初是以那種方式、模式建立,我想他們製造的大多數電影仍遵循那些模式。那就是公式。如果你真的想賺錢,就必須尊重它。」
「但我認為,他們必須對不同類型的電影製作更開放。」
「這是漸進的,不會劇烈改變任何事情,但你只要看看數據,看看這部電影在全球的數據。美國市場沒有縮小,這是世界上其他人的傑作。他們站了出來,貢獻票房。」



2012年與Ken Su 談李安團隊在台中的旅館費就約1.2億
Ken 說導演是兼藝術家與領導人......
2013年一月公視再播李安的90年代初的三部曲
我2013.1.20 重溫喜宴
大師的少作還是很精彩

喜宴
Wedding Banquet
wedding.jpg (12228 bytes)

 

導演: 李安

出品年:1993

出品公司:中央有限公司


「少年PI」的全球票房已破4.5億美元(約台幣130億元),成為李安最賣座電影。11項奧斯卡入圍也打破「臥虎藏龍」的10項奧斯卡入圍紀錄。
少年PI日本首映本木雅弘配音
「少年PI」將於25日在日本上映,前晚在東京灣舉行首映會,片商還準備了兩旁有LED燈的藍地毯營造海上漂流感。李安表示:「因為是海上的電影,這樣安排很別出心裁,不過有點冷。」
為該片配音的日本男星本木雅弘也出席首映,他曾主演「送行者:禮儀師的樂章」,謙稱自己只是為成年之後的PI配音,「這樣就能夠與敬愛的導演一起出席如此盛大的活動,真的很光榮」。
小水滴扮小老虎 搏李安歡心
李安也表示他從以前就對本木的電影有興趣,「我也是他的粉絲」。不過當他看到日本人氣童星小水滴打扮成老虎的模樣獻花,立刻主動抱起來拍照,還表示下部片要找小水滴拍,讓一旁的本木羨慕不已。
李 安一結束日本宣傳行程就飛回台灣,還將在19日下午去欣欣秀泰影城會見影迷。當消息在網路上曝光後,下午1點20分那場在3小時內賣掉五成,前排中間離李 安比較近的位置都已賣光,下午4點那場的票還剩比較多。



李安:拍《少年派》是對信仰的考驗
四上午﹐李安憑借其執導的影片《少年派的奇幻漂流》(Life of Pi)獲第85屆奧斯卡最佳導演獎提名。這部3D史詩大片根據作家揚•馬特爾(Yann Martel)的小說改編。現年58歲的李安在2006年曾因執導《斷背山》(Brokeback Mountain)而獲當年的最佳導演獎。但對李安來說﹐《少年派的奇幻漂流》則是一部難度大得多的電影。

李安在接受《華爾街日報》採訪時說﹐執導《斷背山》的過程相當輕鬆。雖然拍攝過程中他們待在高山上﹐但對李安來說﹐《斷背山》的拍攝過程遠不如《少年派》來得費勁。他說﹐《斷背山》實際上比較容易拍攝﹐那部電影從頭到尾都不算難。


Getty Images
李安
但《少年派》則相反。李安花了四年時間拍攝這部影片。他在台灣的一個舊機場搭建了一個水箱﹐並聘請了3,000人參與電影製作。李安說﹐這是我執導的最難的一部影片﹐並順勢提到了影片故事情節的主題之一﹐說這就像對信仰的考驗。

週四上午《少年派》獲得了11項奧斯卡提名﹐除了最佳導演之外還包括最佳影片和最佳攝影等。在提名公佈之後不久﹐李安接受《華爾街日報》的採訪﹐談論《少年派》以及他可能執導的下一部影片《埃及艷後》(Cleopatra)。

《華爾街日報》:恭喜你獲得奧斯卡提名。

李安:今天對我們來說是個好日子﹐謝謝。

《華爾街日報》:你是如何知道這一消息的?

李安:我是被助手叫醒的。那會兒還很早﹐我想這可能是好消息﹐因為當時我正在做夢。

《華爾街日報》:你夢到自己獲得提名了嗎?

李安:不﹐不﹐是別的事情﹐我不記得了﹐然後我就醒了(笑)。我週三晚上剛到洛杉磯﹐以便參加週四晚上的“廣播影評人獎”(Broadcasting Critics Award)頒獎典禮。所以我住在酒店裡。

《華爾街日報》:你曾因執導《斷背山》獲最佳導演獎。執導《少年派》和執導《斷背山》有何不同?

李安:拍攝《少年派》的整個過程都很費勁。我為此付出四年時間﹐這是我拍攝過最困難的一部影片。《斷背山》可能是最容易的(笑)﹐或至少比這部容易。這部影片真的很難拍攝﹐有3,000人參與其中。這就像是對信仰的考驗。整個過程就像在爬山。種種細節都不容易﹐將一部帶哲學思考的作品變成一部造價高昂的電影給了我很大壓力。我將這部電影帶到我的故鄉台灣﹐搭建了一個新的影棚拍攝此片。台灣是我能想到的惟一一個能拍好這部影片的地方。出演主角的男孩兒﹐老虎﹐3D﹐水﹐這些都很不容易。如何把這些元素組合到一起?在商業上可行嗎?

《華爾街日報》:拍攝《斷背山》花了多長時間?

李安:兩個月的拍攝時間﹐整個過程非常順利。劇本寫得很好﹐演員也很優秀。你可以做最簡單的事情﹐結果發現它很難。但《斷背山》就這樣拍了下來。一切都很順利。從第一幕拍攝開始﹐大家都融入了這部影片(笑)。事實上﹐在《綠巨人浩克》(The Hulk)之後我認為我可以拍攝一些簡單的影片。我認為《斷背山》是一部純藝術電影﹐但當它進入購物中心後﹐我開始感到擔心。

《華爾街日報》:你需要專門針對《少年派》學習或完善哪些東西?

李安:印度﹐宗教。影片講的是上帝﹐不一定和宗教有關﹐但我還是需要有所研究。還有水。做了很多有關怎樣處理水的研究﹐不過觀眾花錢來看的就是這個。不是先學習研究﹐然後再拍電影﹐而是在學習的過程中拍片。所以實際上這一部分是最困難的。3D對我是一種新事物﹐一種新的電影語言﹐對所有人都是新的。沒有誰真正能夠給你提建議。我們就是這樣一路摸索。

《華爾街日報》:你怎樣研究宗教?通過文本嗎?

李安:是的﹐文本。我不像派那樣信仰各種宗教(笑)。我跟別人交流﹐跟有宗教信仰的人交流。特別是印度教我不熟悉﹐所以必須深入﹐必須去廟宇參觀。

《華爾街日報》:我估計影片中的那只孟加拉虎里查德•帕克(Richard Parker)說不定會獲得提名。

李安:(笑)

《華爾街日報》:它是不是最富挑戰的方面之一?

李安:是的﹐不僅要讓老虎顯得真實﹐還要讓它的舉止像是一只老虎。這花了很多功夫。我們做視覺特效的一幫人真的是做了一些開創性的工作。

《華爾街日報》:你們還在台中附近的一個廢棄的機場建了一座水池。

李安:我想模擬開闊的海洋﹐想對它有所掌控。影片中很大一部分都是在海上﹐我想讓水成為一個角色。這是一部沒有湯姆•漢克斯(Tom Hanks)的漂流片﹐所以你一定程度上得通過視覺來抓住觀眾(笑)。必須讓水說話﹐必須實現某種控制。如果我跑到真正的海上﹐或者按常規辦法﹐只表現出海浪﹐讓它從牆上反彈回來、起起落落﹐那樣根本就沒有效果。所以我必須要創造出某種新的東西。

《華爾街日報》:你對《少年派》最感自豪的是什麼?

李安:跟所有事情一樣﹐是某種相當抽象的東西。僅僅是人們姑且一試的機會﹐不管是電影人還是福克斯公司﹐就已經夠了。甚至在拍攝的過程中﹐我也會想﹐天哪﹐我們在做什麼?我覺得這一方面是最特別的。

《華爾街日報》:你是要執導《克利奧帕特拉》(Cleopatra)嗎?

李安:我不知道。他們說要把劇本發給我。我想﹐好吧﹐沒問題﹐我會看的。他們還沒有把劇本發過來。這是一個非常吸引人的想法。

《華爾街日報》:之前你跟安吉麗娜•朱莉(Angelina Jolie)有沒有談過合作的事?

李安:沒有面對面談過﹐但通過電子郵件交流過。

《華爾街日報》:在老家台灣拍片是什麼感覺?

李安:我生於屏東﹐母親現在住在台南。我跟台灣重新建立了聯繫。自從離開之後﹐我從沒花那麼多時間在台灣工作、跟當地社會重新聯繫。從政府到所有人﹐他們都給了我莫大的幫助。

《華爾街日報》:你還會在台灣拍片嗎?

李安:會的﹐那是我的故鄉。

《華爾街日報》:你每一部片子都如此不同。有沒有某種類型的影片﹐比如音樂片或傳記片﹐是你想在將來拍攝的?

李安:其中的元素必須要能夠抓住我。通常是元素先於題材抓住我﹐然後我再選擇類型來契合主旨。我不會先列一個清單﹐我不是一個影迷式的電影人。

Barbara ChaiAng Lee on Why Oscar Nominee 'Life of Pi' Was 'A Test of Faith'

 Ang Lee received an Academy Award nomination this morning for directing 'Life of Pi,' the 3-D epic based on Yann Martel's novel. Lee, 58, won in this category in 2006 for directing 'Brokeback Mountain,' but to him, 'Life of Pi' was a much more difficult film.

Directing 'Brokeback Mountain' 'was quite breezy,' the director said in an interview with The Wall Street Journal. Even though they were high up in the mountains, it wasn't an uphill climb the way 'Life of Pi' was to Lee. 'It was actually easy to make, from beginning to end that movie was all good.'

'Life of Pi,' however, was the opposite. It took Lee four years to make, and he built a water tank in a former airport in Taiwan and hired 3000 people to work on the film. 'It was the hardest movie I made,' he said and, tapping into one of the themes of the film's storyline, said 'it was like a test of faith.'

'Life of Pi' received 11 nominations Thursday morning, including Best Picture and Best Cinematography, in addition to Best Director. Lee talked with the Journal shortly after the announcement to discuss 'Life of Pi,' and the possibility of directing 'Cleopatra' next.

Congratulations on your nominations.

It's a good morning for us. Thank you.

How did you hear the news?

I was awakened by my assistant. That early, I thought it might be good, because I was having a dream actually.

Were you dreaming you were nominated?

No, no, about something else. I don't remember, then I woke up [laughs]. I just arrived in L.A. last night for the Broadcasting Critics Award tonight. So I'm in a hotel.

You won the Best Director Oscar for 'Brokeback Mountain.' How did directing 'Life of Pi' differ from that experience?

This movie ['Life of Pi'] seemed like everything was uphill. I worked for four years. It was the hardest movie I made. 'Brokeback' is probably the easiest [laughs], or easier at least. This was really hard and 3000 people worked on it. It's like a test of faith. Everything was uphill. Difficult elements, turning a philosophical book into an expensive movie. A lot of pressure. I carried it [to] the only place I think I could do it, my hometown, Taiwan, to create a new facility to make it. First acting boy, tiger, 3-D, water. It was all difficult. And how to put it together? To be viable commercially?

How long did 'Brokeback Mountain' take?

Two months shooting, and everything went well. The script was great, the actors brilliant. You can do the easiest thing but it turns out to be difficult. But that one just happened. Everything went smoothly. From the first cut on, people just melted over that movie [laughs]. Actually, after 'The Hulk' I thought I would do something easier, and I thought that was going to be strictly arthouse. When it hit the shopping mall, I got worried.

What did you have to learn or perfect specifically for 'Life of Pi'?

Well, India. Religion. It's about God, not necessarily religion, but I still needed to get into it somewhat. Water. A lot of study about how to do water, except you're paying for it. You're not studying and doing research, and then the work. You're doing the work while you're learning. So, that actually turned out to be the most painful part. 3-D is new to me. It's a new cinematic language, new to everyone. Nobody can really give you advice. So, we were groping along the way.

How did you study religion? Through texts?

Yeah, texts. I’m not like Pi, practicing all the religions [laughs]. I talked to people, to the faithful. Particularly India, the Hindus I’m not familiar with, so I had to get into it. Visiting temples.

I half-expected Richard Parker, the Bengal tiger, to get a nomination.

[Laughs]

Was that one of the most challenging aspects?

Yeah, to have the tiger not only be realistic but to behave like a tiger. That took a lot of work. Our visual effect guys really did some groundbreaking work.

You also built a water tank at a former airport near Taichung.

I wanted to simulate the open ocean. I wanted to control it somehow. A big part of the movie is out on the ocean, and I wanted the water to be a character. It's an adrift movie without Tom Hanks, so you gotta visually grab them somehow [laughs]. The water has to speak. I have to have some kind of control. If I go out to the real ocean or the conventional way, of just showing the wave and it bounced back from the wall and go up and down, up and down, it just wouldn't work. So I had to create something new.

What are you most proud of with 'Life of Pi?'

It's something quite abstract, like everything. Just the sheer chance that people took a leap of faith on this one, whether the filmmakers or Fox. Even when I was doing it I thought god, what are we doing? I think that part is most special.

Are you going to direct 'Cleopatra'?

I don't know. They say they're going to send me the script. I think okay, good, I'll read it. They have not sent the script. It's a very attractive idea.

Have you and Angelina Jolie ever discussed working together before?

Not face to face but we exchanged emails a little bit.

How was it filming in your hometown, Taiwan?

I was born in Pingtung. My mother is in Tainan. I reconnected to Taiwan. Since I left I had not spent that much time working, reconnecting to society. The help I got was just incredible, from government to just everybody in Taiwan.

Will you film there again?

Oh yeah, yeah. It's my hometown.

Each of your films is so different. Is there a type of film, like a musical or a biopic, you'd like to do in the future?

Well, the elements of a project have to grab me. Normally that grabs me before genre. Then I choose genre to fit the subject matter. I don't have a checklist. I'm not a movie buff type of filmmaker.

Barbara Chai


李安談《少年派》獲11項奧斯卡提名


根據2001年全球暢銷的同名小說改編的3D影片《少年派的奇幻漂流》(“Life of Pi”),讓許多有關奧斯卡獎的預測落空,獲得了11項提名,僅次於史蒂文·斯皮爾伯格(Steven Spielberg)導演的傳記片《林肯》(“Lincoln”)獲得的提名項數。《少年派》除了獲得技術類別的預期提名、以及最佳影片提名外,這部關於 海難逃生、宗教奇觀、以及一隻叫做理乍得·帕克(Richard Parker)的兇猛數碼老虎的影片,還為李安贏得了最佳導演提名。
李安曾被提名奧斯卡最佳導演獎,並於2005年因《斷背山》(“Brokeback Mountain”)獲獎。今年他再次進入了最后角逐,而其他一些預期頗高的人,比如《逃離德黑蘭》(“Argo”)的導演本·阿弗萊克(Ben Affleck) 、《獵殺本·拉登》(Zero Dark Thirty)的導演凱瑟琳·畢格羅(Kathryn Bigelow)、以及《被解放的姜戈》(Django Unchained)的導演昆汀·塔倫蒂諾(Quentin Tarantino),卻沒有獲得提名。
周四早上,還沒有完全睡醒的李安在洛杉磯接電話時說,“我感到很幸運。我們不知道這部電影會有什麼樣的表現。”
李安導演過各種風格的影片,包括武術傳奇(《卧虎藏龍》)、經典古裝劇(《理智與情感》),以及超級英雄傳(《綠巨人》)。他在電話採訪中談論了這次提名以及《少年派的奇幻漂流》,以下是訪談節選。
問:你是怎麼知道獲得提名的?
答:是助手把我叫醒的。電話響了,我只聽到他粗重的呼吸聲,他還沒能把話說出來,我就猜可能得到了比預期要多的提名。接着,他只是說“十一,十一。”
問:把這本書改編成電影哪些地方最困難?
答:啊,所有的。拍水很不容易,造一隻可信的數碼老虎也不容易。而且我們用了一個名不見經傳的男孩(蘇拉·沙瑪(Suraj Sharma))演主角。
問:這帶來了什麼特別的挑戰嗎?
答:我覺得給他導演就像是在喚醒他,提醒他記起前世生活中所知的東西。和他工作很容易,很可靠。拍攝的最後三個月我們只拍他,其他什麼都沒拍。他從沒有生病、從沒有受傷、從沒有精神崩潰。
問:在《少年派》和《綠巨人》之後,你有了拍攝完全是想像出來的CGI角色的經驗。導演這些不會跟你辯駁的演員是不是更有趣?
答:但那也很單調乏味(大笑)。它們雖然不跟你爭吵,但也不給你任何反饋。你要去創造一切。任何事情都有兩個方面。
問:人們聽到你在拍《少年派》時,有沒有給你寫信?
答:有。小說當然是部經典,人們有各自不同的理解,也有他們各自的想法。但當你花了一整夜,為拍一個水的場景折騰了12個小時,所有的辦法都不管用,一個鏡頭也沒拍成時,你不會去操心哲學問題(大笑)。你只是想把這個該死的電影拍出來。
問:這個電影的視覺效果很震撼。你之前心裡有模版嗎?
答:我花了一年時間把海洋那部分先視覺化出來。我們用的每一個動物都有一個模特兒或典範——一個真動物來讓我們 學習、觀察,以確保現實性。最難的是,讓它們演得像真的動物,而不是把人的想像強加於它們。這需要很多觀察,要讓動物去教你怎麼做,而不是讓那些數碼的東 西符合你的要求。
問:你會去奧斯卡頒獎典禮嗎?
答:是的,當然。我每次都去。
問:你已經獲得了很多獎項,所以——
答:我已經膩歪了嗎?不。你不會因為獲得讚賞和認同而變得憤世嫉俗,尤其是為你的團隊時。這是件好事。而且隨着我變老,也許我會嘗試更多地去享受榮譽。
問:拍這部電影,你覺得將給你留下最長久記憶的是什麼?
答:與水的搏鬥。
翻譯:張亮亮

Ang Lee on the Digital Characters Who Can't Argue Back

"Life of Pi," the sweeping 3-D fantasy based on the 2001 international best-selling novel, defied many Oscar predictions by netting 11 nominations, second only to Steven Spielberg's "Lincoln." In addition to the expected showing of "Pi" in the technical categories and a best picture nod, the film about shipwreck survival, religious wonder and a ferocious digital tiger named Richard Parker also drew a best directing nomination for Ang Lee.
Mr. Lee has been up for an Oscar before -- and won for 2005's "Brokeback Mountain" -- but this year he made the cut while some expected names -- Ben Affleck ("Argo"), Kathryn Bigelow ("Zero Dark Thirty") and Quentin Tarantino ("Django Unchained") -- were left off of the list.

"I feel really blessed," a groggy Mr. Lee said by phone from Los Angeles on Thursday morning. "We didn't know how the movie was going to play."
The director, whose eclectic credits include martial arts fables ("Crouching Tiger, Hidden Dragon"), classic period drama ("Sense and Sensibility") and superhero tales ("Hulk"), discussed his nomination and "Life of Pi" in a phone interview. These are edited excerpts from the conversation.
Q. How did you find out about the nominations?
A. My assistant woke me up. The phone rings and I hear heavy breathing before he can speak, so I guessed we might get more than we expected. And he just said "11, 11."
Q. What were some of the trickiest aspects of bringing the book to life?
A. Oh, everything. Water's hard, as is making a believable digital tiger. And then we have an unknown boy [Suraj Sharma] playing the lead.
Q. Did that bring any special challenges?
A. I feel like directing him's like waking him up, reminding him what he used to know in a past life. Very easy to work with; very reliable. For the last three months we shot nothing but him. Never got sick, never got injured, never melted down.
Q. After "Pi" and "Hulk," you have lots of experience working with the fully imagined CGI characters. Is it more fun to direct actors who can't argue with you?
A. It's tedious, though [laughs]. They don't argue with you but they also don't give you anything. You have to create everything. Everything has two sides.
Q. Did you hear from people when they heard you were working on "Life of "Pi"?
A. Yeah. The book of course is the Bible and people have their own interpretations and bring their own ideas. But when you're struggling with a water scene for 12 hours overnight and nothing works and no shots get done, you're not gonna worry about the philosophy [laughs]. You're just gonna try to get the damn thing to work.
Q. The film is visually striking. Did you have any models in mind?
A. I spent a year pre-visualizing the ocean part. Every animal we had had a model or hero - a real animal for us to learn from, to observe for realism. Making them act like an animal and not injecting the human wishful thinking, that's the hard part. It takes lots of observations - you have to let the animal teach you what to do instead of just making the digital thing work for you.
Q. Are you going to the Oscar ceremony?
A. Yeah sure, I always do.
Q. You've received plenty of honors already so-
A. Am I jaded? No. You can't get cynical about approvals and recognitions, particularly for your team. It's a good thing. And as I get older, maybe I try to enjoy it a bit more.
Q. What do you think you will remember most about making this movie?
A. Struggling with water.

美國拉斯維加斯影評人協會獎(LVFCS Sierra Award)今天揭曉,台灣導演李安所執導的《少年PI的奇幻漂流》(LIFE OF PI)一舉榮獲6項大獎,李安獲得最佳導演殊榮,該片也獲選年度10大影片第1名。

美國時間明天上午將公布金球獎入圍名單,《少年PI》在拉斯維加斯影評人獎中擒6大獎,無疑是好兆頭。《少年PI》拿下最佳影片、最佳導演、最佳新進演員、最佳攝影、最佳視覺效果與年度10大影片。

《林 肯》包辦男主角和男配角獎項,分別由丹尼爾戴路易斯(Daniel Day-Lewis)和湯米李瓊斯(Tommy Lee Jones)獲獎。最佳女主角是主演《派特的幸福劇本》的珍妮佛勞倫斯(Jennifer Lawrence),最佳女配角則是《悲慘世界》的安海瑟薇(Anne Hathaway)。

 

アン・リー監督「ライフ・オブ・パイ」記録的ヒット!中国の超大作を抜き去り―台湾


7日、アン・リー監督の最新作「ライフ・オブ・パイ/トラと漂流した227日」が、故郷・台湾はじめ世界的ヒットを飛ばしている。写真はアン・リー監督。
7日、アン・リー監督の最新作「ライフ・オブ・パイ/トラと漂流した227日」が、故郷・台湾はじめ世界的ヒットを飛ばしている。写真はアン・リー監督。 (Record China)
2012年12月7日、アン・リー(李安)監督の最新作「ライフ・オブ・パイ/トラと漂流した227日」が、故郷・台湾はじめ世界的ヒットを飛ばしている。NOWnewsが伝えた。
「ラスト、コーション」や「ブロークバック・マウンテン」などで知られるアン・リー監督の最新作は、ベストセラーとなった英小説 「パイの物語」を映像化したもの。インドの少年パイが家族と一緒に船でカナダに渡る途中に遭難し、ベンガルトラなどの動物たちと227日間の漂流生活を送 るというストーリーだ。
台湾では先月21日に封切られ、興行成績がすでに2億2000万台湾ドル(約6億2000万円)を突破という異例のヒット。北米地区や中国では翌22日から公開され、現在までに38億5000万台湾ドル(約109億円)というヒットを飛ばし、快進撃を続けている。
特に中国では、中国映画史上最高ヒットが期待されるフォン・シャオガン(馮小剛)監督の最新作「Back to 1942(原題・一九四二)」が、今月7日までの段階で興行成績9億3000万台湾ドル(約26億円)。これに対して「ライフ・オブ・パイ」は、すでに 15億台湾ドル(約43億円)を稼ぎ出し、これも台湾の観客を大喜びさせている。
台湾での異例のヒットを聞き、ヨーロッパ滞在中のリー監督は、急きょ動画でのメッセージを台湾に向けて発信。「ライフ・オブ・パイ」の大半は台湾・台中市で撮影したものだけに、監督自身にとっても大きな喜びだという。(翻訳・編集/Mathilda)

 


精彩的訪談台灣「公視藝文大道」

  第34集 導演李安的奇幻漂流之旅
華人之光、國際大導演李安,帶著新作『少年Pi的奇幻漂流之旅』回到台灣。 想要看懂李安、瞭解李安,見證李安的奇幻旅程,精彩內容就在『公視藝文大道』。

Taiwanese director honored in France

Staff writer, with CNA, PARIS

Taiwanese film director Ang Lee, left, poses beside French Minister for Culture and Communications Aurelie Filippetti after receiving the Chevalier of the Order of Arts and Letters medal yesterday at the Culture Ministry in Paris.

Photo: AFP

French Minister of Culture and Communications Aurelie Filippetti decorated Taiwanese director Ang Lee (李安) with the title of Chevalier of the Order of Arts and Letters on Tuesday in recognition of his achievements in filmmaking.

The honor came a day after the European premiere of Lee’s latest film, Life of Pi, a 3D exploration of faith centered on a boy stranded in a lifeboat with a Bengal tiger.
Filippetti praised Lee’s films, saying they have touched the hearts of audiences around the world and described them as a product of his background — growing up in the melting pot of Taiwan and studying filmmaking in New York.

“At the convergence of art forms and cultural heritages, your professional journey has made you the filmmaker of cultural juxtaposition and of revealing ‘otherness,’” the minister said.
Introducing each of Lee’s 12 films, Filippetti said he had immersed himself in different cultures and helped people from different backgrounds break misunderstandings.

“You have combined the aesthetic principles of Hollywood with Asian filmmaking traditions in an uninterrupted dialogue between East and West,” the minister said.

Filippetti further lauded Lee’s strenuous efforts to strike a balance between commerce and art.

She also mentioned the French people’s love and respect for Lee, saying renowned French actor Gerard Depardieu’s willingness to play a minor role in Life of Pi was a form of recognition of Lee’s accomplishments.

Lee said he has admired French New Wave films since his youth and has always been inspired by French films, which is why he invited French film icon Depardieu to play the chef in Life of Pi.

Saying France is not just a “country of cinema,” but also a “great guardian of culture in general,” Lee expressed his gratitude to the French Ministry of Culture for the honor.
“In receiving the Chevalier of Arts and Letters, I understand I have joined a luminous group of men and women from all over the world” who work for culture, Lee said.

Lee’s wife, Lin Hui-chia (林惠嘉), Taiwan’s representative to France Michel Lu (呂慶龍) and many other dignitaries, including Gilles Jacob, a former Cannes Film Festival president, noted director Olivier Assayas and Life of Pi production crew members also attended the ceremony.



李安 獲法國藝術文學騎士勳章

李安獲法國文化部頒發藝術及文學騎士勳章。(圖/法新社)
李安獲法國文化部頒發藝術及文學騎士勳章,妻子林惠嘉也到場觀禮。法國文化部長費裴堤稱讚李安「溝通東方與西方、平衡商業與藝術」,他的電影「觸動全球觀眾的心,因為他成長於文化熔爐的台灣,又在紐約學習電影。」
李安的3D大片「少年PI的奇幻漂流」剛在歐洲辦首映,曾演出「大鼻子情聖」的法國影帝傑哈德巴狄厄也在片中客串演廚師,因為他也很景仰李安。李安則表示他熱愛法國新浪潮電影,因此才邀請法國電影的代表人物傑哈德參與演出。
導演蔡明亮、侯孝賢、畫家吳炫三、作家李昂、掌中戲大師李天祿、鋼琴家陳郁秀、舞蹈家林懷民與京劇演員林懷民都曾獲頒法國藝術及文學騎士勳章。武俠小說家金庸還獲頒最高級的藝術與文學司令勳章。(文/鄒念祖)

李安:人最重要的是個性,不是才氣




李安在一場與作家龍應台的對談演講:「這一路走來的我──從台南的泥土談起」中,暢談父子之間的情感張力,以及投射到電影中的深愛與懷念。以下是李安本人精采的分享:
文/何碧娟整理     2009年    天下雜誌
從花蓮到台南,一個世界兩樣情
在花蓮的生活很單純,泥土性很強,那是一個典型的國民黨軍公教環境,接受美式自由開放的實驗教育。一直到了台南,才有「外省小孩」的自覺。十歲搬到台南, 老師、校長都講台灣話,當時對於日本式教育有極大恐懼,尤其害怕數學。雖然在那個環境下嚴重不適應,但也提供了建立良好紀律、道德標準、社會意識的機會。
台南跟花蓮的情感差很多,主要跟升學有關。除了不適應環境之外,父親就是自己的校長,在學校就是躲父親,遠遠看到就繞路走,遇到也不知道該怎麼稱呼。
到台南上課第二天,數學考不好就打耳光,打完還要謝謝老師。第一次被打好像世界末日,回家一直哭,沒有受過這樣的對待。這是第一次文化衝擊。在國外說到這些童年往事,才發現自己難怪拍這些電影,原來一切都可以被解釋。
父親給長子的期待與壓力
在中國宗族系統,大大小小事情都靠長子作主,對於公平正義有觀念,對家庭負責。父親過世時,我把兒子叫過來,要兒子看著怎麼做。拍片時,家事瑣事什麼都不用煩,但是那時卻是什麼事都要作主。然後跟兒子說:「如果以後自己死了,李家就靠你作主了。」


就算在成長過程中有壓抑反抗的時候,我還是把這樣的觀念交給自己的兒子。父親對我來說,就像來台的國民黨,權力其實在流失,但大家都在極力保留他的顏面。 看起來很矛盾,但實際上很合理。年輕人一方面追求自由、反抗壓抑,但紀律也帶來安全感,讓人生有立足點,不至於飄忽不定。對於父子、禮教的恐懼與深愛是混 在一起的,這是在拍片以後一點一點才看清楚。
以往拍攝電影作品中的「父親」角色,蘊含了文化與政治秩序、心理秩序的意義。人與人的關係要有信賴親切感,不是靠革命就能一夕推翻。滋養不容易,電影怎麼亂怎麼拍,而且是越亂越好看,然而生活卻是靠傳統禮教穩定發展維持,紀律在這個時候珍貴無比。

激情過後,衝突與反叛,然後呢?
唸藝專,是人生第一個大解放。電影《畢業生》給我的衝擊很大。人是不是可以不照著社會規則遊戲?原來電影可以做除了娛樂以外的東西。柏格曼也是影響我很深的導演。一個人怎麼可以用那麼美的方式問上帝在哪裡?那是我第一次的純真喪失。
到美國後,又一次撞擊。第一次讀到左派的書,對性與政治的震撼,讓長久以來的好壞認知被顛覆。之後好多年都比較喜歡反叛的電影,共產思想、批鬥中產階級、用衝擊性手法表現原罪慾望……什麼都看。

但是衝突與反叛以後呢?我嘗試在每部電影探討人生的過程,事情不要講絕,推翻可能更壞。就像書法的「三折法」一樣,最後還要勾一筆回來,才夠圓潤,有些事情很有道理,完全破絕又怎樣?要留給人回想的餘地。
雖然表現「死亡」、「永恆不變」的絕對值是藝術家的嚮往,但再怎麼決裂的東西,結局留一手,秉持中庸之道,作品才豐潤,不能光追求最大的戲劇效果,總要有情感流露。強大到某種程度,觀眾會麻痺,所以要保留彈性敏感。對死的追求是很浪漫的想像,但要有人情味。
談導演之路:現在正是亞洲導演的時刻
剛開始拍片時是快樂的,拍到一半發現電影本身比人還強勢,期待大挑戰也大,會心慌、會孤獨、會懷疑自己,一切都在黑暗中摸索。所以在《臥虎藏龍》、《浩 克》之後萌生退休念頭,卻在父親鼓勵之下,拍出了《斷背山》。片子一發精神就來,又拼了半條命拍《色戒》,而最新作品《胡士托風波》充滿純真,開心無比, 原來電影除了傷神可以補人。

重現胡士托音樂節,一點也沒有「文化跨越」的困擾。沒做覺得不可思議,做了就只是拍電影。文化就是可以跨越,因為那是人性共通,很自然不困難。好萊塢是個大熔爐,不是所有好導演都是美國人,還有許多歐洲導演也是這樣走過來,現在正是亞洲導演的時刻。
作為一個電影導演,我自認資質不好,但可以如此幸運有這樣的好成績,我覺得自己有任務把電影帶給世界,我的身體是心甘情願給電影用,擔任歷史洪流中的媒體 角色。偉大的導演不能沒有思想、感情、技術、運氣,缺一不可。最重要的是個性,不是才氣。鍥而不捨的決心熱情,也是最大的吸引力。

李安(guru)“I just want to survive it.”

電影

李安談《少年派》:你會被自己拍的電影慢慢同化

Rhythm & Hues/20th Century Fox
李安導演新片《少年派的奇幻漂流》,改編自揚·馬特爾同名小說,講述一個名叫派(蘇拉·沙瑪飾演)的印度男孩與一隻老虎被困在一艘救生艇上長達227天的故事。

“你會被自己正在拍的電影慢慢同化,”奧斯卡獎得主,導演李安最近在接受一次電話訪談時說道。他被問到的電影是《少年派的奇幻漂流》(Life of Pi),這部電影根據同名獲獎奇幻小說改編,講的是一個男孩和一隻孟加拉虎乘坐孤舟在海上呆了227天的故事。因此李安這些日子以來可能覺得自己更像在海上漂泊吧。

在這部影片里,李安不僅違背了那條“永遠別和小孩與動物一起工作”的演藝界古訓,而且還要面臨更多挑戰,比如汪洋大海、3D技術和信仰話題,此外 揚·馬特爾(Yann Martel)的小說原著擁有數以百萬計的狂熱書迷,他們的期望也是個大問題。儘管距離《少年派的奇幻漂流》上映只有幾個月(11月21日,本文最初發表 於2012年9月9日——編注)時間了,李先生還留在剪輯室里。
“我就和派一樣,”他說,“我覺得自己好像在太平洋上漂流。片子還沒有做完。有很多困惑,經常有意想不到的事情。你有時會有挫敗感,覺得自己的信念在經受考驗。身在大洋之上會讓你產生一種宗教感。我仰望上帝,問道‘為什麼?’但這是一個愉快的疑問。”
李安在生活中是個溫文爾雅,說起話來輕聲細語的人,但在拍片時卻總是做出大膽的選擇。在他20多年的電影生涯里,曾經嘗試過很多不同類型的影片。李安的作品包括翻拍簡·奧斯汀的小說《理智與情感》(Sense and Sensibility)、中國式武俠片《卧虎藏龍》(Crouching Tiger, Hidden Dragon)、漫畫改編的《綠巨人》(Hulk),還有兩個牛仔的動人愛情故事《斷背山》(Brokeback Mountain),該片在2006年為他贏得了奧斯卡最佳導演獎。

然而,李安花了兩個月的時間才同意接手這部由馬特爾的小說改編的電影,這部小說非常複雜,詳細記錄了派穿越太平洋的旅程,以及他在途中如何與絕望、 信念和一隻飢餓的孟加拉虎作鬥爭的過程。福克斯公司2003年買下小說改編版權後,曾經考慮過不少導演,其中包括M·奈特·沙馬蘭(M. Night Shyamalan)和阿方索·卡隆(Alfonso Cuarón)。但是電影遲遲未能開拍、吊足人的胃口,加之這本書的意涵本身也是仁者見仁、智者見智,有着各種理解。

“我喜歡這本書,”李安說,“但要改編起來就很難了。我覺得它的主題不應該是關於信仰,而應該是‘講故事’的價值,以及‘講故事’這件事是怎樣為生活賦予秩序和智慧。這是一個關於成長的故事,是關乎信念的飛躍。”

馬上要求把這部片子拍成3D版本並不實際,但李安還沒等動筆寫劇本就已經決定要拍成3D片。《看懂李安》(The Cinema of Ang Lee)一書的作者惠特尼·克羅瑟斯·迪爾雷(Whitney Crothers Dilley)說他的風格是“在處理人物關係方面能引起感情共鳴,在處理自然世界方面則為觀眾帶來壯麗的視覺效果”。

《少年派的奇幻漂流》預告片里的陸地動物、魚兒與星光熠熠的天空彷彿來自超自然世界,但是李安認為,最重要的是要在壯觀的景象與“細微的時刻”之間取得平衡。
“人們對3D技術有一種固定的認識,但是,目前雖然還沒有人應用3D技術拍出一部深刻的電影,這並不意味着3D電影不能做到這一點。”

2011年3月,《少年派的奇幻漂流》正式開拍,先是在印度拍了兩個星期。電影故事一開始發生在本地治里(Pondicherry),在那裡拍攝了 10天後,李安又移師慕納爾(Munnar)——印度南部丘陵環繞的一個冷清小鎮。印度導演們(特別是泰米爾語與Malayalam語電影圈裡的導演)經 常來慕納爾拍片,但3D攝像機來到這裡還是第一次。第一天當地海關官員們都跑來圍觀,引發的混亂還不小。那天李安看起來很高興,一直保持着微笑。他拒絕吃 午飯(“這是在打仗,我不需要吃東西”),然後熱切地談起了那位主管一切的“電影之神”。

“我的觀念才是最重要的,而不是我本人,”他說,“電影應該有自己的生命,你不能去把它創造出來,只能響應一種召喚,給它起個頭。拍電影不是一種獨裁,你必須謙卑,你必須溫和,要敏感慎重地與人溝通,坦陳自己的缺點,與他人分享夢想,也允許大家說出自己的夢想。”
李安的演員們似乎感受到了導演身上的這種特質:對他來說拍電影幾乎是一種精神之旅。飾演成年派的演員伊爾凡(Irrfan)在電子郵件中說拍攝電影的經歷如同“一次遠征、一次旅行、一種探索”。他還說,“李安讓自己置身火線邊緣” 。

年輕派的飾演者是一個名不見經傳的17歲印度男孩,名叫蘇拉·沙瑪(Suraj Sharma),他的父母正好都是數學家,這個巧合讓李先生不禁哈哈大笑。“太巧了,兩個數學家生了一個孩子,演了一個名叫‘派’(這裡是指圓周率‘π’——譯註)的主角。”

影片開拍之前,沙瑪的母親舉行了一個小型儀式,讓沙瑪拜李安為自己的上師(guru)。在儀式的最後,沙瑪按照印度傳統禮節觸摸了李安的雙腳。“中國人沒有類似的禮儀,”李安說,他出生在台灣,但在美國居住已經超過30年,“我沒有超能力,我也不是印度哲人。但我把他當作自己的兒子一樣看待。我盡自 己最大努力扮演好他的上師角色。”

沙瑪在台灣接受了3個月的培訓,每周7天,沒有休息。訓練內容包括游泳,因為電影有很大一部分要在一個巨大的水箱里拍攝,它是在台灣的一個飛機庫里造出來的。

李安說,壓力會讓人成為一個截然不同的角色。沙瑪就成了一個“精神領袖”。“我們都曾經經歷過這種天真與努力,但也許已經有些疲憊了。他讓我們想起自己當初是怎麼走上電影這一行的。每一天都是奇蹟。”

沙瑪在電子郵件中說,拍片中他從來沒有感覺被壓垮了,因為“李安一直在我身邊”。他說,“我知道他會照顧我的。”

無論如何,對於李安來說,真正的挑戰還沒結束。《少年派的奇幻漂流》是一部大成本電影,這讓他非常發愁。“我們拍的是一部富於情感的電影,這樣的電影通常都應該以小成本拍攝。情感和金錢就像兩條平行線,沒法相交。”

在《復仇者聯盟》(Marvel’s The Avengers)和《黑暗騎士崛起》(The Dark Knight Rises)這樣的漫畫改編電影一統天下的環境下,觀眾們是否願意掏錢去看一個印度男孩與一隻老虎的旅行乃至他的心路歷程呢?這個問題令李安“承受着極大壓力”。

他說,這部電影迫使他成長。“我就像彼得·潘一樣,”他補充道。“我在很多方面都不怎麼成熟,但是這次我學到了很多東西,我不得不去做各種決定,並為此承擔更多責任。”

他說,自己現在就像派一樣,只希望這次旅行趕快結束。“我只希望旅程結束的時候我還活着。”
本文最初發表於201299日。
翻譯: 董楠




Adrift With a Tiger and the Film God

电影

李安谈《少年派》:你会被自己拍的电影慢慢同化

“YOU become the movie you are making,” the Oscar-winning director Ang Lee said in a recent telephone interview. Given that the movie in question is “Life of Pi,” based on the award-winning, fantastical novel about a boy and a Bengal tiger marooned on a boat for 227 days, Mr. Lee is feeling a bit more at sea than usual these days.
“你会被自己正在拍的电影慢慢同化,”奥斯卡奖得主,导演李安最近在接受一次电话访谈时说道。他被问到的电影是《少年派的奇幻漂流》(Life of Pi),这部电影根据同名获奖奇幻小说改编,讲的是一个男孩和一只孟加拉虎乘坐孤舟在海上呆了227天的故事。因此李安这些日子以来可能觉得自己更像在海上漂泊吧。
With this film Mr. Lee has not just defied the old showbiz adage “Never work with children or animals,” but he has also taken on a few more challenges — like water, 3-D, religion and the expectations of millions of rapt readers of the book, by Yann Martel. Although “Life of Pi” was just a few months away from release (it is set to open on Nov. 21), Mr. Lee was still in the editing room.
在这部影片里,李安不仅违背了那条“永远别和小孩与动物一起工作”的演艺界古训,而且还要面临更多挑战,比如汪洋大海、3D技术和信仰话题,此外扬·马特尔(Yann Martel)的小说原著拥有数以百万计的狂热书迷,他们的期望也是个大问题。尽管距离《少年派的奇幻漂流》上映只有几个月(11月21日,本文最初发表 于2012年9月9日——编注)时间了,李先生还留在剪辑室里。
“I’m like Pi,” he explained. “I feel adrift over the Pacific. I haven’t locked the picture yet. There are lots of confusions, constant surprises. There are times you feel defeated. You feel like your faith is being tested. When you’re on the ocean, it’s spiritual. I look at God and ask, ‘Why?’ But it’s a happy why.”
“我就和派一样,”他说,“我觉得自己好像在太平洋上漂流。片子还没有做完。有很多困惑,经常有意想不到的事情。你有时会有挫败感,觉得自己的信念在经受考验。身在大洋之上会让你产生一种宗教感。我仰望上帝,问道‘为什么?’但这是一个愉快的疑问。”
Rhythm & Hues/20th Century Fox
李安导演新片《少年派的奇幻漂流》,改编自扬·马特尔同名小说,讲述一个名叫派(苏拉·沙玛饰演)的印度男孩与一只老虎被困在一艘救生艇上长达227天的故事。
Mr. Lee, who is gentle and soft-spoken in life, has always been fearless in his cinematic choices. In a career spanning 20 years he has continually jumped across genres. The Lee oeuvre includes a Jane Austen novel (“Sense and Sensibility”), a Chinese martial-arts epic (“Crouching Tiger, Hidden Dragon”), a comic-book adaptation (“Hulk”) and the deeply moving love story of two cowboys, for which he won the best director Oscar in 2006 — “Brokeback Mountain.”
李安在生活中是个温文尔雅,说起话来轻声细语的人,但在拍片时却总是做出大胆的选择。在他20多年的电影生涯里,曾经尝试过很多不同类型的影片。李安的作品包括翻拍简·奥斯汀的小说《理智与情感》(Sense and Sensibility)、中国式武侠片《卧虎藏龙》(Crouching Tiger, Hidden Dragon)、漫画改编的《绿巨人》(Hulk),还有两个牛仔的动人爱情故事《断背山》(Brokeback Mountain),该片在2006年为他赢得了奥斯卡最佳导演奖。
Still, it took Mr. Lee two months before he agreed to take on Mr. Martel’s complex book, which charts Pi’s journey across the Pacific Ocean and his struggle with despair, faith and a ravenous tiger. Adapting “Life of Pi” had been considered by others since Fox Studios acquired the film rights to the book in 2003 (including M. Night Shyamalan and Alfonso Cuarón). Not only were there long stretches during which nothing happens, but the book is open to many interpretations, literal and metaphorical.
然而,李安花了两个月的时间才同意接手这部由马特尔的小说改编的电影, 这部小说非常复杂,详细记录了派穿越太平洋的旅程,以及他在途中如何与绝望、信念和一只饥饿的孟加拉虎作斗争的过程。福克斯公司2003年买下小说改编版 权后,曾经考虑过不少导演,其中包括M·奈特·沙马兰(M. Night Shyamalan)和阿方索·卡隆(Alfonso Cuarón)。但是电影迟迟未能开拍、吊足人的胃口,加之这本书的意涵本身也是仁者见仁、智者见智,有着各种理解。
“I loved the book,” he said, “but it’s very hard to crack. I thought you can’t make a movie about religion but it can be a movie about the value of storytelling and how that brings structure and wisdom to life. This is a coming-of-age story. It’s about taking a leap of faith.”
“我喜欢这本书,”李安说,“但要改编起来就很难了。我觉得它的主题不应该是关于信仰,而应该是‘讲故事’的价值,以及‘讲故事’这件事是怎样为生活赋予秩序和智慧。这是一个关于成长的故事,是关乎信念的飞跃。”
This isn’t material that immediately screams 3-D, but Mr. Lee decided on that format before he started writing the script. His style has been described as “emotionally resonant (in human relationships) and visually splendid (in the natural world),” by Whitney Crothers Dilley, the author of “The Cinema of Ang Lee.”
马上要求把这部片子拍成3D版本并不实际,但李安还没等动笔写剧本就已 经决定要拍成3D片。《看懂李安》(The Cinema of Ang Lee)一书的作者惠特尼·克罗瑟斯·迪尔雷(Whitney Crothers Dilley)说他的风格是“在处理人物关系方面能引起感情共鸣,在处理自然世界方面则为观众带来壮丽的视觉效果”。
The “Life of Pi” trailer features almost otherworldly visuals of animals, fish and starlit skies, but for Mr. Lee the key was to balance the spectacle with “the delicate moments.”
《少年派的奇幻漂流》预告片里的陆地动物、鱼儿与星光熠熠的天空仿佛来自超自然世界,但是李安认为,最重要的是要在壮观的景象与“细微的时刻”之间取得平衡。
“There is a certain perception about 3-D, but just because nobody has made an intimate movie with it doesn’t mean it can’t be done,” he said.
“人们对3D技术有一种固定的认识,但是,目前虽然还没有人应用3D技术拍出一部深刻的电影,这并不意味着3D电影不能做到这一点。”
The filming of “Life of Pi” began with a two-week shoot in India in March 2011. After 10 days in Pondicherry, where the story opens, Mr. Lee moved to Munnar, a sleepy small town in the hills of South India. Indian filmmakers, especially from the Tamil- and Malayalam-language industries, often shoot in Munnar, but these were the first 3-D cameras to arrive there. They created such a flutter that one day the local customs officer dropped by for a look. That day Mr. Lee seemed upbeat and smiling. He refused lunch (“This is war, I don’t need to eat”), then spoke intently of a “film god” who presides over every project.
2011年3月,《少年派的奇幻漂流》正式开拍,先是在印度拍了两个星 期。电影故事一开始发生在本地治里(Pondicherry),在那里拍摄了10天后,李安又移师慕纳尔(Munnar)——印度南部丘陵环绕的一个冷清 小镇。印度导演们(特别是泰米尔语与Malayalam语电影圈里的导演)经常来慕纳尔拍片,但3D摄像机来到这里还是第一次。第一天当地海关官员们都跑 来围观,引发的混乱还不小。那天李安看起来很高兴,一直保持着微笑。他拒绝吃午饭(“这是在打仗,我不需要吃东西”),然后热切地谈起了那位主管一切的 “电影之神”。
“My ideas and not me are at the center of attention,” he said. “A movie seems to have a life of its own. You don’t create it, you initiate it because you get a call. It’s not about dictatorship. You have to be humble, you have to be tender, communicate sensitively, admit your shortcomings, share your dreams and allow them to be told.”
“我的观念才是最重要的,而不是我本人,”他说,“电影应该有自己的生命,你不能去把它创造出来,只能响应一种召唤,给它起个头。拍电影不是一种独裁,你必须谦卑,你必须温和,要敏感慎重地与人沟通,坦陈自己的缺点,与他人分享梦想,也允许大家说出自己的梦想。”
Mr. Lee’s actors seem to sense that for this director, making a film is almost a spiritual process. Irrfan, who plays the older Pi, described that experience in an e-mail as “a quest, a journey, an exploration.” He added, “Ang puts himself in the line of fire.”
李安的演员们似乎感受到了导演身上的这种特质:对他来说拍电影几乎是一种精神之旅。饰演成年派的演员伊尔凡(Irrfan)在电子邮件中说拍摄电影的经历如同“一次远征、一次旅行、一种探索”。他还说,“李安让自己置身火线边缘” 。
The younger Pi is played by an unknown 17-year-old Indian teenager named Suraj Sharma, whose parents just happen to be mathematicians — a coincidence that gave Mr. Lee a big laugh. “What are the chances,” he asked, “that two mathematicians give birth to a kid who plays the lead in a film called ‘Life of Pi’?”
年轻派的饰演者是一个名不见经传的17岁印度男孩,名叫苏拉·沙玛(Suraj Sharma),他的父母正好都是数学家,这个巧合让李先生不禁哈哈大笑。“太巧了,两个数学家生了一个孩子,演了一个名叫‘派’(这里是指圆周率‘π’——译注)的主角。”
Before the shoot started, Mr. Sharma’s mother performed a small ceremony, which anointed Mr. Lee as Mr. Sharma’s guru. At the end of it Mr. Sharma, in the traditional Indian way, touched Mr. Lee’s feet. “There is no equivalent in Chinese,” said Mr. Lee, who was born in Taiwan but has lived in the United States for more than three decades. “I don’t have a superpower. I’m not a swami. But I took him in as my own son. I try to play the role of guru as best as I can.”
影片开拍之前,沙玛的母亲举行了一个小型仪式,让沙玛拜李安为自己的上 师(guru)。在仪式的最后,沙玛按照印度传统礼节触摸了李安的双脚。“中国人没有类似的礼仪,”李安说,他出生在台湾,但在美国居住已经超过30年, “我没有超能力,我也不是印度哲人。但我把他当作自己的儿子一样看待。我尽自己最大努力扮演好他的上师角色。”
Mr. Sharma trained seven days a week for three months in Taiwan. This included learning how to swim because the film was extensively shot in a gigantic water tank built in a hangar in Taiwan.
沙玛在台湾接受了3个月的培训,每周7天,没有休息。训练内容包括游泳,因为电影有很大一部分要在一个巨大的水箱里拍摄,它是在台湾的一个飞机库里造出来的。
As Mr. Lee tells it, the stress created a role reversal. Mr. Sharma became the “spiritual leader.” “The innocence, the effort,” Mr. Lee said, “we are all experienced and perhaps jaded a little bit. He reminded us about why we want to make movies. Every day was a miracle.”
李安说,压力会让人成为一个截然不同的角色。沙玛就成了一个“精神领袖”。“我们都曾经经历过这种天真与努力,但也许已经有些疲惫了。他让我们想起自己当初是怎么走上电影这一行的。每一天都是奇迹。”
Mr. Sharma said in an e-mail that the process never overwhelmed him because “Ang was always there.” He added, “I knew he would take care of me.”
沙玛在电子邮件中说,拍片中他从来没有感觉被压垮了,因为“李安一直在我身边”。他说,“我知道他会照顾我的。”
The challenges, for Mr. Lee, at least, are not over yet. “Life of Pi” is an expensive film, which worries Mr. Lee. “We are doing something sensitive,” he said. “Normally you do it cheap. Sensitivity and money are like parallel lines. The don’t meet.”
无论如何,对于李安来说,真正的挑战还没结束。《少年派的奇幻漂流》是一部大成本电影,这让他非常发愁。“我们拍的是一部富于情感的电影,这样的电影通常都应该以小成本拍摄。情感和金钱就像两条平行线,没法相交。”
In a landscape dominated by comic-book movies like “Marvel’s The Avengers” and “The Dark Knight Rises,” will viewers put down money to see an Indian boy on a literal and spiritual journey with a tiger? That question “stresses out” Mr. Lee.
在《复仇者联盟》(Marvel’s The Avengers)和《黑暗骑士崛起》(The Dark Knight Rises)这样的漫画改编电影一统天下的环境下,观众们是否愿意掏钱去看一个印度男孩与一只老虎的旅行乃至他的心路历程呢?这个问题令李安“承受着极大压力”。
The film had already forced him to grow up, he said. “I’m like Peter Pan,” he added. “I was not very mature in many ways, but I learned a lot of things. I had to take decisions that were more responsible.”
他说,这部电影迫使他成长。“我就像彼得·潘一样,”他补充道。“我在很多方面都不怎么成熟,但是这次我学到了很多东西,我不得不去做各种决定,并为此承担更多责任。”
Now, he said, like Pi, he just wanted the journey to end. “I just want to survive it.”
他说,自己现在就像派一样,只希望这次旅行赶快结束。“我只希望旅程结束的时候我还活着。”
本文最初发表于201299日。
翻译: 董楠

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