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


花王的臉 偷偷在改變



《老牌子到台灣 陳柔縉》 http://www.appledaily.com.tw/appledaily/article/forum/20140130/35612051/%

張超英口述 陳柔缙執筆《宮前町九十番地》台北:時報出版,2006

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


張炎憲、李筱峰、曹長青 專文推薦


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


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.
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)》。

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)

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。

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......
我2013.1.20 重溫喜宴

Wedding Banquet
wedding.jpg (12228 bytes)


導演: 李安



小水滴扮小老虎 搏李安歡心
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。

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。


Getty Images







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。




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








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.


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


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。
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。
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。

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。


《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)。



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)
「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。
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。



  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



文/何碧娟整理     2009年    天下雜誌
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。

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。


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。

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.”



Rhythm & Hues/20th Century Fox

“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。
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。


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”。


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”。

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。”





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”。


翻譯: 董楠

Adrift With a Tiger and the Film God



“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.”
Rhythm & Hues/20th Century Fox
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.”
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.”
“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.
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.”
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.
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.”
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.”
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.”
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.”
Now, he said, like Pi, he just wanted the journey to end. “I just want to survive it.”
翻译: 董楠