库布里克谈库布里克（2020）

库布里克谈库布里克
1999年3月7日
(斯巴达克斯)
(洛丽塔)
克里斯蒂安·库布里克 (库布里克之妻)
米歇尔·西蒙
影评人
巴里·林登
玛丽莎·贝伦森
演员
恐惧与欲望
巴里·林登
马尔科姆·麦克道威尔
演员
奇爱博士
斯特林·海登
演员
杰克·尼科尔森
演员
加里特·布朗
斯坦尼康操作员
伦纳德·罗森曼
作曲家
丹恩·吉尔
影评人
罗杰·伊伯特
影评人
米歇尔·西蒙
影评人
全金属外壳
全金属外壳
李·厄米
演员
光荣之路
发 条 橙
马尔科姆·麦克道威尔
演员
闪 灵
亚瑟·克拉克 —「2001太空漫游」作者
比古伊 — 宇航员
2001太空漫游
布皮耶 — 神学家
弗吕雄 — 哲学家
泰尔让 — 宇航员
大开眼戒
汤姆·克鲁斯
演员
妮可·基德曼
演员
突发新闻 刚刚得到消息 电影导演
News just in, we’ve just heard that the film director
斯坦利·库布里克去世 享年70岁
Stanley Kubrick has died at the age of 70.
库布里克是美国人 事业开始于好莱坞
Kubrick, who was an American, began his career in Hollywood
导演了电影「斯巴达克斯」 后移居英国
where he directed Spartacus but he decided to move to Britain
导演了「洛丽塔」 「发条橙」
where he directed Lolita, Clockwork Orange,
「2001太空漫游」和「闪灵」
2001: A Space Odyssey and The Shining.
斯坦利·库布里克被广泛认为是
Stanley Kubrick was widely regarded
最伟大也最具争议的电影大♥师♥之一
as one of the greatest and most controversial masters of cinema.
他刚刚完成了他的最后一部电影 「大开眼戒」
He just finished what was to be his last film, Eyes Wide Shut
耗时长达五年
which took five years to make.
霍华德·休斯: 美国商人 飞行员 晚年过着与世隔绝的生活
斯坦利·库布里克被称作电影界的霍华德·休斯
Stanley Kubrick has been called the Howard Hughes of cinema
因为他完全是一个隐居者
because he was such a recluse.
我倒更倾向于称他为电影界的法兰克·辛纳屈
I prefer to think of him as the Frank Sinatra of cinema
因为他永远按照自己的方式行事
because he always did everything his way.
你可以回到任何一部库布里克的电影中并感受重生
You can go back to any Kubrick film and feel rebirth.
这位导演在四十年间只执导过十三部电影
但每一部都是现象级的
这位导演拍出了最好的史诗片
最好的科幻片
最好的都市暴♥力♥片
最好的恐怖片
以及最好的越战电影
库布里克至少是一位名副其实的革新者
Kubrick is at the very least a genuine innovator
他将电影的边界推向了极致
who pushes out the boundaries of what is possible on film
而这样的人一向屈指可数
and there have never been too many of those about.
他也是一位难以捉摸的人
He is also an elusive man
他很少允许别人在自己工作在旁观察
who rarely permits himself to be observed at work.
他和报纸上描述的完全不同
He was not any of the things that the newspapers wrote about him.
而他本人也说过 “太难了 我该怎么来为自己说话呢”
And he himself said, “It’s very difficult. How do I defend myself?
“难道自己写篇文章说 ‘亲爱的公众 我很迷人’吗”
“Do I write an article, you know, ‘Dear public, I’m charming’?”
这其实要比听上去难得多
That’s more difficult than it sounds, actually.
因为 你知道他从来不上电视
‘Cause, you know, he never ever does a television,
也很少接受媒体采访
or very rarely does any press interviews.
这部杰出的著作是一系列采访
它是米歇尔·西蒙十年来
对库布里克的采访
借由这本书进入了大众视野
我猜能让库布里克采纳这种形式
以及去接近库布里克这般巨匠都很不容易
库布里克不会采纳任何人
他容忍♥我 或者说短暂地容忍♥我
只是因为一个采访而已
没有人能成为库布里克的密友
你对库布里克的热情从何而来
你如何能成为世界上极少数几位
接触过他的记者 你是怎么做到的
他读了我在1968年写的一篇关于他作品的文章
那是法国第一篇关于他的主要研究
然后当「发条橙」面世时
他答应我 接受了「法国快报」的采访
于是我和他约在伦敦见面
他会审核你对他的报道吗
你有没有寄给他一份
他没有看我写他的部分
只看了他告诉我的那部分
第一个问题会是
Well, perhaps the first question
关于采访本身的
would be about this problem of interview
因为你似乎越来越
because it seems that more and more
不愿意谈论自己的电影了
you feel reluctant to speak about your films?
我从来都没觉得谈论自己电影中的
Well, I’ve never found it meaningful
电影美学有什么意义
or even possible to talk about film aesthetics
也甚至是不可能的
in terms of my own films.
我也并不喜欢接受采访
I also don’t particularly enjoy the interviews
因为人们总觉得有必要
because one always feels under the obligation
对电影的意图做出一些诙谐又精彩的总结
to say some witty, brilliant summary of the intentions of the films.
比如「奇爱博士」
And with Dr. Strangelove
你就可以谈论核战争的问题
you could talk about the problems of Nuclear War,
「2001太空漫游」 则是讨论外太空智慧
2001 you could talk about extraterrestrial intelligence,
但我从来都不能… – 「发条橙」关于暴♥力♥
but I’ve never been able… – Clockwork Orange about violence.
对 或者是关于未来的社会结构
Yes, or future, social structures.
我是说 我不知道是什么驱动我拍每一部电影的
I mean, I don’t know what led me to make any of the films, really, that I made.
而且我意识到我自己的思考过程是很难定义的
And I realised that my own thought processes are very hard to define,
如果要说把什么故事拍成电影的时候
in terms of, you know, what story do you want to make into a film.
到最后 这就会变成很难定义的东西
In the end, you know, it does become this very indefinable thing
就像你为什么觉得某个女孩有魅力
like why do you find one particular girl attractive
或者你为什么和你妻子结婚
or why did you marry your wife.
嗯 另外我猜对你来说自我分♥析♥就更有难度了
Yes, and also, I suppose it is more difficult for you to analyse yourself
是因为那些文本材料往往来自于他人
because the material comes from somebody else.
因此 会更难发掘电影背后的个人因素
So, it’s more difficult to see the personal reasons that were behind it
因为它们并不是出自你手
it since you didn’t write it yourself.
但显然 对于主题的选择是非常个人化的事情
But obviously the choice of the subject is a very personal thing,
因为你可以从千万本书中选出一本
because you can choose from thousands of books and you choose one.
通过挑选出一本书 在某种程度上你也成为了作者
You become the author of the book in a way by choosing it.
如果别人写了一个故事
Well, if somebody else has written the story
你有了一个很棒的阅读初体验
you have the one great first reading.
在你读完第一遍之后 你就永远无法
You never again, once you read something for the first time,
再次拥有那种体验
can ever have that experience,
那种对其叙事的判断 以及那种某段故事
and the judgement of the narrative and the sense of excitement
打动你的兴奋感
of what parts of the story reach you emotionally,
这是你自己写故事时体会不到的
is something which doesn’t exist if you write a story.
我们知道 我是说所有人都知道
We know, I mean, everybody knows,
你喜爱积累信息 查阅资料的习惯人尽皆知
it’s notorious that you love to accumulate information, do research.
我想问的是 这会让你感到兴奋吗
I mean, is it a thrill for you?
有一种当记者或者侦探的感觉
I mean, like being a reporter or a detective?
确实有一点像侦探在搜集线索
It is a little bit like a detective looking for clues.
在拍「巴里林登」时 我创建了一个
On Barry Lyndon, I created a picture file
有上千幅绘画作品的图片文档
of thousands of drawings and paintings.
我感觉自己差不多破坏了所有能在书店买♥♥到的艺术书
I think I’ve destroyed every art book that you can buy in a bookshop
我会把书页撕下来 分类整理
by tearing the pages out, sorting them out.
但服装全是按照绘画仿制的
But the costumes were all copied from paintings.
我是说 没有一件服装是所谓的”设计”出来的
I mean, none of the costumes were, quote, “designed”.
找一个所谓的”设计师”
It’s stupid to have a, quote, a “designer”
让他们凭借在艺术学校学到的或从几张绘画中拼凑出的东西
interpret the 18th century as they may remember it from art school
去诠释十八世纪是非常蠢的
or from a few pictures they get together.
你同意虚构的东西越多
Would you agree that the more illusion works
就越真实的说法吗
the more realistic it is?
电影需要非常真实
The cinema has to be extremely realistic, you know,
才能制♥造♥虚幻
to create illusion?
嗯 我总是被呈现出有意思的
Well, I would always be attracted to something
视觉可能性的事物所吸引
which offered interesting visual possibilities
但那不会是唯一原因
but that certainly wouldn’t be the only reason.
而且任何故事的一部分任务
And, since part of the problem of any story
就是为了让你相信你所看到的
is to make you believe what you are seeing,
所以说 营造出一种现实主义的氛围
certainly getting a realistic atmosphere,
尤其当它并不是在当前时代背景下时
especially if it’s not a contemporary period,
是基本的 必要的
is just necessary as a starting point.
所以你想到了用光 用自然光来拍摄
It’s why you came to this idea of shooting with light, natural light.
这是一直以来非常困扰我的一件事
Well, that’s something that I’ve always been very bothered by
就是年代电影中室内的灯光问题
in period films, is the light on interiors.
太假了