电影魔术师：奥逊·威尔斯（2014）

exactly this kind of stuff.
我们在《美国风情画》中也用到了这个
We did this in “American Graffiti,”
同样的技巧
which was
the same kind of thing.
乔治·卢卡斯：我们所说声音的“环境氛围”
– George Lucas: What we called
“worldization” of the sound,
就是将声音处理得像是在环境之中
which is to make it
sound like it was
比如《美国风情画》中这样
in the environment
in “American Graffiti,”
加入车流声和类似的声效
and having it pass by in cars
and that sort of thing,
这些技巧都是威尔斯在《历劫佳人》中想出来的
which Welles had already
thought of in “Touch of Evil. ”
我想 沃尔特和我
I think both
Walter and I were
都被这种整体概念深深地吸引了
very charmed by that-
that whole concept.
毫无疑问，他遥遥领先着我们所有人
He’s definitely way ahead
of all the rest of us.
落水了，汉克也曾是个让人满意的好侦探
– Fell, Hank was a great
detective all right.
还是一个糟糕的警♥察♥
– And a lousy cop.
这就是你想对他说的全部？
– Is that all you have
to say for him?
他是个不错的男人
– He was some kind of a man.
怎么评价一个人，这重要吗？
What does it matter
what you say about people?
昆兰： 别了，塔纳湖
– Quinlan: Goodbye, Tana.
再见
– Adios.
再见
– Adios.
哇哦，哈？
Wow, huh?
你知道，威尔逊根本不想拍这部电影，
You know, Welles didn’t even
want to do this movie,
但你也明白，有时候枪抵在脑门上，
but you know, sometimes
you do your best work
你反而拍出最好的电影
when you got a gun
to your head.
奥逊·威尔斯：我的确认为有关后代的作品很粗俗。
– Orson Welles: I do think working
for posterity is vulgar.
因为后人和现在的婊♥子♥
Because posterity is
just as big a whore
相差无几
as the present.
今天的电影人之所以能继续手头的工作 要感谢奥逊
– Filmmakers of today can do what
they do because Orson did it.
我所知的每一种艺术形式
Every art form that I know
都有某个人开创先河
has somebody who
blazed new trails,
并且他们的影响直到
and their influence
starts being felt
一代人后才会逐渐被感知
about a generation later.
柏拉图告诫我们应该了解自己
– Plato told us that
we should know ourselves,
以及每位艺术家描绘的对象
and the object
of every artist,
是好，是坏，还是中立
good, bad or indifferent,
这个毕生求索的问题
is a lifelong inquiry
into that subject,
从他不懈的努力中得以见证
and his work is
testimony to that effort,
但我已没法概括自己了
but I’m in no position
to sum myself up.
奇怪的是，当一位艺术家
– It’s a peculiar thing.
When you have an artist
创作出跳脱束缚的作品时，
who works
so outside the box,
并非所有人在当时都能理解
not everybody gets it
at the time.
你知道吗，我一直很喜欢好莱坞？
– Do you know that I always
liked Hollywood very much?
可它实在是没有回报
It just wasn’t reciprocated.
科斯塔·加夫拉斯：他把导演们
– Costa-Gavras:
He freed the directors
from the kind of static ways
从固定形式中解放出来
他们曾经规定的打灯方式
they used to have
about the way you light,
放置照相机的方式
about the way
you put your camera,
场景布置的方式等等
the way you have
the setting and so forth,
从《狭路英豪》里的卡夫卡我们可以清楚地看到
and it’s very clear
in “The Trial,” the Kafka.
他没有还原实际的卡夫卡
He didn’t do really Kafka.
而是创造了奥逊·威尔斯的卡夫卡
He did
Orson Welles’ Kafka.
奥逊·威尔斯：我住在杜伊勒里宫的一家酒店
– Orson Welles: I was living in a hotel
on Tuileries,
在房♥间来回踱步
pacing up and down in my bedroom,
望着窗外
looking out the window.
然而我并非一个傻瓜
And I’m not such a fool
不会认真的打量月亮
as not to take
the moon very seriously,
那天的月亮非常大
and I saw the moon,
very large,
就像美国人叫的那样，收获之月，真的很大
what we in America call
a harvest moon, enormous.
突然，月亮不可思议地变成了两个
And then, miraculously,
two of them.
并且每个月亮上都有一些数字
And on each moon,
there were numbers,
随后我意识到
and I realized they were
the clock faces
那是奥赛车站里的钟面
of the Gare d’Orsay.
记忆中的奥赛车站空无一人
And I remembered that
the Gare d’Orsay was empty.
那天早上五点半，我走出家门
And at 5:30 in the morning,
I went downstairs,
搭乘出租车 穿过塞纳河
got in a cab,
crossed the Seine,
走进空荡荡的火车站
and entered this empty
railway station
于是，我发现了卡夫卡的世界
where I discovered
the world of Kafka.
据奥逊的朋友们说：这个故事的逻辑
– Orson fellas narrating: It has been
said that the logic of this story
源于那个梦境
is the logic of a dream.
随我来，科先生
– Come with me, Mr. K.
安东尼·柏金斯 ：奥逊认为约瑟夫·科
– Anthony Perkins:
Orson’s view of Josef K.
远非卡夫卡书中
Was that, far from being
the innocent victim
官僚主义下的无辜受害者
of bureaucracy that
Kafka had written that-
在奥逊的版本里
but, in Orson’s version,
我能听到他说话
and I can hear him saying,
并且声如洪钟
I can hear
his thundering voice,
“他罪孽深重”
“He’s guilty as hell. ”
科斯塔·加夫拉斯：他想通过这个故事
– Costa-Gavras: He would like
to tell a story
暗示他眼中的世界
to make a metaphor about
his vision of the world,
讲述我们怎样才能感受到罪恶
speaking about
how we can feel guilty
而不是变成罪恶
without being guilty.
你为此来拜访我，这很好
– You came to see me
about this case, that’s good.
奥逊·威尔斯:我把它看作关于欧洲的故事
– Orson Welles:
I saw it as a European story,
充满了欧洲旧时代的痕迹
full of old European
bric-a-brac,
背景里隐藏着国际公♥司♥
With IBM machines
lurking in the background.
科斯塔·加夫拉斯 ：你认为这是一部大众的电影
– Costa-Gavras: You think
it’s a major movie,
不在乎评论家怎么评价
whatever the critics
said about it.
在40，50年代，这里没有
– There really wasn’t
indie filmmaking
真正独♥立♥的制片人
in the ’40s, ’50s,
你知道，直到威尔斯的到来
you know, when Welles
was doing it.
He wasn’t happy doing it.
他并不乐意做这些
可他别无选择
He had no choice.
奥逊·威尔斯：对制片人而言，这是崭新的时代
– Orson Welles: There’s
a new moment in filmmaking.
但这与更加优秀的制片人无关
It’s not that we’re better,
the filmmakers,
是分配制度
but that
the distribution system
有了一点突破
has broken down a little,
而且社会更加开放
and the public is
more open, more ready
面对困难 有更充分的准备
for difficult subjects.