icytear 发表于 2006-1-22 22:45:19

[原创][翻译]变不可能为可能:宫崎骏谈吉卜力三部新片

<P align=center><B><FONT face=黑体 color=#106756 size=6>变不可能为可能:</FONT></B></P>
<P align=center><B><FONT face=黑体 color=#106756 size=6>宫崎骏谈吉卜力三部新片 </FONT></B><br></P><FONT color=#106756 size=4><STRONG></STRONG></FONT>
<P align=center><FONT color=#106756 size=4><STRONG>Making possible the impossible: </STRONG></FONT></P>
<P align=center><FONT color=#106756 size=4><STRONG>Miyazaki talks about 3 latest Ghibli films</STRONG></FONT></P>
<P align=center><FONT color=#106756 size=4><STRONG>2006.1.12</STRONG></FONT></P>
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<P align=center></FONT><FONT face="Times New Roman"><FONT size=4><FONT face="Times New Roman"><FONT size=4><FONT face=宋体 color=#106756><STRONG>翻译:icytear</STRONG></FONT></FONT></FONT></FONT></FONT></P><FONT face="Times New Roman"><FONT size=4><FONT color=#000000><FONT face="Times New Roman"><U><FONT color=#f70909><STRONG>
<P align=center><FONT face="Times New Roman"><FONT size=4><FONT color=#000000><FONT face="Times New Roman"><U><FONT color=#f70909><STRONG>所有翻译均为动画爱好者交流所用,版权归原作者及所属媒体所有</STRONG></FONT></U></P>
<P align=center><U><FONT face=宋体 color=#f70909 size=5><STRONG>翻译部分</STRONG></FONT></U><U><FONT face=宋体 color=#f70909 size=5><STRONG>未经允许,请勿转载.</STRONG></FONT></U></P>
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<P align=left><STRONG><U><FONT face=宋体 color=#f70909 size=5></FONT></U></STRONG></P><STRONG><FONT color=#f8feef size=1>.</FONT></STRONG><br>
<P><FONT color=#f8feef size=1><STRONG>.</STRONG></P>
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<P align=center><IMG src="http://totoro.qq.topzj.com/attachments/m42//42/10/42106/forumid_445/photo_interview_20060117a_WhzvgIUBh9cK.jpg" border=0> </P>
<P><FONT color=#000000 size=3>图:三鹰之森美术馆,宫崎骏接受访问并在参与展出的地球仪上画下"买星星的日子最近"中的图画</FONT></P>
<P><FONT color=#000000><FONT size=4>最近</FONT></FONT><FONT color=#000000><FONT size=4>,日本最著名的动画创作者兼导演宫崎骏创作了三部短片《寻找家园》《水蜘蛛萌萌》以及《买星星的日子》。这三部新片刚在东京的吉卜力三鹰之森美术馆上映过。“让孩子们不受商业因素影响尽情享受”,导演宫崎骏这样对记者说。在本地新闻发布会上,这位享有国际声誉的大导演发表了对这三部片子和其他一些话题发表了评论。以下是这次珍贵访谈的摘录:</FONT> <br>
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<P><FONT color=#000000><FONT size=4>a:记者  h:宫崎骏</FONT> <br>
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<P><FONT color=#000000><FONT size=4>a:您说您在完成了《哈尔的移动城堡》(2004年上映)的工作后立刻就着手制作这三部片子。您把员工分为三组,每组有一位主要的动画师负责,而且在动画制作方面给了他们充分的::自::由::。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>h:在《寻找家园》中,模拟雨点砸落"zah"和树林中微风拂过"zawa-zawa"的象声词都是用屏幕上的词汇描述的。所有的音效和配乐均由Tamori(电视节目主持人)和矢野显子(钢琴家、歌手和作曲家)用人声完成。在一部用于电影院放映的片子中通常是不可以用这种方式的。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>现代的电影制作被条条框框限制住了。音效、配乐和对白都分开制作,然后数码合成。因此,我要求两位演员口头制作音效,比如“zah”这样的声音,想以此让这部作品有更生动的感觉。我对两位演员的天才表演非常惊叹。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>a:我听说您用了30000张赛璐珞胶片制作了《水蜘蛛萌萌》。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>h:描绘气泡和水流花费了很多胶片,这些数目也在制作成本中体现了出来。事实上制作短片是很没有商业利益的,但是吉卜力工作室有一家美术馆,就是三鹰之森美术馆,于是我们不用担心电影的收益方面的问题。这可是一项最享受工作了。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>如今,我们生活在一个大规模生产和消费的世纪,电影也不例外。只要你愿意,打开一部机器就可以随时看到电影画面。但是,我不觉得孩子们完美的视觉“享受”应该通过这种方式。我们的新片只能在三鹰之森美术馆看到,如果能用与众不同的方式为孩子们视觉享受,我会非常高兴的。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>我的动画公司吉卜力工作室现在正处于“婴儿繁荣”期,因为在短片的制作期间,其中两位动画师当了爸爸。我给每一个新生儿都送了一张欢迎卡,上面写着:“在你还在母亲的孕育中时,你的父亲正在为这些片子努力工作。他着实作了一项伟大的工作。”这对我来说真是个愉快的经历。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>a:您获得过许多大奖,比如2002年柏林金熊奖,2003年奥斯卡最佳动画大奖(《千与千寻》(2001上映)),还有威尼斯国际动画节杰出技术贡献奖(《哈尔的移动城堡》)。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>h:奖项对我来说不代表什么。我想让一个孩子了解到种奇异生物的存在――比如在水下呼吸的水蜘蛛的经历――比奖项更重要。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>在《寻找家园》中,女主角在空房间里度过的那一夜“遭遇”了很多虫子。女孩在虫子和她之间画了一道“三八线”,于是那些虫子都不再逼近她了。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>这样的事情在现实生活中从来不会发生。但是孩子们喜欢用这样一些规则来阻止别人越限。我觉得保持这种“敏感”很重要。同样,相信世界上所有的事物都有生命也很重要。所以片中的女孩对虫子,树木,神祠都表现的很有礼貌。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>如果有人告诉我我可以随意做我想做的主题,那我会去表现从1923年大地震中逃生人群的故事。这些人把隅田川河岸的船只当作避难所。据说人们合作用水冲刷冷却被考的很热木船,我很想在动画中重现这些画面。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>我还想制作一部关于太田 道灌(1432-1486)统治的江户时代的动画。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>事实上,我还有一个已经完成的剧本没有公开。这是个关于meiji时代(1868-1912)隅田川河上运输的故事。我已经让助手们访问了当地博物馆,并阅读了一些关于船工技术以及如何摇橹的书籍。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>我想制作这样一部有让资料博物馆可以作为教育资料的情节的片子。但是那太长了,有30分钟那么长,所以我只好放弃了。但如果有人想为这项计划的剩余部分投资,我仍想继续下去。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>a:吉卜力工作室正在制作新片《地海传奇》,该片将于今年6月上映,而且是您的儿子宫崎吾朗导演的,您有什么想法么?</FONT> <br>
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<P><FONT color=#000000><FONT size=4>h:对这部片子我不会说任何事情,也不会帮忙或者接管。我不会以任何方式参与其中。(在吉卜力工作室里)我总是呆在自己的工作室,因为每次我们见面,彼此都会立刻觉得紧张。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>父母和孩子的关系不是那么简单。在评价别人方面,我也像专家一样有自己的标准――无论他们是谁。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>但是即使我不喜欢他正在做的事情,我也从不会说“放弃吧”。我从不对他说这样的话。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>a:上个星期您度过了65岁上日,您说还不是谈论下一项计划的时候。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>h:我还没有同任何人谈论过这个问题。一旦我开始谈论,问题就变得太无趣了。大脑的工作方式真的很奇怪。只要还有容量,各种想法就不断涌现。等到大脑不再制造想法,一切就结束了。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>创作是不断后悔的过程,但是创作《买星星的日子》却是一个例外。在创作的时候我感觉很好。我一直想把大海上行使的火车形象化,我想我们创作出的映像非常契合。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>从在成为漫画家还是动画家之间摇摆那一刻起,我就一直想要把射中在火焰中坠落的星星这样一种画面,在《哈尔的移动城堡》中我做到了。我还有很多其他想要视觉化的映象,但我不确定是否真的可以做到,我所剩的时间已经不多了。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>然而,这三部片子确实是我想的事情。在每部片子的结尾,我在一幕中按随机顺序鸣谢了我们全部的工作职员。我不喜欢现在电影那种滚动的“鸣谢”方式。在一部短片中做同样的事情对观众也很不礼貌。所以用别的方式也很有意思。</FONT> <br>
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<P><FONT color=#000000><FONT size=4>从潜力上来说吉卜力有着世界上最好的工作室的时代深深的震撼着我。你也可是说是在各个方面,无论是电影技术、电脑特技、录音还是人际关系和真诚的态度 。没有别的地方可以做出这样的短片。但其实,我们只是一群个人技术都很糟糕的普通人。</FONT> </FONT>
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<P><FONT size=3><FONT color=#000000>英文原文</FONT></FONT></P>
<P align=left><FONT size=3><FONT color=#000000>Making possible the impossible: Miyazaki talks about 3 latest Ghibli films<br>Yasuhisa Harada / Yomiuri Shimbun Staff Writer</FONT></FONT></P>
<P align=left><FONT size=3><FONT color=#000000>Hayao Miyazaki, Japan's leading animation writer and director, recently created three short films--Yadosagashi (House Hunting), Mizugumo Monmon (Mon Mon the Water Spider), and Hoshi o Katta Hi (The Day I Bought a Star). They were recently screened at the Ghibli Museum in Mitaka, western Tokyo, "allowing children to enjoy them without being influenced by commercialism," the director told The Yomiuri Shimbun. Miyazaki made the comments in a rare interview for the domestic press in which the internationally acclaimed anime master gave his thoughts about these latest short films and other topics. The following are excerpts from the interview: </FONT></FONT></P><FONT size=3><FONT color=#000000>
<P align=left><br>The Yomiuri Shimbun: You said you set about making the films right after you concluded production of Hauru no Ugoku Shiro (Howl's Moving Castle), which hit screens in 2004. You split your staff into three groups, each of which was led by one director-animator, giving them generous leeway in making the films. </P>
<P align=left>Hayao Miyazaki: In the film Yadosagashi, the onomatopoeic sounds such as "zah" for pounding rain and "zawa-zawa" for a breeze in the forest were represented by the words themselves on the screen. All the sound effects and incidental "music" were performed vocally by Tamori and Akiko Yano. We can't do this sort of thing in a typical film for the cinema. </P>
<P align=left>Filmmaking these days is so restricted by conventions and rules. The sound effects, incidental music and dialogue are all done separately, and mixed and digitally processed later...For this reason, I wanted to give the work a live feel by requesting the two performers to produce oral sound effects, for example, the "zah" sound...recording the sounds in one take. I was really surprised by the talent shown by the two performers. </P>
<P align=left>I hear you used 30,000 cels to make Mizugumo Monmon (Mon Mon the Water Spider). </P>
<P align=left>To depict bubbles and the rippling of water takes a lot of cels, and the amount used is reflected in the cost. Making short films is definitely not commercial. But Studio Ghibli has a museum (Ghibli Museum, Mitaka). There, we don't need to worry about the commercial aspect of a film. You can't expect to have a more enjoyable job than that. </P>
<P align=left>Nowadays, we live in an era of mass production and mass consumption, and films are no exception. You switch on and you can watch screen images as often as you like. But, I believe, children's encounters with ideal visual images should not be like that. Our latest films are only available at the museum and I will be very happy if I am able to provide children with a different type of encounter with the visual arts. </P>
<P align=left>Studio Ghibli, my animation company, is now amid something of a baby boom as two of our animators became fathers during the production of the shorts. I sent each of the new-born children greeting cards saying, "Your father was working on these films when you were still inside your mother. He did a great job." That was a really happy experience for me. </P>
<P align=left>You have received a number of prizes, including the Golden Bear Award at the Berlin Film Festival in 2002 and an Oscar for best animated feature film in 2003 for Sen to Chihiro no Kamikakushi (Spirited Away), which first came out in 2001. Hauru no Ugoku Shiro also was awarded the Osella prize for outstanding technical contribution at the Venice International Film Festival. </P>
<P align=left>Prizes do not mean anything to me. I think it is more important to make a child aware of the existence of a weird creature like a water spider that breathes through its backside. </P>
<P align=left>In Yadosagashi, the leading character, a girl, encounters a lot of bugs when she spends a night at an empty house. The insects stop approaching her after she draws a line between herself and them. </P>
<P align=left>That kind of thing would never happen in real life. But children like to play with these kinds of rules that stop you from crossing some kind of boundary. I think it is important to hold on to that kind of sensitivity. It also is important to have the feeling that everything in the world has a life. That is why the girl observes civilities . </P>
<P align=left>If I were told I could make a film on any theme I liked, I would like to do the legendary story of the people who escaped the fire during the Great Kanto Earthquake in 1923. These people took refuge on the Sumidagawa river aboard small boats tied up in the Fukagawa area of Tokyo. It is said that the people worked together to cool down the wooden boats, which were crackling in the intense heat, by showering them with water. I would love to re-create these scenes in an animation. </P>
<P align=left>I also dream of making an animation about Edo at the time of Ota Dokan (1432-1486) . </P>
<P align=left>Actually, there's one unreleased screenplay I've already completed. It's the story of transportation at the end of Meiji era (1868-1912) on the Shinkashigawa river . I've had our staff animators visit local museums and read books to research the techniques of boatmen at the time and how they sculled boats. </P>
<P align=left>I wanted to make a movie with this scenario so reference libraries could use it as educational material. But it's too long--30 minutes long--so I had to give up on the idea. I'm still ready to produce it if there's someone willing to fund the rest of the project. </P>
<P align=left>Studio Ghibli is producing a new animated film, Gedo Senki (Tales from Earthsea) . The movie will open in July and is directed by your son, Goro Miyazaki. What are your thoughts? </P>
<P align=left>I won't say anything , lend a hand or even look it over. I'm not involved in any way. I'm keeping myself to myself in my studio as whenever we see each other we quickly start to feel tension. </P>
<P align=left>The relationship between a parent and a child isn't easy or simple. And I myself have my own standards to evaluate other people as professionals--whoever they may be. </P>
<P align=left>But I'd never say, "Give up!" even if I didn't like something he was doing. I've never said anything like that to him. </P>
<P align=left>You turned 65 last week (Jan. 5). You say it's still not the time to talk about your next project. </P>
<P align=left>I haven't talked with anyone about it yet. Once I start talking, the idea will start to go flat. It's curious how the brain works. As long as it has some capacity, it keeps coming up with ideas. When it stops generating ideas, it's all over. </P>
<P align=left>Creation is always a series of regrets, but Sen to Chihiro no Kamikakushi was an exception. I felt really good when I was creating it. I'd always wanted to visualize a train running on the surface of the sea, and I think we came up with the scene that perfectly matches that image. </P>
<P align=left>I'd also wanted to create an image of shooting stars falling in a blaze of light right from the time when I was wondering if I should become a manga artist or an animator. I achieved this visualization in Hauru. I have other images I'd like to visualize, too, but I'm not sure if I really can do so. I don't have much time left. </P>
<P align=left>These shorts, though, are among the things I've wanted to do. The celebrities aside, at the end of each of the films I credited all our staff members in random order in one shot. I don't like recent movies that roll the credits on and on and on. Doing the same thing for a short could even be considered insulting to the audience. It was fun to do it this other way. </P>
<P align=left>This time round it struck me that Studio Ghibli had the world's best studio in terms of potential. You can say that in terms of cinematography, computer graphics, sound recording, personal connections and sincerity toward the work...in every aspect really. Nowhere else can make shorts like these. But having said that, we're just a group of average people with poor skills. </FONT></FONT></P></FONT></FONT></FONT></FONT></FONT>
[此贴子已经被桃夭于2006-5-10 21:12:07编辑过]

发表于 1970-1-1 08:00:00

kuchashui777 发表于 2006-2-6 08:52:05

“<FONT color=#000000><FONT size=4>我还想制作一部关于太田 道灌(1432-1486)统治的江户时代的动画。</FONT> </FONT><FONT color=#000000><FONT size=4>事实上,我还有一个已经完成的剧本没有公开”能做就好了,那位有钱人掏掏包呢?</FONT></FONT>
<P>“<FONT size=4>我一直想把大海上行使的火车形象化,我想我们创作出的映像非常契合。</FONT> ”“<FONT size=4>创作是不断后悔的过程”“我还有很多其他想要视觉化的映象,但我不确定是否真的可以做到”</FONT></P>
<P><FONT size=4>淘到金子拉!淘到金子拉!这些话揭示了宫大师一些创作的动机和创作的灵感!</FONT><BR></P>

胖布头 发表于 2006-2-10 12:45:51

<P>ho~~~~~~三部短篇~~~~~~我等我等我等等等~~~~</P>

可乐骆驼 发表于 2006-2-24 11:16:56

请问,可以贴在自己的博客上,注明出处和翻译人吗?

LapuTa 发表于 2006-2-24 13:10:38

<P>嗯 注明出处和翻译人是可以的</P>

猫仔欣 发表于 2006-2-25 13:03:02

<P>赞啊!</P>
<P>宫崎骏永远都是把小朋友摆在第一位!</P>

飛飛 发表于 2006-3-18 13:28:55

<P>真厲害</P>

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vow54 发表于 2006-4-6 01:53:06

看得觉得很感动。同时也非常希望能早日看到gibli的实验性动画片阿

heerolee 发表于 2006-4-8 11:14:19

越看他的访谈,就越激动,他的高尚人格好让人感动

momocccc 发表于 2006-4-14 09:01:28

<P>不知道要等到什么时候呢?</P>

瀛寰搜奇 发表于 2006-4-21 17:08:42

<P>请问市场上有得买么?</P>

jmmm 发表于 2006-4-26 20:00:57

<P>因为有这么一位大师在我们这个活着的这个世界,感觉真好。我想他的时间还有很多很多,他的作品会影响一代有一代的人。</P>
<P>很喜欢他的“坚持”,如果每一个人都可以坚持这作自己喜欢并热衷的事情,相信我们都会是大师的。只可惜、、、</P>

幽林公主 发表于 2006-5-4 16:40:31

<P>好期待啊。期待。。。~~~~~~~~</P>

鬼之魔法 发表于 2006-5-10 19:19:54

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<P>好期待啊!!!!!!!!!!!!!!!!!!!!!!!!11</P>

排骨猪奇奇 发表于 2006-5-10 20:12:40

<P>愿宫老的手不要酸啦~~~</P>

鬼之魔法 发表于 2006-5-10 21:21:21

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<P>加油! 加油!</P>
<P><FONT color=#f81919 size=5><STRONG>注意不要恶意灌水,包括多次重复无意义的回帖,请看清版规,提醒一次。--by Laputa</STRONG></FONT></P></TD></TR></TABLE></TD></TR></TABLE>
[此贴子已经被LapuTa于2006-5-10 23:14:34编辑过]

蓝夜 发表于 2006-5-19 11:18:24

<P>买星星的日子</P>
<P>好期待</P>
<P>每部片子都好期待</P>

修己 发表于 2006-7-5 16:57:41

宫的亲自指导,这才是好片,哈总给点失望的感觉,艺术宁缺毋滥

小1 发表于 2006-10-4 13:56:58

    <FONT face=Arial> <FONT size=2> 期待!..呼~  我1.定要看噢</FONT></FONT>

luyishiliou 发表于 2008-2-4 18:57:49

好好,收藏起来慢慢看!!!!这些短片要是对外公布就好了!

pauldirac 发表于 2008-2-7 20:00:08

好久没新消息了

宫崎骏先生还是那么的童真,坚持自己的风格.赞!:flame

牙齿仙女 发表于 2008-7-16 17:36:00

可惜看不到:Mcry

puppystudio 发表于 2008-7-23 00:53:31

imomo 发表于 2012-1-2 21:01:12

成人影片和儿童影片唯一的区别就是,在写给孩子们的片子中,一切都可以从头开始,获得新生。而在给成人的片子中,人们总是无力改变现实。事情发生了,就只能这样了。:love

发表于 1970-1-1 08:00:00

发表于 1970-1-1 08:00:00

发表于 1970-1-1 08:00:00

发表于 1970-1-1 08:00:00

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查看完整版本: [原创][翻译]变不可能为可能:宫崎骏谈吉卜力三部新片