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[宫崎骏访谈及其相关] [原创][翻译]动画之神--英国《卫报》对宫崎骏的访谈

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发表于 2005-9-22 16:58:11 |显示全部楼层

动画之神

--英国《卫报》对宫崎骏的访谈

A god among animators

2005.9.14
翻译:Icytear
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

翻译部分未经允许,请勿转载.

.

.


  宫崎骏凭借他的手绘漫画成为日本最成功的电影制作人。在一次珍稀的访谈中,他与Xan Brooks进行了一番谈话。(2005年9月14日星期三《卫报》)
在威尼斯电影节大厅的花园里,宫崎骏表现了十足的名人气质。他在一大群记者的包围下用一个飞扬而坚毅的姿势签下了大名,却只简单的把自己称为"大自然的呼声"。"您一直被叫做'漫画之神'",一名意大利记者在他退场仪式上大喊,"当神的感觉怎么样啊?"而很明显的,他正后退在去洗手间的路上。
在Pixar's John Lasseter看来,宫崎骏是"世界上最伟大的动画家"。根据数字统计,在2001年《千与千寻》打败《泰坦尼克》DVD本土发行量之后,他已经称为世界上最成功的电影制片人。但是离开聚光灯下,这位头发花白的矮个子先生简直是个苦行僧(他的生活中全部是工作,没有娱乐,没有电视,也没有互联网)。他的发言人告诉我们,这是他十年来第一次接受(英国媒体的)访问。

 宫崎骏最新一部影片《哈尔的移动城堡》向我们展示了巫师,火魔和稻草人居住的一座城堡――一个小型王国。故事取材于威尔士作家Diana Wynne Jones的儿童读物。宫崎骏曾经多次访问威尔士,那里给他留下了深刻的印象。1984年他第一次去那时就亲眼目睹了矿工大罢工的情况;之后他把整个残酷的经历写进了1986年的作品《天空之城》。"我欣赏那些人们。"坐在阳光下的他仿佛忘记了摄影师的存在,"我赞赏他们为生存而战的举动,一如日本煤矿工人之所为。我们这代人中许多都把矿工看作一种象征,他们是'挣扎抵抗在死亡边缘的热血男儿',"他耸了耸肩,"而现在,他们已经远去。"
事情就是如此。宫崎骏凭借他的声望和宣言紧紧追随着他们的脚步。在这个艺术形式向DODO趋近的年代,当他作为最伟大的手绘动画实践者(也许是有史以来最伟大的)受到热烈欢迎的时候,那是何等的荣耀!而他本人对此则表现的很虚心。"如果这是一项面临消亡的艺术形式,那我们是不会为之做任何事情的。文明在进步。那些壁画家现在在哪里呢?风景画家呢?他们都在做什么?世界在变化,而幸运的是我能从事同样的工作达40年之久。在这个年代也真是很罕见的。
  这个八面玲珑的世界一直以来让宫崎骏极度着迷。他的片中总是有那些为了保卫自己的团体不惜一切的可爱人物;(片中)连山雨欲来的风景也是如此的诗情画意。他1984年的作品《风之谷》中描述的是一个遭遇有毒孢子和王虫威胁的"后世界末日"的国度;而1997年的《幽灵公主》则把焦点集中于森林百兽与致力于工业包围圈构筑的人类开发者之间的斗争。
  宫崎骏所有的片子都是取材于在这类冲突,而他本人的姿态也出奇的公正。故事中的男女主人公不是和平使者,就是中年的猪;而配角则是一群蛮横的人,(比如)《千与千寻》中那个羞怯而热心肠的精灵无脸男简直就是个什么都吃的肉食者;而《哈尔的移动城堡》中邪恶的女巫最后则成了城堡中珍贵的成员,像个孱弱的老妈妈一样在摇椅中昏睡。大多数讲述童话故事的人总爱把角色固定于一定的善恶标准,则而宫崎骏则让角色像打弹珠一样徘徊在善恶的边缘。
  1997年,宫崎骏与迪斯尼签订了一项发行协议,这是他获得全球声望的跳板。(这项协议)促成了宫崎骏在纽约现在艺术博物馆的一次专门展出,并最终助《千与千寻》赢得了2003年奥斯卡奖项。即使如此,宫崎骏经过翻译的作品还是失去了原味。在日本,他的片子是老少咸宜的"银屏杀手"。但在英国和美国,他则是一个成就非凡的成年人,(他的作品)属于艺术殿堂的范畴。
  宫崎骏从银盒子里磕出一只香烟。他解释说与迪斯尼的交易很适合他,他因此能坚持自己的原则。他拒绝受权影片的产品分销意味着不会有任何"风之谷"快乐餐或者"千与千寻"游戏带之类的东西出现。传闻当Harvey Weinstein被委以《幽灵公主》美国发行的重任之时,宫崎骏邮寄送他一把武士刀。刀刃上写着赤裸裸的的一行字"不得删剪!"
宫崎骏咯咯的笑了。"事实上,那件事情我们的制片人做的。虽然我确实去纽约见过这位Harvey Weinstein,我也被他激烈的:言:论:抨击的相当厉害,都是些删剪片子的要求"他转而笑了,"但是我打败了他。"
迪斯尼发行了宫崎骏影片的两个版本,一个是为了满足纯粹观赏家的原声字幕版本,另一个是为了满足大众的配音版本。《哈尔的移动城堡》也不例外。Billy Crystal为那个爱闹脾气的火魔配音,而女巫则交给了Lauren Bacall。"这真的很不错",宫崎骏说道,"因为Bacall是神话般的女子,她能给影片角色带来连本土演员都无法带来的东西。日本女声优的声音都是很媚惑的,仿佛要吸引男人的注意,这不是我们想要的。"
"既然如此",他接着说,"谁说原声字幕版更可靠?当你看原声版时也可能错失很多东西。有一种层次,有一种细微差别是无法感受到的。在影片发行的过程中,片子穿越了如此多的国界线,所以自然会受到一些歪曲。"
与此同时,宫崎骏也在吉卜力――他东京的工作室继续磨练着他的传统动画事业。过去,他一直放言批判电脑特技绘像,把它描述为"浅薄,空洞,虚假"的。而如今,他好像已经能与他口中的异类和平共处了。他承认他特别喜欢关于玩偶的故事,因为那仿佛为新动画的孕育打开了一扇门,而在他自己的动画中也默许了电脑特技的运用(但绝对不超过已完成版本的10%)。"其实我觉得电脑特技有潜力与手绘达到相当的水平,甚至超越手绘的水平。"他说,"但对我来说,要进行这样的尝试为时已晚。"
他的片子总是在平静祥和的烙印中吟咏着宿命。他谈到了新奥尔良,卡特里娜的飓风,并坚持认为同样的事情一定也会发生在东京。城市里有许多水闸,河水从他家附近穿梭而过。他微笑着磕着烟灰。"世界上有太多太多的人,人世间有太多太多谬误的兜兜转转。"他说道。64岁的宫崎骏给人留下了这样的印象:虽然整个地球都已命定,不久之后他却可以抽身;虽然也不急于一时。
"从个人角度说,我是很悲观的。"宫崎骏这样说,"但举个例子,如果我的员工中有人新添了孩子,我还是会情不自禁的祈祷他有一个美好的未来。因为虽然这个世界每况愈下,我也不能告诉那孩子'其实你本不该到这个世界上来'。有这么多冲突的思想火花在脑海中盘旋,所以我开始考虑究竟应该拍摄何种类型的电影。
大概这就是为什么他总爱讲述童话。"是的,我坚信孩子的灵魂是上一代记忆的继承。正如他们会慢慢长大,经历这个每天都有记忆逐渐渗透的世界。我希望能创作一部回归到那种境界的片子。如果真能作到,我死而无憾。"
于是我问道,您是否已经做到了这一点,他笑着摇摇头。他也不认为影片可以用来作为向善的强迫力。"电影没有那种力量",他几分沮丧的说到,"只有在激发爱国者对抗外敌的情怀,让熄灭了的雄心壮志重新澎湃、重新振奋的时候,电影才能发挥它的作用。"
这真是个带有黑色幽默的论调。但这时候不知什么原因,宫崎骏的情绪突然高涨起来。大概是因为阳光吧,或者是他手中的烟,还是因为采访已经接近尾声?"当然",他变得温和起来,"作为艺术家,如果我们尝试着钻研灵魂深处,如果我们宣扬生命的存在是多么可贵,世界又是多么值得我们为之生存,那么美好的事情一定会随之而来。"他耸耸肩,"也许这才是这些电影所要表达的。这才是我为新生儿祈祷的方式。"

英文原文:

A god among animators

Hayao Miyazaki's hand-crafted fables have made him Japan's most successful film-maker. In a rare interview, he talks to Xan Brooks

Wednesday September 14, 2005

In the garden of his Venice hotel, Hayao Miyazaki proves quite the celebrity. He signs autographs with a flourish, poses gamely before a barrage of photographers and excuses himself only briefly for a call of nature. "You have been called the god of anime," an Italian journalist shouts at his retreating form. "How does it feel to be a god?" He visibly flinches on his way to the loo.

In the opinion of Pixar's John Lasseter, Miyazaki is "the world's greatest living animator". According to the numbers, he is Japan's most successful film-maker, with his 2001 fable Spirited Away breaking the domestic box-office record set by Titanic. But away from the limelight this white-haired little professor leads a monastic existence (all work, no play, TV or internet). His publicist tells me that this is the first interview he has agreed to in 10 years

Miyazaki's latest film, Howl's Moving Castle, plays out in a valley kingdom inhabited by wizards, fire demons and undulating shadow monsters in natty straw boaters. It's based on a children's book by Welsh author Diana Wynne Jones; Miyazaki has visited Wales several times and has a deep affection for the place. He was first there in 1984, witnessed the miners' strike at first hand and farmed the whole harrowing experience into his 1986 animation Laputa: Castle in the Sky. "I admired those men," he says, sitting in the sun as the photographers melt away. "I admired the way they battled to save their way of life, just as the coal miners in Japan did. Many people of my generation see the miners as a symbol; a dying breed of fighting men." He shrugs. "Now they are gone."

And here's the thing. Miyazaki, for all his fame and acclaim, could soon be following them. It is his fate to find himself hailed as the greatest practitioner of hand-drawn cell animation (perhaps the greatest there has ever been) at a time when the art form appears to be headed the way of the dodo. He seems curiously Zen about this. "If it is a dying craft we can't do anything about it. Civilisation moves on. Where are all the fresco painters now? Where are the landscape artists? What are they doing now? The world is changing. I have been very fortunate to be able to do the same job for 40 years. That's rare in any era."

This shifting world is something Miyazaki has long been fascinated by. His films feature cute creatures fighting tooth and nail to preserve their communities, and bucolic landscapes under threat of destruction. Nausicaa of the Valley of the Winds, his 1984 film, depicts a post-apocalyptic enclave menaced by toxic spores and giant insects. Princess Mononoke (1997) concerns the battle between the animals of the forest and the human developers holed up in an industrial stockade.

All drama depends on this kind of conflict. And yet Miyazaki's stance can be bizarrely even-handed. Invariably his hero or heroine is cast in the role of peacemaker, or piggy in the middle, while his supporting players are an unruly bunch. No-Face, the timid, helpful spirit in Spirited Away, blooms into an all-consuming carnivore. The wicked witch in Howl's Moving Castle winds up as a cherished family member, slumbering in her armchair like some dotty old aunt. Most children's storytellers install their characters as fixed symbols of good and evil. Miyazaki makes them bounce around like pinballs.

In 1997 the director signed a distribution deal with Disney. It was to prove a springboard to global renown, paving the way for a dedicated exhibition at New York's Museum of Modern Art and helping him secure the 2003 Oscar for Spirited Away. Even so, the nature of Miyazaki's films has been tweaked in transit. In Japan his films are blockbusters the whole family can enjoy. In Britain and the US he remains a predominantly adult, art-house phenomenon.

Miyazaki taps a cigarette from a silver case. The Disney deal suits him, he explains, because he has stuck to his guns. His refusal to grant merchandising rights means that there is no chance of any Nausicaa happy meals or Spirited Away video games. Furthermore, Disney wields no creative control. There is a rumour that when Harvey Weinstein was charged with handling the US release of Princess Mononoke, Miyazaki sent him a samurai sword in the post. Attached to the blade was a stark message: "No cuts."

The director chortles. "Actually, my producer did that. Although I did go to New York to meet this man, this Harvey Weinstein, and I was bombarded with this aggressive attack, all these demands for cuts." He smiles. "I defeated him."

Disney releases Miyazaki films in two formats: a subtitled version for the purists and a dubbed extravaganza for the popcorn crowd. Howl's Moving Castle is no exception. It features the voice of Billy Crystal as the obstreperous fire demon and Lauren Bacall as the Witch of the Wastes. This is fine, says Miyazaki, because Bacall is "a fabulous woman" who brought something to the role that home-grown actors couldn't. "All the Japanese female voice actors have voices that are very coquettish and wanting male attention, which was not what we wanted at all."

In any case, he adds, who is to say that a subtitled print is any more authentic? "When you watch the subtitled version you are probably missing just as many things. There is a layer and a nuance you're not going to get. Film crosses so many borders these days. Of course it is going to be distorted."

In the meantime Miyazaki continues to hone his traditional art-works at Ghibli, his Tokyo animation studio. In the past he has been vocal in his criticism of computer-generated imagery, describing it as "thin, shallow, fake". These days he seems to have made his peace with the beast. He admits that he likes Toy Story because it opened the doors to a new breed of animation and even admits to using CGI in his own movies (but never more than 10% of the finished print). "Actually I think CGI has the potential to equal or even surpass what the human hand can do," he says. "But it is far too late for me to try it."

His is a very serene and contented brand of fatalism. He talks about New Orleans, and Hurricane Katrina and insists that the same thing will happen in Tokyo. There are a lot of water-gates in the city, and the river runs past his home. He smiles and taps ash from his cigarette. There are too many people in the world, he says, and too many wrong turns along the way. At the age of 64, he gives the impression that the planet is doomed but he'll soon be leaving it, and not a minute too soon.

"Personally I am very pessimistic," Miyazaki says. "But when, for instance, one of my staff has a baby you can't help but bless them for a good future. Because I can't tell that child, 'Oh, you shouldn't have come into this life.' And yet I know the world is heading in a bad direction. So with those conflicting thoughts in mind, I think about what kind of films I should be making."

Perhaps this is why he tells children's stories. "Well, yes. I believe that children's souls are the inheritors of historical memory from previous generations. It's just that as they grow older and experience the everyday world that memory sinks lower and lower. I feel I need to make a film that reaches down to that level. If I could do that I would die happy."

I ask if he feels he's managed that already and he chuckles and shakes his head. Nor does he feel that film can be employed as a force for good. "Film doesn't have that kind of power," he says, gloomily. "It only exerts its influence when it stirs patriots up against other nations, or taps into aggressive, violent urges."

This is a black diagnosis indeed. But then, inexplicably, Miyazaki's mood lightens. Perhaps it's the sunshine, or the cigarette, or the fact that the interview is almost over. "Of course," he relents, "if, as artists, we try to tap into that soul level - if we say that life is worth living and the world is worth living in - then something good might come of it." He shrugs. "Maybe that's what these films are doing. They are my way of blessing the child"



[此贴子已经被桃夭于2006-5-10 21:20:56编辑过]

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发表于 2005-9-23 17:40:49 |显示全部楼层
面对这样的帖子,我只想说我是真得很佩服他的翻译者
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发表于 2005-9-24 16:38:22 |显示全部楼层
希望Icytear 坚持下去,我们永远支持你!
画馆8岁了,我已不再是那个夏天看宫崎骏动画的少年。
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发表于 2005-9-25 09:39:22 |显示全部楼层
说好不灌水,虽然一直受到二位上司的照佛,可现在还是很难抑制内心的感激之情。感谢楼上朋友的支持,我一定会坚持下去,也希望你能坚持下去,我们大家都要坚持下去。不要问永远有多远,为了我们共同的爱好,请大家一路坚持,一路微笑,主与我们同在。
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发表于 2005-9-25 12:11:18 |显示全部楼层
[em15][em15][em15] 啥也不说了 眼泪花花的·~
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发表于 2005-12-27 10:49:39 |显示全部楼层

"。"您一直被叫做'漫画之神'",一名意大利记者在他退场仪式上大喊,"当神的感觉怎么样啊?"而很明显的,他正后退在去洗手间的路上。

"You have been called the god of anime," an Italian journalist shouts at his retreating form. "How does it feel to be

应该是动画之神。。。漫画之神另有其人。。。

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发表于 2005-12-27 15:23:48 |显示全部楼层
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发表于 2006-3-31 19:32:57 |显示全部楼层
我觉得他不只是一个动画之神,更是一位哲学家
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阿丽埃蒂绘画大赛荣誉勋章

发表于 2010-7-30 08:39:12 |显示全部楼层
所说的玩偶的故事~~指的是《玩具总动员》吧~~~
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发表于 2010-7-30 08:46:07 |显示全部楼层
本帖最后由 Miyazake-hime 于 2010-7-31 22:22 编辑

原文是从卫报的官网摘下来的吗?
只有在激发爱国者对抗外敌的情怀,让熄灭了的雄心壮志重新澎湃、重新振奋的时候,电影才能发挥它的作用

这句话普拉兄应该好好看看

并且,楼主的翻译被摘录入书了
http://lz.book.sohu.com/chapter-13917-111237392.html

————————————————
In the meantime Miyazaki continues to hone his traditional art-works at Ghibli, his Tokyo animation studio. In the past he has been vocal in his criticism of computer-generated imagery, describing it as "thin, shallow, fake". These days he seems to have made his peace with the beast. He admits that he likes Toy Story because it opened the doors to a new breed of animation and even admits to using CGI in his own movies (but never more than 10% of the finished print). "Actually I think CGI has the potential to equal or even surpass what the human hand can do," he says. "But it is far too late for me to try it."

与此同时,宫崎骏也在吉卜力――他东京的工作室继续磨练着他的传统动画事业。过去,他一直放言批判电脑特技绘像,把它描述为"浅薄,空洞,虚假"的。而如今,他好像已经能与他口中的异类和平共处了。他承认他特别喜欢关于玩偶的故事,因为那仿佛为新动画的孕育打开了一扇门,而在他自己的动画中也默许了电脑特技的运用(但绝对不超过已完成版本的10%)。"其实我觉得电脑特技有潜力与手绘达到相当的水平,甚至超越手绘的水平。"他说,"但对我来说,要进行这样的尝试为时已晚。"



嗯,如果“玩偶的故事”能加个书名号就正确了,而且Toy Story指的就是《玩具总动员》这部作品。起码它也开了3D动画电影的先河
童年不是为了长大成人而存在的,它是为了童年本身、为了体会做孩子时才能体验的事物而存在的。(宫崎骏)
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阿丽埃蒂绘画大赛荣誉勋章

发表于 2010-7-30 19:49:57 |显示全部楼层
回复 12# Miyazake-hime
他承认他特别喜欢关于玩偶的故事,

额~~~~
你仔细看看译文~~
楼主貌似明显是会错意了~~~
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阿丽埃蒂绘画大赛荣誉勋章

发表于 2010-7-30 20:29:09 |显示全部楼层
回复 15# Miyazake-hime
我所指的就是这个意思~~~
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发表于 2011-12-30 18:49:37 |显示全部楼层
icytear
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