宫崎骏谈《千与千寻》及她的影响
Miyazaki talks about Spirited Away and his influences
2001.11/2002.2
翻译:无处可淘
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.
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千寻是一个误闯入神的领地的小女孩。她的任务是解救她因为贪食而被惩罚变成猪的父母。千寻也是日本最受欢迎的卡通人物:拥有1700万影迷。在1月16日影片发布当天,我们采访了千寻的创作者宫崎骏,他同时也是《幽灵公主》的导演。这位动画电影的导演被人们像电影明星一样崇拜,并且它的幻想世界被收藏进了吉卜力美术馆。
# 问:当您是一个小孩子的时候曾梦想过将来做电影吗?
答:我不是那种违反“努力才能成功”这一规则的孩子。我坚持那个模式,但是我想画画。我父亲对电影充满热情,他从我小的时候就常常带我去看电影。我至今还记得Ozu的电影, Vittorio De Sica的偷车贼. Andrzej Wajda的骨灰与钻石, Bresson的 Journal d'un cure de campagne.
# 问:您有对迪斯尼的记忆吗?
答:它们使我开心但并没有让我感悟到什么。我最喜欢的是《牧羊女与扫烟筒的人》,那是部1953年的电影,1980年被法国人Paul Grimault翻拍成为Roi et l'Oiseau,还有1947年俄罗斯Ivan Ivanov的《小驼背骑兵》。刚好是在战后,这些片子标志着未来动漫的新时代。动漫电影是有自己权利的电影。实际上,传统电影中对动画技术的应用也在不断增长。我远离了现实,动漫是我唯一的表达方式。
# 问:你曾经尝试做自己的观众吗?
答:你坐在黑暗中,并试着不要离开影院。如果你认为电影不好,你可以这么说。批评家们正是这样出现的。我不能决定我的电影将要怎样被诠释。我记得有一个观众在看完电影后向我倾诉他的感受“如同享受盛宴后还饥饿万分”。我努力尝试使自己不要被《千と千尋の神隠し》影响太深。如果哪部片子商业上很成功,其他的方面就会被观众忽视无论其质量怎样。我对这个很有经验。
# 问:可以举些例子吗?
答:在1968年,有这样一部片子《太阳王子:荷鲁斯大冒险》。我那时还不到20岁,满怀激情地为之工作,我确信它会改变人们看待生活的方式。结果却销售惨淡。
之后的1973年就是《熊猫·小熊猫》了!对于我来说,那是一个关键时刻:那时我第一次让自己的两个孩子接触电影的世界,他们小的三岁,大的五岁。我很惊讶他们被一部电影深深地吸引了。高畑勲是那部电影的制作人,而且我在里面负责一个小组。那是我们第一部“为孩子们做的电影。”
# 问:您一直都是这种风格吗?
答:当我的孩子们到年龄去电影院的时候,那里没有什么我们喜欢看的东西--无论作为家长还是电影爱好者;这就是我的出发点。这部电影没有什么教育性的伪称。《熊猫·小熊猫》只是描述的日常生活,其中的甜蜜是为了提醒我们生活可以是美丽而光明的。
我的孩子目不转睛的看着那部片子。通过他们我很庆幸我的直觉是对的!但是该片那时候仍然不很成功。
# 问:《千と千尋の神隠し》之后,您又有什么新的计划吗?
答:我正在准备一部新的电影。大概会在2004年夏天发布。就在昨天晚上,我和年轻人一起座谈以讨论我们要做哪一类的电影。我们要告诉孩子们些什么?而且在2004年那个还是正确的?哪一种电影是他们还想看的?我们能设想出那种电影吗?我想我们必须创造能让人快乐的电影。
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英文原文:
Chihiro is a little girl traveling to a world of gods. Her mission? To find her parents turned into pigs as a punishment for gluttony. Chihiro is also the most popular virtual character in Japan : 17 million viewers. In time for the release of the film on January the 16th, we meet with Hayao Miyazaki, Chihiro's creator, who also directed Princess Mononoke. This director of animated films is adored like a film star, and his visionary world is already housed in a museum.
Q: As a child, did you already dream of making films?
A: I wasn't the type of child to rebel against the law that stated that you had to work hard to succeed. I was stuck in that mold, but I wanted to draw. My father was passionate about cinema. He often took me to the movies, from an early age. I remember Ozu's films, Vittorio De Sica's Bicycle Thief. Andrzej Wajda's Ashes and Diamonds, Bresson's Journal d'un cure de campagne. I remember these far better than westerns or action films.
Q: No memories of Disney?
A: They amused me but they didn't make me feel anything. I much preferred La Bergere et le Ramoneur (the Shepherdess and the chimney sweep), a 1953 film, redone by the Frenchman Paul Grimault in 1980 as Le Roi et l'Oiseau, or the 1947 film The Little Hunchbacked horse by the Russian Ivan Ivanov. Right after the war, these films marked a new generation of future animators. Animation films are films in their own right. Actually, the use of animation techniques in traditional filming is growing. I run away from reality. Animation is my only mode of expression.
Q: Have you ever put yourself in your spectators' shoes?
You're seated in the dark, you're trying not to leave the room. If you think the film is bad, you're allowed to say so. This is how critics are constructed. I can not decide how my film is going to be interpreted. I remember one spectator, at the end of a screening, who confided in me his feeling of "still being starved after having devoured a copious meal". I try not to let myself be impressed by Spirited Away. If some films do very well commercially, others are ignored by spectators in spite of their quality. I've experienced this.
Q: Any examples?
In 1968, there was this film, Taiyo no oji: Horusu no daiboken (Prince of the Sun: The Great Adventure of Horus ). I wasn't even 20 yet and I had worked on it in a sort of passion, convinced that it would transform the way people saw life. Sales were catastrophic. Then, in 1973, there was Panda! Go Panda! For me, it was a key moment : the first time I confronted my two children to the world of cinema. The youngest was three years old, the oldest five. I was thrilled to see that they could be so absorbed by a film. Takahata Isao was its producer and I was in charge of the team. It was the first "film for children".
Q: Have you always been drawn to this genre?
When my children were old enough to go to the movies, there was nothing we wanted to see. Neither as parents nor as film lovers; that is why I started. This film had no educative pretense. Panda! Go Panda! is just written to describe every day life, that sweetness that reminds us that life can be beautiful and luminous. They watched it without moving. I was so happy that my intuition was validated by my two children! But the film wasn't successful this time either.
Q: After the success of Spirited Away, can you still have projects in mind?
I am preparing a new film. Its release is due in summer 2004. Just last night, I was chairing a debate with youngsters to know what kind of film they were looking for. What can we tell children that will still be valid in 2004? Which type of films will they still want to see? Can we imagine these films? I think we must create films that will make people happy.
[此贴子已经被作者于2006-5-10 21:20:44编辑过] |