姜文專訪：戲如其人 A truth that's stranger than fiction

姜文專訪：戲如其人
A truth that's stranger than fiction

導(dǎo)讀：影片《讓子彈飛》使演而優(yōu)則導(dǎo)的姜文再次迎來事業(yè)巔峰！讓我們通過下面這篇《中國日?qǐng)?bào)》的深度專訪(an in-depth interview)，共同感受一下這位鬼才導(dǎo)演的魅力吧。

    Jiang Wen is at the top of the world - the world of Chinese cinema, that is. His year-end release Let the Bullets Fly has just broken the box-office record for a domestic film with some 700 million yuan ($107 million) in gross receipts.
    姜文登上了中國電影界的巔峰。2010年末上映的電影《讓子彈飛》國內(nèi)總票房收入高達(dá)7億元（合1.07億美元），締造了中國電影史票房新紀(jì)錄。

    He does not need others to tell him how great he is - not any more.
    他不再需要?jiǎng)e人來告訴自己有多出色了。

    That does not mean he is not proud of Bullets. It`s just that Bullets, for him, is fun. He is aware of all the political interpretations of his story that have sprung up across the Web and mainstream media.
    但這并不意味著他不為《讓子彈飛》而感到驕傲。對(duì)于他來說，創(chuàng)作這部電影是為了好玩。他明白，各種關(guān)于《讓子彈飛》的政治解讀已在網(wǎng)絡(luò)和主流媒體上傳得沸沸揚(yáng)揚(yáng)。

    "No, I did not mean to embed political meanings into the story," he says straightforwardly.
    他直截了當(dāng)?shù)卣f：“不，我沒有刻意在電影里摻雜政治觀點(diǎn)。”

    The Goose Town, the central setting for the movie, has come to symbolize China for some film buffs with a political leaning. Yet, Jiang repeatedly uses the location as an outing to the murky world of genre-film making.
    故事發(fā)生在“鵝城”，一些帶有政治傾向的電影愛好者認(rèn)為“鵝城”象征著中國。然而在電影里，姜文屢次地把這個(gè)地方比作深入險(xiǎn)境。

    The most brilliant touches in his movies all seem to traverse the stream of reality, for example, in Bullets opens with a train pulled by white horses.
    電影中最出彩的片段似乎都與現(xiàn)實(shí)相關(guān)，比如電影開篇的白馬拉火車。

    "I did not invent this set-up. For 30 years in the early 20th century, there was a segment of rail line in Northeast China that was powered by horses," he explains, without getting into the symbolic significance of such devices. "You may conceive the most unlikely scenes, and you`ll find that fact is stranger than fiction."
    他解釋道：“這個(gè)場(chǎng)景不是我憑空想象的。20世紀(jì)頭30年，中國東北有一段鐵路就是靠馬拉火車。”這些場(chǎng)景并沒有暗指什么。“你設(shè)想出了最荒誕的場(chǎng)景，接著你會(huì)發(fā)現(xiàn)，事實(shí)比電影情節(jié)更不可思議。”

    Jiang Wen was trained at the Central Drama Academy - as an actor. Yet he is known for his bold visualizations. He prefers scripts read to him by someone who can turn the words alive. His storyboards, as drafts for each shot, tend to be cursory. But his verbal description of each scene is so vivid the listener can quickly recreate each frame in his or her mind`s eye.
    姜文曾就讀于中央戲曲學(xué)院學(xué)習(xí)表演。他以大膽的表現(xiàn)力而聞名。他喜歡讓能把臺(tái)詞說得活靈活現(xiàn)的人把劇本讀給他聽。每次拍攝選用的故事腳本往往很粗略，但是臺(tái)詞非常生動(dòng)，讓演員能夠迅速在腦海中想象出故事場(chǎng)景。

    The only filmmaker whose work Jiang admits as having an impact on him is Martin Scorsese. After watching a string of the American director`s movies, Jiang requested a meeting with him on a trip to the United States arranged by the US Embassy. Scorsese has acted like a mentor, sending him detailed materials from his production.
    姜文坦言，美國導(dǎo)演馬丁•斯科塞斯作品的對(duì)自己影響很大。在看了斯科塞斯的一系列電影后，姜文去了美國，請(qǐng)求美國大使館安排與他見面。斯科塞斯就像一位導(dǎo)師，把作品里的“私貨”傳授給了姜文。

    "When a director sees a story or a script he`s crazy about, he does not have any towering figures in front of him. He must feel he himself is the greatest. It is nonsense when people say they are paying respect to this or that predecessor." Jiang says. 
    姜文說：“當(dāng)導(dǎo)演看到一個(gè)讓他為之瘋狂的故事或劇本時(shí)，他的前面不會(huì)有任何前輩導(dǎo)師。他必須要感覺到自己就是最棒的。有的導(dǎo)演說要像哪位前輩致敬，這簡(jiǎn)直是無稽之談”。