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李军虎专访

(2012-12-20 15:32:38)
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父亲

换城

杂谈

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李军虎导演的《父亲》与《换城》两部影片由中国视像艺术节主办于2012913日在英国伦敦柯曾影院播出,为首次在英国商业影院播放的中国独立纪录片。


CVF: Do you see Where I Should Go as a companion piece to Brave Father? The two films deal with similar themes, though one with a father and the other with mothers.

《换城》和《父亲》的主题相似,一个以父亲的视角出发,一个则是母亲。你同意《换城》是《父亲》的姐妹篇这种说法么?


LI: Yes, I agree. I have been focusing on issues on Chinese rural peoples since 2003, these two films are part of my long term project. Some filmmakers can solve the issue with one film. I cannot when facing such a broad subject. I need more convincing real stories, like stories on construction workers, security guards, babysitters, waiters, cleaners and vendors etc. I hope I can build a large photo album for them in the following years.

是这样的,我同意这样的说法。我从2003年来一直关注中国的农民问题。这两部影片只是整个长期计划的一部分, 有的导演通过一部影片就可以解决某个问题,而我就不行,面对如此巨大的题材,我的需要更多有说服力的真实故事。比如:建筑工人、保安、保姆、餐馆服务员、清洁工、小商贩等。可能将来会是一个大的相册。

  

CVF: What differences do you see between the two films?

你觉得这两部电影有什么不同之处?


LI: The biggest difference between Where I Should Go and Brave Father is the status of their rural homes. The two stories look similar but in Brave Father, they still have a home and can always go back. In Where I Should Go, they paid a much higher price since they chose a one-way journey. No matter whether or not they get accepted into the city, they have only one choice, to stay.

《换城》和《父亲》最大的区别在于家庭的介入.两个故事看似相同,其实《父亲》影片中农村的家还在,是可以选择回去的.而《换城》所付出的代价更大,他们全家踏上的是一条单程的旅行,不管城市能不能接受他们都只有一个选择,那就是,留在城市.

 

CVF: How close did you get with your subjects while filming Brave Father and Where Should I Go? Both films have a very personal and intimate feel, and it seems as if your subjects are very open and at ease with you.

两部电影都显得非常个人和私密,拍摄对象表现出非常放松的状态。你在拍摄中和他们保持多近的距离?


LI: Documentary should have another name, “secret”. I made friends with three families with my camcorder. I cut the most dramatic footage for both Brave Father and Where I Should Go. For Brave Father, the father cried when he read aloud story of his life, I disregarded it. I also cut the footage when the mother beat her son in the second-hand market. This is what my films are like. I hid these dramatic events and kept my promise to them all through the films. They treated me as their friend, I have to keep the secrets for them.

纪录片应该还有另外一个名字,叫做“秘密”。我带着摄影机和3个家庭交朋友,所以很容易纪录到他们的秘密。《父亲》和《换城》中最刺激的部分都让我剪掉了。《父亲》中我剪掉了结尾一段,父亲最后读小本子里面关于自己的人生时哭了,我没要;《换城》中母亲在旧货市场打孩子的场景,我也没要。这就是我的影片。我剪掉这些刺激的事件,是把他们对我的信任在影片中得到延续,他们把我当朋友,我必须替他们保守这个秘密.


CVF: Have you kept in touch with any of them? It’d be great to hear how Shengli is getting on.

你和他们还保持联系么?胜利后来的情况你了解么?


LI: I have always kept in touch with them and want to help them. Meanwhile I struggle with the notion I might mess with their lives too much. Shengli returned to Xi’an later and changed several jobs. None of them went very well. He seldom talked to me about his thoughts because he always saw me as his father’s friend. His biggest concern now is he could not find a girlfriend.

我一直和他们保持着联系,想帮助他们,但又担心搅乱了他们的生活,很矛盾。胜利后来回到了西安,也换过几份工作,但都不顺利,和我也很少讲自己的想法,因为他始终觉得我是他父亲的朋友。他目前最大的烦恼是找不到女朋友。

 

CVF: It’s been more than three years since you filmed both films. How does it feel to watch them now? If possible, would you like to change anything?

《换城》和《父亲》距离拍摄完成已经超过三年了。你现在回头再看的时候,觉得有什么遗憾么?有没有一些地方希望处理的不同?


LI: I hate slogans and do not want to bother about theories or academic research. That is not what I want to do. With China going through the fastest changes ever, I would rather take action. Even if I do not get a penny’s investment, I will keep filming.

我很反感喊口号,更不愿意在理论上、学术上纠缠,那不是我要做的。整个中国社会目前是变化最快的阶段,我更愿意先开始.就是拿不到一分钱的投资,我还是会拍的!


CVF: I believe you graduated with a degree in photography – how did you get into documentary film making?

你是学摄影出身的,最初是在什么机缘下成为纪录片电影的?

 

 LI: Yes, I studied photography and used to be a cameraman working for others. I felt rather constrained since I could not express myself directly. Therefore I started directing myself. Now I have 5 assistants who have been working with me for over 3 years.

我是学摄影出身,以前给别人做摄影师。后来觉得很压抑,原因是不能直接表达自己的认识。那就自己拍了,我现在有35年和我在一起的助手帮助我。


CVF: You also work for a television station in China – how does your work there compare with your own film making?

你目前还在中国的电视台里工作,那里的工作和你自己的电影项目相比有什么特点? 


LI: I have a rather interesting status. On one hand, I work within The System (notes from translator: Chinese filmmakers often refer to official television, film and radio broadcasting system, as The System). On the other hand, my filmmaking style is rather independent. I very much like the title others gave me: “Independent Director within The System”. Therefore my films chose to “criticize gently”. This is exactly my understanding (of Chinese reality.) I want to inspire questions among audience with my observation. I want to pass around love in my films!

我的身份很微妙,一方面我是体制内的导演,另外我的很多创作思路和方式又是很体制外的。我很喜欢大家给我的称呼"体制之内的独立导演"。所以我的影片选择了"温柔的批判"这种做法。这恰恰也我的理解:用自己的观察去点燃观众心里的问题。我希望有爱在影片里面传递!


CVF: What are the main themes you try to deal with in your films?

你通过电影最想表现的主题是什么?

 

LI: I have been focusing on issues on Chinese rural peoples since 2003. In China, half of the population are from the rural area. The notion of “rural” has been long related with poverty and backwardness. The current development in China is actually a stage of diminishing poverty. With these two films, I am not focusing on rural area itself, nor on urban lives. I wanted to explore the interaction between the rural and the urban as well as the psychology of people during the dramatic changes.

我从03年来一直关注中国的农民问题.在中国,过半以上的人居住在农 村,农村长期和贫穷、落后联系在一起.中国目前的发展实际是一个摆脱贫穷的阶段。这两部影片,我关心的不是农村本身、也不是城市本身。我更想探讨的是城乡之间的互动、人在中国社会发展其间的心理变化。

 

CVF: There has been a real growth in Chinese independent documentary film making over the last decade – why do you think this is?

中国独立纪录电影近年来有很大的发展。对此,你有什么体会和感想?


LI: The biggest difference I have with other independent filmmakers is that I am limited by The System. I don’t think this is a bad thing, though. In China, I can reach television and internet audiences 100 times larger than the ones reached by other independent filmmakers. I do not want to resist nor confront. I want to seek a better way, and that’s the only thing I can do. I want to find a mature way out for my films.

我和其他独立导演最大的不同,在于受体制的限制。我不觉得这是件坏事.在中国我拥有比一般导演多百倍的电视和网络观众。我不想抵抗,也不打算对抗,要寻找更高级的方式方法。这是我唯一能做的。要给自己的影片找条成熟的出路。

 

CVF: As a Chinese documentary director, what do you think your strengths and weakness are? Considering the big picture, what support do you think Chinese documentary film makers need mostly?

你觉得中国纪录片导演的优势和劣势在哪?从整个环境和产业方面来看,你觉得中国的纪录片导演最需要什么支持?

 

LI: In English, the word “mainstream” actually means: politically correct. In China, what path you choose is very clear. The biggest compromise I make for my films is to have them reach as much audience as possible. Sometimes when people hear I am an independent filmmaker and immediately started to question why I always chose to show the dark side of the society. I can only smile and say, all my films could be shown on television.

英文里,“主流”这个词其实就是:政治上正确,所以在中国你要选择做哪一类是很清晰的!而我能做到的对纪录片最大的妥协是,先让更多的人看到。有时候别人一听说我是独立导演,马上就斥责我为什么要揪住阴暗面不放?我只能笑着说,我没有,我的影片都是可以在电视台播出的。

 

CVF: Are there any other film makers who have influenced or inspired you?

有哪些电影人对你的创作产生过影响?


LI: There are too many, it is difficult for me to give names. But I think the biggest influence of my filmmaking is the technology of small camcorder. This determines my way of storytelling

太多了,很难找到某个具体人物。但是对我创作产生影响的,我觉得要属小设备的出现,它决定了我的目前的叙事方式。


CVF: What are you working on now?

你目前在做什么项目?可否透露些下一部作品的情况。

 

LI: My current project is: what caused poverty? This is also part of my focus on rural China. Some think the origin of poverty is education, the background. I disagree. I believe it is views on the world. Views on the world can only be changed after generations, generations of education. In nowadays, a young girl can only earn a salary of 1000 yuan (about £100) as a waitress. But if they work for message salons, they can easily make 8000, or even 10,000. How could her views on the world not be messed up? Wealth is but an illusion of poverty. This is an issue on the general views on the world.

我目前的项目是:为什么会贫穷?这也是我长期中国农民选题的一部分。有的人认为贫穷的根源是教育,是大环境,我的观点不同。是观念,这个观念要好几代人、好的教育背景才能扭转过来。当下年轻女孩做餐馆服务员只有一千多块钱,可是去按摩,一个月可以赚八千到一万,还很轻松。你想她的世界观能不乱套吗?财富只是表象的贫穷,这是一个大的观念上的问题。

 

Source引自:http://www.beyondhollywood.com/interview-documentary-filmmaker-li-junhu/

Translation: Jingjing Xie 译:谢晶晶)

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