How The Revenant Changed Emmanuel Lubezki’s Life

《还魂者》怎样改变了卢贝兹基的人生

（节选自《英语世界》2016年第3期） 

文/比尔·迪索维奇   译/许斐然

By Bill Desowitz

Emmanuel (Chivo) Lubezki could make Oscar history as the first cinematographer to win three consecutive Academy Awards. What’s more, Gravity, Birdman and The Revenant comprise his very own personal survival trilogy, and the first two movies prepared him for the more harrowing adventure in the frozen wilderness with director Alejandro González Iñárritu and Leonardo DiCaprio portraying 19th century trapper Hugh Glass.

伊曼纽尔·（奇沃·）卢贝兹基很可能成为首个连续三次获得奥斯卡金像奖的摄影师，从而载入奥斯卡史册。更重要的是，《地心引力》《鸟人》和《还魂者》构成了他个人的生存三部曲，头两部电影让他为第三部做好了准备，他和导演阿加多·冈萨雷斯·伊纳里多及演员莱昂纳多·迪卡普里奥在冰冻的荒原经历惊心动魄的冒险，迪卡普里奥扮演的是19世纪的捕兽人休·格拉斯。

“By being on a journey that’s similar to the characters, you’re very much in tune with their experiences and that transpires into the movie,” Lubezki acknowledged. “In Gravity, Sandra [Bullock] was locked in that box and it felt like she was in some sort of spacecraft and we were the control center, chatting with microphones. I think that really helped Sandra get a sense of claustrophobia. And the same now with Leo. Instead of shooting on a stage, we go to all of these rivers and when you see him getting out, he’s really shaking and frozen and it’s kind of wonderful.

“踏上与影片角色类似的旅途，就会非常了解他们的经历，拍电影就是这样。”卢贝兹基坦承道，“在《地心引力》中，桑德拉（·布洛克）被锁在那个箱子里，感觉就像她在某种航天器里，我们是控制中心，用麦克风相互交流。我觉得，这的确使得桑德拉产生一种幽闭感。这次拍摄莱昂纳多时也一样。我们不是在摄影棚里拍摄，而是到大江大河那儿去拍摄。当你看到他从河水里爬出来，真的冻得浑身发抖，那才称得上神奇呢。

“We knew the journey was going to inform us and change us and make the movie what it is. And we are different people. For example, when we are talking about climate change and you are in an office in Los Angeles and they say the temperature might change two degrees, you think, well, I’ll just take my sweater off. But when you are there and you realize that half a degree is the difference between liquid and ice, and that you are not going to get snow and your set is going to disappear because it’s too warm, suddenly you start thinking very differently. So from that to just the endurance of everyday complexity, it changes you.”

“我们知道，这样的经历会开阔我们的视野，改变我们的观点，让电影真实呈现。与以前相比，我们完全变了。例如，谈到气候的变化，如果在洛杉矶的办公室，听说气温可能会上升两度，你会想：‘哦，看来我要把毛衣脱了。’但是在拍摄现场，你会意识到，哪怕气温上升半度，冰也会化为水，你会拍不上雪景，由于气温太高，你的布景也完蛋了。那时，突然间，你的想法便完全不同了。所以说，无论是拍电影还是对待复杂的人生，你都会被改变。”

Lubezki described The Revenant as the most immersive project he’s ever shot, combining brutality and beauty, in which you are literally inches away from Glass, whipping around him during his ordeal and taking in all of panoramic detail of the stunning landscape.

卢贝兹基说，《还魂者》是他迄今拍摄的最具沉浸感的影片，将“荒蛮”和“美丽”融为一体，拍摄时，他和主人公格拉斯近在咫尺；当格拉斯经受磨难时，他围着格拉斯拍摄，把绝美景色的一草一木都收入了镜头。

But Lubezki couldn’t have accomplished it without using the Alexa 65, the first large-format digital camera that he’s liked. It had never been tested before and performed well in the freezing Canadian Rockies and the tip of Argentina for the finale. “Somehow this camera truly translated what I was living and feeling in that place into images. Usually you look up into the landscape and it’s never there— you’re shooting fragments. But this one, because of the size of the chip [54.12×25.58 mm] and the quality of the image [6560×3102 resolution] and how clean it is, it does feel like a window into that place. That was the other reason to shoot digital instead of film. I didn’t want to have grain, I didn’t want it to feel like a representation of the experience of Glass. I wanted to feel as if you are walking with him. I wanted it to be visceral, I wanted you to feel his breath and see his sweat, the tears coming out of his eyes. Usually we don’t do this outside—we use longer lenses trying to make everything beautiful.”

不过，如果不用一直心仪的首款大画幅数字摄影机Alexa 65，卢贝兹基无法完成这一拍摄。这款摄影机以前从未试用，此次在冰天雪地的加拿大落基山脉和阿根廷高山之巅拍摄大结局时表现良好。“不知怎的，这台摄影机把我在那里的体验和感受都真实地转化成了画面。通常，观众想看全景却看不到，摄影机拍摄的都是零碎的画面。而这款摄影机有着特殊型号的芯片（54.12×25.58毫米）和图像效果（分辨率6560×3102），画面异常清晰，犹如凭窗眺望。这也是我使用数字摄影机而非胶片摄影机的一个原因。我不想要颗粒，不想让人觉得在陈述格拉斯的遭遇，我想要的是和他同行的感觉，一种切身体验。我想让你感觉到他的呼吸，看见他在冒汗，看见他的泪珠滚出眼眶。平时遇到这种情况，我们是不拍外景的——我们会用长焦镜头，千方百计把画面拍得漂亮。”

……

Lubezki conceded that The Revenant had a major impact on him. “I’m just hopeful that I work with a director with a strong vision and a sense of poetry. We have all of these tools and it’s like using oil or acrylics or watercolors. If we had shot on film, it would be a very different movie. For one, we’d be still shooting and we never could’ve shot at the times that we shot. But if film goes away, it’ll be a big loss.”

卢贝兹基承认，《还魂者》对他产生了重大影响。“我满怀憧憬，希望与自己合作的导演独具慧眼，懂得诗意。我们该有的工具全都有了，就像绘画，手头有油彩、丙烯和水彩。当初如果用胶片拍摄，可能会完全不一样。比如，我们可能仍未拍完，也绝不可能在现在拍摄的那些时候拍。胶片一旦损坏，损失巨大。”

At the same time, he looks forward to improvements in the Alexa 65: “It’s very important that they improve the dynamic range, being able to see more into the highlights. And then the other thing that is very exciting is the combination of this technology with Dolby laser projection. The DCP for Dolby laser is the first time in the history of film that directors and cinematographers can project pitch black. I like IMAX laser projection too. I find it immersive but a bit more assaultive on the senses.”

同时，他期待Alexa 65能有改进。“提高动态范围非常重要，我们就能看到更多的高光。还有一点非常激动人心的，就是这种技术与杜比激光投影相结合。杜比激光使用的数字电位器使导演和摄影师影史上首次能够在漆黑的环境中拍摄。我也喜欢巨幕电影的激光投影，觉得有身临其境之感，但对感官的冲击更强了些。”