16岁时看了阿拉伯的劳伦斯几乎要放弃拍电影

And when the film was over, I wanted to not be a director anymore because the bar was too high.

It was the first time, seeing a movie, I realized that there are themes that aren't narrative story themes. There are themes that are character themes, that are personal themes. That David Lean created a portraiture, surrounded the portrait with a mural of scope and epic action, but at the heart and core of "Lawrence of Arabia" is "Who am I"?

I started making movies when I was a young kid, but I remember the time I almost gave up my dream of being a movie director. I must have been 16.

越对什么事情感到自信或确定无疑，成果就越少

The more I'm feeling confident and secure about something, the less I'm gonna put out. The more I'm feeling, "Uh-oh, this could be a major problem in getting the story told," I'm gonna work overtime to meet the challenge and get the job done. All right, that's done. I don't know if it's worth it.

Spielberg:And so, I hate the feeling of being nervous, but I need to feel in this moment I'm really not sure what I'm doing. And when that verges on panic, I get great ideas. The more I feel backed into a corner, the more rewarding it becomes when I figure my way out of the corner.

Just before I went off to make "Jaws," I got to meet Henry Hathaway. He was kind of a tough-guy director, and he said, "There's gonna be moments where you're gonna get to the set and you're not gonna know what the hell you're doing. It happens to all of us. You've gotta guard that secret with your life. Let no one see when you're unsure of yourself. Hide that from everybody, or you'll lose the respect of everyone."

未见到的潜在危险更让人恐惧，细腻的心理层面

I knew that it's gonna take three or four weeks to rebuild the shark, and so we'd have to make up something else that didn't exactly show the shark but gave the sense the shark was near.

The barrels were a godsend, because I didn't need to show the shark as long as those barrels were around. What you don't see is generally scarier than what you do see, and the script was filled with "shark." Shark here, shark there, shark everywhere. The movie doesn't have very much shark in it.

John Williams:If the shark had been available visually, it might have changed the whole psychology of the experience.

青少年时期的自我认知，摄像机就是笔

I didn't have a lot of high esteem for myself, you know, growing up. I just was a lonely guy.

The camera was my pen. I wrote my stories through the lens. And when I was able to say "action" and "cut," I wrested control of my life.

But I didn't know anything about whether I was gonna have a career or where this was gonna go. I just knew that it filled up the time and it gave me a tremendous amount of satisfaction. And the second I finished a movie, I wanted to start a new one because I felt good about myself when I was making a film. But when I had too much time to think, all those scary whispers would start-- start up. It was not fun to be me in between ideas or projects.

遇到伯乐

"If you sign with us, I will support you as strongly in failure as I will in success."

对镜头语言的掌控

Steven Bochco:Steven had a gear in his brain that automatically translated words into pictures almost without it being a conscious process for him. There was a unique visual voice there that you had to not only pay attention to, but you had to give somewhat of a free rein to.

Edelstein:Right off the bat, it was clear that no one moved the camera like Steven Spielberg. Other directors had a fantastic sense of space. Orson Welles, you name it, people who understood composition. But the way that Spielberg's camera moved through a shot and then ended up somewhere that completely shifted or intensified the emotion of the scene, that was just a natural gift he had. Who knows where that came from. Who-- but it was his own technique.没人象斯皮尔伯格一样移动摄像机。其他导演有很出色的空间感。随便说一个Orson Welles非常理解构图。但是斯皮尔伯格在一个镜头中对摄像机的移动，以及在某一处停下来，完全改变或强化了场景的情感，那是他的天分。

George Eckstein called me and said, "Network's really upset that the truck didn't blow up, so they're ordering us to go back to that cliff and blow the truck up." And I said, "I'm not gonna do it." The death of the truck is so agonizing. I said, "I made that truck die slowly." The oil, like blood, dripping off the steering wheel. The wheel slowly rolling to a stop. The fan still going, but the truck's dying. I mean, it's the death of the truck. That's what the audience wants to see. This criminal element paying-- you know, paying the price for what it did to this man. I wouldn't do it. I wouldn't blow up the truck.

对表达媒介的熟悉

Bochco:For Steven, the little screen was an interesting canvas, and obviously he painted on it very well, but he knew that this screen simply wasn't a large enough canvas.

Spielberg:For me, directing is camerawork, and so I'm very on the front line of that. I've gotta set up the shot, I've gotta block the actors, choreograph the movement of the scene, bring the camera into the choreography, figure out when the camera stops, how it moves, how far it moves, what the composition is, so I've always got my eye on the lens, and that's what I do. I even pick the lens I want.对我来说，导演就是摄像技术，因此我总是在摄像的前线。我需要设定镜头，隔离演员的因素，为镜头设计动作，将镜头带入到动作中，确定摄像机什么时候停止，怎样移动，移动多远，构图是什么样的，因此我的眼睛总是关注在镜头上，那就是我所做的。我甚至会自己挑选想要的镜头。

Scorsese:His strength is really the ability to be able to tell a story in pictures instinctively. I sometimes watch his pictures on TV without the sound just to see the pictures.

Edelstein:Pauline Kael, one of the most influential film critics of all time, wrote in "The New Yorker" that Steven Spielberg had made one of the most phenomenal debuts in the history of film. She compared him to Howard Hawks in terms of how natural his feel for the medium was. What Kael saw in Spielberg was someone with a real movie sense, but she also said she wasn't necessarily sure there was great depth to go with it. She didn't see a sign of an emerging film artist like Martin Scorsese. What she saw instead was the birth of a new generation Hollywood hand.

幸运的处于一个活跃的文化氛围中

Spielberg:We were very, very fortunate to be part of that time. The culture was converging. It was filmmakers, it was artists, musicians, performers. It was an incredible, fertile time.

未曾有意追求电影的精神内核，自己的精神层面会通过工作渗透到作品中

I don't search for films consciously that have a spiritual core. There's a spiritual part of myself that happens to bleed over into the work, and so I subconsciously, which is the only choice that's important, will find things that inherently have something of a belief system that's beyond our understanding, that's a little bit out there.

人与人之间的联结

Coyote:For many years I wondered about the universal appeal of this movie, and one day, it hit me. There are no two humans on Earth that are father apart than those humans and that alien creature. And if Elliott, and the mother, and the little girl, and the scientist, could all love and empathize and make a rapprochement and a rapport with this creature, so, too, can any two humans on Earth, and I think that was a subtext that bubbled up through the film and must have touched something, because you don't get many films that are universally loved and appreciated 40 years later. And it spoke to something. Some desire to be able to reach across boundaries and touch other people.

对儿童演员的特别关照

Spielberg:I think all of my movies that have dealt with young people and their stories are about the importance of empowering these children to take control of the story, at least take control of their lives.我所有的电影都与年轻人和他们的故事有关，使这些孩子们更强大，控制故事的呈现很重要，至少他们可以控制自己的生活。

二战喜剧片带来的失败与挫折

But it was like I committed a war crime by making "1941." Everyone was eviscerating it. I was really devastated. Just that feeling of failure, that cold emptiness, where every reminder of the movie, you get that sick feeling in the center of your stomach, and you just want to go dig a hole and stick your head in it. I mean, for the next year, I put my head in a lot of holes. And my friend George Lucas came to the rescue.

自身的成熟，期待电影在更本质更人性方面的变化

Spielberg:I was looking for a different perception of myself. And if I didn't want to consciously make a departure and prove something, not just to myself but to everyone else, I might not have chosen "Color Purple" as my next movie. But it was my first really mature film, which took on, you know, substantive, humanistic subject matter. I was turning 40 and I was looking at life perhaps less optimistically.

紫色中本可以有更深入的表达

Spielberg:I got in trouble with several critics who didn't like that I shied away from the love story between Shug and Celie. And the scene where Shug Avery shows Celie, with a mirror, her vagina, that that did not go into the movie, which would've really changed the entire nature and tone of the film. I just didn't go for the full monty the way the book did. I might've done that had I made the movie 10 years later. I was just timid. I was just a little embarrassed. I just wasn't the right guy to do that.

对自己犹太人身份从拒绝到接受

I certainly experienced being excluded and being picked on and discriminated against. All I wanted to do was fit in. And by being Jewish, there was no way I could fit into anything.

I began to deny my Jewishness, you know, began to deny everything that I had accepted as a child and was not willing to accept if it was going to make me a pariah. I was ashamed of myself. I still feel ashamed of myself even remembering that long stretch of my life where I didn't want to be Jewish anymore.

辛德勒名单的基调

I tried to do it with no fancy tricks, no fancy lenses, no big Hollywood sweeping cranes. I tried to take all the tools with which I made so many of my films and just chuck them out the window. I never handheld anything, but I wanted to handhold as much of "Schindler's List" as I possibly could. I just wanted to create for all of us the feeling that we were absolutely there at the time.

光影的隐喻

Neeson:Oskar Schindler was a gregarious man. He was a second-rate businessman. Bit of a shady character, you know? A man about town, loved the women, loved his booze. A bon vivant, that's what he was.

Spielberg:Everything we do in this medium is about light and shadow, how the cinematographer lights the actors, lights the set. If you look at "Schindler's List," Amon Goeth was always lit beautifully. He always had that beautiful front light. You know, the guy was very clear. There was no mystery in him. You don't have to enhance his evilness, if you may say, by lighting. Now, if you look at Oskar Schindler, that was a confused individual. He came to Poland to make money, so it's always glamorous, but always shadowy. And then as the movie's progressing, he gets more frontal light. The shadows disappear.身为导演的情感投入，以及电影之外的社会互动

It was, emotionally, the hardest movie I've ever made.

Kennedy:That was a pivotal moment in Steven's life. He recognized he couldn't take any of the profits from the film. He wanted to give something back, so he started what became the Shoah Foundation, documenting that oral history and capturing history in a way that allowed people not to forget.

多面手

Robert Zemeckis:For a filmmaker, you can't have a better producer than one of the greatest directors in the world. He really nurtures young talent coming up. It's a pretty amazing roster. He's also a major figure in the television business. He started a restaurant. Dive! Submarine sandwiches. The man was, like, doing 27 things at once and being perfectly unselfconscious about it.

Geffen:I don't think Steven really fears anything. He's always ready to go and do something new.

拯救大兵瑞恩中镜头距离与观众心理感觉的关系，声效，应变能力

Spielberg:I tried very, very hard to put the audience as close to the experience as I possibly knew how to do so there wouldn't ever be a safe feeling in the audience. And when you narrow that distance-- if you're successful in narrowing the distance, then the audience really becomes those characters.

Edelstein:In "Saving Private Ryan," Spielberg understood the expressionistic possibilities of sound.

And if you're not Steven, if you don't have this lifetime of cinematic language in your head, that's a different kind of day. But because his eye is so connected to his brain and every movie that he's ever seen and every movie that he's ever made, he just went out and said, "Here's how we're gonna do this, and that's it." Incredible.

自身的情感挫折与电影作为治疗方法

It was complex for me for a long time, but at least I had a art form that I could filter it through. At least I had that. If movies did anything for me, it-- I've avoided therapy because movies are my therapy.

“无论怎样都要争取自由”的电影主题，爱国主义与理想主义

Insdorf:There are people struggling in one way or another for freedom in these movies. Give... us free. He doesn't take freedom for granted.

Spielberg:I really believe in this country, and I always have. And it just resonated throughout my work-- wanting to tell American stories, wanting to tell stories about principled, ethical people who, against all advice and against most everyone else's better judgment, just proceed to do the right thing. I'm sure that sounds like I'm this kind of, you know, idealist or some sort of a patriot, but I am a patriot. And I'm somewhat of an idealist, too.

讲故事的方法

Steven worked a long time to find where the story was to tell it.斯蒂芬会花很长时间去找在哪里讲故事。

保持中立

Spielberg:I felt I could not make this one-sided. And so, I knew it would be controversial from the very get-go.

Daniel Craig:This movie was trying to affect and turn on a debate. Is vengeance the answer? Does it actually solve anything? If you continue the cycle of violence and cycle of blood, then... that's what they'll be and nothing else. Steven was very keen to tell a human story, that these were men and not superheroes. Their indecision and their mistakes and their-- is the reality of what happened, you know? Life isn't a "James Bond" movie.复仇是否就是答案

叙事的方法

Kushner:You're in the hands of somebody who will always show you what you need to see in order to understand, on a narrative level, what's happening. And you'll also see a lot of things that will help you understand on deeper levels as well. And that sort of narrative device

电影带出的不确定性

Hoberman:The movie was perceived to be suffering from a sense of moral equivalence, which is really the bravest thing about the movie. It's looking for aspects of humanity on both sides of this conflict. Ambiguity is something that you don't normally associate with Spielberg's films, and "Munich" is the film where he went the furthest in the bluntness and the ferocity with which he approached that subject.

家庭，分离与重聚

Spielberg:Family is a big element in my life, which is why so many of my stories are about separation and then reunification. Even "Lincoln" is about separation and reunification.

工作团队的稳定，与他人合作，激励同伴

Williams:He understands that people and can serve him and how to synchronize his wishes with your own. He would've made a great general.

在看电影中不断学习

Kennedy:Steven looks at movies constantly and over and over and over again, referencing shots and framing and ideas. That's something Steven does all the time.Spielberg:Great filmmakers' works live on to create tremendous moments of inspiration. And so, one of the films I still see every year is "Lawrence of Arabia." The shots, the sheer vistas, and the portrait of such a complex character, it's pure moviemaking. 伟大的电影导演的工作是创造巨大的启发性时刻。自我审视中的过去，成长

Spielberg:Many years ago, Pauline Kael gave me a really great review on "Sugarland Express," but she said, "Whatever's on the surface might be all that is there. There may be nothing behind that." And she was absolutely right. I hadn't grown up yet through the movies. That was going to come in time.

到现在为止的评论

Maslin:Take a look at what he's done over close to 50 years. There's certainly a lot of variety. There are some things he's done that haven't worked, but there is absolutely nobody like him and no film career trajectory that is anything like his in the history of film. He speaks cinema as if it's his native language. He is so fluent in it that he does things that nobody else would dare to do and they are instantly recognizable as things that are purely his.

Scorsese:He has a dynamic sense of real filmmaking. I'm talking about filmmaking of--in the great narrative tradition of American cinema. 真正的电影制作的动态感

Coppola:Steven was blessed in that he could be commercial and he could do art.That's why I always compare him to a kind of George Gershwin, because Gershwin could write a Broadway show or he could write "Concerto in F." He could both, and very few people can do both. And Steven can do both. And that's a talent you have to be born with. 商业与艺术

开局就来紧张的音乐，啥剧情也不交代，真水，一身鸡皮疙瘩。没5分钟就打打杀杀，演员都是小白脸，真的有男子气概和战斗力吗。。突然两个神秘人在男主和女主面前谈话，好狗血的剧情。。。男主太幼稚，太不实际，什么世界和平帮助他人。。。日本这种经济环境，像他这种小员工想生存都难吧。。。什么剧情都没有交代，强硬的把主角的各种圣人报复塞给观众，不怕观众吐吗？泡面番难成大器。

小时候看得模糊又不喜欢二部换人 二刷发现不少华点 倾于编剧悄悄给季展he了（不是我在yy！） 江展大部分时间都没有感情线 董洁自己采访也说了 第二部展颜不停的在cue季冬阳 没有哪部戏不参演的前男一有这么多的分量了。所有困难都想会把季引出来 虽然被李玮凡伤了心 但最后越来越坚定反驳了她的爱情论 季冬阳最后终于出现的时候 她都是有笑的 得逞那种 好像还是只有他们知道的小游戏 如果前面还模糊 那最后季最后包场 并且强调了十一点到三点就太明显了 这是以前他们不会在一起的时间段。因为是王琪在的时间 第一部展颜说她是痴等的夜太寂寞了 这个时间明显是暗示可以把她当作女人而不是孩子不让她空等了，最后握手的镜头 如果是江的话大可以露脸cp的更明显一些 并且那个手表特写第一部季也出现无数次 演员本人不能到场的情况下这是编剧最大的努力了吧 要不就是he了要不就是编剧说的第三部要给他们he所以伏笔了 二刷发现不管是第一部还是第二部季展的线抛开为了过审的生硬part都是一直在呼应的。总让我想起来normal people里的人物关系 二人因为原生家庭和心理问题共生 分开独立成长 但永远最爱对方 有旁人不能理解和介入的默契。

转自微博良民“墨浓书香玉琳琅”，已获授权。

关于《今生有你》的悲剧美学与现实意义。这是一部现实主义题材的力作。它的切入点非常具体，就是我们每个人生活中都在经历着的爱情、友情、与亲情。所以，它留给观众的讨论空间与情感共鸣也是非常多的。有很多内容，追剧的时候来不及细想，可当心情平复下来以后，慢慢再品这个戏，很多滋味，都值得往深处聊。我感觉这部戏，导演没打算要拍虐与甜，他打算拍的，或许是，虐与温暖。一个词之差而已，前者是言情剧，后者是关于悲剧美学的现实意义。大凡优秀的悲剧美学作品，通常是命运悲剧与性格悲剧的结合。什么是命运悲剧？聂宇晟和谈静的少年爱情，经历了命运之手，变成一对“仇人的子女”，而他们在七年后的现实生活中，又同时是“平平的父母”。这就是命运带给两人的无奈与挣扎。什么是性格悲剧？谈静闭口不言七年前分手的真相，聂东远从来都不觉得自己有什么不对，夹杂于一直在沉默的谈静与绝症缠身的老父之间，聂宇晟没办法做出任何激烈的选择。不坚强隐忍就不是谈静，不霸道自负就不是聂东远，不看重感情就不是聂宇晟，这是他们自身固有的性格，而当这三种性格交缠在一起，就酿成七年的爱情悲剧。这完全就是黑格尔的悲剧理论，在这场悲剧中，彼此对立的这几方，无关对与错、善与恶，每个人都有自己要坚持的部分，每个人都在自我对事件的认知中有自身逻辑与合理性。聂宇晟和谈静的爱情悲剧，是“正确与正确的对抗”，造成他们分离的，有外部命运的捉弄，也有自身性格的影响；而造成他们七年后继续纠结的，依然是命运与性格双重的作用。这就是悲剧美学最高级的境界。惟其如此，观众才能够有共鸣。把这种悲剧美学放入到现实生活当中，观众从他们的故事里，感知到命运的无常、人生的无奈、生活的复杂与多变，情感的不易得与舍不下，这就给观众造成了巨大的内心冲突，通过他们的故事去触摸自己的心灵，这就是悲剧美学的现实意义：代入情境，然后，得到启迪。这部剧最棒的部分就是聂宇晟这个人物的塑造。他的横空出现，使得整部戏的基调，不再弥漫着一种单纯的悲伤主义，而是充盈着一股就要坚持到底的英雄主义。尽管世事无常，面对命运的巨手，他依然捧着一颗初心让你看到，不仅是对待他和谈静的爱情悲剧，还有关于他对待盛方庭这个手足的伦理悲剧，他用自己的信念、自己对人生里面所有美好情感的看重，自己的为人处事原则，去一一化解，一一消融，一一争取，一一放过。温柔的聂宇晟在这部戏里面，没有向全世界宣战，没有任何激烈的言行，但他，却是个不折不扣的英雄。虽千万人吾往矣，聂宇晟用自己的坚持，为职业献身、为爱情献祭、为亲情退让。这就是亚里士多德所强调的，悲剧的崇高主义。戏剧里对聂宇晟的虐身虐心，放在生活这个巨大的现实里令观众对他感同身受。聂宇晟不是什么偶像，他和我们一样，是活生生的有血有肉有情有恨的人，这令他的虐，就成为了观众心里的虐。而故事到了后半段，讨论的问题其实是，在虐的现实里面，有没有什么，是值得人们坚守下去的理由？如果有，那么，它是不是那苦涩中的一颗糖？答案出乎我们的意料。消解了虐的，不是糖，而是温暖。温暖和甜的最大不同是，温暖，给了人生更多的现实意义。现实的生活其实并不是充满了蜜糖，而是充盈着感动。相守是比相爱更艰难的事。故事的结局，并不在于，他们又相爱了。而是在于，他们其实一直都相爱，而冲破了种种生活的悲剧之后，他们依然选择了相守在一起，在人间烟火中，彼此陪伴，彼此温暖。黑格尔说，实现和解，是悲剧中的人物冲突最终的结局。聂宇晟和谈静，不仅仅是与彼此和解，他们更是与他们曾经经历的生命与极致的痛楚和解，并把这些和解，化作了温暖的力量。我们为什么热爱悲剧美学，这取决于我们想要从中获得什么。生活里的压力已经很多了，我们却常常得不到有效的宣泄。借由这一部戏剧，来共情故事里的人物命运，从而正视我们内心的冲突，让我们久已压抑的情绪释放在剧中人身上，这是第一重现实意义。无论结局是否是我们所期待的那样，故事里的遗憾与不圆满总是很多很多，这像极了我们的生命日常。体会他们的人生，从而来审视和回忆我们自己的情感，有些话要来得及去说，有些事要抓紧去做，有些遗憾我们还有机会去弥补，有些爱要勇敢的说出口。无论爱情、友情、还是亲情，它们就在那里，我们却常常忘记。提醒自己我们很幸福，也要让身边的人感到幸福，这是第二重现实意义。每个人的生命体验中都有很多极致的痛苦，要纠结到底，还是把它们放下，然后勇敢的往前走？生活的有限性和痛苦的必然性会激励我们，就像那个阳光少年聂宇晟一样，回过头去找找初心，与现实的命运反抗，正视自己内心最在乎的事情，放手就是得到，绝路也是生机，而生命的最大价值，就是能够按照自己想要的那样，和自己最爱的亲人，度过这一生。今生有你，在千百回虐过之后，给你最深刻的温暖，让我们发现，这人间，有爱同行。治愈，然后，向前走吧。@钟汉良

景行维贤。

作为援藏干部的典范，孔繁森为人子，为人夫，为人父，却不能尽孝尽责，如海瑞一样，可谓失败到了极点。但他钟爱的歌曲《说句心里话》中那种舍小家为大家的精神，却感动了阿里，感动了西藏，感动了全中国。他“视名利安危淡似狮泉河水”，“置民族团结重如冈底斯山”，身为遐方绝域的地委书记，他献血养孤，饮冰食蘖，夙夜在公，克尽厥职。他走遍千山万壑，恤老怜贫，解衣推食，救助困厄。他是“大写的人”，他的精神已内化为共和国的集体记忆，鲁迅所言的“埋头苦干”和“拼命硬干”的“中国的脊梁”，于他而言名至实归。

导演明显舍弃了靠堆砌情节来强行推动故事的路数，这种调性在片中非常统一。一间屋子，一张桌子，两个人，视觉表现力就足够了，一个漂亮的女人爱上一个改邪归正的男人，一场英雄救美也就足够了，对于刚出狱的赵红兵来说，所有的行为和逻辑都是基于人物该有的状态，这种题材本就因为审查很难拍出效果，克制是最好的处理方法，网大中现实主义题材少即是多的典范。

有时候，美人鱼代表了男人的终极幻想。尤其是男导演的电影里面。

我查过一些相关的资料。很多传说里面，美人鱼都是诱惑海员，从而捕食人类的。还有人说，出海的人常年见不到异性，才会对长了胸部的那种鱼，都产生联想。这样形容起来，真是破坏美感。

看了一个1984年的老电影，《美人鱼》。因为喜欢汤姆.汉克斯。没想到在那个电影里面，他才28岁，还青涩稚嫩。不仅瘦，还没有中年时英俊沉着。

【详细】

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如果不是因为有摇滚教母朴实的演技，我应该只会给出一颗星的评价，毕竟众多演员的演技没有那么尴尬。

必须要大声的喊一句：救命！救母的演技是真的朴实。尤其是在其中的某些剧情，那动作、那表情完全看不出任何表演痕迹，就是本色出演。从剧本设计、人物刻画的角度也确实挺扣题，作为男主的酵母确实成功塑造了一个讲究人（尤其是时代洪流中，周围一帮人对比衬托的情况下）。

确实，如果说让酵母演一个典型意义上的混江湖的人，这让人无法想象，毕竟酵母给人的印象实在是太深入人心了。但是这个影片铺垫了这么多的江湖恩怨情仇，结尾却没有大快人心，这着实是有点太符合现实生活了呀。日常生活已经很苦逼了呀，文艺作品中还得不到一丝释放。这很难让人有情感上的触动啊。

度词条上说这部电影是一个搞笑故事……就很好奇，现在对搞笑的门槛儿定位都这么低吗？