《瞄准》前6集的确拍得不错,尤其是欧阳湘灵“审讯”苏文谦那段。
黄轩的演技很多人都夸过了,我就不赘述了。
但从第7集开始,也就是叶冠英被灭口之后,剧情明显变得拖沓了起来,直到演了16集了都没什么重大进展,越来越有高开低走的嫌疑。
其实苏文谦在几十
《瞄准》前6集的确拍得不错,尤其是欧阳湘灵“审讯”苏文谦那段。
黄轩的演技很多人都夸过了,我就不赘述了。
但从第7集开始,也就是叶冠英被灭口之后,剧情明显变得拖沓了起来,直到演了16集了都没什么重大进展,越来越有高开低走的嫌疑。
其实苏文谦在几十米开外用弹弓打中叶冠英,而且木鱼在飞行途中还不翻滚,始终向前,这点都问题不大,我们可以理解为这是他的技能,是他的金手指,只要他没让子弹拐弯我们都可以接受。
但是他逃出公安局那段就有点开挂了。
他是怎么在众目睽睽之下上的曹必达的车?他是怎么做到开门、关门不发出声音的?又是怎么做到躲在汽车后排不被发现的?
我是因为想起在书虫系列读到过同名的短篇小说,便在浏览影片的时候觉得看一下也不错。
个人认为这部电影的角度和书虫里小说的角度是一致的,都是从玛丽女王行刑前一晚给儿子写的信开始回忆自己的一生的视角铺开。我不知道书虫系列里的这部小说有没有删减内容,电影中间确实是感觉到一部分的删减。但从内容上来看是大致相同的,书里
我是因为想起在书虫系列读到过同名的短篇小说,便在浏览影片的时候觉得看一下也不错。
个人认为这部电影的角度和书虫里小说的角度是一致的,都是从玛丽女王行刑前一晚给儿子写的信开始回忆自己的一生的视角铺开。我不知道书虫系列里的这部小说有没有删减内容,电影中间确实是感觉到一部分的删减。但从内容上来看是大致相同的,书里没有伊丽莎白女王得天花和两个女王会面的片段。这两个片段的增加,突显了伊丽莎白女王面对玛丽女王时的那种自卑,电影中伊丽莎白害怕见到玛丽女王比她年轻貌美,这可真是符合小说里玛丽女王贯穿全文的自恋式的意淫。
开场的画面做足了功夫,女主和胶片颗粒感的画面很有日系质感,战争遗孤和日本老龄化本是比较沉重的话题。但鹏飞导演举重若轻,试图将这样充满年代感的事情拍的轻松,让观众有代入感,他做到了。
有几场戏,处理的非常棒,老太太去买肉,因为语言不同,和导演饰演的老板来了段口技,幽默地恰如其分,全场笑得不行。
开场的画面做足了功夫,女主和胶片颗粒感的画面很有日系质感,战争遗孤和日本老龄化本是比较沉重的话题。但鹏飞导演举重若轻,试图将这样充满年代感的事情拍的轻松,让观众有代入感,他做到了。
有几场戏,处理的非常棒,老太太去买肉,因为语言不同,和导演饰演的老板来了段口技,幽默地恰如其分,全场笑得不行。
第一季跟第二季都很好,用细胞演绎内心活动,呈现立体的人物个性,非常真实有代入感。
从第一季到第二季,以女主的两段恋情为载体,描述了柔美作为个体的变化,每个人都通过恋爱或者不恋爱的方式,不断地了解自己,情绪也逐渐趋于成熟、稳定、松弛,所谓随心所欲不逾矩。
失恋痛哭流泪的柔美,夜晚失眠在家
第一季跟第二季都很好,用细胞演绎内心活动,呈现立体的人物个性,非常真实有代入感。
从第一季到第二季,以女主的两段恋情为载体,描述了柔美作为个体的变化,每个人都通过恋爱或者不恋爱的方式,不断地了解自己,情绪也逐渐趋于成熟、稳定、松弛,所谓随心所欲不逾矩。
失恋痛哭流泪的柔美,夜晚失眠在家里唱歌自怨自艾;
陷入热恋的柔美,把男朋友当成人生的男主角,随他的行为心情起起落落,患得患失;
恋爱就希望会结婚的柔美;男朋友喜欢长发就会留长发的柔美;感受到对方心意动摇就不能继续恋爱的柔美……
柔美代表了每一种“人之常情”。
如果说第一季的主题落脚点在于:你的人生并没有“男主角”,主角只有一个,那就是你自己。你的每个细胞都只希望你快乐。第二季并不是简单地“又谈了一个恋爱”,而是通过遇到男主八笔,逐渐明确自己要写作的路。
柔美在这季成长为了可以独立开展自己生活的人:我有想做的事,我有要去的地方。对比第一季的柔美,分手之后她不知道该做什么,应该下班之后的时间空白总是伴随着男朋友。那时候她翻了翻以前的日记发现,原来她没有谈恋爱的时候也在纳闷下了班要干什么,好无聊。说明恋爱有时候是暂时给你一种充实的感觉,人生还需要有更坚定的方向才会感觉持久的充实。
看到柔美跟八笔分手之后的样子,觉得很美好,一个人,但是很充实,用心做事,照顾自己。其实我们要的从来都只有一个东西,就是开心地过每一天。
决定看这部剧呢,是因为里面有陈冠希。最后却发现被骗了,陈冠希让范冰冰给掐死了。。。。。
我只看了有陈冠希的部分,我觉得这一部分还是挺棒的,陈冠希死了,我还一直期待着他复活,可惜并没有复活呀。所以我就弃剧了。
我看的这一部分,我觉得还是挺不错的,他们去调查红花盗,整个过程有悬念,有反转,节奏也好,当时看的时候,还感慨比现在
决定看这部剧呢,是因为里面有陈冠希。最后却发现被骗了,陈冠希让范冰冰给掐死了。。。。。
我只看了有陈冠希的部分,我觉得这一部分还是挺棒的,陈冠希死了,我还一直期待着他复活,可惜并没有复活呀。所以我就弃剧了。
我看的这一部分,我觉得还是挺不错的,他们去调查红花盗,整个过程有悬念,有反转,节奏也好,当时看的时候,还感慨比现在的好多剧强太多了,结果男一号死了,唉真是悲伤啊!??
虽然有些演员的演技比较尬,但整体还是不错的呀。一个个的线索,线索又都断了,还要把它们串起来,看的还真是过瘾啊!
五个月实践追完了第一季到第五季之后,发现这部剧其实是一部男主的成长剧,第一季路西法逃离地狱来到洛杉矶这座城市时还是地狱之王,在和克洛伊在一起办案的过程中,两人从各种猜忌到怀疑之后,最终到第五季时候路西法终于对克洛伊说出了“I love you",而后重生得到众天使的跪拜成为新的God。
五个月实践追完了第一季到第五季之后,发现这部剧其实是一部男主的成长剧,第一季路西法逃离地狱来到洛杉矶这座城市时还是地狱之王,在和克洛伊在一起办案的过程中,两人从各种猜忌到怀疑之后,最终到第五季时候路西法终于对克洛伊说出了“I love you",而后重生得到众天使的跪拜成为新的God。
其中有个对路西法帮助很重要的角色就是琳达,不仅是路西法,你会发现剧中经常出现的人物,小恶魔、阿曼迪尔、克洛伊等等,都会隔段时间出现在琳达的咨询室里或者生活里,她甚至是整部剧里第一个真正意义上知道路西法是地狱之王的人类,而路西法也在每次遇到和兄弟们的糟心事,以及和克洛伊的感情问题的时候都会来到琳达这里,然后在当集的案件里收获实践的反馈。
刚开始那几季,印象最深的就是路西法时常暴怒于Father的操控,或者是他自认为的操控,甚至一度苦恼于克洛伊是上帝送来人类世界给他的标配,而不是他内心里真正的爱的对象,这也成为路西法和克洛伊两个人在感情上的阻碍。
在下地狱这件事里,什么样的人会上天堂,什么样的人会下地狱,本质上不在于真正意义上做了好事还是坏事,而在于内心里是否有罪恶感,而这罪恶感会成为一轮轮在地狱里折磨人的场景,折磨着地狱里人。
在第五季最后一集的时候,路西法在天堂看到了原本在地狱的”Mr Said Out Bitch",而“说脏话先生”说他接受了路西法的建议,直面了家人和自己的罪恶,这样他打开那扇门之后来到了天堂,从这个角度来说,每个接纳了真实自我的人都会从地狱里来到天堂。克洛伊被刺,弥留之际她告诉路西法她的死不是路西法的错,是她自己的选择来到当下的地方,让路西法放下对她死亡的罪恶感,克洛伊自己也放下了对丹死亡的罪恶感,这让她去了天堂里。
在丹死掉的那一集里,阿曼迪尔去天堂确认了下,发现那么多人都喜欢的丹却没有在天堂,其实在第一季里就看得出来,丹不是那种没有污点的警察,而丹之所以在克洛伊手下做事情也是因为犯了错被降职。丹那会应该在地狱里在接受着一次又一次看似来自地狱,实则来自内心的折磨,也就是来自于丹自己内心的罪恶感,让他在地狱的轮回里遭受着折磨。
在路西法重生之后,他拿着焰火之剑砍掉了迈克的翅膀,而不是直接要了他的命,作为地狱之王的他都能获得第二次机会,他也给了在剧里看着让人牙痒痒的迈克第二次机会。
路西法是因为为了配上克洛伊的爱而参与了战争,也因为了有更广义上的爱配得了新God的位置。虽然后续又看到其他剧评说天使是不能成为上帝,只能是天使和人类结合的人类才能成为上帝,极大可能是剧里的查理,但是这不妨碍整部剧到第五季结束时候的happy ending,让我一度认为已经是大结局了,没想到还有第六季。
不管怎样,整部剧到第五季的时候,男主的内心世界都是处在不断升级打怪,升华自我境界的主线上,并且因此获得了大爱,从这个维度上来说,到第五季已经可以算是圆满,后面的一季就当是甜点吧!
自幼感情极好的乙骨忧太与祈本里香约好长大后要结婚,却不料里香因死亡车祸化为强大怨灵依附在忧太身边,为此所苦的忧太一心求死,之后在五条悟的带领下进入咒术高专结识了新同学:禅院真希、狗卷棘与熊猫,他决定在这里找到活下去的自信并解除里香的诅咒。乙骨被评为特级,和真希一组行动。遇到大诅咒,被吞到肚子里。乙骨发懵,真希质问,乙骨下决心要解决里香的诅咒。乙骨拿下戒指戴到手上,第一次主动叫出里香诅咒,杀死
自幼感情极好的乙骨忧太与祈本里香约好长大后要结婚,却不料里香因死亡车祸化为强大怨灵依附在忧太身边,为此所苦的忧太一心求死,之后在五条悟的带领下进入咒术高专结识了新同学:禅院真希、狗卷棘与熊猫,他决定在这里找到活下去的自信并解除里香的诅咒。乙骨被评为特级,和真希一组行动。遇到大诅咒,被吞到肚子里。乙骨发懵,真希质问,乙骨下决心要解决里香的诅咒。乙骨拿下戒指戴到手上,第一次主动叫出里香诅咒,杀死大诅咒,完成任务。五老星说如果控制不了里香诅咒就要除掉,五条悟表示反对。五条悟教乙骨控制诅咒到刀上的方式运用诅咒,然后乙骨与真希进行锻炼。接到任务,乙骨与狗卷一起。狗卷言咒杀死低等怪物,又出现一个象鼻准一级,乙骨配合狗卷消灭。五条悟知道背后是特级诅咒夏油杰计划的。夏油杰准备歼灭咒术高专,领徒弟到高专与所有人对峙。留下12月24日在东京、大阪、京都发动百鬼夜行的战书后离去。夏油杰真实目的是令乙骨落单杀乙骨夺里香,独自去高专,打败真希,然后三节棍击败赶来救援的熊猫和狗卷。乙骨单挑夏油杰,不落下风,夏油杰要用全力,乙骨献祭自己令里香解除咒力限制,击败夏油杰。夏油杰逃走路上遇到回来五条悟,开放结局。然后因为乙骨是高能咒术师后代,其实是乙骨诅咒了里香,献祭自己解开了诅咒。学院重归平静。
采访、撰文/法兰西胶片
7月20日晚,郑州洪灾,我刷着微博,在朋友圈本能地转着救灾信息,各种求救电话啊,受灾表格啊,几乎一宿没睡。直到21日凌晨四五点,前方抢险信息不再高频更新,我才缓缓躺下。躺下也没立刻睡着,半迷着眼睛,渐渐意识到屋里有了轮廓。
采访、撰文/法兰西胶片
7月20日晚,郑州洪灾,我刷着微博,在朋友圈本能地转着救灾信息,各种求救电话啊,受灾表格啊,几乎一宿没睡。直到21日凌晨四五点,前方抢险信息不再高频更新,我才缓缓躺下。躺下也没立刻睡着,半迷着眼睛,渐渐意识到屋里有了轮廓。
也就睡了三钟头,在这错愕、难过的时刻,万达影业的朋友发来一个看片邀请,说他们有一部主旋律电影半个月后要上。
我听着胸口就有点憋闷,干嘛要在这个时候看一部“歌颂体”?干嘛是今天?试问谁看得下去?
我说能回头再说吗。对方说,这部主旋律有些内容和你想得不太一样。我就准备带着七分怒目去看了。
第一场戏,有点惊,60年代,主角不惜冒着风险,从猪圈里捞上来一个知识分子右派。
顿时觉得有点意思。
很快,故事转战到河南,刚至此地,主角就经历了一系列匪夷所思的绝望景象,三个字:穷苦死。
电影进展到中途,更震惊的情节来了——一场突发的洪灾,主角身为当地书记,挨个敲醒了每一位干部,集体冲到受灾一线救人。
是巧合,但巧合之下更是对现实的批评。
这部电影叫《我的父亲焦裕禄》,导演范元,峨眉电影制片厂的“50后”老将,同时也是90版《焦裕禄》导演王冀邢的老同事,20多年没上大银幕,这次迅雷出手。
曾经作为一名电建人,海外漂泊三年多。从第一集开始,说实话并不十分看好,特别是工地上卸履带吊车的场面,多少有点浮夸了,好在这只是一个开头。
季成钢这样的工友,我是见识过的。相信很多朋友在工作中也遇见不少吧。口号震天响,没有实力的人只好靠口号和演技。
给我特别印象的只有李心梅,女二号的她,给人一种朴实的感觉,是真心爱夏方舟。假装夏女友看护夏的时候,偷亲夏的时候有点俏皮了。
曾经作为一名电建人,海外漂泊三年多。从第一集开始,说实话并不十分看好,特别是工地上卸履带吊车的场面,多少有点浮夸了,好在这只是一个开头。
季成钢这样的工友,我是见识过的。相信很多朋友在工作中也遇见不少吧。口号震天响,没有实力的人只好靠口号和演技。
给我特别印象的只有李心梅,女二号的她,给人一种朴实的感觉,是真心爱夏方舟。假装夏女友看护夏的时候,偷亲夏的时候有点俏皮了。
她对夏的爱情是纯粹的,无保留的,她对爱情的态度是升华了的,很感动。
我一开始也被《银湖之底》唬住了。
我一开始也被《银湖之底》唬住了。
想找个纪录片看,对宠物很感兴趣就点开了,节奏很欢快也很有梗,很让人放松,但是放松的同时又能感觉到宠物和人之间奇妙的连结。
对第二集印象很深刻,从前很少了解像缉毒犬、实验犬这样的动物,更不知道他们退休后如何回到一只“普通宠物”的状态。从Summer到大萨,从03号实验犬到妞妞,它们拥有了新的身份,从本不属于他们
想找个纪录片看,对宠物很感兴趣就点开了,节奏很欢快也很有梗,很让人放松,但是放松的同时又能感觉到宠物和人之间奇妙的连结。
对第二集印象很深刻,从前很少了解像缉毒犬、实验犬这样的动物,更不知道他们退休后如何回到一只“普通宠物”的状态。从Summer到大萨,从03号实验犬到妞妞,它们拥有了新的身份,从本不属于他们的人类社会职责里脱离出来,这是狗狗们新的生活的开始,重新认识,重新学习,重新融入。令人欣慰的是,大萨慢慢脱离了军事化的严肃,妞妞放下了对人类的戒备,它们在慢慢适应狗狗的退休生活。我们赋予狗狗们这样的职责和任务,改写了它们的人生,有时甚至无情地留下不可挽回的伤害,狗狗们退休以后的平淡生活,要慢慢治愈前半生留下的一切,有的是骄傲的经历,有的却是痛苦的回忆。
标题很有意思,“大家都有病”,或许宠物是我们生活的一部分,也始终和人类紧密相连。大家都有自己的奇奇怪怪的地方,但因为各种各样的原因,相遇并相识,开始发生奇妙的故事。我们通过宠物的视角,看到大楼里城市孤岛的繁华和孤寂,看到田园乡野的生活追求,也看到养老院里的人生百态。
从动物到宠物,它们走进了人类社会和人类生活已经千百万年,作为其中的一份子,它们也是时时刻刻上演的故事的主角,同时也用他们的视角成为了一个个记录者。
移动NewTV超级电视剧是有毒吗?竟然敢播这种相当烂俗的国产婆媳家庭烂片(这片除了贾静雯和那一群还说的过去的演员就是一堆垃圾,还有那个编剧许宝月,是*了*吗,编这么烂的剧本)。更可怕的是我奶奶还看得相当之入迷,这**是在拿6、7年前的有害垃圾毒害现在的中老年人啊。。。
我希望移动在选片这一环节应该再严一些,不要再把烂片弄上去玷污自家招牌了,也希望以后不要再出这种**片了,好吗?<
移动NewTV超级电视剧是有毒吗?竟然敢播这种相当烂俗的国产婆媳家庭烂片(这片除了贾静雯和那一群还说的过去的演员就是一堆垃圾,还有那个编剧许宝月,是*了*吗,编这么烂的剧本)。更可怕的是我奶奶还看得相当之入迷,这**是在拿6、7年前的有害垃圾毒害现在的中老年人啊。。。
我希望移动在选片这一环节应该再严一些,不要再把烂片弄上去玷污自家招牌了,也希望以后不要再出这种**片了,好吗?
2018年,剧情科幻电影《 静音 | Mute》
据说这个电影大有来头,各种噱头,各种大牌,好样的。。。这2个多小时的电影,是如此的煎熬。。
确实看到致敬《银翼杀手》的影子。。只是电影开始的画风和30年后的画风,这哪里是30年的差
2018年,剧情科幻电影《 静音 | Mute》
据说这个电影大有来头,各种噱头,各种大牌,好样的。。。这2个多小时的电影,是如此的煎熬。。
确实看到致敬《银翼杀手》的影子。。只是电影开始的画风和30年后的画风,这哪里是30年的差距啊。。
女儿控,爱人控,塑料兄弟情。。这都什么鬼玩意啊。。。电影剧情的走向很无聊,人物动机也是很玄妙。。故事讲的乱七八糟。666没毛病。
(╯‵□′)╯︵┻━┻,编不下去了。这个电影真的没什么好说的。。。 说好的静音呢? 是因为难看到不想说话吧。。。
-------我是沉默的分界线----
推荐指数:★☆(3/10分),看了个这么无聊的电影,真的是让人按难不住想骂人呢。
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 th
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