这个社会对待病人真如我们想象般宽容吗?摔折腿,拄着拐杖,路人退避三舍,怕再把你绊出什么事故。突发感冒未准备口罩,地铁上咳嗽两声,身边人默默转过脸,在Whatsapp里噼里啪啦打着字:「隔篱有人感冒都唔戴口罩」。身体虚弱头晕眼花不足与外人道,旁人看你并无大碍也不在意,个中痛苦,只有自己知道。
当这样的痛苦,是看不见摸不着的精神疾病,就更让人惊惧,对其表现出的嫌恶程度,也就更肆无忌惮
这个社会对待病人真如我们想象般宽容吗?摔折腿,拄着拐杖,路人退避三舍,怕再把你绊出什么事故。突发感冒未准备口罩,地铁上咳嗽两声,身边人默默转过脸,在Whatsapp里噼里啪啦打着字:「隔篱有人感冒都唔戴口罩」。身体虚弱头晕眼花不足与外人道,旁人看你并无大碍也不在意,个中痛苦,只有自己知道。
当这样的痛苦,是看不见摸不着的精神疾病,就更让人惊惧,对其表现出的嫌恶程度,也就更肆无忌惮。影片的开头,曾志伟饰演的父亲大海去精神病院接「病愈出院」的躁郁症儿子阿东(余文乐饰演)出院,而早前,妻子在被儿子照料的过程中突发意外身亡。虽医生称此事与儿子病症无关,但父亲的担忧写在脸上。他挤出笑容,故作轻松地与没什么表情、说话气若游丝的儿子打招呼,眼神里却全是防备。
父子许久没见,在那之前,父亲和在美国的小儿子都不知所踪,而本来前途一片光明、拥有稳定女友的长子阿东辞掉工作,独自陪伴病重且情绪不稳定的母亲(金燕玲饰演)。母亲用咒骂发泄怨恨,阿东在拼命隐忍和爆发中挣扎,终于把自己逼成了躁郁病人。于是他入院、治疗、出院、被父亲接回到逼仄杂乱的板间房,试图以一个「正常人」的姿态,再次获得这个社会的接纳。
这剧里的人,配置太真实了。小城市的孩子走向了大城市,等自己老了,无法自理时,去投奔孩子们,却发现大城市也无法容下失去了劳动能力的老人们。
其实养老问题一直很突出,只是老人的呼声太微弱了。成年人们为了生计奔波,为了下一代的教育奔波,哪里有精力回头看看自己的长辈们是如何生活的呢?是不是有尊严地活着呢?太难了
我舅舅家是县城的教师家庭,一双儿女都在深圳安了家,他们退休后去帮
这剧里的人,配置太真实了。小城市的孩子走向了大城市,等自己老了,无法自理时,去投奔孩子们,却发现大城市也无法容下失去了劳动能力的老人们。
其实养老问题一直很突出,只是老人的呼声太微弱了。成年人们为了生计奔波,为了下一代的教育奔波,哪里有精力回头看看自己的长辈们是如何生活的呢?是不是有尊严地活着呢?太难了
我舅舅家是县城的教师家庭,一双儿女都在深圳安了家,他们退休后去帮助带孩子,孩子们渐渐大了,不需要他们了,得把他们的房间腾出来自助,那么舅舅舅妈该怎么办呢?回老家养老吧。于是成了空巢父母,儿女要回来一趟太难了,大城市居不易,经济压力也一直驱赶着他们忙活,更别提这些年中,姥姥一人独居在老家,有个头疼脑热的,舅舅舅妈表哥表姐就被亲戚们骂不孝。
举的这个例子太典型了,我觉得大概率,我们的将来也是如此。
因为是杨紫演的所以看了,可导演你是认真的吗?杨紫的戏份太少了基本属于群演了!没看过原著不知男主和亲亲雪琪的感情线是怎样的,可是剧中确实没看出来有什么。少有的几次交集能看出来雪琪动了情可是男主几乎没有情感流露,不知是剧本如此还是李易峰根本表达不出细微的情感!心疼陆雪琪!听说原著张小凡是爱雪琪的,决定去看看原著??,虽然一部仙侠小说也没看过,虽然作者明显借鉴《倚天屠龙记》,可是终归会弥补一下别扭
因为是杨紫演的所以看了,可导演你是认真的吗?杨紫的戏份太少了基本属于群演了!没看过原著不知男主和亲亲雪琪的感情线是怎样的,可是剧中确实没看出来有什么。少有的几次交集能看出来雪琪动了情可是男主几乎没有情感流露,不知是剧本如此还是李易峰根本表达不出细微的情感!心疼陆雪琪!听说原著张小凡是爱雪琪的,决定去看看原著??,虽然一部仙侠小说也没看过,虽然作者明显借鉴《倚天屠龙记》,可是终归会弥补一下别扭的感觉吧!太心疼演亲亲雪琪的杨紫!第二部赵丽颖的戏份少些了,心里莫名舒适,可是大家言不离碧瑶也是让我迷乱了,难道70多集的剧就是为了碧瑶才写的吗?第二部的男主有些精分了,女主是为他而死,可是青云的同门们对他不好吗?男主矫情的好像只有女主才是对他好的人,让我很不理解,拥有强大力量可是为虎作伥还美其名曰没有正魔之分,鬼王玩弄人心操控同道他都看不到吗?总之三观不正!可是终究这一部没有了赵丽颖出没还是多给一颗星,毕竟李易峰超帅的,毕竟有可爱的杨紫!再有感觉以后杨紫演女二不能看,心疼!
梦露不仅仅是左翼 ,FBI最新解密的文件里已经把她定性成了“SM-C”(共产主义支持者和同情者)所以说她是共产主义者也不为过!她是工人阶级出身,民权运动的倡导者,一辈子都在为底层人民发声!至少比某个纳萃出身的、参演种族歧视电影的、中越战争背景下专程慰问越南并会见武元甲的极右翼女星奥黛丽赫本强一亿倍!
梦露不仅仅是左翼 ,FBI最新解密的文件里已经把她定性成了“SM-C”(共产主义支持者和同情者)所以说她是共产主义者也不为过!她是工人阶级出身,民权运动的倡导者,一辈子都在为底层人民发声!至少比某个纳萃出身的、参演种族歧视电影的、中越战争背景下专程慰问越南并会见武元甲的极右翼女星奥黛丽赫本强一亿倍!
看到一半的时候,突然有一种感觉狼其实不是一位赏金猎人:从他强大到不讲道理的武力值(Puss能轻易击败体型和自己差无数级别的巨型石人,却在面对他时完败);他随处可见的身影(三人组在被追杀时欢呼人群中那双充满杀气的红眼睛);说自己见证了Puss的每一次死亡;再加上那标志性的镰刀,以及Puss最后一条性命的暗示,等等等等,隐隐约约感觉到了他应该就是类似死神的角色。这时,
看到一半的时候,突然有一种感觉狼其实不是一位赏金猎人:从他强大到不讲道理的武力值(Puss能轻易击败体型和自己差无数级别的巨型石人,却在面对他时完败);他随处可见的身影(三人组在被追杀时欢呼人群中那双充满杀气的红眼睛);说自己见证了Puss的每一次死亡;再加上那标志性的镰刀,以及Puss最后一条性命的暗示,等等等等,隐隐约约感觉到了他应该就是类似死神的角色。这时,虽只是初见端倪,但是已经开始感叹编剧构思的奥妙。果不其然,在黑暗森林,狼也直接给Puss摊牌了,他就是死神本尊。而“死神”只是中文翻译,没听错的话原用词对狼的称呼一直是一个简单的“death”,就是“死亡”这个抽象概念,编剧也跟你摊牌了,“狼”就是把死亡这个抽象概念给具象化了。
是啊,其实我们所有人都是Puss——我们都只剩一条命了。稍微不一样的是,从出生那天,我们就只有一条生命。所以其实从我们出生开始,Death就时时刻刻在我们身后悄悄跟着。同样和Puss相同的是,我们也都会对死亡产生恐惧——生物的天性如此。
对死亡是恐惧,但是我们不该活在死亡的阴影之下。就像电影里的Puss,如果我们每天的生活只剩下对死亡的逃避,这不就是人们所说的苟且偷生?这样的生活有什么意义?这样的生命有什么宽度?
被死亡阴影笼罩的Puss,就放弃了自己的生活。他成为了Pickle——甚至已经放弃了自我,而也在后面被死亡追逐时甚至一度抛下了Dog和Kitty,抛下了友谊与爱情。这大概就是一个反面教材吧,我们不应该出于对死亡的恐惧就放弃追求自己美好的生活——我们应该大胆活着,用友谊与爱情来填满它,用我们生命的质量来印证死神的无能。
Puss和Desth第一次见面时,因为作为一只猫,拥有9条性命,他忘记了生命的珍贵。这也是Death找上门来的原因:既然你意识不到生命的珍贵,那你跟着死神走向死亡不是理所当然?而影片最后,即便Puss战胜了狼,他也只是战胜了对死亡的恐惧,就像“死神”本人所说:你摆脱不了我,我们还会再见面。没有谁能战胜死亡,这是大家最终统一的归宿。EVA:生是死亡的开始,死是现实的延续。生和死或许表面上二元对立,但是二者其实缺一不可,他们相辅相成相得益彰,任一方失去了另一方就没了任何意义。正是死的存在,才能体现出生的可贵。
而生命应该怎样度过呢?Puss前八世的生命,除开他其中几条命的挥霍,他自己又真的满意吗?《荒野生存》最后告诉我们:happiness only real when shared,只有分享才能带来真正的幸福。这是建立在人与人的联系之上的,与他人的connection,与他人的羁绊。Puss前几世的生活看似精彩,是人们公认的侠盗英雄,是家喻户晓的传奇角色,但是他后来也意识到了这并非是真正的幸福。与Dog和Kitty在一起才是。
说说许愿星。“许愿星”是贯穿全篇的线索,是大家的最终目标,是主线任务的终极奖励。而角色们到最后也都发现了,许愿星或许成了一种执念,这个人为设定的“目标”,它的“意义”全是被人为赋予的。也就是说,在不顾一切狂热追求它的同时,它已经丧失了自己的意义。而真正的收获是在旅途上的。Pussy终于摆脱了死亡的阴影;Kitty终于找到了那个她可以信任的人,她的得意郎君;知足常乐从没有渴求过许愿星的Dog反而是最明白的,他在旅途上已经收获了自己梦寐以求的友谊;而Goldilocks,也终于突破了A.T.Field 打破了心之壁 成功得以补全(doge),熊人家庭收获了前所未有的理解和亲情。
人生也是如此,所有的“目标”,都是我们人为赋予的“意义”。对他们的盲目追求,只会迷失自我。真正的收获,都是在前往这个目标的人生路途上。
电影值得夸奖的地方还有好多…
但是写不下去了,已经够为难自己这该死的表达能力了…
真的好喜欢这部电影,在电影院看到Goldilocks一家最后真的热泪盈眶。直接提前预订我的2023年度最佳。
最后,感觉把抽象概念具体化的拍法真的很高明也很吃香吧,从前几年的《头脑特工队》开始,到杀疯了的《心灵奇旅》…不过这回,在喊了一万年迪士尼皮克斯yyds过后,终于轮到梦工厂站起来了。
妈耶!终于把他看完辽~前几集真的给人很想看下去的动力,可后来…大概就全是槽点,然后还有好多细节不到位!
1.剧情太过于拖拉,前5集真的有看头,虽说就突然转民国的画风让人很尴尬其他就还不错!但后来一件事大概要拖好久,以至于我要3倍速播放
2.剧本设定…emm主角们拿剑,拿弓的我都??,可是拿溜溜球就过分了吧!刚开始拿木制就还好点!tmd后边拿塑料的就太说不过去了吧,最后
妈耶!终于把他看完辽~前几集真的给人很想看下去的动力,可后来…大概就全是槽点,然后还有好多细节不到位!
1.剧情太过于拖拉,前5集真的有看头,虽说就突然转民国的画风让人很尴尬其他就还不错!但后来一件事大概要拖好久,以至于我要3倍速播放
2.剧本设定…emm主角们拿剑,拿弓的我都??,可是拿溜溜球就过分了吧!刚开始拿木制就还好点!tmd后边拿塑料的就太说不过去了吧,最后变成金的,我就…知道我在看古装剧,不知道我以为在看火力少年王!
拥有美德的主教,救赎了冉阿让的灵魂,然后他为了这场救赎奉献了自己的一切,他将他的美德,善良和爱,悉数奉献给另一个人,当那个人走进生活时,他死去了,珂赛特和马克里斯幸福的生活在一起,他平静的死去了,没有墓碑,什么也没有,当初主教送给他的烛台将永远燃着光,照亮他的灵魂,那些他曾救助的孩子,老人,教育过的青年人都将知道有个善良的人,曾经帮助了他们。还有一直抓捕冉阿让的警长沙威,大约是因为喜
拥有美德的主教,救赎了冉阿让的灵魂,然后他为了这场救赎奉献了自己的一切,他将他的美德,善良和爱,悉数奉献给另一个人,当那个人走进生活时,他死去了,珂赛特和马克里斯幸福的生活在一起,他平静的死去了,没有墓碑,什么也没有,当初主教送给他的烛台将永远燃着光,照亮他的灵魂,那些他曾救助的孩子,老人,教育过的青年人都将知道有个善良的人,曾经帮助了他们。还有一直抓捕冉阿让的警长沙威,大约是因为喜欢冉阿让吧,所以我们不喜欢沙威,但是沙威是个有原则和底线的人,他忠于自己的王,忠于规则和底线,服从上级的命令,无论愚蠢否,无论正确否,都绝对服从,冉阿让在起义期间放了身为俘虏的沙威,沙威问:“你为什么放我?”,冉阿让答:“你不知道?我很遗憾。”后来沙威懂了,他痛苦他挣扎他冥思苦想,他懂了……他一个人走在塞纳河边,他身姿依旧挺拔,只有他自己知道,他已经毁了,他一生所信奉和坚守的,被一个叫冉阿让的人打破了,他的过去没有灵魂,没有爱,后来他有了,于是,他也毁了,他拿出手铐,动作迅速的拷上自己的双手,几乎没有犹豫,他跳下了塞纳河,只有一顶黑色的,庄严的帽子漂浮在水面。太阳依旧升起。(我没有看过原著可能对剧情人物把握的并不完全正确)
本文亦见于公号「映画台湾」「作者电影」。
本文亦见于公号「映画台湾」「作者电影」。
《乔家的儿女》这部电视剧最大的败笔恐怕就在于聘用原著作者当编剧!
本来在电视剧中最大程度还原原著场景是一件观众们喜闻乐见的事情,但是本剧不仅照搬了原著的一地鸡毛,而且还变本加厉的泼了一桶狗血!
电视剧里的乔家儿女们虽
《乔家的儿女》这部电视剧最大的败笔恐怕就在于聘用原著作者当编剧!
本来在电视剧中最大程度还原原著场景是一件观众们喜闻乐见的事情,但是本剧不仅照搬了原著的一地鸡毛,而且还变本加厉的泼了一桶狗血!
电视剧里的乔家儿女们虽然一路跌跌撞撞,相互扶持着长大成人了,可是却始终也不见他们“成长”!
乔一成作为乔家的长子,面对弟弟妹妹们,那是既当爹又当妈,作为大哥,他肯定是合格的,我觉得在这方面应该没有太大的争议。
其实,弟弟妹妹们的行为举止也足以表明乔祖望似乎只是他们名义上的父亲,而乔一成才是他们心里默认的家长,才是他们最在意,最相信的人!
然而,乔一成却是典型的“窝里横”,一旦出了门连腰杆都挺不直,凡事忍气吞声,畏首畏尾,最后被动接受,属实活得有些窝囊,而且作为研究生毕业的他三观也是一言难尽!
起初叶小朗剽窃乔一成的劳动成果,而后竟然三言两语就不了了之了,这种品行问题是可以如此轻描淡写,忽略不计的吗?
随后二人更是荒诞的选择闪婚,婚后乔一成才发现自己其实并不了解叶小朗,也没有主动与叶小朗敞开心扉的谈一谈,而且对于岳父岳母的无理要求,他依然独自背负,予取予求,缺乏基本的原则底线!
乔一成与叶小朗从始至终都缺乏沟通,缺少信任,一段同床异梦的婚姻注定以失败告终!
最后,叶小朗登上去美国的飞机,才知道乔一成替自己还清了欠家里的债,此时的乔一成似乎才鼓足勇气告诉叶小朗,其实我是爱你的,可是家已经散了,一切为时已晚!
乔一成与项南方的第二段婚姻仍然出现同样的问题,彼此间依旧没有做到坦诚相待,而且这一段婚姻让乔一成表现出更加强烈的自卑感!
虽然项南方一直在主动示好,努力融入,但是乔一成却始终无动于衷,他似乎并没有从第一段失败的婚姻中汲取任何教训,两段婚姻犯着同样的错误,简直可悲可恨!
虽然最终乔一成的肾病按下了他与项南方离婚的暂停键,但是如果他脾性不改,那么离婚还是必然的结局!
通过编排乔一成两段“一样”的婚姻,编剧究竟想传达怎样一种婚姻观?难道是告诉观众婚姻只是儿戏,想结就结,想离就离?还是告诉观众一旦婚姻失败,根本没必要再婚,因为最终你还是单身?
乔二强从小缺乏母爱,所以一遇到马素芹这样一个比自己年长且又十分关爱他的女性,不禁产生一种恋母情结式的一见钟情,而他自己也亲口承认马素芹“像妈”,可是却口口声声称之为“爱情”,自欺欺人也就罢了,然而马素芹还没有离婚,他就迫不及待的“撩拨”马素芹,不禁令人咋舌!
后来,乔二强和孙小茉两个身在曹营心在汉的人莫名其妙的结婚了,先避开孙小茉的问题不谈,当乔二强再次遇见马素芹,他似乎忘记自己已经成家了,天天找借口去马素芹那儿,生日当天不仅拒绝孙小茉为自己庆祝,反而邀请马素芹一起滑冰,这是一种已婚男人与离异女人之间的正常相处之道吗?
既然乔二强一直对马素芹情有独钟,念念不忘,那么他为什么选择和孙小茉结婚,难道只是将孙小茉当作跳板,达到自己与马素芹“门当户对”的目的吗?
这是人性的沉沦?还是道德的沦丧?
乔二强是受害者,但同时他也是加害者,首先他和孙小茉结婚目的不纯,其次他没有对孙小茉尽责,并非净身出户就是好男人;可能许多人认为孙小茉先对不起乔二强,而乔二强根本没必要负责,早该离婚,但是这只是观众视角,而剧情是乔二强当时对孙小茉的情况一无所知!
当然,乔二强与马素芹也只是一段“畸形”婚姻罢了,婚后乔二强一口一声师傅的喊着真的不尴尬吗?他对马素芹的感情又真的完全出于爱情吗?
乔三丽算是乔家兄弟姐妹里唯一的正常人,只是感情线也是一部血泪史,幼年经历了猥亵,婚后经历了不少家庭变故,但是好在三观端正!
不过,三丽这段婚姻还是“完美诠释”了婚姻最糟心的一面,这是要让现在不愿结婚的年轻人变得恐婚,让恐婚的年轻人无路可走啊!
至于乔四美根本不是恋爱脑,而是没脑子,勇敢追爱固然是件好事,但是追成她这样实在太离谱了,被同一个男人伤的遍体鳞伤,却仍旧义无反顾,尤其那句“我死都不离,我就这样耗着,看谁能耗过谁”真的可笑;这么耗着的目的呢?戚成钢只是好色,根本没打算对别人负责,所以他还是会继续出轨,没有任何损失;那么乔四美呢?她耗走的是自己的青春,耗来的却是无尽的痛苦!
然而,乔四美自己自甘堕落,不思己过也就罢了,一旦出事却对兄弟姐妹倒打一耙,最后还得给她“擦屁股”,所以除了“贱”,恐怕没有更贴切的词来形容四美了!
最后,乔四美离婚了,大家也如愿以偿,许多人认为乔四美终于“清醒”了,可我认为她曾经为爱情飞蛾扑火之举有多壮烈,如今对爱情心如死灰之态就有多惨痛,早已体无完肤的她恐怕以后很难再从内心深处真正接受一个人了!
乔七七更离谱,未成年发生一夜情,而且“喜当爹”,最后他自己一个没长大的孩子拖着一个孩子,简直造孽!
这剧情又是什么骚操作?未成年发生性关系不要紧?结婚就是负责,完全不用担心?
剧中的配角人设也是厉害,几乎找不到正常人,叶小朗从一个有理想、有目标的女性改编成一个心机女;马素芹欣然接受乔二强,不知道亏不亏心;孙小茉未婚先孕,先是找“接盘侠”,婚后还“吃着碗里的惦记着锅里的”,渣女无疑;王一丁窝囊,而且愚孝,让“老实”这个词瞬间变得讽刺;戚成钢出轨成瘾,而且还从一个敢做敢当的人改编成一个谎话连篇的人;杨玲子更加离谱的出奇,完全不把自己当人,喜新厌旧,只要长得好看,下流只是浮云,下贱那是神马!
这是有什么大病?一群“妖魔鬼怪”竟然拼凑在一起了?
原著已然充斥着鸡零狗碎,不胜枚举,改编成电视剧之后竟然更是变本加厉,不仅没有积极调整,正确引导,反而肆无忌惮,越改越偏,将人性的阴暗面彻底且集中的展现,即便结局强行洗白,也只是让乔家表面暂时平静祥和,而背后依旧风雨飘摇,隐患重重!
《乔家的儿女》作为一部电视剧,真的有必要将小众的丑恶嘴脸拍给大众来看吗?
鸡毛漫天飞的日子还不够浮躁凌乱吗?狗血满地洒的生活还能够安身立命吗?
最近想看点甜剧,不想用脑子,点开了这部剧……演员是很用心在演啦,只是这逻辑,不用脑子都过不下去啊!!!
女主作为一个明星,因为昏迷中对一双眼睛一见钟情,还献吻了,还是现实中的初吻?她是多没见过世面啊!然后各种生撩,就是没有任何铺垫的撩,太硬了……
不止女主,男二,男三的感情都来得那么突然和情深,看得好莫名其妙……
<最近想看点甜剧,不想用脑子,点开了这部剧……演员是很用心在演啦,只是这逻辑,不用脑子都过不下去啊!!!
女主作为一个明星,因为昏迷中对一双眼睛一见钟情,还献吻了,还是现实中的初吻?她是多没见过世面啊!然后各种生撩,就是没有任何铺垫的撩,太硬了……
不止女主,男二,男三的感情都来得那么突然和情深,看得好莫名其妙……
还有各种情节设置,都是各种违背常理,好替演员们捏把汗,他们演的时候应该也很难受吧,说服完全不合理的设置演下去,不容易……
RBG去世之后,我才看了这个电影来了解她,没想到一些简简单单的剧情和台词看着看着就大哭了起来,因为真的有共情。
这几年我作为女性遇到了太多太多类似的事情,大家基本上默默忍着,声讨无用。就在前几天还遇到了一份招聘信息说只要男的,因为已经招了一个女的……这和电影里的那句台词一模一样:“他们说已经招了一个女人,干嘛
RBG去世之后,我才看了这个电影来了解她,没想到一些简简单单的剧情和台词看着看着就大哭了起来,因为真的有共情。
这几年我作为女性遇到了太多太多类似的事情,大家基本上默默忍着,声讨无用。就在前几天还遇到了一份招聘信息说只要男的,因为已经招了一个女的……这和电影里的那句台词一模一样:“他们说已经招了一个女人,干嘛还再招一个女人呢?”这样操dan的事情太多了,而我每次发问“凭什么”的时候,大家都想看傻子一样看着我,说你太敏感了吧,说女人在某些方面就是不如男人啊,说一直以来就这样啊这是社会规则。可我真的想改变这些规则,我想挣脱掉这些束缚,也让我的妈妈、周围的姐妹也挣脱掉身而为女所受到的不公,反抗针对女性的暴力,反抗“女人该贤惠、该把自己打扮漂亮”的刻板印象,反抗打着“为你们好”的就业歧视……
RBG做到了,她一直在努力,她的成果激励了那么多女性,她是当之无愧的偶像。我真的很想追随她的精神,去为性别平权做更多的事,为了自己也为了后代。May you rest in peace.
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
看第一部的时候想着只看第一部,看第二部的时候想着看完前两部就算了,最后还是看了第三部。《血麒麟》这个故事是本部唯一一个没有让五味当钦差的故事,和上一个故事一样,又是源于一场误会。惠芝的想法真挺难以理解的,不想嫁不先说,非要逃婚。真看不出来孟世杰和郑君翰是从小一起长大关系很好,尤其是孟世杰这个人,心理可能有些问题,居然要杀他养母。再说夏正秋,不太懂为什么司马玉龙复国之后,他不去
看第一部的时候想着只看第一部,看第二部的时候想着看完前两部就算了,最后还是看了第三部。《血麒麟》这个故事是本部唯一一个没有让五味当钦差的故事,和上一个故事一样,又是源于一场误会。惠芝的想法真挺难以理解的,不想嫁不先说,非要逃婚。真看不出来孟世杰和郑君翰是从小一起长大关系很好,尤其是孟世杰这个人,心理可能有些问题,居然要杀他养母。再说夏正秋,不太懂为什么司马玉龙复国之后,他不去找司马玉龙,甚至他姐姐失踪十数年,他也不想着找姐姐,一门心思为哥哥报仇。《无童镇》这个故事的设定背景好像绝代双骄啊,因为弟弟(或妹妹)的建议,复仇者以某个计划代替了原本杀人的打算,而最后这个善良的弟弟(或妹妹)却死在了复仇者手中。天佑和珊珊深入虎穴,虽然混得很惨,但是可谓是满载而归呀,又带回了毒药,又带回了信。他俩身体那么虚弱,是怎么回到梧桐镇的,真的太戏剧化了。这个故事也体现了五味医术的唯一bug,一个又一个故事到现在,也不清楚一个所谓不学无术行骗天下的人为什么医术如此了得。《攀桂梦断》没太搞懂邵刚已经让贾夫人去找钦差了,为什么他还要进县衙。到最后邵强也死了,配角的命真不值钱。平阳郡主司马绮罗可谓是三部最明智最清醒的单元女主,就是选老公的眼神不咋好。跟前面的孟世杰相比,贾富贵或许真的输在还有一丝人性没有泯灭,没有对自己的母亲下手。《断臂观音》司马绮罗之后,本来以为不会再有圣母女主了,没想到后面还有风心兰。就算是大慈大悲,也得渡人渡己吧,她得先想想怎么渡己啊。那孔子也说,以德报怨,何以报德呢?故事走向也逐渐跑偏,到最后焦县令是血虎的儿子也就算了,王广生也是血虎的儿子就离谱。这一部没了赵羽,五味的戏份越来越多,第二部最初的时候还在担心是不是没有五味了,然而现在却又觉得他的戏份也太多了,有点喧宾夺主了,且执着于钦差人设,内容有些单一。整部剧的悬崖变成了一个bug,任何人掉下悬崖都还活着。为找太后而离京的国主到最后还是没有找到太后,不得不说系列剧最好还是应该适可而止,见好就收啊。
少林功夫再出江湖,由樊少皇、熊欣欣领衔主演的功夫片《南少林之怒目金刚》正在优酷视频平台进行播出,该剧的上映满足了很多观众的武侠梦。
少林功夫再出江湖,由樊少皇、熊欣欣领衔主演的功夫片《南少林之怒目金刚》正在优酷视频平台进行播出,该剧的上映满足了很多观众的武侠梦。