賈樟柯 情感恰似身體裏流淌的血液
The Chinese director Jia Zhangke charts characters from past to future in the decades-spanning film “Mountains May Depart,” a selection in the New York Film Festival. Mr. Jia was in New York in 2013 with another film about contemporary life in China, “A Touch of Sin.” But the new picture looks more closely at how relationships affect lives over time. In an interview during the festival, he spoke through an interpreter about his work.
中國導演賈樟柯的新片《山河故人》時間跨度長達幾十年，描繪了從過去到未來的人物，影片在紐約電影節上映。2013年，賈樟柯曾攜反映當代中國生活的影片《天註定》來到紐約。但是《山河故人》更加密切地關注歲月流逝中感情關係對人生的影響，他通過翻譯談了自己的新作。
Q. What is your best memory of the festival?
問：你對紐約電影節最美好的記憶是什麼？
A. I do know that what has impressed me the most is that it is very simple: It’s all about the films. So I like this very film-centric festival.
答：令我印象最深的是，它非常簡單，一切都是關於電影的。所以我很喜歡這個純粹以電影爲中心的電影節。
What film would you be most interested in seeing at the festival?
問：這次電影節上你最感興趣的片子是什麼？
I won’t have time to see other films. But if I were here for more than two days, I would want to see Apichatpong Weerasethakul’s “Cemetery of Splendour.” But hopefully I’ll get to see the film at another festival.
答：我沒有時間去看其他電影。但是如果能多呆兩天，我會去看阿彼察邦·韋拉斯哈古(Apichatpong Weerasethakul)的《幻夢墓園》(Cemetery of Splendour)。我可能有機會在其他電影節上看到這部片子。
What was the most challenging moment in your shoot?
問：這次拍攝中最有挑戰性的事情是什麼？
In one scene, the father of the female character Tao passes away unexpectedly in a different town. She receives the news and makes her way there. I at first asked [the actress and Mr. Jia’s wife] Zhao Tao to be very calm and composed. Because to me, that’s how you’re able to take care of all the funeral decisions. But when we were shooting, she didn’t really get into the character. She told me she didn’t feel quite right about the way I wrote the character in that scene. To her, as a Chinese female character having such an intimate relationship with her father, she thought the emotions should be very externalized: to cry and express emotions viscerally. It’s a completely different female perspective on how to deal with someone’s passing, and different from how I would deal with it. I went through a lot of internal struggles with the scene. And I realized it had a lot to do with the way I see, not only from a male’s perspective, but from the Eastern aesthetic. I decided eventually to go for the actual human reactions rather than the Eastern film aesthetic. I changed my direction and had Zhao Tao’s character be a lot more expressive in her grief.
答：在一場戲裏，女主角濤的父親在另一個鎮上意外去世。她聽說消息，趕去那裏。一開始我讓趙濤（飾演這個角色的演員，也是賈樟柯的妻子）表現得非常平靜沉着。因爲我覺得這樣才能處理好所有後事。但拍攝的時候，她沒有真正進入這個角色。她告訴我，她覺得在這一幕裏，我寫的這個角色有點不對勁。她覺得，作爲一個和父親關係非常親密的中國女人，這種時候感情應該非常外露，應該大哭，表達發自內心的情感。這是一種完全不同的，女性化的對待死亡的角度，和我的方式完全不一樣。拍這場戲時，我有很多內心鬥爭，最後發現這和我看待事物的方式有關，不僅僅是出於男人的角度，而是出於東方美學的角度。最終我決定依照現實生活中人們的反應，而不是追求東方美學。我改變了自己的指示，讓趙濤的角色更多地表現她的悲傷。
What was your primary motivation for making the film?
問：你拍這部影片最初的動機是什麼？
I wanted to investigate human emotions on many different levels within many different relationships. I wanted to think about them like blood in your bloodstream. In your daily life, you don’t feel it flowing in your veins, but when certain situations happen, you will feel a certain influx or outgoing of the blood to your face or certain parts of your body. I wanted to always go back to how you react in certain situations dealing with love, loss and death.
答：我想探索人類在許多不同的人際關係之中不同層次的情感。我想把它們視爲身體裏流淌的血液。日常生活中，你不會感覺到它們在血管裏的流淌。但特定情況發生時，你會感覺一股血流涌動到臉上，或者身體的其他部位。我總是想追溯人類在特定情況下，對愛、失去與死亡的反應。
How has the film been received in China?
問：這部影片在中國的反響如何？
The film will be released in theaters in China on Oct. 30. But it was shown in the Shanghai Film Festival in June. After that screening, we got a lot of feedback and reactions. Many loved the film, but at the same time there were people who really felt uncomfortable with what they saw being portrayed. The discomfort they experienced was that, even though the film is very much about the development and growth of the economy in China and how we are better off financially and economically speaking, you do still see poverty and what it’s like to still be living in an impoverished environment. So I think that part is problematic for some people, who think we should just look at the bright side and not at the underbelly of society. But as a filmmaker, no matter what country you’re in, you cannot somehow forget those people — it’s our duty to capture them with our cameras, and document their lives as well.
答：它將於10月30日在中國公映。但是6月它在上海電影節上上映過。自那以後，我們得到很多反饋和反響。很多人喜歡這部片子，但也有人看了片子覺得不舒服，因爲儘管這部片子很大程度上是關於中國的發展和經濟增長，以及我們在經濟和金融方面更加富裕，但你還是可以看到貧窮現象，以及在窮困狀態下生活的狀態。所以我覺得這部分對於某些人來說很成問題，他們覺得我們應該多看光明的一面，而不是隻盯着社會的底層。但是作爲一個拍電影的人，不管你身處哪個國家，你不能忘記那些人——我們的責任就是用鏡頭捕捉這些人，把他們的生活記錄下來。
