凯特·布兰切特吧 关注：27,897贴子：148,047
Madame Figaro. – You play a new role, that of president of the jury of the Cannes Film Festival, so of particular spectator …
你将扮演一个新的角色——戛纳电影节的评审团主席，同时也是一个特殊的观众……
Cate Blanchett. – It’s an unexpected privilege. And a huge responsibility, because I know the hopes of those who are in the running. Until now, I went to all those film events – and the Cannes Film Festival is undoubtedly the most intense – to defend a film. The mind is scrambled, we do not really have time to take an interest in others. There, I can be less centered on me. The role of spectator is anything but passive: it is the eye of the public that determines the fate of a work. It’s a place that requires commitment, openness. A place that I like.
这是一个惊喜的授权及荣幸，也是一份巨大的职责。因为我了解那些参赛者的希冀。在我目前去过的所有电影活动里，戛纳毫无疑问是最激烈的——体现在对某部电影的捍卫上。心潮是如此激涌，以致人人都无暇顾及其他。在那里，我可以尽少着眼于自己。事实上，作为观众，恰恰是“被动”一词的全部对立面：正是观众的眼睛，决定了一部作品的命运。这是一个需要负责、开放的地方。是我喜欢呆的地方。
你将扮演一个新的角色——戛纳电影节的评审团主席，同时也是一个特殊的观众……
Cate Blanchett. – It’s an unexpected privilege. And a huge responsibility, because I know the hopes of those who are in the running. Until now, I went to all those film events – and the Cannes Film Festival is undoubtedly the most intense – to defend a film. The mind is scrambled, we do not really have time to take an interest in others. There, I can be less centered on me. The role of spectator is anything but passive: it is the eye of the public that determines the fate of a work. It’s a place that requires commitment, openness. A place that I like.
这是一个惊喜的授权及荣幸，也是一份巨大的职责。因为我了解那些参赛者的希冀。在我目前去过的所有电影活动里，戛纳毫无疑问是最激烈的——体现在对某部电影的捍卫上。心潮是如此激涌，以致人人都无暇顾及其他。在那里，我可以尽少着眼于自己。事实上，作为观众，恰恰是“被动”一词的全部对立面：正是观众的眼睛，决定了一部作品的命运。这是一个需要负责、开放的地方。是我喜欢呆的地方。
What aroused your passion for cinema as a spectator?
作为观众，是什么东西唤起了你对电影的热忱？
I saw a ton of wonderful westerns with my dad. But my tastes have been refined over time, discovering the artisanal side of this industry. The filmmakers are painters who perfect themselves, like the actors, over these moving paintings that are the movies. Sometimes they repeat the same theme to infinity, in the manner of the Italian painter Giorgio Morandi, who has reproduced a series of bottles all his life. That’s what shakes me in the cinema: a kind of meditation. This magical and inexplicable connection that connects you to the work.
早年我和我爸一起看了数以吨计的西部片。但品味是在时间中提炼的，你会不断发现电影业中的匠艺一面。电影人是一群画家，在这些被称之为电影的动态画作中，追寻自我的尽善尽美，和演员一样。为此，他们有时可以在同一个主题上重复到无限，如同意大利画家乔治莫兰迪，终其一生，都在画一堆瓶子。这正是电影打动我的地方：它是一种默思。这种魔术般的难以名状的联系，将你和作品接通。
作为观众，是什么东西唤起了你对电影的热忱？
I saw a ton of wonderful westerns with my dad. But my tastes have been refined over time, discovering the artisanal side of this industry. The filmmakers are painters who perfect themselves, like the actors, over these moving paintings that are the movies. Sometimes they repeat the same theme to infinity, in the manner of the Italian painter Giorgio Morandi, who has reproduced a series of bottles all his life. That’s what shakes me in the cinema: a kind of meditation. This magical and inexplicable connection that connects you to the work.
早年我和我爸一起看了数以吨计的西部片。但品味是在时间中提炼的，你会不断发现电影业中的匠艺一面。电影人是一群画家，在这些被称之为电影的动态画作中，追寻自我的尽善尽美，和演员一样。为此，他们有时可以在同一个主题上重复到无限，如同意大利画家乔治莫兰迪，终其一生，都在画一堆瓶子。这正是电影打动我的地方：它是一种默思。这种魔术般的难以名状的联系，将你和作品接通。
Are there any movies you think about in a recurring way, without knowing why?
有没有什么电影是铭刻在了你脑海中，会在毫无理由的情况下浮现？
Yes … Some moments of the Conformist, Bernardo Bertolucci, are engraved in me indelibly. It is a film of remarkable intelligence, which questions the monstrosities that can be produced by obliging oneself to be “like the others”. Sweetie by Jane Campion: its extraordinary, architectural aesthetic is used to trace the troubled and disturbing psychology of the characters. And L’Aventura, by Michelangelo Antonioni …: a camera on an island in which Monica Vitti is stunningly realistic.
有…比如贝托鲁奇的《同流者》，已不可磨灭地埋藏我心。这是一部极具智性的电影，质询着这样一种现象——任何庞然大恶，都产生于人们的盲目跟风。还有简坎皮恩的《Sweetie》，以其非凡的建筑美学，去追踪角色的烦扰心理。还有安东尼奥尼的《奇遇》，镜头下的孤岛，里面的莫妮卡维蒂，极致真实。
有没有什么电影是铭刻在了你脑海中，会在毫无理由的情况下浮现？
Yes … Some moments of the Conformist, Bernardo Bertolucci, are engraved in me indelibly. It is a film of remarkable intelligence, which questions the monstrosities that can be produced by obliging oneself to be “like the others”. Sweetie by Jane Campion: its extraordinary, architectural aesthetic is used to trace the troubled and disturbing psychology of the characters. And L’Aventura, by Michelangelo Antonioni …: a camera on an island in which Monica Vitti is stunningly realistic.
有…比如贝托鲁奇的《同流者》，已不可磨灭地埋藏我心。这是一部极具智性的电影，质询着这样一种现象——任何庞然大恶，都产生于人们的盲目跟风。还有简坎皮恩的《Sweetie》，以其非凡的建筑美学，去追踪角色的烦扰心理。还有安东尼奥尼的《奇遇》，镜头下的孤岛，里面的莫妮卡维蒂，极致真实。
What memories do you keep from your visits to the Cannes Film Festival?
说说戛纳电影节给你留下的记忆？
The first time, when I first started, I came to Cannes in search of a distributor for Thank God He Met Lizzie (1997), a low-budget Australian film I played in, directed by a friend, Cherie Nowlan. I borrowed a dress from a friend actress – I did not have enough glamorous clothes for Cannes! I was elbowing in the crowd, trying to see the red carpet from afar. I managed to get a ticket for the screening of Ice Storm, Ang Lee, and I’ll never forget this moment: the entry into this beautiful room, this film that marked me forever … Just like I can not forget the surrealist feeling of being there, years later, on the other side of the barriers: I see myself alongside Harrison Ford, presenting Indiana Jones and the realm of the crystal skull … I was very moved because it meant entering the world of Spielberg, which marked the cinema in an unalterable way. Last time, it was with Todd Haynes, for Carol. I was proud to go up the stairs to defend this film staging the clandestine passion of two women.
第一次，是在我起步的时候，去戛纳是为《旧欢若梦》（1997）寻找发行。这是我参演的一部低成本的澳洲电影，我一朋友Cherie Nowlan（女导演）拍的。我从一个演员朋友那里借了条裙，因为自己没有足够光鲜的衣服去参加毯城！但在推挤的人群中，再尽力，也只能遥望红毯。后来搞到了一张李安《冰风暴》的票，接下来的瞬间永志难忘：华丽影厅的入口，让我铭记的电影……那种在场的感觉，几乎是超现实的。
一些年之后，在护栏的另一边，我看到自己站在哈里斯福特的边上，宣传《印地安纳琼斯4》，居然感动莫名，因为这意味着进入了斯皮尔伯格的宇宙，斯氏宇宙在影史中是绕不过的存在。
上一次，是和托德海因斯一起，为《卡罗尔》而来。我很自豪能走上影宫的大台阶，去捍卫这部关于二女禁恋的电影。
说说戛纳电影节给你留下的记忆？
The first time, when I first started, I came to Cannes in search of a distributor for Thank God He Met Lizzie (1997), a low-budget Australian film I played in, directed by a friend, Cherie Nowlan. I borrowed a dress from a friend actress – I did not have enough glamorous clothes for Cannes! I was elbowing in the crowd, trying to see the red carpet from afar. I managed to get a ticket for the screening of Ice Storm, Ang Lee, and I’ll never forget this moment: the entry into this beautiful room, this film that marked me forever … Just like I can not forget the surrealist feeling of being there, years later, on the other side of the barriers: I see myself alongside Harrison Ford, presenting Indiana Jones and the realm of the crystal skull … I was very moved because it meant entering the world of Spielberg, which marked the cinema in an unalterable way. Last time, it was with Todd Haynes, for Carol. I was proud to go up the stairs to defend this film staging the clandestine passion of two women.
第一次，是在我起步的时候，去戛纳是为《旧欢若梦》（1997）寻找发行。这是我参演的一部低成本的澳洲电影，我一朋友Cherie Nowlan（女导演）拍的。我从一个演员朋友那里借了条裙，因为自己没有足够光鲜的衣服去参加毯城！但在推挤的人群中，再尽力，也只能遥望红毯。后来搞到了一张李安《冰风暴》的票，接下来的瞬间永志难忘：华丽影厅的入口，让我铭记的电影……那种在场的感觉，几乎是超现实的。
一些年之后，在护栏的另一边，我看到自己站在哈里斯福特的边上，宣传《印地安纳琼斯4》，居然感动莫名，因为这意味着进入了斯皮尔伯格的宇宙，斯氏宇宙在影史中是绕不过的存在。
上一次，是和托德海因斯一起，为《卡罗尔》而来。我很自豪能走上影宫的大台阶，去捍卫这部关于二女禁恋的电影。
You are passionate about art. What influence did it have on your life and your job?
你对艺术充满热忱，艺术对你的生活和职业有什么影响？
I did the Beaux-Arts in Melbourne and I saw myself becoming a museum curator or restorer of paintings. And then I started taking theater classes. I always thought that if it did not work I would go back to my first passion. It did not happen, but my way of thinking is very visual, and most of the time, my connection to a scenario, to a character, comes to me from an image. From a painting by Turner, for example, whose texture gives me the sensation that you have to touch his layers of paint to penetrate his work. I sketch a character in the same way. Our job as actors is to reveal the arts that participate in the making of a film, to blend in with the lights, the setting, the costumes, the music, the sets, the silences, the lyrics, the perfumes, the perspectives, the effects … creators of great works trust the intelligence and sensitivity of the public. They have the sublime belief that people can capture things, be destabilized like them, change their point of view and habits like them … A work must ask questions and not tell us what we need to do. Art is also something that I share with my children: my oldest, in particular, loves to make comics.
我在墨尔本（大学）修过Beaux-Arts【1】，曾认为自己的未来会是博物馆馆长或者古画修复师之类。但之后我开始去上戏剧课程。我经常想，如果戏剧这条路走不通，就回到最开始的老路上去。这没有成真，但我的思维方式已经非常视觉化形象化。绝大多数时候，我与一个剧本或一个角色的贯通，是从一张图片开始。比方说一幅透纳【2】的画作。其中的肌理，给我的感觉就是，你必须触及他的色层，才能读透他的作品。我自己去描画一个角色也是同样的方法。我们作为演员的职责，是去展露电影制作过程中的一切艺术参与，让灯光、布景、服装、音乐、美工、留白、对白、气味、视角、视效这些东西协调地呈现于一身。伟大作品的创作者相信观众的智性和感性。他们严肃认真地相信，观众可以从中捕捉到东西，像他们一样被撼动，像他们那样被改变观点和积习。一个作品需要的是提出问题，不是要求人们要怎么做。艺术也是我和子女们共享的东西：特别是我最大的儿子，非常喜欢画漫画。
译者按：
【1】以19世纪巴黎美院为正统的学院派美学理论和训练，涵盖绘画建筑雕塑等等一切，可视为西方古典艺术集大成的美学体系正宗。
【2】透纳，风景画大师，19世纪英国最重要的画家可能没有之一。此人对英国整个国家的美学理论和风格有极为重要的影响，这在现在很多英国电影里都还能看出来。
你对艺术充满热忱，艺术对你的生活和职业有什么影响？
I did the Beaux-Arts in Melbourne and I saw myself becoming a museum curator or restorer of paintings. And then I started taking theater classes. I always thought that if it did not work I would go back to my first passion. It did not happen, but my way of thinking is very visual, and most of the time, my connection to a scenario, to a character, comes to me from an image. From a painting by Turner, for example, whose texture gives me the sensation that you have to touch his layers of paint to penetrate his work. I sketch a character in the same way. Our job as actors is to reveal the arts that participate in the making of a film, to blend in with the lights, the setting, the costumes, the music, the sets, the silences, the lyrics, the perfumes, the perspectives, the effects … creators of great works trust the intelligence and sensitivity of the public. They have the sublime belief that people can capture things, be destabilized like them, change their point of view and habits like them … A work must ask questions and not tell us what we need to do. Art is also something that I share with my children: my oldest, in particular, loves to make comics.
我在墨尔本（大学）修过Beaux-Arts【1】，曾认为自己的未来会是博物馆馆长或者古画修复师之类。但之后我开始去上戏剧课程。我经常想，如果戏剧这条路走不通，就回到最开始的老路上去。这没有成真，但我的思维方式已经非常视觉化形象化。绝大多数时候，我与一个剧本或一个角色的贯通，是从一张图片开始。比方说一幅透纳【2】的画作。其中的肌理，给我的感觉就是，你必须触及他的色层，才能读透他的作品。我自己去描画一个角色也是同样的方法。我们作为演员的职责，是去展露电影制作过程中的一切艺术参与，让灯光、布景、服装、音乐、美工、留白、对白、气味、视角、视效这些东西协调地呈现于一身。伟大作品的创作者相信观众的智性和感性。他们严肃认真地相信，观众可以从中捕捉到东西，像他们一样被撼动，像他们那样被改变观点和积习。一个作品需要的是提出问题，不是要求人们要怎么做。艺术也是我和子女们共享的东西：特别是我最大的儿子，非常喜欢画漫画。
译者按：
【1】以19世纪巴黎美院为正统的学院派美学理论和训练，涵盖绘画建筑雕塑等等一切，可视为西方古典艺术集大成的美学体系正宗。
【2】透纳，风景画大师，19世纪英国最重要的画家可能没有之一。此人对英国整个国家的美学理论和风格有极为重要的影响，这在现在很多英国电影里都还能看出来。
What do you want to transmit to your children? And how do you manage to hold all these roles at once?
有什么东西是你想向儿女们传递下去的？如何同时做好所有的这些角色（艺术家、演员、影星、公司总监、评委主席、母亲等等）？
I cannot, I compose, like many women. My 3 year old daughter and her brothers need attention … Such are children! I juggle. My four children grew up behind the scenes of a theater and a movie set … They did not only see the end result, the glamorous side, they also saw the hard work behind it all. My job as a mom is to show them that you cannot do anything without effort. The risk, when you’re a movie star, is to expose your children to an unreal world, obsessed with celebrity, where we applaud without having understood anything of what is behind creation and who is the source of all. I hope mine understood that.
我做不到。和许多女性一样，我只能去尽量协调。我三岁大的女儿和她的哥哥们都需要照顾，小孩嘛！我只能像杂耍抛球一样处理这大堆事情。我四个娃都是在剧场和片场长大的，他们不仅看到最终的成品，那光鲜的一面，也能看到背后的辛劳。我作为母亲的职责就是让他们知道，一分耕耘一分收获。假如你是影星，一大风险，就是让你的小孩曝光在一个不真实的世界里，对名流社会趋之若鹜。那里充斥着不假思索的高潮和喝彩，完全不了解创作背后的一切，不知道哪些人才是一切形象的源头。我希望我的小孩可以明白这些。
有什么东西是你想向儿女们传递下去的？如何同时做好所有的这些角色（艺术家、演员、影星、公司总监、评委主席、母亲等等）？
I cannot, I compose, like many women. My 3 year old daughter and her brothers need attention … Such are children! I juggle. My four children grew up behind the scenes of a theater and a movie set … They did not only see the end result, the glamorous side, they also saw the hard work behind it all. My job as a mom is to show them that you cannot do anything without effort. The risk, when you’re a movie star, is to expose your children to an unreal world, obsessed with celebrity, where we applaud without having understood anything of what is behind creation and who is the source of all. I hope mine understood that.
我做不到。和许多女性一样，我只能去尽量协调。我三岁大的女儿和她的哥哥们都需要照顾，小孩嘛！我只能像杂耍抛球一样处理这大堆事情。我四个娃都是在剧场和片场长大的，他们不仅看到最终的成品，那光鲜的一面，也能看到背后的辛劳。我作为母亲的职责就是让他们知道，一分耕耘一分收获。假如你是影星，一大风险，就是让你的小孩曝光在一个不真实的世界里，对名流社会趋之若鹜。那里充斥着不假思索的高潮和喝彩，完全不了解创作背后的一切，不知道哪些人才是一切形象的源头。我希望我的小孩可以明白这些。
续上
I’m not saying it’s always easy … Every time I tell them, “We’re going to the National Gallery!”, I hear a chorus of “Nooooo!”, But I’m not giving up … (Laughs.) My children also teach me a lot: my 16 year old son recently made me discover Le Violent, an extraordinary film by Nicholas Ray that I had not seen. Being a parent is an interaction: it is extremely important to listen to children, to watch what they show us, because their vision of society, different from ours, is very interesting.
我不是说这点很容易做到…每次我跟他们讲，“我们去国家美术馆！”，听到的都是“不不不不不”的合唱，但我是不会放弃的
。我的小孩也教会了我很多：16岁的大娃最近让我发现了《兰闺艳血》，尼古拉斯雷的杰作，我还没看过。为人父母是一种互动：倾听孩子的话，看他们拿给你看的东西，都是极其重要的。因为他们的社会观，和我们不一样，非常有趣。
I’m not saying it’s always easy … Every time I tell them, “We’re going to the National Gallery!”, I hear a chorus of “Nooooo!”, But I’m not giving up … (Laughs.) My children also teach me a lot: my 16 year old son recently made me discover Le Violent, an extraordinary film by Nicholas Ray that I had not seen. Being a parent is an interaction: it is extremely important to listen to children, to watch what they show us, because their vision of society, different from ours, is very interesting.
我不是说这点很容易做到…每次我跟他们讲，“我们去国家美术馆！”，听到的都是“不不不不不”的合唱，但我是不会放弃的
。我的小孩也教会了我很多：16岁的大娃最近让我发现了《兰闺艳血》，尼古拉斯雷的杰作，我还没看过。为人父母是一种互动：倾听孩子的话，看他们拿给你看的东西，都是极其重要的。因为他们的社会观，和我们不一样，非常有趣。 You have a sleek style, a David Bowie elegance, a great way to choreograph your hands. What inspires your look?
你有一种亮丽的风格，大卫宝爷式的优雅，以及一套潇洒的手势之道
I love dance. I am inspired by images … that of Baryshnikov, which I had the chance to see on stage at the end of his career. He was beautiful in his black turtleneck. He could not do his incredible feats anymore, but there was such a poetry, an intelligence in his gestures. As for Bowie, it’s a real compliment: I would like to look like him! What I like about fashion is the ability to get to the point. My definition of elegance comes down to that. Very few people manage to “be”. Bowie was one of them: he played with all sorts of inspirations, but it was always him. I aspire to that. Depending on my mood, I can go from a sweatshirt to a split skirt. I like to walk barefoot, to have contact with the ground, the ground … but I can also wear heels of 12 centimeters like today, because they give you a look totally different, waving, fatal … perilous to gain height. (Laughter.) Running on high heels is one of the things you learn when you’re an actress. Besides, here I have to run: my husband is waiting for me at the Barbican Center to see Pericles. See? That’s the art of an actress: give yourself, as I just did, and disappear, hoping to have left a trace.
我爱舞蹈。形象是我的灵感之源…比如巴瑞辛尼科夫【1】，我有幸赶上他生涯晚期，去现场看他表演。穿着高领绒衣的他是俊俏的，虽然不能再做那些难以置信的特技了，但诗意和智性，尽在他的手势里。
至于宝爷，这真心是抬举我了：我倒是想有他那样的形象！我对时尚的判断标准，是抓住本质的能力。我对优雅的定义也来自于此。极少人可以真正达成“自在”的状态。宝爷是其中之一：他游戏于各种各样的灵感，但总归是他自己。这让我颇受启发。所以，看自己的心情了，从运动衫到开衩裙都是我的选项。我喜欢光脚走路，这样可以直接接触地面，但我也可以穿12公分的高跟鞋，比如今天，因为它会给你完全不同的形象，“招摇”、“致命”…准确地说是“拼命”增高
穿高跟鞋狂奔可是女演员的必修技能之一。
另外，现在我要狂奔了：我老公正在巴比肯中心【2】等我一起看《伯里克利》，好吧？这就是当一名演员的艺术：交出自己，像我刚才一样，然后消失，希望还能留下点痕迹。
译者按：
【1】蜚声国际的当代苏联舞蹈家。CB是俄粉的又一证据。
【2】伦敦著名的文化胜地之一，在老城边上的一组现代主义建筑群里。
你有一种亮丽的风格，大卫宝爷式的优雅，以及一套潇洒的手势之道
I love dance. I am inspired by images … that of Baryshnikov, which I had the chance to see on stage at the end of his career. He was beautiful in his black turtleneck. He could not do his incredible feats anymore, but there was such a poetry, an intelligence in his gestures. As for Bowie, it’s a real compliment: I would like to look like him! What I like about fashion is the ability to get to the point. My definition of elegance comes down to that. Very few people manage to “be”. Bowie was one of them: he played with all sorts of inspirations, but it was always him. I aspire to that. Depending on my mood, I can go from a sweatshirt to a split skirt. I like to walk barefoot, to have contact with the ground, the ground … but I can also wear heels of 12 centimeters like today, because they give you a look totally different, waving, fatal … perilous to gain height. (Laughter.) Running on high heels is one of the things you learn when you’re an actress. Besides, here I have to run: my husband is waiting for me at the Barbican Center to see Pericles. See? That’s the art of an actress: give yourself, as I just did, and disappear, hoping to have left a trace.
我爱舞蹈。形象是我的灵感之源…比如巴瑞辛尼科夫【1】，我有幸赶上他生涯晚期，去现场看他表演。穿着高领绒衣的他是俊俏的，虽然不能再做那些难以置信的特技了，但诗意和智性，尽在他的手势里。
至于宝爷，这真心是抬举我了：我倒是想有他那样的形象！我对时尚的判断标准，是抓住本质的能力。我对优雅的定义也来自于此。极少人可以真正达成“自在”的状态。宝爷是其中之一：他游戏于各种各样的灵感，但总归是他自己。这让我颇受启发。所以，看自己的心情了，从运动衫到开衩裙都是我的选项。我喜欢光脚走路，这样可以直接接触地面，但我也可以穿12公分的高跟鞋，比如今天，因为它会给你完全不同的形象，“招摇”、“致命”…准确地说是“拼命”增高
穿高跟鞋狂奔可是女演员的必修技能之一。另外，现在我要狂奔了：我老公正在巴比肯中心【2】等我一起看《伯里克利》，好吧？这就是当一名演员的艺术：交出自己，像我刚才一样，然后消失，希望还能留下点痕迹。
译者按：
【1】蜚声国际的当代苏联舞蹈家。CB是俄粉的又一证据。
【2】伦敦著名的文化胜地之一，在老城边上的一组现代主义建筑群里。
What is the current place of women in a changing film industry?
电影业正经历变革，业内女性当前的地位如何？
Their under-representation is flagrant. But a profound change is happening: women are not so quiet anymore. They do not wait for anyone to come and save them. They are engaged proactively, and there is more and more interaction between the women who are in front of the camera and those behind. Often, we hear: “They are stars who come to give us moral lessons while they earn huge amounts …” No, no and no! Film stars have the chance to speak on behalf of the hundreds of thousands of people who work in the same industry and who do not earn a lot of money at all, who face scandalous inequalities! Decorators, cameramen, lighting technicians, directors of photography … Our spells are linked, we must fight together. Will we see more female actresses, women writers and writers nominated at the Oscars next year? Probably not … But we are investing to move in that direction. We cannot claim victory, not yet.
女性代表度的严重不足，称得上明目张胆了。但一个深远的变革正在发生：女性不再那么沉默了。她们不再等待任何人来拯救她们了。现在台前和幕后的女性有了越来越多的互动。通常，我们听到的是：她们拿那么多的钱，却还跑来给我们上道德伦理课……”错，错，错！只是因为影星才有机会，去代表在同一个行业里千千万万拿着普通收入，天天面对丑闻级的收入不公的工作人员！舞台装修的、扛摄影机的、布光的、摄影导演…我们的发声是相连的，我们必须共同战斗。将来能见到有更多的女演员，女编剧吗？女编剧在明年奥斯卡会有更多提名吗？也许不会，但我们正在那个方向上投入，我们还不能宣布胜利，还早。
电影业正经历变革，业内女性当前的地位如何？
Their under-representation is flagrant. But a profound change is happening: women are not so quiet anymore. They do not wait for anyone to come and save them. They are engaged proactively, and there is more and more interaction between the women who are in front of the camera and those behind. Often, we hear: “They are stars who come to give us moral lessons while they earn huge amounts …” No, no and no! Film stars have the chance to speak on behalf of the hundreds of thousands of people who work in the same industry and who do not earn a lot of money at all, who face scandalous inequalities! Decorators, cameramen, lighting technicians, directors of photography … Our spells are linked, we must fight together. Will we see more female actresses, women writers and writers nominated at the Oscars next year? Probably not … But we are investing to move in that direction. We cannot claim victory, not yet.
女性代表度的严重不足，称得上明目张胆了。但一个深远的变革正在发生：女性不再那么沉默了。她们不再等待任何人来拯救她们了。现在台前和幕后的女性有了越来越多的互动。通常，我们听到的是：她们拿那么多的钱，却还跑来给我们上道德伦理课……”错，错，错！只是因为影星才有机会，去代表在同一个行业里千千万万拿着普通收入，天天面对丑闻级的收入不公的工作人员！舞台装修的、扛摄影机的、布光的、摄影导演…我们的发声是相连的，我们必须共同战斗。将来能见到有更多的女演员，女编剧吗？女编剧在明年奥斯卡会有更多提名吗？也许不会，但我们正在那个方向上投入，我们还不能宣布胜利，还早。
What resonance did you find in the #MeToo movement?
你在Metoo运动中有找到什么共鸣吗？
Huge, since it’s a real revolution. This liberation of speech has generated a radical change of worldly mores, far beyond Hollywood. It is important to feed this debate, not to confine it to unique cases: if we focus only on certain people, we lose a global, macroscopic vision. What seems to me very important, too, is to consider that because this movement is global that it does not take the same meaning in every country and every culture. Our way of communicating via the Internet makes us believe that everyone thinks the same way, which is totally unrealistic! We talk about celebrating differences, well, for that we must welcome them, try to understand before judging. #MeToo is a symbol of openness, so let’s open, dare to listen before closing the door to the unknown.
非常巨大。因为这是一次真正的变革。这一言论上的解放，在全世界都推动了激烈的变化，远远超越好莱坞自身。现在最重要的，是不断充实这一议题，而不是局限于个案：如果我们就盯着某几个焦点人物，我们就失去了全球的、宏观的视野。而在我看来，同样重要的，是要认识到，尽管这是一个全球性的运动，但它在不同的国家和不同的文化下，代表的涵义不可能相同。我们的交流方式是通过互联网，就让我们坚信每一个人都是同样的思维方式去思考问题，？这恰恰对现实的彻底脱离！既然我们都说要欢迎不同意见，那好啊，就老老实实欢迎人家啊，尽力做到先理解，再作判断。Metoo是一个开放的象征，所以让它开放，要敢于倾听，而不是对未知的东西关上大门。
你在Metoo运动中有找到什么共鸣吗？
Huge, since it’s a real revolution. This liberation of speech has generated a radical change of worldly mores, far beyond Hollywood. It is important to feed this debate, not to confine it to unique cases: if we focus only on certain people, we lose a global, macroscopic vision. What seems to me very important, too, is to consider that because this movement is global that it does not take the same meaning in every country and every culture. Our way of communicating via the Internet makes us believe that everyone thinks the same way, which is totally unrealistic! We talk about celebrating differences, well, for that we must welcome them, try to understand before judging. #MeToo is a symbol of openness, so let’s open, dare to listen before closing the door to the unknown.
非常巨大。因为这是一次真正的变革。这一言论上的解放，在全世界都推动了激烈的变化，远远超越好莱坞自身。现在最重要的，是不断充实这一议题，而不是局限于个案：如果我们就盯着某几个焦点人物，我们就失去了全球的、宏观的视野。而在我看来，同样重要的，是要认识到，尽管这是一个全球性的运动，但它在不同的国家和不同的文化下，代表的涵义不可能相同。我们的交流方式是通过互联网，就让我们坚信每一个人都是同样的思维方式去思考问题，？这恰恰对现实的彻底脱离！既然我们都说要欢迎不同意见，那好啊，就老老实实欢迎人家啊，尽力做到先理解，再作判断。Metoo是一个开放的象征，所以让它开放，要敢于倾听，而不是对未知的东西关上大门。
