卡拉克斯先生

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{\fs14}卡拉克斯先生

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{\fs14}似谜

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{\fs14}神话

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{\fs14}抒情

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{\fs14}传奇

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{\fs14}低调

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{\fs14}天才

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{\fs14}神秘

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{\fs14}"绝不向任何人要求任何事"他说

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{\fs14}莱奥·卡拉克斯是一名25岁的导演

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{\fs14}他天赋超群而又神秘莫测

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{\fs14}亚历克斯!

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{\fs14}我们应该能在电影资料馆碰到他

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{\fs14}莱奥·卡拉克斯是真名还是假名?

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{\fs14}是一个真正的假名

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{\fs14}你对卡拉克斯怎么看?

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{\fs14}我希望他勇敢一点...

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{\fs14}他就像你的很多电影里的人物一样

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{\fs14}慢慢瓦解坍塌 最终流浪街头

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{\fs14\an8\1c&H00FFFF&}《坏血 1986》

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{\fs14\an8\1c&H00FFFF&}《新桥恋人 1991》

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{\fs14}你觉得你自己反社会吗?

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{\fs14\an8\1c&H00FFFF&}《神圣车行 2012》

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{\fs14\an8\1c&H00FFFF&}《宝拉 X 1999》

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{\fs14\an8\1c&H00FFFF&}《东京! 2008》

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{\fs14\an8\1c&H00FFFF&}《无题 1997》

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{\fs14\an8\1c&H00FFFF&}《男孩遇见女孩 1984》

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{\fs14\an8\1c&H00FFFF&}《忧郁的扼杀 1980》

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{\fs14}卡勒克斯是一个高度敏感的人

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{\fs14}而且他还有着超凡的意志力和权威

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{\fs14}他是我认识的最难以定义的人

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{\fs14}我不喜欢给人贴标签 尤其是给他

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{\fs14}一

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{\fs14}二

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{\fs14}三

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{\fs14}尽情聆听吧 释放我们的情绪

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{\fs14}他喜欢将人们的能力推向极限.

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{\fs14\an8\1c&H00FFFF&}（尼尔·翰能 神曲组合成员&作曲家）

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{\fs14}我一直很喜欢德尼·拉旺在看到

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{\fs14}自己的女朋友跟别人在一起之后

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{\fs14}在大卫·鲍伊的"Modern Love"的音乐中奔跑的那段节奏

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{\fs14}这个场景很酷 当然 最后的结局并不太好

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{\fs14\an8\1c&H00FFFF&}《男孩遇见女孩 1984》

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{\fs14\an8\1c&H00FFFF&}《坏血 1986》

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{\fs14\an8\1c&H00FFFF&}《神圣车行 2012》

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{\fs14\an8\1c&H00FFFF&}（塞尔日·杜比亚纳法兰西电影资料馆馆长）

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{\fs14}他为法国电影注入了一股新的活力...

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{\fs14}他是电影之子

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{\fs14}同时也是电影导演和艺术家

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{\fs14}他很热衷于研究早期的电影以及电影制作技术

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{\fs14}这完全是一件前所未有的事

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{\fs14}我们这个时代的人对这样的行为一向不太感冒

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{\fs14}大家对早期电影的评价也多是冷嘲热讽

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{\fs14}就好像我们已经了解所有的事 我们不会被愚弄

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{\fs14}而卡拉克斯正相反 他不怕干蠢事

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{\fs14}他总是在设法寻找那种初次的体验

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{\fs14}你在拍电影吗?

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{\fs14}- 七月份拍 - 电影叫什么名字?

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{\fs14}还没想好 大概叫"一切都会好起来"

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{\fs14}我是一名导演

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{\fs14\an8\1c&H00FFFF&}《男孩遇见女孩 1984》

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{\fs14}拍电影的还是拍视频的?

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{\fs14}不 目前我还在想电影的名字

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{\fs14\an8\1c&H00FFFF&}（凯莉·米洛 歌手&演员）

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{\fs14}当他需要思考的时候

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{\fs14}他就会走来走去 并不是真的走路 就是踱来踱去

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{\fs14}点根烟 旁边还站着一只狗

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{\fs14}你能看出来他灵感火花四溅 但是他走得很慢

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{\fs14}然后他会慢慢踱回来

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{\fs14}交待一些事情 接着又走开

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{\fs14}他就像一阵微风

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{\fs14}一阵充满神秘的微风

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{\fs14}演员都是我挑选的

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{\fs14}我的工作主要就是这个

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{\fs14}扮演那个年轻女孩的米莱尔·皮雷

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{\fs14}让我想起了从前那些风华绝代的女演员们

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{\fs14}比如莉莲·吉许和欧昂娜·德玛兹

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{\fs14}她们影响着整个电影史

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{\fs14}或整个世纪

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{\fs14}我希望她尽量保持沉默 然而当她真的开口时

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{\fs14}她给人的感觉依旧是静默的 这让她像个悲剧人物

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{\fs14}然而男主却是动态的 至少在身体上是如此

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{\fs14}她是一名踢踏舞者 但是她总是待在原地

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{\fs14}这个男孩名叫德尼·拉旺

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{\fs14}我究竟在他身上寻找什么呢?

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{\fs14}我花了很长时间才找到他

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{\fs14}我不知道...

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{\fs14\an8\1c&H00FFFF&}（德尼·拉旺 "男孩遇见女孩"试镜 1983年）

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{\fs14}我都不知道我能不能胜任这个角色

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{\fs14}我需要更好地了解这个角色

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{\fs14}完全了解某个东西这很重要

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{\fs14}但完全了解又是不可能的 但是...

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{\fs14\an8\1c&H00FFFF&}（德尼·拉旺 演员）

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{\fs14}我感觉自己走进了一个陌生的世界

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{\fs14}每次拍电影 我都有这种感觉

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{\fs14}但是这一次不同于以往

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{\fs14}有关人物心理的表述很少 只有少量的文字描述

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{\fs14}这让我很难弄清楚我所扮演的角色

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{\fs14}我对我要扮演的角色一无所知

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{\fs14}米莱尔凭借她自己的特质

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{\fs14}出现在莱奥的处女座:"男孩遇见女孩"

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{\fs14}从某种程度上来说 是莱奥

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{\fs14}发掘并塑造了她的个性

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{\fs14}我可以和米莱尔说话吗?

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{\fs14\an8\1c&H00FFFF&}（米莱尔 演员）

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{\fs14}他要求很高

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{\fs14}就像他在打磨 塑造他的演员

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{\fs14}也许他不是对每个人都那样

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{\fs14}但是我记得...

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{\fs14}当时我不得不节食 还学会了跳踢踏舞

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{\fs14}那部电影需要做很多前期准备

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{\fs14}但到了拍摄现场 我仍然很迷惑

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{\fs14}有点搞不清楚自己的处境

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{\fs14}举个例子 德尼和我在拍摄的时候基本不说话

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{\fs14}现场的气氛 就好像他们在追寻某一样东西

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{\fs14}喝一口 然后放下

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{\fs14}就在那时我认出了你 就好像你突然认出某个人一样...

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{\fs14}你的右胳膊肘出境了 注意一下

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{\fs14}- 在桌上啊

- 另一只

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{\fs14}- 这样行吗?

- 行

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{\fs14}好 开始

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{\fs14\an8\1c&H00FFFF&}（让-米歇尔·付东 影评人）

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{\fs14}作为一名导演 他需要某个人来诠释他的电影

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{\fs14}这就是他在德尼·拉旺身上寻找的东西

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{\fs14}他既是一个躯体 又是一种能量 一种韵律

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{\fs14}一种灵动 一种音乐性 一张面孔

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{\fs14}他很擅长操控自己的身体

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{\fs14\an8\1c&H00FFFF&}（卡洛琳·尚普蒂耶 摄影指导）

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{\fs14}就像我们是灯光师和摄影师一样

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{\fs14}这是德尼·拉旺独有的特质

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{\fs14}他的电影都基于某种动量

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{\fs14}德尼·拉旺善于运用肢体语言

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{\fs14}他为卡拉克斯的作品注入了一种能量

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{\fs14}那就像是我和莱奥各自残缺的部分

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{\fs14}是我们双方性格的衍射

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{\fs14}它们结合在一起 就形成了一个新的品性

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{\fs14}在他的电影中 很多人物都叫亚历克斯(卡拉克斯的本名)

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{\fs14}我认为这多少有点自传的成分

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{\fs14}莱奥和德尼之间有一种物理上的延续性

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{\fs14\an8\1c&H00FFFF&}（肯特·琼斯 肯中心电影协会艺术指导）

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{\fs14}就好像他将自己的梦想

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{\fs14}投射在另一个诗意的自己身上

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{\fs14}很快 他就让我担任男主的角色

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{\fs14}角色具有那种英雄式的浪漫情怀

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{\fs14}作为音乐学院的学生 我从来没有机会扮演这样的角色

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{\fs14}但突然之间 莱奥为我打开了这扇门

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{\fs14}让我得以在他的电影里饰演一名现代年轻男子

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{\fs14}在我们合作的第一部电影里

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{\fs14}他就注意到了我在肢体方面的能力

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{\fs14}于是他不断挖掘

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{\fs14}甚至让我玩杂耍和杂技

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{\fs14}有点像基顿和卓别林

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{\fs14}在默片中肢体的高度运用

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{\fs14}这在今天仍然很常见

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{\fs14}卡拉克斯是一位动作导演

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{\fs14}可以说艾蒂安-朱尔·马雷是第一个拍摄猫坠地

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{\fs14}和人类行走的导演

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{\fs14}艾蒂安-朱尔·马雷甚至要先于卢米埃尔兄弟

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{\fs14}那算是动态图像的起源

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{\fs14}作为一个电影创作者 卡拉克斯的梦想和噩梦

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{\fs14}都来自于早期的电影

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{\fs14}我看的第一部卡拉克斯的作品是"坏血"

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{\fs14\an8\1c&H00FFFF&}（理查德·布洛迪 影评人）

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{\fs14}我觉得那是一部令人入迷的电影作品

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{\fs14}我不敢相信 一个年轻人竟能如此睿智

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{\fs14}一位当代导演身上竟然有着如此不羁的诗意

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{\fs14}更令我惊奇的是他对设备的调度和场面的掌控

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{\fs14}不只是摄影器材 还有其他器材 比如飞机和降落伞等

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{\fs14}虽然是年轻导演的作品

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{\fs14}却彰显出了非凡的才能和精湛的技艺

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{\fs14\an8\1c&H00FFFF&}《坏血 1986》

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{\fs14}在"坏血"中 米歇尔·皮寇利需要跳伞

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{\fs14}他扮演一位准备最后大干一票的骗子

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{\fs14}而他的同伴则由德尼·拉旺扮演

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{\fs14}当时"男孩遇见女孩"的剧本并没有太打动我

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{\fs14}而"坏血"则十分出色

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{\fs14}代入感极强

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{\fs14}故事和人物都很棒

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{\fs14}但我就是觉得自己做不到

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{\fs14}这些对我来说太难了

182

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{\fs14}剧本中每两三页都会出现一个挑战

183

00:15:13,690 --> 00:15:17,650

{\fs14}我不爱跑步

184

00:15:17,800 --> 00:15:20,490

{\fs14}但又不得不跑

185

00:15:20,630 --> 00:15:24,630

{\fs14}我从没骑过摩托车 但现在必须得骑

186

00:15:24,770 --> 00:15:26,360

{\fs14}还有跳伞

187

00:15:26,500 --> 00:15:30,840

{\fs14}为了在大街上跳舞 我必须要让我的手很灵巧

188

00:15:30,980 --> 00:15:34,880

{\fs14}我时刻在想 这太难了

189

00:15:35,010 --> 00:15:36,980

{\fs14}电影是很不错 但不适合我

190

00:15:43,450 --> 00:15:47,360

{\fs14}所以我去找莱奥 我对他说

191

00:15:47,490 --> 00:15:49,550

{\fs14}"这很好!"

192

00:15:59,440 --> 00:16:03,000

{\fs14}卡拉克斯: 我开始专门为德尼构思电影

193

00:16:03,110 --> 00:16:06,840

{\fs14}每一部电影里面 他都充满能量...

194

00:16:06,940 --> 00:16:11,710

{\fs14}他一直如此全身心投入

195

00:16:11,880 --> 00:16:15,680

{\fs14}随着他演技越来越成熟

196

00:16:15,850 --> 00:16:19,650

{\fs14}我也可以在肢体上对他提出更高的要求

197

00:16:19,760 --> 00:16:24,920

{\fs14}如果我需要他做后空翻 他会去学

198

00:16:25,000 --> 00:16:28,060

{\fs14}我知道他能够做到

199

00:16:28,130 --> 00:16:30,430

{\fs14}对于某种特定的电影

200

00:16:30,500 --> 00:16:33,100

{\fs14}也就是我们两个合作的电影来说

201

00:16:33,740 --> 00:16:36,470

{\fs14}他是必不可少的

202

00:17:02,600 --> 00:17:10,110

{\fs14\an8\1c&H00FFFF&}（黑泽清 电影导演）

203

00:17:05,200 --> 00:17:10,110

{\fs14}我年轻的时候 我梦想过拍一部完美的电影

204

00:17:10,210 --> 00:17:13,580

{\fs14}那时我还不知道完美的电影应该是什么样子

205

00:17:13,680 --> 00:17:16,480

{\fs14}然后 "坏血"突然横空出世了

206

00:17:16,710 --> 00:17:21,810

{\fs14}这部电影呈现了导演对于他周遭世界的

207

00:17:23,020 --> 00:17:26,180

{\fs14}一种深度个人化的看法

208

00:17:26,490 --> 00:17:29,820

{\fs14}图像 故事

209

00:17:29,930 --> 00:17:33,730

{\fs14}角色 音乐...

210

00:17:33,860 --> 00:17:38,930

{\fs14}所有这一些完美地融合在一起

211

00:18:00,890 --> 00:18:07,690

{\fs14\an8\1c&H00FFFF&}（吉尔·雅各布 戛纳电影节主席）

212

00:18:00,990 --> 00:18:04,990

{\fs14}卡拉克斯拍的故事

213

00:18:05,160 --> 00:18:07,690

{\fs14}可能一秒钟就能讲完

214

00:18:07,870 --> 00:18:13,000

{\fs14}"坏血"讲的是关于疫苗

215

00:18:13,770 --> 00:18:16,570

{\fs14}还有那些在你腹部扎针的人的故事...

216

00:18:21,580 --> 00:18:24,670

{\fs14}它带着纯粹的诗意: 梦 想象和直觉

217

00:18:24,750 --> 00:18:26,840

{\fs14}这些东西很难用语言表述

218

00:18:26,920 --> 00:18:31,150

{\fs14}但是他的镜头却能够将这一切呈现出来

219

00:18:31,590 --> 00:18:34,290

{\fs14}莱奥的作品都极具想象力

220

00:18:34,590 --> 00:18:38,820

{\fs14}当他拍电影的时候

221

00:18:38,930 --> 00:18:42,800

{\fs14}他会运用自己的视觉创造力

222

00:18:43,030 --> 00:18:47,770

{\fs14}他的电影中有很多意象 这让人们为之疯狂

223

00:18:48,010 --> 00:18:53,310

{\fs14}他喜欢构建图像

224

00:18:53,400 --> 00:18:58,200

{\fs14\an8\1c&H00FFFF&}（堀越谦三 制片人）

225

00:18:56,580 --> 00:19:01,640

{\fs14}他有意识地构建一个又一个细节

226

00:19:03,290 --> 00:19:06,690

{\fs14}这让你每次都有新发现

227

00:19:13,030 --> 00:19:16,130

{\fs14}他就是独一无二的

228

00:19:18,100 --> 00:19:22,040

{\fs14}他代表了电影最基本的特质

229

00:19:22,310 --> 00:19:23,800

{\fs14}这不是真的 丽莎

230

00:19:23,910 --> 00:19:26,780

{\fs14}我不认识他 不要告诉我他的名字

231

00:19:26,880 --> 00:19:29,110

{\fs14}不是托马斯吗?

232

00:19:29,210 --> 00:19:30,880

{\fs14}我不知道 亚历克斯

233

00:19:30,980 --> 00:19:32,970

{\fs14}就是托马斯 你这个傻瓜

234

00:19:33,080 --> 00:19:35,850

{\fs14}你为什么要告诉我? 我不希想知道这些

235

00:19:35,950 --> 00:19:37,680

{\fs14}丽莎 你的所作所为已无可挽回

236

00:19:37,820 --> 00:19:41,220

{\fs14}我再也不能见你了 永远不能

237

00:19:41,330 --> 00:19:42,880

{\fs14}我挂了

238

00:19:43,000 --> 00:19:47,300

{\fs14\an8\1c&H00FFFF&}（哈莫尼·科林 电影导演）

239

00:19:44,940 --> 00:19:53,300

{\fs14}他很浪漫 这是一种不寻常的浪漫

240

00:19:53,380 --> 00:19:56,110

{\fs14}它是黑暗的 极端的 甚至致命的

241

00:19:56,110 --> 00:20:00,190

{\fs14}他可以在别人觉得怪诞的东西里发现美

242

00:20:00,940 --> 00:20:07,060

{\fs14}在人们觉得美和浪漫的东西里

243

00:20:07,180 --> 00:20:10,200

{\fs14}发现种种不堪

244

00:20:15,440 --> 00:20:26,350

{\fs14}爱情中的自我毁灭和自我放空

245

00:20:26,350 --> 00:20:32,100

{\fs14}证明了真爱的确依附于自我牺牲

246

00:20:44,150 --> 00:20:47,120

{\fs14}他一直探索着各种各样的爱

247

00:20:47,190 --> 00:20:50,320

{\fs14}不可能的爱 理想化的爱 柏拉图式的爱

248

00:20:51,030 --> 00:20:54,730

{\fs14}他获得了独特的成就 因为他是一位视觉诗人

249

00:20:54,830 --> 00:21:00,000

{\fs14}他能够发现除了伟大的银幕诗人以外

250

00:21:00,100 --> 00:21:03,770

{\fs14}无人能捕捉的

251

00:21:03,840 --> 00:21:06,040

{\fs14}纯粹的电影性的表达

252

00:21:28,200 --> 00:21:31,430

{\fs14}卡拉克斯：电影讲述了一个男孩竭尽全力 只为赢得女孩的芳心

253

00:21:31,740 --> 00:21:35,070

{\fs14}除了爱情故事

254

00:21:35,170 --> 00:21:39,110

{\fs14}还有黑帮 武器等元素...

255

00:21:39,210 --> 00:21:42,810

{\fs14}追逐场景 舞蹈画面

256

00:21:42,910 --> 00:21:46,750

{\fs14}以及男孩对他所爱的女孩的各种情感

257

00:21:59,960 --> 00:22:04,460

{\fs14}每次和莱奥的女主角们见面时 总是有点别扭

258

00:22:06,400 --> 00:22:09,460

{\fs14}因为和我对戏的

259

00:22:09,770 --> 00:22:12,830

{\fs14}要么是他的前女友

260

00:22:12,940 --> 00:22:16,240

{\fs14}要么是即将成为他的伴侣的人

261

00:22:16,350 --> 00:22:18,750

{\fs14}要么即将变成他前任的人

262

00:22:18,850 --> 00:22:22,220

{\fs14}这些人物关系带着点拉辛(法国17世纪悲剧作家)的感觉

263

00:22:43,440 --> 00:22:48,780

{\fs14}导演和女主角之间的关系是最重要的吗?

264

00:22:50,250 --> 00:22:53,180

{\fs14}和男主角的也很重要

265

00:22:56,050 --> 00:22:59,250

{\fs14}你是如何做这样的决定的?

266

00:22:59,390 --> 00:23:03,020

{\fs14}这对女性角色稍微容易些

267

00:23:05,200 --> 00:23:08,190

{\fs14}因为这其中多少有点诱惑的成份

268

00:23:11,870 --> 00:23:14,500

{\fs14}你只要挑选最能吸引你的那个就可以了

269

00:23:16,310 --> 00:23:18,540

{\fs14}我敢说你从来没注意过...

270

00:23:18,810 --> 00:23:22,300

{\fs14}新换的地垫和椅套

271

00:23:22,950 --> 00:23:24,240

{\fs14}场记板!

272

00:23:24,310 --> 00:23:26,110

{\fs14}在哪呢?

273

00:23:26,180 --> 00:23:28,240

{\fs14}等等...

274

00:23:32,920 --> 00:23:37,450

{\fs14}拍"坏血"的时候 我见到了朱丽叶·比诺什

275

00:23:38,860 --> 00:23:41,160

{\fs14}她的到来就像...

276

00:23:41,260 --> 00:23:45,460

{\fs14}一股清新的空气

277

00:23:46,100 --> 00:23:49,200

{\fs14}我记得在她来之前

278

00:23:49,310 --> 00:23:53,610

{\fs14}那里的环境氛围很呆板

279

00:23:53,910 --> 00:23:58,940

{\fs14}甚至有点庄重 大家都沉默寡言

280

00:24:02,990 --> 00:24:07,360

{\fs14}然后朱丽叶出现了 如同一颗新鲜的水果

281

00:24:07,460 --> 00:24:10,550

{\fs14}还带着阳光的味道

282

00:24:11,060 --> 00:24:14,290

{\fs14}就那样出现在了我和莱奥的世界里

283

00:24:21,610 --> 00:24:26,510

{\fs14}在导演充满爱意的眼神之下 她也改变着

284

00:24:26,580 --> 00:24:30,310

{\fs14}就连摄像机环绕着她的方式 也满含爱意

285

00:24:30,380 --> 00:24:32,350

{\fs14}这种纯粹的诗意

286

00:24:32,420 --> 00:24:35,580

{\fs14}让我们想起影史上的一些传奇组合

287

00:24:35,650 --> 00:24:38,280

{\fs14}比如斯登堡和玛琳·黛德丽 等等

288

00:24:38,280 --> 00:24:43,280

{\fs14\an8\1c&H00FFFF&}（玛里容·斯坦伦斯 现场摄影师 & 朱丽叶·比诺什的姐姐）

289

00:24:40,990 --> 00:24:45,620

{\fs14}她被莱奥迷住了

290

00:24:46,100 --> 00:24:47,660

{\fs14}他彻底重塑了她

291

00:24:49,300 --> 00:24:51,060

{\fs14}这是一个柔和的过程

292

00:24:51,370 --> 00:24:55,100

{\fs14}但是他又非常严苛

293

00:24:55,210 --> 00:24:58,000

{\fs14}总是要求再拍一条 再拍一条...

294

00:24:59,180 --> 00:25:03,910

{\fs14}这有时让人不知所措

295

00:25:04,010 --> 00:25:08,210

{\fs14}演员们甚至都不知道自己在做什么

296

00:25:09,290 --> 00:25:10,980

{\fs14}直到他们出离表演本身

297

00:25:19,060 --> 00:25:23,120

{\fs14}- "他是不是还让你..."

-"让我一整个月不说话!"

298

00:25:24,500 --> 00:25:26,130

{\fs14}就在开拍前

299

00:25:26,200 --> 00:25:28,330

{\fs14}我也不明白为什么

300

00:25:31,410 --> 00:25:34,500

{\fs14}别这么说

301

00:25:35,580 --> 00:25:37,140

{\fs14}我们完蛋了

302

00:25:37,210 --> 00:25:39,180

{\fs14}别这么说

303

00:25:39,550 --> 00:25:43,180

{\fs14}我们合作的独特之处在于

304

00:25:43,290 --> 00:25:47,950

{\fs14}从人和艺术的角度来说

305

00:25:48,060 --> 00:25:51,320

{\fs14}我们的关系总是困难重重

306

00:25:51,430 --> 00:25:54,730

{\fs14}因为他很严苛

307

00:25:55,030 --> 00:25:59,160

{\fs14}我本来可以拒绝他

308

00:25:59,270 --> 00:26:02,570

{\fs14}然后去做戏剧或其他更简单的事

309

00:26:02,670 --> 00:26:05,730

{\fs14}但是我从没拒绝过...

310

00:26:06,040 --> 00:26:11,170

{\fs14}我奋不顾身地投入到这些角色里面去

311

00:26:11,580 --> 00:26:13,110

{\fs14}一切都是谎言!

312

00:26:11,580 --> 00:26:13,110

{\fs14\an8\1c&H00FFFF&}（《新桥恋人》 1991年）

313

00:26:31,280 --> 00:26:33,480

{\fs14}这来自于一个梦...

314

00:26:35,480 --> 00:26:39,020

{\fs14}一对情侣在新桥边上

一起掉入水里的画面

315

00:26:42,100 --> 00:26:49,600

{\fs14}她是一位失明的画家

他是表演吞火的艺人

316

00:26:51,420 --> 00:26:54,300

{\fs14}这座桥只属于他们

317

00:26:59,200 --> 00:27:01,460

{\fs14}拍《坏血》的时候

318

00:27:01,530 --> 00:27:03,760

{\fs14}有一套真实的准则

319

00:27:04,030 --> 00:27:08,100

{\fs14}要求我必须保持健康的身材和皮肤

320

00:27:08,170 --> 00:27:11,440

{\fs14}我要奔跑 且必须具有英雄气概

321

00:27:11,510 --> 00:27:14,710

{\fs14}突然 在《新桥恋人》里

322

00:27:14,780 --> 00:27:17,250

{\fs14}我们产生了对真实性的担心

323

00:27:17,680 --> 00:27:21,140

{\fs14}除了玩杂技之外

324

00:27:21,220 --> 00:27:23,780

{\fs14}我的生活还必须得

325

00:27:24,090 --> 00:27:26,820

{\fs14}陷入低谷

326

00:27:28,560 --> 00:27:33,690

{\fs14}我必须贴近社会底层的穷苦状态

327

00:27:35,370 --> 00:27:38,730

{\fs14}到街上和流浪汉一起...

328

00:27:38,800 --> 00:27:40,400

{\fs14}这有时候也挺可怕的

329

00:27:49,750 --> 00:27:54,280

{\fs14}拍摄现场的我

330

00:27:54,380 --> 00:27:56,790

{\fs14}和走在巴黎的街头的我 外表是一样的

331

00:27:57,090 --> 00:28:02,150

{\fs14}我必须把自己看成一个流浪汉

332

00:28:02,530 --> 00:28:04,520

{\fs14}所以我自己变成了另一个自己

333

00:28:04,630 --> 00:28:07,100

{\fs14}我会想 "我想喝酒的时候可以喝酒"

334

00:28:07,200 --> 00:28:10,530

{\fs14}"流浪汉才不彩排"

335

00:28:11,430 --> 00:28:15,770

{\fs14}自我封闭 变得反社会

336

00:28:15,840 --> 00:28:18,640

{\fs14}这些也是角色的一部分

337

00:28:18,780 --> 00:28:23,740

{\fs14}在拍摄的第一阶段 德尼和我都没有台词

338

00:28:18,780 --> 00:28:23,740

{\fs14\an8\1c&H00FFFF&}(朱丽叶·比诺什)

339

00:28:23,810 --> 00:28:25,750

{\fs14}没有任何对话

340

00:28:26,680 --> 00:28:30,640

{\fs14}我们像疯子一样准备 然后只拍一个表情或一个转身

341

00:28:30,720 --> 00:28:35,390

{\fs14}几秒钟就结束了

342

00:28:35,460 --> 00:28:38,430

{\fs14}这令我超沮丧

343

00:28:39,200 --> 00:28:41,790

{\fs14}拍摄的第一年是最难熬的

344

00:28:41,870 --> 00:28:46,600

{\fs14}拍摄的那三年都很难熬 但是第一年的时候 我一直在想

345

00:28:46,670 --> 00:28:49,800

{\fs14}"我都不知道能不能活着拍完这部电影"

346

00:28:52,510 --> 00:28:55,840

{\fs14}我也因为一些蠢事耽误了拍摄进程

347

00:28:56,280 --> 00:28:59,410

{\fs14}比如我不小心切断了手指肌腱

348

00:28:59,480 --> 00:29:01,420

{\fs14}我为此感到内疚

349

00:29:02,790 --> 00:29:04,850

{\fs14}在某一刻 我甚至都想逃跑

350

00:29:04,920 --> 00:29:06,410

{\fs14}我逃走了...

351

00:29:55,940 --> 00:30:02,860

{\fs14}勇气来源于我们的自我定位

永远不要放弃你在寻找的东西

352

00:30:20,480 --> 00:30:33,620

{\fs14}无论我是拍一个真正的流浪汉

还是拍一座虚构桥上的两个虚构人物

这种凝视都是一样的

这是一种无可救药、梦想不到的感觉

——莱奥·卡拉克斯

353

00:30:33,880 --> 00:30:38,370

{\fs14}我整个人一团糟

354

00:30:38,450 --> 00:30:40,940

{\fs14}然后我意识到 我哪都去不了

355

00:30:41,020 --> 00:30:46,010

{\fs14}继续下去的唯一方式 就是重新加入拍摄

356

00:30:47,590 --> 00:30:51,720

{\fs14}《新桥恋人》在上映之前就备受关注

357

00:30:51,790 --> 00:30:53,760

{\fs14}拍摄了三年

358

00:30:53,830 --> 00:30:57,530

{\fs14}电影票房高达1.1亿法郎并创下记录

359

00:30:57,830 --> 00:31:01,670

{\fs14}这就是《新桥恋人》的拍摄地 传奇开始的地方

360

00:31:02,570 --> 00:31:05,840

{\fs14}不看好的人认为它规模和耗资太大

361

00:31:05,940 --> 00:31:10,510

{\fs14}三年里 它经历了恶劣天气和制作人更迭的重重考验

362

00:31:19,290 --> 00:31:21,780

{\fs14}《新桥恋人》引起了空前反响

363

00:31:19,290 --> 00:31:21,780

{\fs14\an8\1c&H00FFFF&}(奈莉·奎蒂亚 编辑)

364

00:31:21,930 --> 00:31:25,490

{\fs14}报刊上疯狂的报道

365

00:31:25,630 --> 00:31:30,760

{\fs14}每个人都在谈论莱奥身上疯子般的激情

366

00:31:31,870 --> 00:31:35,930

{\fs14}大家纷纷涌进影院 为了看电影中的桥是到底是实景

367

00:31:36,040 --> 00:31:38,670

{\fs14}还是在卡玛格（自然保护区，位于法国东南部）的布景

368

00:31:38,780 --> 00:31:41,510

{\fs14}大家的关注远远超过电影本身

369

00:31:41,610 --> 00:31:45,670

{\fs14}这让莱奥手足无措...

370

00:31:45,780 --> 00:31:50,740

{\fs14}其他人 以及作为一件艺术品的电影本身也是如此

371

00:31:51,320 --> 00:31:55,730

{\fs14}随即发生了一系列悲剧性的灾难

372

00:31:55,790 --> 00:32:00,060

{\fs14}有人死去 失踪 偷盗...

373

00:32:00,330 --> 00:32:02,770

{\fs14}就像一部真实的长篇故事

374

00:32:02,830 --> 00:32:07,930

{\fs14}电影的拍摄本身就能写成一本侦探小说

375

00:32:08,740 --> 00:32:13,720

{\fs14}就像伊莲·梅的事业因为《伊斯达》而受挫

376

00:32:13,720 --> 00:32:16,080

{\fs14}就像迈克尔·西米诺的事业

377

00:32:16,160 --> 00:32:19,780

{\fs14}因为《天堂之门》而受挫一样

378

00:32:19,780 --> 00:32:21,140

{\fs14}两部都是杰作

379

00:32:21,500 --> 00:32:25,350

{\fs14}卡拉克斯的事业也因为

380

00:32:25,360 --> 00:32:29,390

{\fs14}那些围绕着《新桥恋人》拍摄过程的流言蜚语而受挫

381

00:32:29,390 --> 00:32:31,420

{\fs14}这些故事广为流传

382

00:32:31,560 --> 00:32:34,960

{\fs14}当卡拉克斯为下一部电影筹资的时候

383

00:32:35,100 --> 00:32:39,090

{\fs14}这就成了一个阻碍

384

00:32:39,440 --> 00:32:44,570

{\fs14}我亲自听到有投资人说

385

00:32:45,810 --> 00:32:51,440

{\fs14}"我不想和他扯上任何关系"

386

00:32:53,280 --> 00:32:53,740

{\fs14}你需要一些钱

387

00:32:53,280 --> 00:32:53,740

{\fs14\an8\1c&H00FFFF&}(《孤独先生》哈莫尼·科林 2007年 卡拉克斯参演)

388

00:32:55,180 --> 00:32:56,430

{\fs14}不 不用 我挺好的

389

00:32:57,300 --> 00:32:58,100

{\fs14}你需要钱

390

00:32:58,100 --> 00:33:01,720

{\fs14}我挺好的 说真的

391

00:33:01,720 --> 00:33:02,480

{\fs14}你需要一些钱

392

00:33:06,900 --> 00:33:10,090

{\fs14}整个前期准备耗费了大量现金

393

00:33:06,900 --> 00:33:10,090

{\fs14\an8\1c&H00FFFF&}(加布里埃尔·朱利安-拉菲里埃尔 第一副导演)

394

00:33:10,470 --> 00:33:12,940

{\fs14}有时会有人拿着成箱的现金出现

395

00:33:13,100 --> 00:33:15,940

{\fs14}我能够支付30个在巴黎工作人员的薪水

396

00:33:16,110 --> 00:33:17,940

{\fs14}但当时在蒙彼利埃有400号人

397

00:33:18,110 --> 00:33:21,440

{\fs14}当时 剧组的技师们都对莱奥

398

00:33:21,610 --> 00:33:24,410

{\fs14}议论纷纷

399

00:33:24,910 --> 00:33:26,610

{\fs14}你能听到这样的话...

400

00:33:26,780 --> 00:33:29,980

{\fs14}"他封锁了塞瓦斯托波尔大街 只为拍一个手部特写!"

401

00:33:30,650 --> 00:33:32,920

{\fs14}流言蜚语一直围绕着他

402

00:33:36,430 --> 00:33:40,990

{\fs14}没人意识到 用三年去拍一部像《新桥恋人》这样的电影

403

00:33:41,100 --> 00:33:44,830

{\fs14}需要超乎常人的毅力

404

00:33:44,930 --> 00:33:46,600

{\fs14}他一人抵抗全世界

405

00:33:46,700 --> 00:33:49,070

{\fs14}当时的投资商和电影界

406

00:33:49,070 --> 00:33:51,440

{\fs14}对他都怀有深深的敌意

407

00:33:51,970 --> 00:33:54,030

{\fs14}莱奥...

408

00:33:54,110 --> 00:33:57,050

{\fs14}他从未放弃

409

00:33:57,110 --> 00:33:59,780

{\fs14}他身上有着天生的领袖气质

410

00:33:59,980 --> 00:34:01,680

{\fs14}让大家一直紧紧追随他

411

00:34:01,750 --> 00:34:05,210

{\fs14}他不需要别人代表他 为他发声

412

00:34:16,530 --> 00:34:19,470

{\fs14}我们并肩作战

413

00:34:16,530 --> 00:34:19,470

{\fs14\an8\1c&H00FFFF&}(玛里容·斯坦伦斯 现场摄像师&朱丽叶·比诺什姐姐)

414

00:34:19,570 --> 00:34:22,870

{\fs14}越是艰难 我们越是要完成

415

00:34:22,970 --> 00:34:24,840

{\fs14}为了完成这部电影 我们动力十足

416

00:34:24,940 --> 00:34:27,840

{\fs14}越挫越勇

417

00:34:27,940 --> 00:34:32,680

{\fs14}朱丽叶 德尼 莱奥 让-伊夫以及整个核心团队

418

00:34:32,750 --> 00:34:35,180

{\fs14}都精诚团结

419

00:34:37,220 --> 00:34:39,820

{\fs14}我们付出了一切

420

00:34:37,220 --> 00:34:39,820

{\fs14\an8\1c&H00FFFF&}(朱丽叶·比诺什)

421

00:34:39,960 --> 00:34:41,860

{\fs14}甚至是生命

422

00:34:41,990 --> 00:34:45,930

{\fs14}我不知道该向你怎么解释...

423

00:35:05,200 --> 00:35:07,320

{\fs14}电影张力如此强大

424

00:35:07,380 --> 00:35:12,110

{\fs14}我从未有过的观影体验

425

00:35:12,110 --> 00:35:17,780

{\fs14}它独特而又神奇

426

00:35:19,460 --> 00:35:23,000

{\fs14}从第一秒我就被打动了

427

00:35:23,600 --> 00:35:26,300

{\fs14}《新桥恋人》里有一个场景

428

00:35:23,600 --> 00:35:26,300

{\fs14\an8\1c&H00FFFF&}(卡洛琳·尚普蒂耶 摄影指导)

429

00:35:26,600 --> 00:35:29,230

{\fs14}是朱丽叶在塞纳河上滑水

430

00:35:29,540 --> 00:35:32,270

{\fs14}就算我们做一个画面定格 效果也很好

431

00:35:32,580 --> 00:35:37,600

{\fs14}就像一幅画或者一个装置一样

432

00:35:37,710 --> 00:35:42,240

{\fs14}当然 很多电影都能做到这一点

433

00:35:42,550 --> 00:35:46,580

{\fs14}但是配上让-伊夫在河两岸

434

00:35:46,690 --> 00:35:49,560

{\fs14}安装的烟火

435

00:35:49,660 --> 00:35:54,030

{\fs14}这里的效果更加强烈

436

00:36:13,220 --> 00:36:14,580

{\fs14}让-伊夫·艾斯柯菲耶

437

00:36:14,650 --> 00:36:17,680

{\fs14}是个摄影师

438

00:36:17,790 --> 00:36:22,990

{\fs14}摄影师对演员来说是至关重要的

439

00:36:23,260 --> 00:36:26,860

{\fs14}他就像是第二导演

440

00:36:26,930 --> 00:36:29,960

{\fs14}演员必须和他打交道

441

00:36:30,030 --> 00:36:33,940

{\fs14}他能帮助演员理解导演的意图

442

00:36:34,170 --> 00:36:38,300

{\fs14}艾斯柯菲耶和卡拉克斯就像两个分身

443

00:36:38,370 --> 00:36:41,070

{\fs14}一面黑暗 一面光明

444

00:36:41,140 --> 00:36:44,810

{\fs14}我们怎么能用"技师"这个词呢? "艺术家"才更贴切

445

00:36:50,640 --> 00:36:54,170

{\fs14}他很大胆 我从来没见过有人像他那样工作

446

00:36:54,170 --> 00:37:00,400

{\fs14}这和我之前的所有经历都不同

447

00:37:00,400 --> 00:37:05,930

{\fs14}他身上有一种纯粹而狂野的东西

448

00:37:06,960 --> 00:37:08,500

{\fs14}他的风格 他的审美

449

00:37:08,580 --> 00:37:12,220

{\fs14}他和主题契合的方式

450

00:37:12,280 --> 00:37:13,430

{\fs14}他喜爱事物的方式

451

00:37:13,430 --> 00:37:18,020

{\fs14}他移动摄像机的方式 都让我受益匪浅

452

00:37:18,500 --> 00:37:25,910

{\fs14}他与正义同在一边

453

00:37:26,020 --> 00:37:30,540

{\fs14}他就像个诗人

454

00:37:30,580 --> 00:37:33,230

{\fs14}莱奥就是这样

455

00:37:33,230 --> 00:37:38,400

{\fs14}在前三部电影

456

00:37:38,670 --> 00:37:41,160

{\fs14}也就是在《男孩遇见女孩》、《坏血》和《新桥恋人》里

457

00:37:41,240 --> 00:37:45,040

{\fs14}莱奥 让-伊夫和我组成了一个三人组

458

00:37:45,110 --> 00:37:50,270

{\fs14}莱奥和让-伊夫之间的关系

459

00:37:50,350 --> 00:37:55,310

{\fs14}越来越密切

460

00:37:55,380 --> 00:38:00,760

{\fs14}他就像一个兄弟一样伴随着莱奥

461

00:38:00,820 --> 00:38:05,690

{\fs14}他开始在电影的视觉创造上发挥重要作用

462

00:38:07,230 --> 00:38:12,000

{\fs14}我并没有参与这一层关系

463

00:38:12,070 --> 00:38:16,940

{\fs14}我在前线

464

00:38:17,010 --> 00:38:21,770

{\fs14}是执行命令的士兵

465

00:38:21,840 --> 00:38:23,310

{\fs14}就像一颗按照弹道飞行的导弹

466

00:38:23,380 --> 00:38:28,250

{\fs14}这么说有点夸张 但这是我当时的真实感受

467

00:38:30,890 --> 00:38:33,380

{\fs14}让-伊夫和莱奥是有差别的

468

00:38:30,890 --> 00:38:33,380

{\fs14\an8\1c&H00FFFF&}(玛里容·斯坦伦斯 现场摄像师&朱丽叶·比诺什姐姐)

469

00:38:33,460 --> 00:38:35,220

{\fs14}虽然他们体型相似

470

00:38:35,760 --> 00:38:39,890

{\fs14}都很敏感 注重细节

471

00:38:40,230 --> 00:38:42,100

{\fs14}且都是完美主义者

472

00:38:42,160 --> 00:38:45,260

{\fs14}莱奥把他当成一个兄弟

473

00:38:46,900 --> 00:38:48,870

{\fs14}让-伊夫在九岁的时候

474

00:38:46,900 --> 00:38:48,870

{\fs14\an8\1c&H00FFFF&}(卡拉克斯)

475

00:38:48,940 --> 00:38:50,340

{\fs14}做过一次

476

00:38:50,410 --> 00:38:52,340

{\fs14}心脏移植手术

477

00:38:52,410 --> 00:38:55,280

{\fs14}就在电影前期准备阶段

478

00:38:55,340 --> 00:38:57,370

{\fs14}我还在澡堂里见过他的手术伤口

479

00:38:59,450 --> 00:39:02,420

{\fs14}我告诉自己 如果某天我也需要移植器官的话，

480

00:39:02,490 --> 00:39:05,460

{\fs14}我会向他讨教讨教...

481

00:39:05,520 --> 00:39:08,290

{\fs14}我在片场气馁的时候 他会拯救我

482

00:39:08,360 --> 00:39:10,330

{\fs14}他确实做到了...

483

00:39:11,890 --> 00:39:14,390

{\fs14}他是一个尊重生命的人

484

00:39:21,170 --> 00:39:23,440

{\fs14}如果我再开车的话

485

00:39:23,540 --> 00:39:27,070

{\fs14}我会看到一大面水泥墙

486

00:39:27,180 --> 00:39:28,370

{\fs14}我记得...

487

00:39:29,460 --> 00:39:32,100

{\fs14}第二次世界大战给我的童年带来了阴影

488

00:39:36,680 --> 00:39:40,100

{\fs14}噩梦中，我会被摩托的轰鸣声惊醒

489

00:39:44,420 --> 00:39:47,380

{\fs14}在窗户边，我能听到轰炸机靠近的声音

490

00:39:50,100 --> 00:39:53,240

{\fs14}在天空中盘旋，十分可怕

491

00:40:17,890 --> 00:40:21,560

{\fs14}我们曾经在一张模糊不堪的照片里见过他

492

00:40:22,060 --> 00:40:24,120

{\fs14}但我们只知道他的电影的名字

493

00:40:24,230 --> 00:40:26,900

{\fs14}是一部19世纪不太出名的赫尔曼·梅尔维尔（美国作家）小说

494

00:40:27,000 --> 00:40:29,100

{\fs14}神秘的缩写

495

00:40:27,000 --> 00:40:29,100

{\fs14\an8\1c&H00FFFF&}(Pola是小说的法语名Pierre ou les Ambiguïtés的首字母缩合词，X意味着剧本的第十版.)

496

00:40:30,440 --> 00:40:33,000

{\fs14}如今 这位《新桥恋人》的导演

497

00:40:33,110 --> 00:40:35,440

{\fs14}在长达八年的沉寂之后

498

00:40:35,540 --> 00:40:37,340

{\fs14}再次在媒体面前发声

499

00:40:37,450 --> 00:40:39,070

{\fs14}以此捍卫自己的电影

500

00:40:39,180 --> 00:40:42,080

{\fs14}他还是一如既往的神秘

501

00:40:49,530 --> 00:40:52,150

{\fs14}这个世纪错乱了

502

00:40:49,530 --> 00:40:52,150

{\fs14\an8\1c&H00FFFF&}(《Pola X》1999年)

503

00:40:53,260 --> 00:40:57,630

{\fs14}命运呼唤我将它复原

504

00:41:01,940 --> 00:41:04,570

{\fs14}我没想到我能拍这部电影

505

00:41:05,910 --> 00:41:09,210

{\fs14}我觉得我永远找不到皮埃尔和伊莎贝拉的合适人选

506

00:41:09,980 --> 00:41:13,440

{\fs14}当时正值巴尔干半岛战争

507

00:41:14,620 --> 00:41:16,610

{\fs14}我去过那几次

508

00:41:16,920 --> 00:41:20,190

{\fs14}有一天我去参加一位年轻穆斯林的葬礼

509

00:41:20,290 --> 00:41:23,020

{\fs14}他是被狙击手射死的

510

00:41:23,360 --> 00:41:26,520

{\fs14}那个墓地也被炸毁了

511

00:41:27,230 --> 00:41:30,390

{\fs14}回到法国后 我做了一个梦

512

00:41:31,400 --> 00:41:34,500

{\fs14}梦到以飞机炸毁坟墓的画面作为电影的开始

513

00:41:39,340 --> 00:41:41,900

{\fs14}那时我就想

514

00:41:42,010 --> 00:41:44,540

{\fs14}伊莎贝拉可以在轰轰隆隆的炮弹声中出场

515

00:41:52,680 --> 00:41:54,820

{\fs14}她是一个令人难以忘怀的角色

516

00:41:54,820 --> 00:41:56,820

{\fs14}就像一个从远方飘来的幽灵

517

00:41:58,900 --> 00:42:02,660

{\fs14}身上带着不安

518

00:42:02,660 --> 00:42:04,660

{\fs14}和悲剧的气息

519

00:42:07,960 --> 00:42:12,140

{\fs14}她在暮色中穿行于丛林的画面

520

00:42:12,220 --> 00:42:15,200

{\fs14}是她所有的场景里最冷冽的一个

521

00:42:34,230 --> 00:42:38,330

{\fs14}拍《新桥恋人》的时候 一切都构思 计划的很好

522

00:42:34,230 --> 00:42:38,330

{\fs14\an8\1c&H00FFFF&}(加布里埃尔·朱利安-拉菲里埃尔 第一副导演)

523

00:42:38,430 --> 00:42:40,960

{\fs14}但是在拍《Pola X》的时候

524

00:42:40,960 --> 00:42:42,960

{\fs14}由于吉约姆·德帕迪约不羁的个性

525

00:42:43,310 --> 00:42:45,570

{\fs14}电影随着他走

526

00:42:48,380 --> 00:42:49,640

{\fs14}(吉约姆·德帕迪约) 卡拉克斯并不是...

527

00:42:49,710 --> 00:42:53,110

{\fs14}一个被诅咒的诗人或者一个被诅咒的导演

528

00:42:49,710 --> 00:42:53,110

{\fs14\an8\1c&H00FFFF&}(这个概念源于法国诗人魏尔伦的《被诅咒的诗人》一书，

指代那些才华超群却又未被赏识的诗人，

他们酗酒吸毒，与社会的主流价值背道而驰)

529

00:42:53,180 --> 00:42:55,580

{\fs14}有人以为他会百般折磨演员

530

00:42:55,650 --> 00:42:57,050

{\fs14}但他并不这样

531

00:42:58,220 --> 00:43:02,320

{\fs14}大多数情况下 吉约姆都不需要替身

532

00:43:02,390 --> 00:43:06,120

{\fs14}他说"他跑起来像个傻子 我自己来"

533

00:43:06,200 --> 00:43:09,190

{\fs14}即使他的腿受了重伤 正在恢复之时

534

00:43:09,270 --> 00:43:12,200

{\fs14}他本应该好好休养

535

00:43:12,270 --> 00:43:17,370

{\fs14}但他还是会在泥地和森林里跑 有时甚至拍十次...

536

00:43:17,440 --> 00:43:19,740

{\fs14}而这也不是他应该做的事情

537

00:43:34,560 --> 00:43:46,540

{\fs14}卡拉克斯的电影一直以来都在抵抗平庸和常规

538

00:43:47,450 --> 00:43:53,280

{\fs14}而且他电影中的男性角色

539

00:43:53,360 --> 00:43:59,140

{\fs14}总是乐于挑战极限并以此赋予生活的诗意

540

00:44:00,040 --> 00:44:06,220

{\fs14}同样 吸引他们的女性角色也都如此

541

00:44:08,420 --> 00:44:12,560

{\fs14}《男孩遇见女孩》和《坏血》都很有魅力

542

00:44:08,420 --> 00:44:12,560

{\fs14\an8\1c&H00FFFF&}(帕科缪·狄乐蒙 评论家&导演)

543

00:44:12,700 --> 00:44:16,560

{\fs14}因为它们青春而清新

544

00:44:16,630 --> 00:44:24,130

{\fs14}充满了引述 迷恋 想法和尝试

545

00:44:24,210 --> 00:44:27,610

{\fs14}但《Pola X》要严肃、沉重的多

546

00:44:27,680 --> 00:44:32,380

{\fs14}它的主题更加深远艰难

547

00:44:32,820 --> 00:44:37,310

{\fs14}和名人"被诅咒"的特点有关

548

00:44:32,820 --> 00:44:37,310

{\fs14\an8\1c&H00FFFF&}(《无题》 1997年)

549

00:44:59,240 --> 00:45:03,240

{\fs14}我必须承认 我有点蔑视报刊媒体

550

00:45:03,550 --> 00:45:06,140

{\fs14}和出现的这些人

551

00:45:08,150 --> 00:45:11,210

{\fs14}毕竟 如果我是荒野中的一只猛虎

552

00:45:11,320 --> 00:45:13,720

{\fs14}我会跟随拍我的那个人

553

00:45:20,860 --> 00:45:25,600

{\fs14}我觉得电影比写作更能体现这种冒充

554

00:45:25,800 --> 00:45:30,800

{\fs14}为什么总是谈论失败 冒充呢? 这种观点...

555

00:45:34,680 --> 00:45:36,800

{\fs14}其实并没有那么沉重

556

00:45:36,880 --> 00:45:39,540

{\fs14}这是人固有的

557

00:45:39,620 --> 00:45:42,140

{\fs14}这很有趣

558

00:45:42,220 --> 00:45:45,150

{\fs14}当事情变糟的时候 让人极其痛苦

559

00:45:46,520 --> 00:45:50,760

{\fs14}另外这也是你像其他人一样不得不面对的事情

560

00:45:51,260 --> 00:45:53,490

{\fs14}我忘了是谁说过...

561

00:45:53,560 --> 00:45:56,460

{\fs14}冒充带来乐趣

562

00:45:56,530 --> 00:45:58,430

{\fs14}冒充也不总是痛苦的

563

00:45:58,500 --> 00:46:02,630

{\fs14}- 你经常有这种冒充的感觉吗? - 是的

564

00:46:02,810 --> 00:46:05,930

{\fs14}什么是冒充? 假装成另一个人吗?

565

00:46:06,210 --> 00:46:10,650

{\fs14}还是那些从头到尾误解你的人?

566

00:46:10,710 --> 00:46:15,580

{\fs14}冒充始于电影的上映

567

00:46:17,920 --> 00:46:20,320

{\fs14}当一个人不在他应该的位置

568

00:46:20,390 --> 00:46:22,790

{\fs14}或者当他失去这个位置的时候

569

00:46:24,760 --> 00:46:29,290

{\fs14}当你一无所知但仍奋力尝试的时候

570

00:46:29,360 --> 00:46:31,960

{\fs14}当你假装在写自己一生的故事的时候

571

00:46:32,230 --> 00:46:34,570

{\fs14}即使别人为你去写

572

00:46:34,640 --> 00:46:38,770

{\fs14}当你假装提问或握着话筒的时候...就产生了冒充

573

00:46:40,280 --> 00:46:43,540

{\fs14}为什么要假装呢?

574

00:46:44,850 --> 00:46:46,540

{\fs14}我不知道...

575

00:46:58,600 --> 00:47:03,580

{\fs14}有时我几乎能感觉到一种自我毁灭

576

00:47:03,640 --> 00:47:05,960

{\fs14}远离赞誉

577

00:47:05,960 --> 00:47:12,020

{\fs14}从年少成名的传奇中挣脱出来的欲望

578

00:47:13,160 --> 00:47:21,000

{\fs14}在我看来《Pola X》就是对他这种心理状态的一个直接回答

579

00:47:21,000 --> 00:47:24,200

{\fs14}这部电影没有他之前三部电影那么强烈

580

00:47:24,200 --> 00:47:27,480

{\fs14}确切的原因就是我们刚刚说到的

581

00:47:27,510 --> 00:47:32,920

{\fs14}这部电影幽默成分很少

582

00:47:33,000 --> 00:47:35,970

{\fs14}可是前三部电影却很有趣

583

00:47:35,970 --> 00:47:42,060

{\fs14}尽管它有一些美学上的限制和瑕疵

584

00:47:42,160 --> 00:47:44,080

{\fs14}但它却深深的打动了我

585

00:47:44,080 --> 00:47:47,500

{\fs14}正因如此，导演的重要性显而易见

586

00:47:47,580 --> 00:47:50,060

{\fs14}包括它的自传性

587

00:47:51,010 --> 00:47:53,640

{\fs14}我必须告诉你 你现在这样让我担心 皮埃尔

588

00:47:53,820 --> 00:47:57,650

{\fs14}你的外表 你的言谈

589

00:47:59,660 --> 00:48:02,420

{\fs14}我都认不出来了

590

00:48:02,590 --> 00:48:07,050

{\fs14}欲望显示出世界上丑陋的事实

591

00:48:07,430 --> 00:48:09,560

{\fs14}和这个世界本身一样老旧

592

00:48:10,300 --> 00:48:12,330

{\fs14}你听说过罗伯特·穆齐尔的一句名言吗?

593

00:48:13,740 --> 00:48:17,670

{\fs14}"如果你要对抗你的时代 你将会受到惩罚"

594

00:48:18,740 --> 00:48:19,830

{\fs14}清醒点吧你!

595

00:48:20,540 --> 00:48:24,950

{\fs14}所有这些被我们称为"被诅咒"的艺术家

596

00:48:25,480 --> 00:48:28,510

{\fs14}都诞生于19世纪及以后

597

00:48:28,620 --> 00:48:32,710

{\fs14}也就是我们现在所处的历史时期的开端

598

00:48:32,790 --> 00:48:35,520

{\fs14}卡拉克斯的电影也不例外

599

00:48:36,530 --> 00:48:40,050

{\fs14}这个世界掀起了一场反对我们的战争 我们应该参与其中吗?

600

00:48:40,330 --> 00:48:44,430

{\fs14}这就是这个"诅咒"的真正含义...也就是说

601

00:48:44,500 --> 00:48:49,600

{\fs14}"我不接受这个世界 我要反抗"

602

00:48:49,870 --> 00:48:54,640

{\fs14}"但是我要首先对抗自己的个人观点"

603

00:48:56,550 --> 00:48:58,380

{\fs14}这是关于"被诅咒的诗人"的陈词滥调

604

00:48:56,550 --> 00:48:58,380

{\fs14\an8\1c&H00FFFF&}(迈赫迪·贝尔哈吉·卡塞姆 作家&哲学家)

605

00:48:58,480 --> 00:49:01,540

{\fs14}但是他们为什么受到诅咒呢?

606

00:49:02,080 --> 00:49:04,490

{\fs14}为什么这个诅咒成为了一种陈词滥调呢?

607

00:49:04,550 --> 00:49:07,790

{\fs14}这其中肯定是有原因的

608

00:49:07,860 --> 00:49:11,730

{\fs14}只是哲学家们还没有参透而已

609

00:49:11,990 --> 00:49:15,430

{\fs14}因为牵一发而动全身

610

00:49:15,500 --> 00:49:17,990

{\fs14}当某样东西从我们身上抽离 而它又不会分崩离析的时候

611

00:49:18,070 --> 00:49:19,590

{\fs14}这就像一种罪行

612

00:49:19,670 --> 00:49:21,400

{\fs14}我是杀手

613

00:49:21,470 --> 00:49:25,700

{\fs14}你是被我遗弃的武器 还带着我的余温 不!你是被我遗落在犯罪现场的武器

614

00:49:25,770 --> 00:49:28,510

{\fs14}我希望我的指纹会消失殆尽

615

00:49:28,580 --> 00:49:32,070

{\fs14}你永远不会明白

616

00:49:32,610 --> 00:49:34,610

{\fs14}我走了

617

00:49:40,160 --> 00:49:43,720

{\fs14}卡拉克斯体现着一种经典的浪漫主义

618

00:49:40,160 --> 00:49:43,720

{\fs14\an8\1c&H00FFFF&}(迈赫迪·贝尔哈吉·卡塞姆 作家&哲学家)

619

00:49:43,830 --> 00:49:47,630

{\fs14}为了追寻理想 不惜飞蛾扑火

620

00:49:47,960 --> 00:49:52,460

{\fs14}有人想看他失败

621

00:49:53,000 --> 00:49:56,130

{\fs14}但是他的电影会永存 而且都是杰作

622

00:50:28,800 --> 00:50:29,440

{\fs14}为什么?

623

00:50:28,800 --> 00:50:29,440

{\fs14\an8\1c&H00FFFF&}(《孤独先生》哈莫尼·科林 2007年 卡拉克斯参演)

624

00:50:30,000 --> 00:50:35,690

{\fs14}为什么你想泯然众人?你难道看不到他们的惨状吗?

625

00:50:38,320 --> 00:50:41,240

{\fs14}我同情你 但我不支持你的这个决定

626

00:50:42,040 --> 00:50:44,620

{\fs14}我是在纽约遇见他的 当时很有趣

627

00:50:47,370 --> 00:50:51,010

{\fs14}因为他一边抽烟

628

00:50:51,010 --> 00:50:54,360

{\fs14}一边还贴了尼古丁贴片（用于尼古丁替代治疗）

629

00:50:54,420 --> 00:50:56,100

{\fs14}我从来没见过这样的

630

00:51:06,180 --> 00:51:08,320

{\fs14}他只做自己喜欢的事

631

00:51:08,320 --> 00:51:10,320

{\fs14}他有自己的节奏

632

00:51:10,320 --> 00:51:12,180

{\fs14}做自己的事

633

00:51:12,180 --> 00:51:15,380

{\fs14}心无旁骛

634

00:51:15,480 --> 00:51:17,900

{\fs14}其实这对他来说是很难的

635

00:51:17,960 --> 00:51:20,060

{\fs14}他所制作电影的类型

636

00:51:20,080 --> 00:51:20,900

{\fs14}他思考的方式

637

00:51:20,980 --> 00:51:24,280

{\fs14}还有他工作的节奏， 完全地...

638

00:51:24,460 --> 00:51:27,200

{\fs14}无法和主流沾边

639

00:51:27,720 --> 00:51:30,400

{\fs14}他的资金问题

640

00:51:30,460 --> 00:51:32,500

{\fs14}他拍摄的问题

641

00:51:32,500 --> 00:51:34,500

{\fs14}还有一些其他的...

642

00:51:34,500 --> 00:51:39,100

{\fs14}所以他十年才磨得一剑

643

00:51:49,180 --> 00:51:51,550

{\fs14}我没想过要带着《东京》回归

644

00:51:51,620 --> 00:51:56,720

{\fs14}这是日本制片人的提议

645

00:51:56,790 --> 00:52:02,100

{\fs14}由于我没办法拍自己的电影(《东京》由三位导演联合执导)...

646

00:52:02,160 --> 00:52:04,160

{\fs14}所以我同意了

647

00:52:08,100 --> 00:52:10,540

{\fs14}在《Pola X》之后

648

00:52:10,610 --> 00:52:13,770

{\fs14}我已经快十年没拍电影了

649

00:52:13,840 --> 00:52:15,780

{\fs14}当我重执导筒的时候

650

00:52:18,780 --> 00:52:22,050

{\fs14}我有种回家的感觉

651

00:52:23,190 --> 00:52:25,310

{\fs14}就像回到了我自己的岛屿和国度

652

00:52:26,560 --> 00:52:29,080

{\fs14}甚至可能是我的坟墓...

653

00:52:37,770 --> 00:52:42,800

{\fs14}当我们因为拍摄《Merde先生》而再次合作的时候(merde为法语，狗屁的意思)

654

00:52:42,900 --> 00:52:46,670

{\fs14}我不知道他会对我提些什么要求

655

00:52:46,780 --> 00:52:51,080

{\fs14}他对身份的认同和他设想的准备

656

00:52:51,310 --> 00:52:55,840

{\fs14}这次拍摄经历很愉快 因为我们都成熟了

657

00:52:55,950 --> 00:52:59,620

{\fs14}在《新桥恋人》拍摄了

658

00:52:59,720 --> 00:53:02,690

{\fs14}十五年之后

659

00:53:02,790 --> 00:53:06,190

{\fs14}我们的关系发生了变化

660

00:53:06,290 --> 00:53:09,860

{\fs14}从生活层次上来讲

661

00:53:09,970 --> 00:53:12,760

{\fs14}我们相互之间都更会关心别人了

662

00:53:14,670 --> 00:53:17,330

{\fs14}当几年前

663

00:53:18,270 --> 00:53:20,330

{\fs14}莱奥在东京拍《Merde先生》的时候

664

00:53:20,640 --> 00:53:22,940

{\fs14}他想知道

665

00:53:23,040 --> 00:53:26,780

{\fs14}在那拍摄的可能性

666

00:53:26,880 --> 00:53:32,050

{\fs14}他想拍一场发生在涩谷的大屠杀

667

00:53:32,290 --> 00:53:36,730

{\fs14}我当时就说这绝不可能

668

00:53:36,830 --> 00:53:41,630

{\fs14}想点其他东西吧

669

00:53:41,730 --> 00:53:46,900

{\fs14}但他还是勇往直前地去做了

670

00:53:50,070 --> 00:53:54,030

{\fs14}真正的挑战在于 让一只不可能出现在日本的怪物

671

00:53:50,070 --> 00:53:54,030

{\fs14\an8\1c&H00FFFF&}(卡洛琳·尚普蒂耶 摄影指导)

672

00:53:54,110 --> 00:53:56,870

{\fs14}有一个合理的出场

673

00:53:57,250 --> 00:54:00,410

{\fs14}我是说Merde先生 而不是卡拉克斯!

674

00:54:00,680 --> 00:54:03,950

{\fs14}将Merde先生放逐在东京的大街上...

675

00:54:04,020 --> 00:54:06,920

{\fs14}这是无法想象的

676

00:54:06,990 --> 00:54:08,890

{\fs14}因为我们没有权利到处拍摄

677

00:54:08,960 --> 00:54:12,090

{\fs14}特别一些公共场所是禁止拍摄的

678

00:54:12,160 --> 00:54:15,760

{\fs14}所以我们干脆像流氓一样突击行动

679

00:54:24,940 --> 00:54:31,140

{\fs14}莱奥想拍那座桥

680

00:54:24,940 --> 00:54:31,140

{\fs14\an8\1c&H00FFFF&}(矶见俊裕 美术设计师)

681

00:54:32,280 --> 00:54:34,880

{\fs14}所以我们严格按照细节准备

682

00:54:34,950 --> 00:54:39,410

{\fs14}我们在和那座桥一样规模的公园里排练

683

00:54:39,690 --> 00:54:41,320

{\fs14}然后决定拍摄方式

684

00:54:41,390 --> 00:54:43,450

{\fs14}接着我们拍了两分钟

685

00:54:45,290 --> 00:54:47,190

{\fs14}到处扔手榴弹

686

00:54:47,260 --> 00:54:49,960

{\fs14}因为手榴弹是假的 所以不得不模拟爆破场面

687

00:54:50,030 --> 00:54:53,130

{\fs14}我们用手电筒打光

688

00:54:53,200 --> 00:54:57,140

{\fs14}莱奥大声喊"5 4 3 2 1 开始!"

689

00:55:03,750 --> 00:55:07,710

{\fs14}我们一次就成功了

690

00:55:07,780 --> 00:55:11,450

{\fs14}但制片人美智子被警察抓了起来

691

00:55:11,720 --> 00:55:13,780

{\fs14}有人说"这是不允许的!"

692

00:55:13,860 --> 00:55:16,150

{\fs14}因为你不能在东京的大街上随意拍摄

693

00:55:16,220 --> 00:55:18,220

{\fs14}我想 "好吧 这感觉棒棒的!"

694

00:55:18,290 --> 00:55:23,230

{\fs14}我们拍其他电影的时候 因为时间充裕而经常重拍

695

00:55:23,300 --> 00:55:27,960

{\fs14}这次反倒避免了这个情况

696

00:55:48,320 --> 00:55:53,160

{\fs14}Merde先生这个角色很吸引人

697

00:55:48,320 --> 00:55:53,160

{\fs14\an8\1c&H00FFFF&}(帕科缪·狄乐蒙 评论家&导演)

698

00:55:53,230 --> 00:55:56,200

{\fs14}他身上有着19世纪的元素

699

00:55:56,260 --> 00:55:59,830

{\fs14}让人想起维利耶·德·利尔-阿达姆(19世纪法国作家)

700

00:55:59,900 --> 00:56:03,000

{\fs14}他有着流浪诗人

701

00:56:03,070 --> 00:56:05,540

{\fs14}或者流浪贵族的特质

702

00:56:05,810 --> 00:56:08,300

{\fs14}这种贵族特征

703

00:56:08,380 --> 00:56:13,370

{\fs14}是他身上的漫画特点无法掩盖的

704

00:56:13,480 --> 00:56:16,470

{\fs14}这个角色甚至可以重复出现

705

00:56:20,390 --> 00:56:24,450

{\fs14}我从一开始就完全领会了这个角色 这还是头一次

706

00:56:24,530 --> 00:56:28,020

{\fs14}他有自己的秘密语言

707

00:56:28,100 --> 00:56:30,090

{\fs14}就像小时候

708

00:56:30,170 --> 00:56:32,900

{\fs14}我们都幻想着拥有一门只有自己懂得的语言一样

709

00:56:39,070 --> 00:56:43,910

{\fs14}用梅多贡语(电影自创的语言)演戏是很有趣的

710

00:56:49,220 --> 00:56:53,480

{\fs14}这部电影彰显了卡拉克斯在喜剧电影上的才华

711

00:56:53,560 --> 00:56:58,050

{\fs14}他在《东京》中的素描令人捧腹

712

00:56:58,130 --> 00:57:00,320

{\fs14}特别好笑

713

00:57:00,400 --> 00:57:02,130

{\fs14}有一种不可思议的喜剧冲击力

714

00:57:02,560 --> 00:57:04,930

{\fs14}他的眼睛像这样

715

00:57:05,170 --> 00:57:07,360

{\fs14}还有他的胡子

716

00:57:07,600 --> 00:57:10,940

{\fs14}他这样走路...

717

00:57:14,410 --> 00:57:16,470

{\fs14}我被吓到了

718

00:57:16,950 --> 00:57:22,110

{\fs14})当我看见成片的时候

719

00:57:16,950 --> 00:57:22,110

{\fs14\an8\1c&H00FFFF&}(卡洛琳·尚普蒂耶 摄影指导）

720

00:57:22,180 --> 00:57:25,310

{\fs14}我震撼了

721

00:57:25,390 --> 00:57:28,360

{\fs14}因为莱奥的概念比电影还要超前

722

00:57:28,420 --> 00:57:31,330

{\fs14}就算你全身心地投入到电影中

723

00:57:31,390 --> 00:57:34,450

{\fs14}就算你在电影方面很努力

724

00:57:34,560 --> 00:57:37,090

{\fs14}你有时也意识不到这一点

725

00:57:37,630 --> 00:57:40,500

{\fs14}仍有一些你想不到的东西

726

00:57:40,870 --> 00:57:44,970

{\fs14}(矶见俊裕 美术设计师)

当我遇见莱奥 看剧本的时候

727

00:57:40,870 --> 00:57:44,970

{\fs14\an8\1c&H00FFFF&}(矶见俊裕 美术设计师)

728

00:57:45,270 --> 00:57:49,640

{\fs14}他说他想创造一个哥斯拉式的生物

729

00:57:50,150 --> 00:57:54,210

{\fs14}哥斯拉? 他在说什么呢?

730

00:57:54,520 --> 00:57:59,220

{\fs14}我大吃一惊 而且真的搞不懂

731

00:58:28,280 --> 00:58:31,220

{\fs14}我觉得哥斯拉这个角色很打动人

732

00:58:31,990 --> 00:58:35,220

{\fs14}这是一部怪物电影 所以它很搭调

733

00:58:36,020 --> 00:58:40,590

{\fs14}就像哥斯拉 金刚 《化身博士》中的杰基尔博士和海德先生

734

00:58:41,400 --> 00:58:45,060

{\fs14}或者卓别林电影中的小流浪汉

735

00:58:45,670 --> 00:58:49,540

{\fs14}所有这些角色

736

00:58:50,310 --> 00:58:52,470

{\fs14}都是带着童趣的怪兽

737

00:58:53,240 --> 00:58:58,310

{\fs14}我不认为他是一个煽动者 也不是一个街头混混

738

00:59:00,380 --> 00:59:03,080

{\fs14}他就像所有的电影怪物一样

739

00:59:03,150 --> 00:59:07,050

{\fs14}他不能自已

740

00:59:31,510 --> 00:59:36,470

{\fs14}当Merde被警察带走的时候

741

00:59:36,580 --> 00:59:41,420

{\fs14}他的身体被一束光照亮

742

00:59:41,520 --> 00:59:44,320

{\fs14}就像耶稣的受难

743

00:59:53,030 --> 00:59:57,530

{\fs14}《神圣车行》中有一幅类似圣母哀痛耶稣之死的场景

744

00:59:57,610 --> 01:00:00,670

{\fs14}我常常想他的灵感是否来源于此

745

01:00:20,760 --> 01:00:23,390

{\fs14}它讲述的是我们生活的时代

746

01:00:24,030 --> 01:00:27,030

{\fs14}这是一位优秀诗人的作品

747

01:00:27,340 --> 01:00:29,500

{\fs14}他捕捉我们身边的一切

748

01:00:29,570 --> 01:00:33,300

{\fs14}冲动 动荡 混乱

749

01:00:33,370 --> 01:00:37,470

{\fs14}然后他将这些融合在一幅画里

750

01:00:40,200 --> 01:00:42,880

{\fs14}

我感觉自己身处在一幅抽象派的画作里

751

01:00:40,200 --> 01:00:42,880

{\fs14\an8\1c&H00FFFF&}(伊娃·门德斯 演员)

752

01:00:44,740 --> 01:00:47,400

{\fs14}我们好像在拍一个童话故事

753

01:00:47,400 --> 01:00:49,400

{\fs14}暗黑版的童话故事

754

01:00:56,200 --> 01:01:01,360

{\fs14}每个人在和莱奥工作的时候 都会有独特的感受

755

01:00:56,200 --> 01:01:01,360

{\fs14\an8\1c&H00FFFF&}(堀越谦三 制片人)

756

01:01:05,440 --> 01:01:08,570

{\fs14}这是很少见的

757

01:01:08,780 --> 01:01:14,150

{\fs14}只有他才能给你这种经历

758

01:01:21,590 --> 01:01:24,620

{\fs14\an8\1c&H00FFFF&}(卡拉克斯)

759

01:01:21,590 --> 01:01:24,620

{\fs14}我记得我小时候有一次下楼梯

760

01:01:24,690 --> 01:01:28,820

{\fs14}我啃着苹果 耳边传来一个声音

761

01:01:29,130 --> 01:01:32,190

{\fs14}"他一边下楼梯一边吃苹果"

762

01:01:33,840 --> 01:01:36,530

{\fs14}当你听到这样的声音时

763

01:01:36,600 --> 01:01:38,840

{\fs14}你是孤独的 但又不全是

764

01:01:39,110 --> 01:01:42,240

{\fs14}因为你被追随 你有故事 你必须把它写下来

765

01:01:42,310 --> 01:01:44,300

{\fs14}故事才不会自述

766

01:01:48,350 --> 01:01:50,150

{\fs14}如果有人告诉你

767

01:01:50,220 --> 01:01:53,210

{\fs14}你必须写下自己的故事

768

01:01:53,290 --> 01:01:56,190

{\fs14}也许这会是勇气的源头 谁知道呢...

769

01:02:57,580 --> 01:03:00,100

{\fs14}我并不害怕 反倒很享受站在边缘的时刻

770

01:03:02,600 --> 01:03:07,560

{\fs14}因为我真的只想把自己交给他

771

01:03:07,560 --> 01:03:10,280

{\fs14}就算他让我跳下来

772

01:03:10,340 --> 01:03:13,080

{\fs14}我也会义无反顾

773

01:03:16,560 --> 01:03:19,260

{\fs14}总的来说这是一次美好的经历

774

01:03:19,260 --> 01:03:22,480

{\fs14}可能是他带有的神秘感

775

01:03:23,900 --> 01:03:27,380

{\fs14}也可能是帮他完成了这个故事 我也不知道

776

01:03:37,140 --> 01:03:40,200

{\fs14}我设想《神圣车行》

777

01:03:41,060 --> 01:03:44,320

{\fs14}一个巨型机器

778

01:03:46,520 --> 01:03:49,300

{\fs14}我头脑里的第一个画面

779

01:03:52,300 --> 01:03:55,460

{\fs14}便是死亡的幻想

780

01:03:58,740 --> 01:04:01,340

{\fs14}伊迪丝的金发和面容

781

01:04:04,080 --> 01:04:06,700

{\fs14}像凯莉一样， 一个特别的演员

782

01:04:15,460 --> 01:04:17,730

{\fs14}在卡拉克斯的电影中 幽灵是一个很重要的存在

783

01:04:17,830 --> 01:04:19,960

{\fs14}幽灵的回归 不真实的人的回归

784

01:04:20,270 --> 01:04:22,930

{\fs14}这些夜晚的奇特生物

785

01:04:23,040 --> 01:04:25,910

{\fs14}没人知道他们来自哪里

786

01:04:26,610 --> 01:04:28,440

{\fs14}不论是在法国 还是在韩国 日本...

787

01:04:28,540 --> 01:04:31,950

{\fs14}没有人把这些拍成电影

788

01:04:32,810 --> 01:04:35,870

{\fs14}他会让你觉得他赋予了电影

789

01:04:35,950 --> 01:04:39,650

{\fs14}无限的情感和创造力

790

01:04:52,030 --> 01:04:55,530

{\fs14}在这其中 有个实质性的东西在发挥作用...

791

01:04:57,370 --> 01:05:00,770

{\fs14}那就是和魔法 和电影的本源之间的联系

792

01:05:01,740 --> 01:05:05,740

{\fs14}他就像乔治·梅里爱和阿贝尔·冈斯的结合体

793

01:05:06,710 --> 01:05:08,740

{\fs14}这挺奇怪的

794

01:05:25,030 --> 01:05:27,470

{\fs14}《神圣车行》中我和米歇尔·皮寇利在豪华轿车中的场景

795

01:05:27,570 --> 01:05:30,900

{\fs14}是我认为最感人的一幕

796

01:05:31,640 --> 01:05:35,970

{\fs14}他扮演的那个角色是莱奥最初为自己设想的

797

01:05:36,480 --> 01:05:39,880

{\fs14}他就在我面前

798

01:05:39,980 --> 01:05:44,650

{\fs14}言辞犀利

799

01:05:44,750 --> 01:05:49,020

{\fs14}就像造物主面对他创造出来的人一样

800

01:05:49,720 --> 01:05:51,450

{\fs14}我问你几个问题

801

01:05:55,000 --> 01:05:58,060

{\fs14}你坚持的动力是什么 奥斯卡?

802

01:05:59,000 --> 01:06:00,970

{\fs14}和我开始的动力一样

803

01:06:01,870 --> 01:06:04,360

{\fs14}为了姿态的美丽

804

01:06:06,370 --> 01:06:09,830

{\fs14}人们说美是在眼睛里的...

805

01:06:10,780 --> 01:06:12,940

{\fs14}在看的那个人的眼睛里

806

01:06:20,400 --> 01:06:25,610

{\fs14}在《神圣车行》里， 卡拉克斯是极少数导演之一

807

01:06:25,610 --> 01:06:30,480

{\fs14}不仅探索了身份的多重性

808

01:06:30,610 --> 01:06:33,910

{\fs14}和延展性

809

01:06:33,910 --> 01:06:39,960

{\fs14}还掌控了虚构的故事和生活的意义之间的联系

810

01:06:40,440 --> 01:06:45,500

{\fs14}事实上 我们看到的街头的场景既是虚构的 又像纪录片一样真实

811

01:06:50,760 --> 01:06:54,470

{\fs14}有一幅画面 一位吉普赛老妇人佝偻着背

812

01:06:50,760 --> 01:06:54,470

{\fs14\an8\1c&H00FFFF&}（卡拉克斯自述）

813

01:06:54,470 --> 01:06:58,280

{\fs14}从巴黎的一座桥下走过

814

01:07:00,700 --> 01:07:04,680

{\fs14}我觉得我不会和她产生关联

815

01:07:07,100 --> 01:07:08,380

{\fs14}毕竟我们相差甚远

816

01:07:11,980 --> 01:07:17,900

{\fs14}于是我开始考虑拍一部纪录片

817

01:07:19,500 --> 01:07:22,980

{\fs14}但是我又害怕拍纪录片

818

01:07:22,980 --> 01:07:26,560

{\fs14}担心会耗费我毕生的精力

819

01:07:28,400 --> 01:07:35,920

{\fs14}所以我就想了另一个办法 将她变成一个虚构的人物

820

01:07:37,640 --> 01:07:44,310

{\fs14}由德尼·拉旺来演绎 如此一来 她说的就是我的话 而不是她的

821

01:07:49,240 --> 01:07:52,580

{\fs14}我认为卡拉克斯明白 他生活在一个

822

01:07:52,680 --> 01:07:55,080

{\fs14}像他这样的人

823

01:07:55,080 --> 01:07:57,080

{\fs14}特别容易成为冒充者的时代

824

01:07:59,250 --> 01:08:01,850

{\fs14}我认为

825

01:08:01,990 --> 01:08:04,860

{\fs14}他花了二十年

826

01:08:04,990 --> 01:08:08,990

{\fs14}也就是《新桥恋人》和《神圣车行》之间的二十年，

827

01:08:09,130 --> 01:08:12,530

{\fs14}才给出了答案

828

01:08:12,700 --> 01:08:15,230

{\fs14}在某种程度上 他说着 "我是一个冒充者 但是我并不否认它

829

01:08:15,600 --> 01:08:18,000

{\fs14}这是我行骗的方式

830

01:08:18,170 --> 01:08:20,540

{\fs14}我创造十个不同的角色...

831

01:08:23,610 --> 01:08:27,070

{\fs14}为了避免被称为冒充者 让我们拥有全部吧"

832

01:08:39,340 --> 01:08:47,020

{\fs14}卡拉克斯电影中的世界

833

01:08:47,320 --> 01:08:51,740

{\fs14}和他真实经历的世界相差甚远

834

01:08:54,150 --> 01:09:01,300

{\fs14}他有一颗热情洋溢的灵魂

835

01:09:01,380 --> 01:09:04,220

{\fs14}内心丰富像海洋

836

01:09:07,220 --> 01:09:10,660

{\fs14}他无时无刻不在经历思想的碰撞

837

01:09:10,660 --> 01:09:14,280

{\fs14}在这一点上 他是异于常人的

838

01:09:17,630 --> 01:09:20,120

{\fs14}就像布列松曾经说过的那样 "我不想超前或者落后

839

01:09:20,230 --> 01:09:21,700

{\fs14}我只想待在一旁"

840

01:09:22,070 --> 01:09:24,270

{\fs14}卡拉克斯也是如此 但他是另一回事

841

01:09:24,770 --> 01:09:27,640

{\fs14}他是划过法国电影天空的一颗永不消逝的流星

842

01:09:31,200 --> 01:09:36,900

{\fs14}卡拉克斯在三十年的时间里只拍了不到五部电影

843

01:09:36,900 --> 01:09:38,900

{\fs14}这真是巨大的遗憾

844

01:09:43,900 --> 01:09:47,300

{\fs14}即便如此

845

01:09:47,300 --> 01:09:50,600

{\fs14}就算他从此告别影坛

846

01:09:51,080 --> 01:09:52,700

{\fs14}世人也会将他铭记

847

01:09:52,700 --> 01:09:54,700

{\fs14}他是我们这个时代最有造诣的 最善表达的导演之一