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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
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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
