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美联英语:莫扎特电影制作人

2015-04-01 14:34   类别:   来源:BBS   责编:Anne

Mozart Inspiration to Filmmakers-莫扎特为电影制作人提供创作灵感

达蒙令好莱坞投资实现了投资利润最大化。根据最近的一项调查——“最佳明星票房返还率排行榜”显示,如果以明星收入的片酬为基础,伯尼电影系列《碟影重重》的主角马特·达蒙为制片方带来的票房返还率是最高的。基本上制片方每支付他一美元的片酬,其主演的影片就能带来29美元的票房收入。这样比较,达蒙的身价可以达到汤姆·汉克斯的两倍之多。令人惊奇的是,在这项新调查中进入前五名的唯一一位女性竟然是珍妮弗·安妮斯顿。而像拉塞尔·克洛这样的演员却因为其高昂的片酬吃掉影片预算,成为好莱坞最没有价值的明星。

NICOLA CHRISTIE: You are listening to On Screen, from the BBC World Service. Coming up how Mozart has inspired a new crop of international film makers. But first, let’s take a look now at some other film and TV stories from around the world making headlines this week.

尼科拉•克里斯蒂:您现在收听的是BBC世界频道《银幕内外》节目。我们今天要讨论的话题是:莫扎特是如何激发国际电影制作人的灵感的?但是首先还是让我们来了解一下本周登上世界影视排行榜的其他电影和电视剧。

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Matt Damon gives Hollywood the best value for money. According to a recent study, the Ultimate Star Payback List calculates that the star of the Bourne Films offers the best box office return on his salary. Basically, for every single dollar that Damon receives in salary, his film has brought $29 US dollars at the box office, making him twice as valuable as Tom Hanks. The only actress to feature in the Top 5 of this new poll is, surprisingly, Jennifer Aniston. With Actors like Russell Crowe proving a dead loss with their mighty salaries have eating into the budgets.

马特•达蒙令好莱坞投资实现了投资利润最大化。根据最近的一项调查——“最佳明星票房返还率排行榜”显示,如果以明星收入的片酬为基础,伯尼电影系列《碟影重重》的主角马特•达蒙为制片方带来的票房返还率是最高的。基本上制片方每支付他一美元的片酬,其主演的影片就能带来29美元的票房收入。这样比较,达蒙的身价可以达到汤姆•汉克斯的两倍之多。令人惊奇的是,在这项新调查中进入前五名的唯一一位女性竟然是珍妮弗•安妮斯顿。而像拉塞尔•克洛这样的演员却因为其高昂的片酬吃掉影片预算,成为好莱坞最没有价值的明星。

Secret agent Jack Bauer, star of hit TV drama, “24” has taken on global warming in his fight to save the world. Actor Keifer Sutherland has already filmed a public service announcement in the United States extolling the virtues of a green lifestyle. And the shows’ producers are incorporating climate change into the plot in attempt to inspire millions of US to follow their warnings. The plan is for “24” to become the first carbon mutual TV programme.

热播电视剧《反恐24小时》的主角——特工杰克•鲍尔担起了拯救世界,制止全球变暖的任务。演员基弗•萨瑟兰已经在美国拍摄了一段公共服务宣言,宣传绿色生活方式的优点。该片的制片人将气候变化融入影片故事情节,希望以此引起数百万美国人的警觉。其目标是使《反恐24小时》成为第一个碳互助(帮助降低碳排放量)电视节目。

And Hollywood has announced a remake of the martial arts classic “Enter the Dragon”. Seminal 1973 Bruce Lee film is going to become a contemporary saga called “Awaken the Dragon”. A story will start a FBI agent who chases a Shaolin monk into the underground martial arts fight club scene. Kurt Sutter from hit US crime series “The Shield” will write the screenplay and also direct.

好莱坞近期宣布,它将翻拍经典中国功夫影片《龙争虎斗》,这部由李小龙主演的经典功夫片将被改编成一个当代传奇故事,片名将更改为《龙之觉醒》。故事的开始是一位FBI特工在追捕少林和尚过程中闯入了一个地下武术竞技会场。美国热播犯罪剧《盾牌》的制片人科特•萨特将为该片撰写剧本并亲自导演。

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NICOLA CHRISTIE: Music from Mozart’s opera “The Magic Flute”, one of the composer’s final works which is being used today as a platform for new composers, playwrights and film makers. It also started when last year the city of Vienna invited the maverick American director Peter Sellars to create a festival that will to mark the 250th Anniversary of Mozart’s birth. Sellars went away and commissioned artists from all over the world across different fields of performing arts to write new work for his “New Crowned Hope Festival” using Mozart’s final three compositions as their inspiration. So that is: “The Magic Flute”, “La Clemenza di Tito” and “The Requiem”. For the film part of the project, the result is 6 Prize Winning feature films with titles like “Syndromes and a Century”, “Opera Jawa” and “I Don’t Want To Sleep Alone”. They come from places as diverse as Chad, Thailand, Iraq, Paraguay, and South Africa. Many got their premieres at Venice last year. The films are now touring the world so Peter Sellars came into our BBC studio to talk about “The New Crowned Hope”. Intriguing that he thinks about films as a celebration for Mozart.

尼科拉•克里斯蒂:这段音乐取自莫扎特的歌剧《魔笛》,它是作曲家在生命最后阶段谱写的作品之一。在今天,它常常被当代作曲家,剧作家和电影导演用作创作平台。去年维也纳邀请了美国“怪鸡”导演彼得•塞拉斯创立一个纪念莫扎特诞辰250周年的庆典活动,当时庆典就是在这段歌剧中开始的。塞拉斯离开后从世界各地找来一系列不同领域的表演艺术家,委托他们以莫扎特最后三部音乐为灵感,共同为“新希望皇冠音乐节”撰写新作品。这三部音乐分别是:《魔笛》,《狄多的仁慈》,《安魂曲》。这个项目的电影部分的成果是六部纪念专题影片获奖,包括《恋爱症候群》,《爪哇安魂曲》,《黑眼圈》。这些影片由不同地区创作,例如乍得(非洲中北部国家),泰国,伊拉克,巴拉圭和南非。它们之中很多都是去年在威尼斯首映的。这些影片目前正在全球各地上映。彼得•塞拉斯今天来到了我们BBC演播室,和我们谈谈“新希望皇冠音乐节”以及他对莫扎特纪念专题电影的看法。

PETER SELLARS: Well, if Mozart was alive today he would be a film maker because film is what has the pulse of the culture. It is the culture that vibrates to the whole planet right now. What is beautiful is if you invite an artist to make a film. Then they make a work of art. That is what the “New Crowned Hope” film program is about.

彼得•塞拉斯:如果莫扎特今天还活着的话,他肯定会成为一位电影制作人。因为电影是现在文化的脉搏。它是目前能够震撼整个星球的文化。如果能够邀请到一位艺术家来制作电影,这将是一件多么美妙的事情!他们会为我们带来艺术的创作。这就是“新希望皇冠”电影项目的主要意义。

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NICOLA CHRISTIE: What was the brief?

尼科拉•克里斯蒂:可以为我们简单介绍一下这个项目吗?

PETER SELLARS: Known everybody says that Mozart died so young. What he would have done if he lived longer. So we looked at what he was doing in the last month of his lifetime, which was a very special time, 1791, after the French Revolution. Mozart was part of the most progressive, politically engaged, group of people in Europe who really made the French and American revolutions. These were people who wanted to create democracy instead of autocracy, but they had to think of another way to do it. And so Mozart, in the last year of his life, this very special time, his music goes into this completely new place of “live and let live”, this incredible spiritual, emotional spaciousness. So the brief to artists was to take on really intense issues of truth and reconciliation of ceremonies for the dead of magic and transformations and create an open path towards the real future of the 21st century.

彼得•塞拉斯:众所周知,莫扎特是英年早逝。所以我们想知道,如果他能活的久一点,他会为我们带来什么。我们了解了他在生命最后一个月所作的事情。那是1791年,一个非常特殊的时期,法国大革命刚刚结束。那时的莫扎特是欧洲最激进参与政治斗争的人群之一,正是这些人导致了法国和美国革命。他们非常希望推翻独裁统治,创造一个民主政府,但他们需要通过其他的方式来实现。于是莫扎特在他生命的最后一年,那段非常特殊的日子里,让他的音乐进入一个“和平共存”的全新境界,这是一个在精神上,情感上不可思议的高深境界。所以对于参与这个项目的艺术家来说,其任务就是承担起强烈追求真理的责任,将对逝去伟人的怀念和改革和谐融为一体,并为21世纪开辟一条通往真实未来的康庄大道。

NICOLA CHRISTIE: You say that it is the Mozart spirit that inspires all of these films. What is that?

尼科拉•克里斯蒂:你说是莫扎特精神为这些影片提供了创作灵感。是什么精神呢?

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PETER SELLARS: Well I think it, for one thing, it is tenderness. It’s every one of these films is astonishingly intimate, tender, private, very quietly generous. Mozart music it’s always, you know, strikes you most deeply at those moments in your life that are thoughtfully, vulnerable, not announcing yourself, but the opposite, having this moment of quiet. And I think what is so powerful about each of these films is that they are very quiet. There is space to be thoughtful. We are surrounded by relentless commercial culture which is always screaming at you, trying to get you to buy something at every minute. And these films are opposite. They are a kind of repose for the mind, and for the heart and for the soul and that’s what these films are offering. And I think the tenderness is their primary Mozartian quality.

彼得•塞拉斯:我想,首先是柔和。这些影片中的每一部都让人感到非常亲切,柔和,隐秘,平静的高尚。你知道,莫扎特音乐总是能深深触动我们生命中最富思想性,最脆弱的时刻,并不是要勾起你的回忆,相反它让你拥有这些宁静的时刻。我想这些影片最吸引观众的原因就是它们的宁静。这份宁静为我们提供了一个思考的空间。我们生活在一个无情的商业文化环境中,在这个环境中经常有人对你大声喊叫,每一刻都在试图让你买他们的东西。而这些影片恰恰与此相反。从某种意义上讲,这些影片让我们的思想,心灵,还有灵魂得到休憩,这就是它们的最大贡献。我想,柔和就是它们最基本的莫扎特品质。

NICOLA CHRISTIE: You were quite clear weren’t you that you didn’t want the films to be following Mozart too strictly. You didn’t want Mozart music to be too strong a part in the films.

尼科拉•克里斯蒂:你很清楚,自己并不想让这些影片走严格的莫扎特主题路线,不是吗?你不希望莫扎特音乐在影片中占据太多的内容。

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PETER SELLARS: No, not at all. In fact I really said to the filmmakers, please deal with your own issues in your own way with your own vocabulary in your own rhythms. And so, somebody like Mahamat-Saleh Haroun created an incredible film, “Daratt”, shot in Chad, which has no music at all. The entire length of the film is mostly silences. But the silences have an internal rhythm, and he was thinking of Mozart during the shoot.

彼得•塞拉斯:是的,我不希望如此。事实上,我告诉过电影制作者,请他们选择自己的主题,自己的风格,用自己的语言和风格来创作这些电影。所以,有的导演,像马哈曼特-萨雷•哈隆,就在同一题材上创作了一部非常棒的完全不含音乐的电影《达莱特》——该影片在乍得拍摄,整个影片绝大部分情节都是无声的。但是在这些无声里有一个内部节奏,而导演在拍摄时一直在思考莫扎特音乐。

NICOLA CHRISTIE: You know that, would the viewer?

尼科拉•克里斯蒂:你当然能理解这些,但是普通观众也可以理解吗?

PETER SELLARS: Well, you get the film is the work of a master. You can tell early on you’re in the hands of somebody who knows exactly what they are doing. And so you go very far on a journey with that film because the inner rhythms of the film give you that confidence.

彼得•塞拉斯:恩,你知道这部影片是大师之作。当你和一个对影片非常了解的人在一起时,你可以事先让他把这些告诉你。这样在看电影的时候你就处在一个非常超前的地位,这份自信来自你对影片内部节奏的了解。

NICOLA CHRISTIE: But, with all of these films, will the person sitting and watching them learn anything more about Mozart? Is that even important to you?

尼科拉•克里斯蒂:但是,这些影片真的能让坐在屏幕前面的观众更多地了解莫扎特吗?这是不是也是你非常重视的问题?

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PETER SELLARS: No, I mean, most artists, is like Shakespeare, you know he died not writing an autobiography. He didn’t want anybody to know about him. You know is the point to get the work out. The point is something that is illuminated and transcended at a particularly difficult point in history.

彼得•塞拉斯:事实并非如此。大部分的艺术家,例如莎士比亚,他死的时候并没有写下自传。他并不需要任何人知道他的事情。你知道,对这些人而言重要的是完成自己的作品。而这一点在历史中某个特定的艰难时刻得到了诠释和超越。

NICOLA CHRISTIE: Let’s talk about where you collected your filmmakers from.

尼科拉•克里斯蒂:让我们来谈谈你从哪里找来了这些电影制作人。

PETER SELLARS: Well, you know, it’s very important was to have some global scope. And of course, when we met Paz Encina and saw her screenplay from Paraguay, you know a country where that has not been a feature film for 25 years. So of course, it was very exciting to invite this young woman to make her first feature film. But at the same time, of course, Asian film is very strong in “New Crowned Hope” and Apichatpong Weerasethakul has been making path breaking films which reinvent cinematic narrative in service of new subject matter. Films that literally go into a shamanic zone, where cinema becomes charged with things that D. W. Griffith could have never have imagined. And then at same time, someone like Garin Nugroho, the great Indonesian filmmaker, and is truly taking film as a language of democracy, saying, “Ok, in the most populous Muslim democracy, how can film function as something that furthers the multiple voices that makes democracy function.” And so, Garin creates, you know, these incredible tapestries and visions of inclusiveness, of multiplicity, of simultaneity that are just magical. The range of “New Crown Hope” films was really an attempt to say “It’s a wide world out there”.

彼得•塞拉斯:你知道,将搜索目标定位为全球范围是非常重要的。当然,我们找到了女导演帕兹•恩希纳,看过了她在巴拉圭创作的剧本。巴拉圭是一个在25年内都没有拍过电影的国家。所以我们邀请这位年轻的女士拍摄她的第一部电影是很令人激动的。不过与此同时,亚洲电影在“新希望皇冠”上也展现较强实力。泰国导演阿彼察邦•韦拉斯花古为他的新主题开辟了一条以叙述为主要表现形式的电影道路。从字面上说,电影已经进入了一个通灵地带,在这个地带里电影开始被注入了一些连大卫•沃克•格里菲思导演也很难想象的新元素。与此同时,印尼著名电影导演加林•努格罗将电影当作民主主义的表现形式,他说,“在大多数人口稠密的穆斯林地区,电影应该起到加强民主主义多重呼声的作用。”在此基础上,加林创作了其惊人作品以及丰富多样的魔幻般视觉效果。“新希望皇冠”系列电影希望告诉人们:“世界之大,无奇不有。”

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NICOLA CHRISTIE: Peter Sellars on inventing Mozart for a new generation. And the “New Crowned Hope” films should be on their way to release or a festival near you very soon. That’s all for this week.

尼科拉•克里斯蒂:彼得•塞拉斯为当代人创作了一个新的莫扎特。相信在不久的将来,“新希望皇冠”一定会为我们带来一个新的电影节。本周节目到此结束。

To mark Elvis Priestly 30th anniversary since he died in August 1977, this time tomorrow on The Beat, Mark Cose will find out when the King’s best musical period was. And next week on “On Screen”, we will also look at Elvis’ career in the movies, and ask “was he any good?” Until then, from me, Nicola Christie and my producer, Alain Galleth, thanks for listening.

埃尔维斯•普雷斯利逝世于1977年八月,明天是他逝世三十周年纪念日。为了纪念他,在明天此时段的《节拍》节目中,马克•科尔斯为我们将揭开猫王最佳的音乐时期。下周《银幕内外》节目,我们将关注埃尔维斯的电影生涯,弄清楚一个问题 “他的演技如何?”我是尼科拉•克里斯蒂,本期节目制片人是艾伦•盖利特,感谢您的收听。

单词注释:

dead loss 无用的人,无用的物

maverick n.言行与众不同者

vibrate v.振动,摇摆

autocracy n.独裁政治,独裁政府

relentless adj.无情的

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