※ [本文转录自 movie 看板 #1GkDPqRA ] 作者: KelvinTsai (纯白里的缤纷) 看板: movie 标题: [专访] 美国《新闻周刊》专访李安 (中英全文) 时间: Fri Nov 30 23:53:21 2012 美国《新闻周刊》专访李安：我最热爱的错误 (中英对照全文) 原文於 http://www.wretch.cc/blog/No1Kelvin/7822715 今天翻阅11月26日号《NEWSWEEK》时，发现最後一页有李安的专访，是他在 谈电影工作与家庭生活之间的拿捏，包括他如何错过长子的青少年成长期，以及 怎麽在次子身上重新扮演好父亲的角色。 看完觉得蛮感动的，身为一位享誉国际的名导，李安在忙碌生活之际，还这 麽尽心尽力地经营着自己的家庭。真是个不折不扣的新好男人。 文中李安也回顾了过去窝居在家写剧本的心路历程，真可说是「大丈夫能屈 能伸」。只要懂得坚持，不断累积实力，总会有发光发热的一天。重点是，在怀 才不遇的日子里，依旧时时刻刻磨砥自己的「才」。 利用空档把这篇文章翻成了中文，与大家分享，也在网路上找到原文连结。 朋友们可自行点阅。至於中译部份，若有未尽之处，还请各位强者多多指教。 ====================================================================== My Favorite Mistake: Ang Lee The 'Life of Pi' director on his greatest balancing act. 我最热爱的错误：李安谈他如何在工作与家庭间取得平衡 原文出处：http://ppt.cc/LDTQ Many times when you make a movie, it feels like your biggest mistake. But even if a film isn't a hit, you shouldn't view it as a mistake. My mistake is having two sides to my character. When I'm not working, I get very down, but when I am working, I get very immersed in it. 很多时候，当你拍一部片，那感觉就像你犯了最大的错误。但事实上，即使电影 不卖座，你也不应该将它视为一个过错。对我来说，我的过错在於个性中有着两 面性格。那就是，当我没在工作时，心情总是无比低落，然而一拍起电影，整个 人又变得非常投入。 For six years, from 1985 to 1991, I felt pretty weak and useless. I was at home, working on scripts and cooking and taking care of the kids, while my wife, who's a very strong woman, steady and pragmatic, really stabilized the family. She was working as a medical researcher. I didn't have much self-esteem, because I'd pitch so many scripts and get back rewrites. It was just endless frustration. I got moody and fell into a near depression. But then I became an older, more mature person who was much more prepared to direct a feature-length film. 在1985年到1991年这六年间 (译注一)，我时常有着深深的无力感。当时几乎都 待在家里，不是写剧本就是煮饭做菜和照顾小孩。反之，我的太太却是个非常务 实的女强人，可以说是因为她，整个家庭才得以稳定下来。她的工作是医学研究 员，而我由於常投稿剧本却屡屡被退件，内心总觉得十分过意不去。当时的挫败 之路，彷佛没有尽头。於是我变得情绪化，甚至差点得了忧郁症。然而，随着年 纪增长，我越来越成熟，渐渐觉得自己似乎比以前更有把握去执导一部长片了。 Years later, when I was making Crouching Tiger, Hidden Dragon and Hulk, I was hardly at home. I spent two years on Crouching Tiger and then another year promoting it all over the world. After the Oscars, I went right into working on Hulk, which took two years. This meant that during my son's teenage years, I didn't spend a lot of time with him. 几年後，当我拍《卧虎藏龙》和《绿巨人浩克》时，我变得很少在家了。我花两 年时间拍摄《卧虎藏龙》，又花了一年在世界各地宣传这部片。奥斯卡颁奖典礼 结束後，我随即投入《绿巨人浩克》的拍摄工作，接着两年又过去了。如此忙碌 的生活意味着，在我儿子的青少年时期，我并没有很多时间陪伴他 (译注二)。 I grew up in Taiwan, where those years are all about academics, so I didn't feel as though I had a lot of life experience to share with him while he was in high school. American high schools are psychologically more complicated. When your children are little, you educate them and share your experiences, but when they're older, it's harder, and I wasn't home enough to give him guidance. There was a level of detachment and a lot of sparse phone conversations. "Work?" "Fine." "Girlfriend?" "No." By the time I finished Hulk, he was 17 and already preparing for college, so I had missed out on a lot. I should have made more of an effort. 我从小生长在台湾。在那里，青少年时期的重心几乎都在课业上，因此我感到有 点力不从心，无法分享自己的经验给正在美国念中学的儿子。心理层面上而言， 美国中学和台湾比起来是相对复杂多样的。当小孩年幼时，你可以教育他们、分 享经验，但当他们大一些，事情就比较难了，再加上我当时在家时间不多，无法 提供方向和指引。因为这样，某种程度上我们产生了疏离感，电话里的内容也乏 善可陈，不外乎「工作好吗？」「很好」「有女友了吗？」「还没」之类的对话 。在我完成《绿巨人浩克》这部电影时，他已经17岁了，正准备升大学。我想我 错过了很多岁月，我应该要付出多一点心力的。 After that, I tried to be there more for my second son. My next film, Brokeback Mountain, involved just two months of shooting, and I did the editing in Rye, N.Y., near my then-hometown of Larchmont. I also did postproduction on my next film, Lust, Caution, near my home, so my son would come to the editing room and watch. He wanted to play football, and I tried to talk him out of it because he was so small, but I was there for every game. When he made his first catch, I was so beside myself, I screamed louder than when I won my Academy Award. 在那次经验之後，我试着尽量多陪陪二儿子 (译注三)。下部电影《断背山》只 花了两个月便完成拍摄，剪辑工作则在纽约黑麦市进行，距离位在拉奇蒙特的住 家不远。接下来的作品《色戒》的後制，也是在住家附近完成，因此二儿子能够 常常进来剪接室观摩。他当时想打美式足球，但身材太过瘦小，我曾试图劝他打 消念头。不过尽管如此，他每一场比赛我都到场加油。当他在达阵区接到第一颗 球的瞬间，我乐疯了，比我得奥斯卡奖时叫得还大声。 Once he got to high school, it seemed suicidal to play football, so I finally talked him out of it, and he went into drama. I went to every performance and came home every night to cook dinner. He had a good time working as a production assistant on my film Taking Woodstock and then played Teddy, the boy who gets lost in Bangkok, in The Hangover Part II. He recently graduated from the Tisch School of the Arts at New York University, just like I did. 後来升上高中，以他的体格来说继续打美式足球彷佛以卵击石，於是我终於说服 他退出了。他转而投入戏剧表演。同样地，他的每次演出我都到场，每晚也都回 家做饭。在担任《胡士托风坡》制作助理的期间，他表现很好，也学得很愉快。 後来他参与了《醉後大丈夫二》的拍摄，演出在曼谷迷路的男孩泰迪。而最近， 他刚从纽约大学的Tisch电影学院毕业，他是我的学弟 (译注四)。 My wife is now retired, and we're normal people with good kids. Thinking back to those earlier days, I felt I was weak when I wasn't making movies, and then when I was, I thought I was weak as a family member. It's more of a big regret, because I truly, honestly wish I could do better as a father and a husband. 我太太现在退休了。我们是再平凡不过的一对夫妇，还有两个还不赖的儿子。此 时此刻，回想过去那段日子，在还没成为导演前，总是觉得无力感很重。後来开 始了拍片的生活，然而身为一位家庭成员，我却依然有着沉重的无力感。这一切 对我来说并不仅是遗憾而已，因为我是多麽地真心希望，过去那段岁月，我能够 在父亲与丈夫这两个角色上，再扮演得更称职一些。 ====================================================================== 译注一：李安在美国攻读完电影研究後，在家里待了6年，一边写剧本，一边担任 家庭主夫。1990年提交《推手》与《喜宴》两份剧本，获得中华民国优 良电影剧本首奖及二奖，後来当时的中影公司副总经理徐立功注意李安 他的剧本，才在1991年邀请他拍摄《推手》，自此开启导演之路。 译注二：此处的儿子为李安长子李涵，1984年出生，李安拍摄《卧虎藏龙》与《 绿巨人浩克》时，他正值高中阶段。 译注三：李安次子为李淳，1990年出生。李安拍摄《断背山》时，他大约15岁。 译注四：Tisch电影学院为纽约大学下属的15个学院之一，李安为校友。 --

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