雙語財經新聞 第76期:中國的伍迪艾倫一馮小剛
Film director Feng Xiaogang may have made China’s biggest box office hit, the disaster movie, “Aftershock”， but he built his reputation in comedies, comparing himself to American director, Woody Allen.
“I wasn’t sure what kind of comedy to do. I didn’t think I’d be any good at doing Jim Carrey kind of slapstick comedies. I’m more like Woody Allen.”
“以前，我不是特別清楚各種類型的喜劇作品該怎樣執導。我只是認爲，我並不 擅長金?凱瑞似的打鬧風格喜劇。我的影片更像是伍迪?艾倫的風格。”His “Annie Hall” moment came with 2001 comedy “Big Shot’s Funeral” that featured Donald Sutherland and gained international recognition.
在2001年，由馮小剛執導的喜劇電影《大腕》，同由唐納德?蘇德蘭主演的伍迪? 艾倫的作品《安妮?霍爾》一樣,獲得了國際認可。
But last year’s “Aftershock” has elevated the 53-year-old to the position of the most bankable director in China.
但是去年的《唐山大地震》的成功，讓已53歲的的馮小剛一躍成爲中國最有票 房號召力的導演。It took over $147 million at the box office in China making it the highest grossing film in the country’s history. It will also be China’s official entry into the Academy Awards this year.
在中國，《唐山大地震》總票房收人超過了 1億4700萬美元，這創下了中國電影 的最高歷史紀錄。同樣，該片還將成爲今年中國角逐奧斯卡大獎的官方作品。The film is based on the devastating earthquake of 1976 that killed thousands in the city of Tangshang, northeast of Beijing.
電影以真實發生在1976年的一場毀滅性的地襄爲依據，那場地震奪去了位於 北京東北部唐山市上萬人的生命。“I knew from the very beginning that this will become a film that would attract a big Chinese audience. It’s a collective memory for everyone here in China so I knew the movie would touch everyone... This movie is also very relevant to many people’s daily lives,” he said
馮小剛坦言，“我從一開始就知道這將是一部會吸引大部分中國觀衆注意力的 電影。這是生活在中國這塊土地上的人的集體記憶,因此我知道，這部電影會感動 每一個人……而且,這部電影與很多人的日常生活有着密切聯繫。”他說。Feng’s screen career began in television, directing and occasionally acting, before moving into filmmaking. He tested the limits of the censors along the way.
在開始進行電影製作以前，馮小剛的影視事業還是起步於導演以及偶爾客串 電視劇。一路走來，他接受了審査員們最爲嚴格的審查。“We walk a very tight rope, we have to strike balance otherwise we’re going to fall,” he said about censors in China.
在談及中國的審查員時，馮小剛說：“我們就像行走在一根緊繃的繩子上,我們 不得不努力保砰衡，否則，就會掉下去。”“Some of my earlier films might have been a little too edgy for a mainstream audience, at least that what the censors thought.”
“對主流觀衆來說，我早期的一些電影或許有一點兒太激進了,至少審査員們是這麼認爲的。”One of Feng’s targets in his earlier films has been commercialism, including “Big Shot’s Funeral” where a film director sells his funeral to advertisers.
馮小剛早期的電影的一大主題是商業主義，包括《大腕》，在這部電影裏,一位 導演將自己的葬禮推銷給了廣告商。However some have criticized Feng for becoming too commercial in his own filmmaking, especially with overt product placement in “Aftershock”.
但是’巳經有人批評起馮小剛在電影製作上太過商業化，尤其是《唐山大地農》 中明顯的植人式廣告。In response he told Xinhua News that product placement will be an increasingly important part of the Chinese film.
作爲迴應，他在傾禪社》上發表評論說，植人式廣告將逐漸地成爲中國電影的 重要組成部分。He prides himself on having the common touch to attract big audiences.
對於自己擁有平易近人的品質從而能吸引大量觀衆這一點，他爲自己感到驕“The biggest advantage is that I know what audiences want... of course not all of them, but at least I know what most of them want,” he said.
“我最大的優勢是，我瞭解觀衆們的需要……當然，不能說是所有的觀衆，但至 少我瞭解大部分觀衆的需要。”他說。“I don’t think that the audience is God. Nor do I think we are above them.I just think that we are on a level playing field.”
“我覺得,觀衆不是上帝，我們也不是高高在上。我只是覺得，我們都身處在一個公平競爭的環境。”
