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39届克利夫兰电影节上采访导演张唯

1: 2014年你做了两部很强烈社会题材的电影,你希望观众借由你打工老板的电影接收到什么样的讯息。

A:打工老板是我筹备时间最长的一部电影,7年中,社会的变化很快.但是我最初想表达的东西一直没有改变.我希望能够用一种不带有任何感情色彩的变现方式把握熟悉的这一部分生活展现给观众,让观众看到在中国,有这样一群人,在用一种特殊的方式给世界制造产品.我希望观众看到”中国制造”的真实.这个真实属于真实的中国的一部分.从蒙特利尔到硅谷,到克里夫兰,我从观众的反馈里感受到观众已经接收到了电影的信息.

Among my films, “Factory Boss” took the longest time. A lot has changed during the past seven years. But theoriginal ideas that I wanted to express remain unchanged. I intended to objectively present these familiar scenarios to the audience, and let them know there is such a group of people who are manufacturing products for the world in a special way. I wish to shed light on the fact behind “Made in China”, which is part of the real China. From Montreal, Silicon Valley to Cleveland, I know from the feedback of the audience that they have grasped what the film was about.

2.你选择的两部电影题材,都是走在公共意识前沿的强大的主题,这都是可以用作纪录片形式。是什么让你决定用虚构故事的版本呈现,而决定这样的呈现方式相较于记录片,你的想法是什么

A:你说的没错,这两部电影的题材在以往都会通过纪录片的形式拍摄,然后通过一些地下的渠道,非官方的渠道出现在世界各国的影展上.但这不是我想要的,我尊重所有纪录片的导演,但是我更愿意用"地上"的方式让这些故事跟观众见面,无疑,这样能够看到他的人更多.大家都知道现在中国的电影市场发展很快,已经排世界前几位.如果它以故事电影的形式出现,看到的人会更多.我希望更多的普通观众看到它,能够有所感受.而不仅仅是看<复仇者联盟>和<变形金刚>.

You are right. The two films could have been depicted bydocumentaries and then debut at international film festivals via some underground, unofficial channels. But that is not my dish. I respect all directors of documentaries, but I prefer aboveboard approaches. Undoubtedly, to screen films publicly can woo more moviegoers. As we all know, China’s film market is growing rapidly and has leapt to top positions in the world. If these subjects are presented in narrative films,they will reach a wider audience. I hope more ordinary people will watch my films and get inspired, instead of opting only for “The Avengers” and “Transformers”.



3. 39届克利夫兰电影节的主题是,启示!谈到启示,是什么让你想到做打工老板这部电影?是有什么事件或想法启发你才做了这部影片吗?

A: 我拍摄<打工老板>的想法要早于我当导演的想法.这跟我自己的经历有关.当我后来结束制造业的经历后转型当导演,<打工老板>的故事就成为我考虑的第一候选.因为我太了解了.不否认有很多感情的因素.但后来经过几年的沉淀之后,反而发现它正是我想要的.正向你说的本届电影节的主题:启示.<打工老板>的故事对于我自己,对于中国,对于世界都是一个很有趣的启示.启示不是答案,所以我的影片最后也没有答案.其实只是告诉你一个新的思路,我们或许可以从”剥削”\”压榨””产品质量””血汗工厂""财富"等等信息之外,找到其他的出口.这是这个影片的价值所在.

The idea of shooting “Factory Boss” came even before I decided to work as a film director. It was related to myown experience. When I became a director after my manufacturing career had ended, “Factory Boss” became my first option, because I was too familiar with the factory life, and there were emotional factors as well.Several years later, I found it was exactly what I wanted. As you just mentioned, the theme of this film festival is “inspiration”. The story of “Factory Boss” is an interesting inspiration in itself, not only for me, but alsofor China and even the world. Inspiration is not an answer, and no answer was given at the end of my film either. In fact, it just shows you a new way of thinking, that is, we may find ways to break out of “exploitation,” “oppression,” “product quality,” “sweatshop”, “fortune,” etc. And that is the value of this film.

4. 启发你创作的灵感来源是什么?

A:刚才我说了,我曾经在制造业从业了二十年,我太熟悉了.但这并不是说主人公就是我的故事.不是的.这个人物集合了多个人物的故事,比如他跳楼的事情就曾经在深圳真实发生过,记者卧底工厂的事情我们也找到了原型,还有工厂丢针的细节都是编剧从工厂采访时了解到的.7年的筹备中,编剧换了很多人,每个人都为最后的故事留下了贡献.

As I said earlier, I used to work in the manufacturing sector for two decades. So I know it just too well. But this is not to say I am the prototype of the protagonist. He is a combination of many characters. For example, the plot where he attempts to jump from a building was based on a real case in Shenzhen. In real life, we also found the prototype of the undercover journalist in the film. The episode about the lost needle at the factory was sourced from an interview by our screenwriter at a factory. During the seven years’ preparation, we engaged many screenwriters for the script of the film and all of them contributed to the final version.



5. 有没有什么你觉得拍摄过程中有意思的事情你想要分享?

A:拍摄过程中的场景是一家刚刚搬走的工厂的厂区,它不是倒闭,好像是因为政府要在原址修建新的大学和修路而被迫搬迁的.厂房员工宿舍\都保留着.只不过人去楼空.这样的情况在深圳几乎每天都在发生着.站在这个厂区里,演员一下就找到了感觉.还有一件很有意思的事情,我们雇佣了很多的群众演员,最多的时候有一千人.这其中有演员,还有很多就是真实的打工者.有的人工厂倒闭了,没有活干,就成为一些演员组织机构的群众演员.所以当他们演这些角色的时候,很快就进入了状态.这可能是在其他地方拍电影,或者排别的题材的电影没有的经历.

The film was shot in a newly deserted factory premises. Instead of being shut down due to bankruptcy, the factory was forced to relocate as the government intended tobuild a university campus and roads on the site. The factory buildings and dormitories were still there, but leftempty. In such a scene, which can be seen almost every day in Shenzhen, actors get into characters fast. There are some other interesting sidelights. We hired up to 1,000 extras, among whom were actors while many were real workers. They were rendered jobless as their factories went bankrupt, and started to work as extras for actor recruitment agencies. When they play their roles, they would quickly get into character. Such experiences may not be achieved in other sites or for films on other subjects.



6. 下一步作品是什么?

A: 我现在有两部电影在筹备,一部叫<天籁梦想>,讲的是一群西藏的盲童孩子参加选秀节目的故事,有点像<贫民窟的百万富翁>.还有一部叫<肋骨>,是根据一个中国的变性人的经历改编的故事.

I am now preparing for two films. One is called “Sound of Dreams”, which is about a group of Tibetan blind pupils on their journey to attend a reality TV show. The story is somewhat like the “Slumdog Millionaire.” The other is named “The Rib,” which is based on the experiences of a transgender Chinese citizen.

7.是否有什么想对克利夫兰的观众说?

A:克利夫兰电影节的观众大家好,我是<打工老板>的导演张唯.如果你家里有MADE IN CHINA的商品,那么就来看我的电影吧,它会告诉你中国制造的真相.

Hello! I am Zhang Wei, director of “Factory Boss.” If you are using products MADE IN CHINA at home, go and watch my film. It will tell you the fact.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 

 
 
 

 

 

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