伍迪的《午夜巴塞罗那》拍摄日记

2009-03-07 00:06:57 来自: 6 + 3 = 9(闷葫芦)

（俺编译的，凑合看吧）

原文：
http://www.nytimes.com/2008/08/24/movies/24alle.html?_r=1
或
http://www.guardian.co.uk/film/2009/jan/12/woody-allen-vicky-cristina-barcelona

2 January, 2008
Received offer to write and direct film in Barcelona. Must be cautious. Spain is sunny, and I freckle. Money not great either, but agent did manage to get me a 10th of 1% of anything the picture does over $400m after break-even. Have no idea for Barcelona - unless the story of the two Hackensack Jews who start a mail-order embalming firm could be switched.

2008年1月2日
接到个编导一部在巴塞罗那拍摄的影片的机会。可要小心，西班牙晒得很，我会长雀斑的。钱也不怎么挣，不过经纪人已经替我搞定了：要是影片不赔本，而且能赚个4亿多美元的话，我可以从1%里再抽个十分之一。没想好给巴塞罗那写个怎样的故事，最初的主意是有两个能互换身份的【新泽西】哈肯萨克犹太人，他们开了一家邮购的遗体整容公司。

5 March
Met with Javier Bardem and Penélope Cruz. She's ravishing and more sexual than I had imagined. During interview my pants caught fire. Bardem is one of those brooding geniuses who clearly will need a firm hand from me.

3月5日
见到了哈维耶·巴登和佩内洛普·克鲁兹。她美得令人销魂，比我想象的还要性感，整个会见过程我裤子里像着了火。巴登是那种会陷入沉思的天才人物，他欣然接受我助他一臂之力。

2 April
Offered role to Scarlett Johansson. Said before she could accept, script must be approved by her agent, then by her mother, with whom she's close. Following that, it must be approved by her agent's mother. In middle of negotiation she changed agents - then changed mothers. She's gifted but can be a handful.

4月2日
给斯嘉丽·约翰森提供了个角色。她说她接受之前，剧本得先经得她经纪人同意，然后让她妈妈同意，她与她妈妈很亲密。之后还得经过她经纪人的妈妈同意。在商谈的当口，她换了几个经纪人——于是也就换了好几个妈妈。她很有才华，但可能也很难把握。

1 June
Arrived Barcelona. Accommodation's first class. Hotel has been promised half star next year, provided they install running water.

6月1日
抵达巴塞罗那。住的地方一流。明年这家旅店就可以获得半颗星啦，如果他们能装上自来水的话。

5 June
Shooting got off to a shaky start. Rebecca Hall, though young and in her first major role, is a bit more temperamental than I thought and had me barred from the set. I explained the director must be present to direct the film. Try as I may, I could not convince her and had to disguise as man delivering lunch to sneak back on the set.

6月5日
拍摄一开始不太顺利。虽说丽贝卡·霍尔很年轻，而且这是她第一次担任主角，但她的脾气有点儿大，比我预料的还厉害，她把我从片场赶了出来。我解释说导演必须在现场指导拍戏。我费尽口舌，就是说服不了她，所以我不得不化装成送午饭的伙计溜回进片场。

15 June
Work finally under way. Shot a torrid love scene today between Scarlett and Javier. If this were a scant few years ago, I would have played Javier's part. When I mentioned that to Scarlett, she said, "Uh-huh," with an enigmatic intonation. Scarlett came late to the set. I lectured her rather sternly, explaining I do not tolerate tardiness from my cast. She listened respectfully, although as I spoke I thought I noticed her turning up her iPod.

6月15日
拍摄总算步入了正轨。今天拍的是斯嘉丽和哈维耶之间的一场激烈的爱情戏。要是早个个把年，我一定会亲自出演哈维耶的角色。当我这样跟斯嘉丽说起时，她以一种琢磨不透的口气回应说：“啊-哈。”斯嘉丽到片场时迟到了，我严厉地训斥了她，我说我不会容忍我的演员拖拖拉拉。她恭恭敬敬地听着，尽管我注意到在我说话时，她调高了她iPod的音量。

20 June
Barcelona is a marvellous city. Crowds turn out in the streets to watch us work. Mercifully they realise I've no time to give autographs, and so they ask only the cast members. Later, I handed out some 8x10 photos of myself shaking hands with Spiro Agnew and offered to sign them, but by then the crowd had dispersed.

6月20日
巴塞罗那是座奇妙的城市。大街上挤满了观看我们拍摄的人群。他们很善解人意地意识到我没时间给他们签名，所以他们只找拍戏的演员签。随后我掏出几张8x10英寸的我与斯派罗·艾格纽【尼克松的副总统】握手的照片给他们签名，可这个时候，人群却散开了。

26 June
Filmed at La Sagrada Familia, Gaudi's masterpiece. Was thinking I have much in common with the great Spanish architect. We both defy convention, he with his breathtaking designs and me by wearing a lobster bib in the shower.

6月26日
在高迪的杰作“圣家族大教堂”拍戏。我在想我与这位伟大的西班牙建筑大师有许多共同的地方：我们俩都拒绝循规蹈矩，他以他那令人叫绝的设计，我么则喜欢在淋浴时戴上围兜。

30 June
Dailies are looking good, and while Javier's idea to add a massive Martian invasion scene complete with 1,000 costumed extras and elaborate flying saucers is not a very good one, I will shoot it to make him happy and cut it in the editing room.

6月30日
每日样片看上去还不错，不过哈维耶出了个不怎么样的主意：他要加入一个火星人大规模入侵的场面，用1000名穿上道具服的群众演员和许多逼真的飞碟来完成。我会先拍着让他高兴，然后再在剪辑室里把它剪掉。

3 July
Scarlett came to me today with one of those questions actors ask: "What's my motivation?" I shot back: "Your salary." She said fine but that she needed a lot more motivation to continue. About triple. Otherwise she threatened to walk. I called her bluff and walked first. Then she walked. Now we were rather far apart and had to yell to be heard. Then she threatened to hop. I hopped, too, and soon we were at an impasse. At the impasse I ran into friends, and we all drank, and of course I got stuck with the check.

7月3日
斯嘉丽今天来找我，问了我一个演员们经常会问的问题：“我为什么要拍这片？”我立马回道：“挣钱啊。”她说好吧，但是她说她需要更充分的理由继续拍下去，要三倍的钱，她威胁说不然她就走人。我说随她的便，就先走了。然后她真的走了，于是我们俩越离越远，不得不大声喊叫才能让对方听到。然后她威胁我说要跳槽，我也跳了一下，不久我们就僵持在那儿了。困境之下我碰到了几个朋友，我们就去大喝了一通，当然，最后埋单的还得是我。

15 July
Once again I had to help Javier with the love-making scenes. The sequence requires him to grab Penélope Cruz, tear off her clothes and ravish her in the bedroom. Oscar-winner that he is, the man still needs me to show him how to play passion. I grabbed Penélope and with one motion tore her clothes off. As fate would have it, she had not yet changed into costume, so it was her own expensive dress I mutilated. Undaunted, I flung her down before the fireplace and dove on top of her. Minx that she is, she rolled away a split second before I landed, causing me to fracture certain key teeth on the tile floor. Fine day's work, and I should be able to eat solids by August.

7月15日
我不得不又一次教哈维耶怎么演做爱的戏。这一系列动作需要他抓住佩内洛普·克鲁兹，扯掉她的衣服，在卧室里对她恣意妄为。尽管他拿过奥斯卡，可这家伙仍然需要我来给他演示怎样表演激情戏。我抓住佩内洛普，一下就扯掉了她的衣服。也算她倒霉，她还没来得及换上戏服，所以被我撕烂的是她自己那昂贵的服装。我无所顾忌地把她扔到壁炉前面，一下子扑将上去。要不说她是个狐狸精呢，还没等我挨着她，霎那间她就势一滚，结果是我重要的牙齿磕到了瓷砖地板上，碎了好几颗。白天活干得不错，我到八月份就应该可以吃硬的东西啦。

30 July
Dailies looking rather brilliant. Probably too early to start planning Academy campaign. Still, a few notes for an acceptance speech might just save me some time later.

7月30日
每日样片看起来相当棒。也许现在就开始计划怎么活动活动奥斯卡还为时过早，不过倒可以想想获奖感言上应该说些什么，到时候就可以节省点时间了。

3 August
I suppose it comes with the territory. As director, one is part teacher, part shrink, part father figure, part guru. Is it any wonder then that, as the weeks have passed, Scarlett and Penélope have both developed crushes on me? The fragile female heart. I notice poor Javier looking on enviously as the actresses bed me with their eyes, but I've explained to the boy that unbridled feminine desire for a cinema icon, particularly one who wears a sneer of cold command, is to be expected.
Meanwhile, when I approach the set, each morning bathed and freshly scented, between Scarlett and Penélope there is a virtual feeding frenzy. I never like mixing business with pleasure, but I may have to slake the lust of each one in turn to get the film completed. Perhaps I can give Penélope Wednesdays and Fridays, satisfying Scarlett Tuesdays and Thursdays. Like alternate-side parking. That would leave Monday free for Rebecca, whom I stopped just in time from tattooing my name on her thigh. I'll have a drink with the ladies in the cast after filming and set some ground rules. Maybe the old system of ration coupons could work.

8月3日
我想不管做什么事，好坏你都得一起兜着。作为导演，你得同时是教师、心理医生、父亲的角色、和精神领袖。所以说当几个星期过去之后，斯嘉丽和佩内洛普都慢慢地迷上了我，就一点也不奇怪了。脆弱的女人之心呐。我注意到当女演员们用她们的眼神和我一起上床的时候，可怜的哈维耶在一旁嫉妒地冷眼相看。不过我已经向那孩子解释过了，可以预料，那只是女性对一个影坛偶像的放纵的欲望，特别是我这样的，总是“一脸地不屑，冷冷地发布着指令”【出自雪莱的十四行诗《奥兹曼迪亚斯》，奥兹曼迪亚斯即拉美西斯大帝，在伍迪的《星尘记忆》里有提到】。
在此期间，每天早晨我去片场之前都会洗个澡，一身的清新芬芳，这样一来，在斯嘉丽和佩内洛普之间，我仿佛是只羊落入了狼群。我从不喜欢将工作和享乐混为一谈，可是为了完成影片，我或许不得不出面消解她们每个人的渴望。也许我可以给佩内洛普周三和周五的时间，而周二和周四则让斯嘉丽满足，就像是在街道两边轮流停车那样【目的是便于交通和打扫】。这样一来，正好空出周一给丽贝卡，我要及时地阻止她把我的名字往她大腿上纹。干完活后我决定和剧组的女士们一起去喝一杯，制定出一些章程，也许老套的发放定量配给票的制度能够管用。

10 August
Directed Javier in emotional scene today. Had to give him line readings. As long as he imitates me, he's fine. The minute he tries his own acting choices, he's lost. Then he weeps and wonders how he'll survive when I'm no longer his director. I explained politely but firmly that he must do the best he can without me and to try to remember the tips I've given him. I know he was cheered because when I left his trailer, he and his friends were howling with laughter.

8月10日
今天指导哈维耶拍感情戏，我不得不一直教他怎么念对白。只要他模仿我念，他就很好；可一旦他试着想用他自己的表演方式，他就懵了。然后他哭了起来，担心如果我不再是他的导演，他可怎么活。我耐心地但语气坚定地向他解释，他必须自己尽最大的努力，试着记住我教给他的那些技巧。我知道他很高兴，因为在我离开他拖车房的时候，他和他的朋友们又笑又叫。

20 August
Made love with Scarlett and Penélope simultaneously in an effort to keep them happy. Ménage gave me great idea for the climax of the movie. Rebecca kept pounding on the door, and I finally let her in, but those Spanish beds are too small to handle four, and when she joined, I kept getting bounced to the floor.

8月20日
为了尽量使斯嘉丽和佩内洛普开心，我和她们俩同时做爱了。三人行给了我完成影片高潮的灵感。丽贝卡一直在外面敲门，最后我也让她加入了进来。但是那些西班牙床铺都太小了，应付不了四个人，所以当她加入以后，我动不动就滚到了地板上。

25 August
End production today. Wrap party as usual a little sad. Slow-danced with Scarlett. Broke her toe. Not my fault. When she dipped me back, I stepped on it.
Penélope and Javier anxious to work with me again. Said if I ever come up with another screenplay to try and find them. Goodbye drink with Rebecca. Sentimental moment. Everyone in cast and crew chipped in and bought me a ballpoint pen. Have decided to call film Vicky Cristina Barcelona. Studio heads have seen all the dailies. Apparently they love every frame, and there is talk of opening it at a leper colony. It's lonely at the top.

8月25日
今天拍完了。与往常一样，收工的晚会有一点伤感。和斯嘉丽跳着慢舞，把她的脚趾踩破了。不是我的错，当她揽着我的腰，让我头往后仰时，我踩了她的脚。
佩内洛普和哈维耶渴望与我再次合作，他们说如果我有了新的剧本，一定要再去找他们。和丽贝卡喝了告别酒。伤感的时刻，每位演员和剧组成员都争相与我道别，他们给我买了一支圆珠笔。决定把影片定名为《维姬、克里斯蒂娜、巴塞罗那》。制片厂的头头们已经看过所有的样片，很显然他们对每一个镜头都非常喜欢，据说准备选一个麻风病隔离区进行首映。高处不胜寒。

2009-03-07 00:11:47 伊丫丫

谢谢，很有意思

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2009-03-07 00:12:31 甜小狗狗狗狗 (2月10号回国～～～)

有法语版么。。。

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2009-03-07 00:18:13 6 + 3 = 9 (闷葫芦)

有法语版么。。。
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你可以自己翻：）

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2009-03-07 00:58:25 btr

简直比电影本身好玩了

当然,这些日记都是fake的:)

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2009-03-07 09:11:54 好奇心 (日日想，夜夜念)

老头儿真有才华,这简直像是来自他早期的<不长羽毛>

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2009-03-07 10:40:09 6 + 3 = 9 (闷葫芦)

　　简直比电影本身好玩了
　　
　　当然,这些日记都是fake的:)
-------------------------------------------------------
彻底沦为老反革命口淫犯：）

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2009-03-07 10:41:45 6 + 3 = 9 (闷葫芦)

老头儿真有才华,这简直像是来自他早期的<不长羽毛>
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没读过他的书，老头儿以前也这样信口开河的么？

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2009-03-07 10:47:37 好奇心 (日日想，夜夜念)

　　没读过他的书，老头儿以前也这样信口开河的么？
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恩,去读读,还要天马行空些,就是这个风格的

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2009-03-07 10:59:30 壁花胡姐 (This filthy world…)

克鲁兹在访谈里说：拍她和斯嘉丽那场激情戏那天，老头在手背上发现一个“突发”的雀斑，他紧张兮兮了一天，在片场心不在焉，拍摄早早结束，为得是他能赶紧去找大夫。

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2009-03-07 11:00:49 已注销 (保佑保佑保佑)

gaga ~

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2009-03-07 11:01:25 provens

伍迪说过他老是神经质所以长不胖。
克鲁兹奥斯卡获奖发言不错。

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2009-03-07 11:05:57 象鼻擦

有趣极了

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2009-03-07 11:14:37 Joey的第34任女友 (小胖子你真嗲~)

看着yy，其实很自嘲，woody啊woody~

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2009-03-07 14:09:43 ✂ (做)

我爱这老头,太TMD有劲~

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2009-03-07 14:39:18 穿云

4月2日
　　
　　给斯嘉丽·约翰森提供了个角色。她说她接受之前，剧本得先经得她经纪人同意，然后让她妈妈同意，她与她妈妈很亲密。之后还得经过她经纪人的妈妈同意。在商谈的当口，她换了几个经纪人——于是也就换了好几个妈妈。她很有才华，但可能也很难把握。
　　
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哈哈哈。。。笑死俺了~~~

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2009-03-07 15:56:37 6 + 3 = 9 (闷葫芦)

伍迪说过他老是神经质所以长不胖。
-------------------------------------------------
恩，在《独家新闻》里他说：
See, I never gain an ounce, because, you know, my anxiety acts like aerobics. So I get the exercise.

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2009-03-07 15:58:41 6 + 3 = 9 (闷葫芦)

恩,去读读,还要天马行空些,就是这个风格的
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《不长羽毛》好像没有中文版，在哪儿看的原版？

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2009-03-07 16:10:39 壁花胡姐 (This filthy world…)

《门萨的娼妓》里应该都收录了。

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2009-03-07 16:54:14 uncuzillar (除了你我不能感到一丝丝情意)

斯嘉丽今天来找我，问了我一个演员们经常会问的问题：“我为什么要拍这片？”我立马回道：“挣钱啊。”

这句话是quote希区柯克的...

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2009-03-07 17:03:59 6 + 3 = 9 (闷葫芦)

《门萨的娼妓》里应该都收录了。
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好，找找孙老师的书去：）

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2009-03-07 17:07:20 6 + 3 = 9 (闷葫芦)

斯嘉丽今天来找我，问了我一个演员们经常会问的问题：“我为什么要拍这片？”我立马回道：“挣钱啊。”
　　
这句话是quote希区柯克的...
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非常感谢！
这篇文字里肯定还有不少类似的references，可惜俺没水平看出来，所以只能按表面意思来理解了~~

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2009-03-07 18:39:31 numb (story...)

好哎~~小缺去我组里再发遍链接~ok?

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2009-03-07 18:48:10 6 + 3 = 9 (闷葫芦)

好哎~~小缺去我组里再发遍链接~ok?
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你帮俺发吧，你那组忒冷清了，俺现在都不忍心点进去：）
那个剧本俺先在那儿放了1个半月，只有3个毛人下载（包括俺自己），而转到这儿以后，2天就已经有70多人点过拉~~

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2009-03-07 18:58:52 numb (story...)

其实你不能这么看的，我那里一共才17个人，概率是3/17，然后呢，你接着算算，我那里明年就好半颗星了，只要再来点自来水……

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2009-03-07 19:03:57 6 + 3 = 9 (闷葫芦)

算你狠~~
http://www.douban.com/group/162181/

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2009-03-07 22:31:28 MosaicEye (蓝色神瓮||那群笨蛋)

漏掉了伯格曼是那时候死的情节

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2009-03-07 23:03:39 Joey的第34任女友 (小胖子你真嗲~)

我也想看关于对伯格曼去世时woody的日记。。。
那段音乐的创作啊。。

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2009-03-07 23:20:27 6 + 3 = 9 (闷葫芦)

小组里以前没人贴过吗？俺去找找~~
不过伯格曼不是前年去世的吗？从“日记”上看此片是去年拍的呀？

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2009-03-07 23:26:27 6 + 3 = 9 (闷葫芦)

here you are:
http://www.iht.com/articles/2007/08/08/arts/woody.php
是这篇东西吧？

Woody Allen remembers Ingmar Bergman

By Woody Allen
Published: August 12, 2007

Got the news in Oviedo, a lovely little town in the north of Spain where I am shooting a movie, that Bergman had died. A phone message from a mutual friend was relayed to me on the set. Bergman once told me he didn't want to die on a sunny day, and not having been there, I can only hope he got the flat weather all directors thrive on.

I've said it before to people who have a romanticized view of the artist and hold creation sacred: In the end, your art doesn't save you. No matter what sublime works you fabricate (and Bergman gave us a menu of amazing movie masterpieces) they don't shield you from the fateful knocking at the door that interrupted the knight and his friends at the end of "The Seventh Seal." And so on a summer's day, Bergman, the great cinematic poet of mortality, couldn't prolong his own inevitable checkmate, and the finest filmmaker of my lifetime was gone.

I have joked about art being the intellectual's Catholicism, that is, a wishful belief in an afterlife. Better than to live on in the hearts and minds of the public is to live on in one's apartment, is how I put it. And certainly Bergman's movies will live on and will be viewed at museums and on TV and sold on DVDs, but knowing him this was meager compensation, and I am sure he would have been only too glad to barter each one of his films for an additional year of life. This would have given him roughly 60 more birthdays to go on making movies; a remarkable creative output. And there's no doubt in my mind that's how he would have used the extra time, doing the one thing he loved above all else, turning out films.

Bergman enjoyed the process. He cared little about the responses to his films. It pleased him when he was appreciated, but as he told me once, "If they don't like a movie I made, it bothers me - for about 30 seconds." He wasn't interested in box office results, even though producers and distributors called him with the opening weekend figures, which went in one ear and out the other. He said, "By midweek, their wildly optimistic prognosticating would come down to nothing." He enjoyed critical acclaim but didn't for a second need it, and while he wanted the audience to enjoy his work, he didn't always make his films easy on them.

Still, those that took some figuring out were well worth the effort. For example, when you grasp that both women in "The Silence" are really only two warring aspects of one woman, the otherwise enigmatic film opens up spellbindingly. Or if you are up on your Danish philosophy before you see "The Seventh Seal" or "The Magician," it certainly helps, but so amazing were his gifts as a storyteller that he could hold an audience riveted and enthralled with difficult material. I've heard people walk out after certain films of his saying, "I didn't get exactly what I just saw but I was gripped on the edge of my seat every frame."

Bergman's allegiance was to theatricality, and he was also a great stage director, but his movie work wasn't just informed by theater; it drew on painting, music, literature and philosophy. His work probed the deepest concerns of humanity, often rendering these celluloid poems profound. Mortality, love, art, the silence of God, the difficulty of human relationships, the agony of religious doubt, failed marriage, the inability of people to communicate.

And yet the man was a warm, amusing, joking character, insecure about his immense gifts, beguiled by the ladies. To meet him was not to suddenly enter the creative temple of a formidable, intimidating, dark and brooding genius who intoned complex insights with a Swedish accent about man's dreadful fate in a bleak universe. It was more like this: "Woody, I have this silly dream where I show up on the set to make a film and I can't figure out where to put the camera; the point is, I know I am pretty good at it and I have been doing it for years. You ever have those nervous dreams?" or "You think it will be interesting to make a movie where the camera never moves an inch and the actors just enter and exit the frame? Or would people just laugh at me?" What does one say on the phone to a genius? I didn't think it was a good idea, but in his hands I guess it would have turned out to be something special. After all, the vocabulary he invented to probe the psychological depths of actors also would have sounded preposterous to those who learn filmmaking in the orthodox manner. In film school (I was thrown out of New York University quite rapidly when I was a film major there in the 1950s) the emphasis was always on movement. These are moving pictures, students were taught, and the camera should move. And the teachers were right. But Bergman would put the camera on Liv Ullmann's face or Bibi Andersson's face and leave it there and it wouldn't budge and time passed and more time and an odd and wonderful thing unique to his brilliance would happen. One would get sucked into the character and one was not bored but thrilled.

Bergman, for all his quirks and philosophic and religious obsessions, was a born spinner of tales who couldn't help being entertaining even when all on his mind was dramatizing the ideas of Nietzsche or Kierkegaard. I used to have long phone conversations with him. He would arrange them from the island he lived on. I never accepted his invitations to visit because the plane travel bothered me, and I didn't relish flying on a small aircraft to some speck near Russia for what I envisioned as a lunch of yogurt. We always discussed movies, and I let him do most of the talking because I felt privileged hearing his thoughts and ideas. He screened movies for himself every day and never tired of them.

Like all great film stylists, such as Fellini, Antonioni and Buñuel, for example, Bergman has had his critics. But allowing for occasional lapses all these artists' movies have resonated deeply with millions. Indeed, the people who know film best, the ones who make them - directors, writers, actors, cinematographers, editors - hold Bergman's work in perhaps the greatest awe.

Because I sang his praises so enthusiastically over the decades, when he died many newspapers and magazines called me for comments or interviews. As if I had anything of real value to add to the grim news besides once again simply extolling his greatness. How had he influenced me, they asked? He couldn't have influenced me, I said, he was a genius and I am not a genius and genius cannot be learned or its magic passed on.

When Bergman emerged in the New York art houses as a great filmmaker, I was a young comedy writer and nightclub comic. Can one's work be influenced by Groucho Marx and Ingmar Bergman? But I did manage to absorb one thing from him, a thing not dependent on genius or even talent but something that can actually be learned and developed. I am talking about what is often very loosely called a work ethic but is really plain discipline.

I learned to try to turn out the best work I'm capable of at that given moment, never giving in to the foolish world of hits and flops or succumbing to playing the glitzy role of the film director, but making a movie and moving on to the next one. Bergman made about 60 films in his lifetime, I have made 38. At least if I can't rise to his quality maybe I can approach his quantity.

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2009-03-07 23:43:52 6 + 3 = 9 (闷葫芦)

大概不是，里面没提到啥音乐创作~~

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2009-03-07 23:45:39 Joey的第34任女友 (小胖子你真嗲~)

谢谢~
上次看着哪儿说的午夜里那段吉他是献给伯格曼的，一直想看之中的日记。
"If they don't like a movie I made, it bothers me - for about 30 seconds." He wasn't interested in box office results, even though producers and distributors called him with the opening weekend figures, which went in one ear and out the other. He said, "By midweek, their wildly optimistic prognosticating would come down to nothing." He enjoyed critical acclaim but didn't for a second need it, and while he wanted the audience to enjoy his work, he didn't always make his films easy on them.

一直觉得woody是伯格曼精神的传递者。。。

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2009-03-07 23:47:26 Joey的第34任女友 (小胖子你真嗲~)

也可能是我理解错了，英语不够好啊，暗喻都看不懂哈哈。。

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2009-03-07 23:48:34 6 + 3 = 9 (闷葫芦)

小伍还是挺谦虚的，一再声明自己不能与大师们比肩：）

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2009-03-07 23:56:52 Joey的第34任女友 (小胖子你真嗲~)

自谦自嘲一直是woody的风格哈

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2009-03-08 00:00:08 6 + 3 = 9 (闷葫芦)

自大（电影里）也算吧：）

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2009-03-08 00:24:03 郑州李承 (1996年3月3日，杜拉斯去世。)

喜欢woody的朋友可加下面这个群：

QQ群75359686（面向黑暗2群）欢迎你的加入，因为你淡雅平和的文字。

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2009-03-09 15:46:25 Miss Blackhole (get her lazy ass back to work.)

During interview my pants caught fire。。。

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2009-03-09 16:58:37 6 + 3 = 9 (闷葫芦)

找到篇上面伍迪悼文的中译稿，译者不详：

伍迪艾伦追悼伯格曼－－提艰深问题的人

Bergman 去世了。听说这个消息的时候，我正在西班牙北部叫Ovideo 的可爱小镇上拍片。来自某位我们共同朋友的电话，辗转传至片场。Bergman 曾告诉我，他不想在晴天去世。我没在那儿，我只能希望他得到所有导演都梦寐以求的天气。
　　
　　对那些浪漫化艺术家，神圣化创造力的人们，我说过：最终，你的艺术没法拯救你。无论你的作品如何伟大，（Bergman 给我们留下了一长串电影杰作），它们无法阻挡那宿命的敲门声，如同第七封印结尾，骑士和他朋友们的处境。于是，在夏季七月的一天，Bergman，死亡题材的伟大电影诗人，也无法延缓对他自己的召唤。而我生命中最优秀的电影人，走了。
　　
　　我曾经开玩笑说，知识分子把艺术当宗教，是对来生的痴心妄想。当时我的说法是，活在公众的心灵中，不如活在自家公寓实在。当然， Bergman 的影片会流传下来，在艺术馆和电视上播出，被做成DVD贩卖。但认识他的人明白，这对他不过是微不足道的补偿。我肯定，他会非常乐意用自己的一部影片换一年生命。这将给他增加大约60次庆祝生日的机会，多么惊人的产量啊。按照我的想法，新增的时间，他无疑会用在他最最喜欢的事情上：制作电影。
　　
　　Bergman 喜欢过程。他几乎不关心影片的反响。如果受欢迎，他会开心。但他告诉过我，“如果别人不喜欢我的影片，那会让我烦恼 – 大约30秒” 他对票房没兴趣，当制片人和发行商报告周末首映成绩，他只当耳旁风。Bergman 说：到了周中，他们的乐观预计将烟消云散。他乐于听到影评家的喝彩，但从不需要它们；他希望观众能得到乐趣，但也不会为他们把片子弄得简单些。
　　
　　尽管如此，花些力气读他的电影还是值得的。比如说，当你明白The silence 中的两个女人其实是一个人争斗的两面，那么这部神秘的片子就豁然开朗了。如果在看第七封印和魔术师之前先了解点丹麦哲学，肯定也有帮助。但Bergman 的神奇之处，是在于作为一个讲故事的人，他能够牢牢吸引住观众，尽管其素材并不好懂。我听过一个观众走出剧院说，“我不完全理解刚才看的，但每一幕都让我坐得直直的”
　　
　　Bergman 钟爱戏剧，他也是个伟大的舞台剧导演，但其作品并非仅来源于戏剧。他取材于绘画、音乐、文学和哲学。他的作品直刺人性最底层的关怀，令那些平淡的诗歌出彩。死、爱、艺术、上帝的沉默、人际关系的困扰、宗教怀疑的苦恼、失败的婚姻、人们沟通的困难。
　　
　　
　　然而他又是个热情、风趣的人，对自己的伟大天分没什么把握，常常被女士们欺骗。别以为他是个盛气凌人、冷酷沉思的智者，用瑞典口音吟诵深奥的思想，探讨人类在这冰冷世界中的可怕命运。他其实是这样的：“Woody，我做了个愚蠢的梦：我出现在现场可不知道怎么摆弄摄影机了。关键是，我知道我自己挺在行的，而且我都干了好多年了。你做过这种让你紧张的梦吗？” 或者是， “ 你觉得这么做会不会有意思，把摄影机放那儿一动也不动，让演员们在镜头中进进出出？别人会笑话我吗？”
　　
　　如何在电话中回答这样一位天才呢？当时我并不认为是个好主意，但是在他手里也许会出现什么不一样的东西。毕竟，他创造出来探测演员心理深度的词汇也被主流视为荒谬。在电影学校（1950年我在纽约大学电影系，不过很快被踢了出来），移动总是重点。学生被教导说，这些是移动的画面，因此镜头应该移动。教师们过去是对的。但Bergman 会把镜头对准Liv Ullman 和 Bibi Andersson 的脸，一动不动，任时间流逝，然后借助于他的天才，奇妙的事发生了。演员沉浸入角色中，观众没有厌烦，却为之激动颤栗。
　　
　　虽然Bergman 一直被宗教哲学怪想困扰，但他是一个天生的讲故事好手。即使满脑子尼采、克尔凯廓尔，他依然忍不住要娱乐。我常与他电话在中长聊。Bergman 想把对话安排在他住的岛上。可是我从来没接受邀请，安排飞机旅行总让我头疼，而且我也不想坐小飞机去俄罗斯边上的小不点以酸奶为午餐。我们总是讨论电影，当然，我让他来发言。因为听听他的想法和点子受益不浅。他整天给自己放电影，毫不厌倦。各种各样的片子，无声的、有声的。上床前他放点不需要思考的片子，放松自己减轻焦虑，比如007系列。
　　
　　和所有伟大的电影宗师一样，比如Fellini, Antonioni and Buñuel, Bergman 也受过批评。但瑕不掩瑜，这些艺术家的作品激发了全世界数百万人深深的共鸣。真的，那些最懂电影的人们，那些制作电影的人们 – 导演，编剧、演员、摄影、剪辑 –都以最敬畏的心情看待Bergman的作品。
　　
　　因为我多年来对他的狂热赞美，当他去世的时候，许多报纸杂志约我做访谈。似乎除了再一次称颂他的伟大，我还能给这个噩耗带来什么价值。他们问，Bergman是如何影响你的？我说，他没有影响我，他是一个天才，而我不是。天才是无法学习的，否则其魔术就能延续了。
　　
　　当Bergman 在纽约艺术馆作为电影大师出现时，我还是个年轻的喜剧作家、夜总会喜剧演员。我的作品能够受 Groucho Marx 和Ingmar Bergman 的影响？但是，我的确从他那里学到一点，这和天分无关，和才能无关，而且是能够学习和进步的。我所指的东西，通常被叫做职业道德，但其实是最基本的修养。
　　
　　我从他那儿学到，尽我所能在当时拍最好的电影，不向成王败寇的愚蠢世界屈服，不为扮演一个闪耀夺目的导演而让步，而只是拍电影，然后转向下一部。Bergman 一生完成了大约60部，我拍了38。如果我达不到他的质量，至少，我可以向他的数量看齐。

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2009-03-09 19:50:20 Joey的第34任女友 (小胖子你真嗲~)

谢谢楼主。
你真强大。。哈哈

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2009-03-09 20:44:54 6 + 3 = 9 (闷葫芦)

外事不决遛孤狗，内事不决摆百渡：）
那啥吉他音乐大概出自于本组的1个帖（6楼）：
http://www.douban.com/group/topic/4975939/

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2009-03-09 22:58:15 lelia

change mothers 那段
有点意思~
哈哈

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2009-03-09 23:04:27 Joey的第34任女友 (小胖子你真嗲~)

没错，就是那个贴，你还真是什么都能找到。。

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2009-03-09 23:26:07 tp

老头真可爱
谢谢LZ

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2009-03-10 23:45:29 gegemoon (小海豹你就从了吧)

Then she threatened to hop. I hopped, too

这里的第一个hop是“跳槽”的意思，woody在玩文字游戏

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2009-03-11 08:46:58 老中青三结合

支持继续翻译些别的，资源是要拿来利用的

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2009-03-11 11:23:14 6 + 3 = 9 (闷葫芦)

Then she threatened to hop. I hopped, too

这里的第一个hop是“跳槽”的意思，woody在玩文字游戏
---------------------------------------------------
恩，说得很有道理，俺去把这1段改1哈，非常感谢！

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2009-03-12 12:33:55 6 + 3 = 9 (闷葫芦)

汗，可能把最后1段中的“dipped me back”搞错了，看着就不太对！
查了哈，这是个跳舞的动作，可能是指舞者用手揽住舞伴的腰，使对方头朝后仰~~
搞笑的可能是这应该是男舞伴让女舞伴做的动作，在这里却反过来了，不知道俺的理解对不对~~

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2009-03-17 13:30:03 鲸大鱼 (UP)

哈哈哈！

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2009-03-24 18:55:23 woho (db1118)

味道长~~多谢楼主

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2009-04-14 11:19:10 Cooper (我心中有猛虎細嗅薔薇)

哈哈,太可爱了

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2009-04-28 03:37:14 险过剃头 (间歇性吞口水)

hoho这疯老头~~

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2009-05-03 23:41:08 toto

最后一句话挺特别的。。 its lonely at the top...一语双关吗

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2009-05-03 23:52:26 6 + 3 = 9 (闷葫芦)

不太清楚，是不是在说自己的东西曲高和寡？

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2009-05-17 20:06:45 lisa

Super...

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2009-05-18 01:06:09 风景 (逍遥)

好可爱的拽伍。

谢谢卡卡！

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2009-05-18 08:39:19 浅薄与空洞

顶了再看

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2009-05-18 13:41:25 Dy (你今天痔疮了吗？)

好东西呀

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2009-05-18 15:15:02 微泥

太有趣了，比电影本身有趣多了

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2009-06-04 00:35:32 Serilia (所有的事情都得一步一步来~)

想知道woody还写过类似的拍摄日记么？
PS，楼主真是太强大啦~~

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2009-06-04 00:36:58 Serilia (所有的事情都得一步一步来~)

话说怎么找这些拍摄日记呢？
能在new yorker上搜到老伍写的东西么？我笨呐~ 搜不到。。。 — —

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2009-06-04 00:54:51 星期綠 (午安，侯麦先生。)

碎碎念+神经质

在电影中就这样脱稿似的一直说呀说…很可爱

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