整个采访，他表情洋溢着资产阶级的愉悦、健谈，能感受到他十分喜爱他的电影事业，对成功的享受和对世界的忧虑以在他达成融合，非常承认这个世界，正如地陷入其中他活着。像众多电影导演一样，信仰自己的观点，表达自己的观点语气肯定，礼貌地敷衍记者的理解，对记者水平的批判在对话中掩藏得很好。
H- After having made two films restricted in scope to one family, a glimpse into one family, I wanted expand the spectrum and take a glimpse into "society". That was the goal because, by making a trilogy, I wanted to kind of change the point of view.
1 COLDNESS
- What makes it a trilogy?
- It was my portrait of what I know about this society in which I live, about its coldness and everything that's been endlessly discussed.
这是我个人对我生存的社会的画像。关于它的冷酷，以及一切一直被谈论的问题。
because now it's become a bit...I once made the mistake of saying that this film, this trilogy is about glaciation. That's hounded me ever since and it's why I now have difficulty talking about it.
因为现在它有点。。。我曾经错说着三部曲是关于冰川的， 搞得现在很难解释。
I always have trouble with the labels people put on a director or a film, because I'm always trying to be more complex than what those words boil down to.
我总觉得很不好处理那些人们贴的标签， 因为我会去着重超越那些标签词语本身更复杂的意义。
2 COMMUNICATION
This entire trilogy, if you like, is also about the theme of communication that fails to communicate.
这三部曲，你可能会觉得，也是关于交流覆灭交流的主题。
That's it. Personally, that's the impression that strikes me the most, and I always attempt to broach that topic in my films, because we talk and talk but we never communicate.
对我来说，这个印象是所有中最震撼我的。我总是想在电影中深入讨论这一点。因为我们说说说，却从未交流。
and it gets worse with intimacy. The closer we are, the less we talk.
这对亲切感更糟。
［I am sorry, i didn't catch what you said?］［sorry to disturb you.］
3 FRAGMENTARY
-By the idea that reality is always fragmentary. We can grasp reality solely through fragments...
有个说法是现实是碎 片式的。我们只能通过碎片领悟现实。。。
-We can access nothing but fragments, because that makes up our everyday experience.
我们唯一的媒介就是碎片。因为每天的经历是由碎片组成的。［当代生活方式］
we see very little. we understand even less. yet in mainstream cinema, we always pretend to know it all. that annoys me.
其实我们看得少，明白得少。但我们在主流电影中装作全都看明白了。
In 20th century literature, or at least in literature from the second half of the 20th century, not a single writer dared to write with the pretension of knowing it all.
二十世纪文学，或50年代后期的二十世纪文学，［现代文学］没有一个作者敢装作知道一切。
it's only via fragmentation that a story can be told honestly. so we divulge little pieces, and the sum of these pieces, slightly widens the possibilities for the audience to choose from, to relate them to their own experiences.
只有通过碎片话故事才能被真诚地讲述。我们泄露碎片，然后连贯在结构中。一点点打开观众取舍的可能性，勾起他们自己的经验。
in other words, to provoke the viewers to kick-start their intellectual and emotional engines, into motion, into production.
去唤醒观众的智与情，运作然后生产。
it's the same with music. you have a theme and a counter-theme, then you build a structure with which you can open up the universe of the sonata. it's similar. Screenwriting is a very technical task with a psychological background, of course. How will the viewer react? When you make a film, you must always think about how the viewers will react.
剧本写作是个技术工作，心理学的背景，你要考虑观众的反应。
i wanted to create typical extracts or fragments that would be recognisable, not understandable, but recognisable. that's something eles.
写作典型的点睛片段，可认同的，而非仅仅可理解的。［不觉得可理解和可认同是导演能够掌控的，导演能做的只是“希望”、“但愿”是这样。］
4 CONTRADICTORY
cinema often pretends to portray a totality. 'a character is this.' A character is never just this, they're that, as well, and all the 'as wells' are usually contradictory.
电影总是假装要刻画一个整体。一个人物是这样的。其实一个人物绝不仅仅是这样的，他常常是矛盾的。
That's what imbues life with richness, and irritation, too.
这是生活中为什么既丰富又苦闷。
A work of art irritates because we're used to getting the solutions that explain why a person is like that. but in real life, you never know why.
一个艺术作品让人不愉快，因为我们习惯于为问题找原因解决。但现实生活是，没有原因，没法解决。
you may have a suspicion or an idea, but this idea can be completely wrong.
-but don't you think that cinema reveals as much as it hides?
-it can reveal as much as it hides. it depends. Again, it depends on the structure, because if you only show a character in a situation, you know nothing. you know only the situation. you know the situation, maybe. and you can say, 'it's this type of situation.' This, for example, is an interview situation. But you don't know, why the character is there, why he speaks in this manner, et cetera.
so when you are making a film, the secret, or the obligation, is to make this contradictory enough to give the illusion of life's richness.
电影可能展示得和隐藏得一样多，要看结构［结构是做电影的王道－时间的王道］。一个人物在一个情形中，你只能领会情形，不会领会人物，因为你不知道来龙去脉。所以拍电影是要注入足够多的矛盾，将生命之丰富呈现在被矛盾填充的幻象中。
in screenwriting, you always strive to find a balance between clarity and precision, on the one hand, so that you describe a situation very precisely, but without making it so typical that you see the finger pointing out, 'look, this is it.'
写剧本时，你总努力在明晰和准确之间找平衡，就是说你准确地刻画一个情形，但并不典型到把它点破。
And that is where the challenge of the writing lies, to always find a situation that will allow me to be typical without being too facile, too flagrant. from time to time, it works, and other times, it fails.
这是写作的挑战所在：总去寻找一种情形，典型，而不草率不显然不鲁莽。
it's dangerous, but....when talking with my students, i always say that in billiards, you can hit the ball directly or you can bank the ball. it's always better to bank a shot than to hit the ball directly. ［circuitous tactics］ The challenge of screenwriting is to seek out situations that make sufficient use of banking to avoid being too flagrant, too explanatory, too didactic.
写作的挑战就是寻找情形，充足地利用它迂回表现，避免直白化、说明化、说教化。
［i'd like to see you in my situation. it happens to us all. just for a second. so your family life isn't disturbed.］
5 LONG SHOT
Each syllable was written. Nothing was improvised. He begins, he changes topic, he resumes in a different way. It was difficult to memorize. 每个音节都写在剧本，没有任何即兴。他换话题，岔开继续。很难去记忆。
- it's a single shot?
- it's a fixed shot, yes. Lasting nine minutes.
-it's important to set challenges...for the director and the actor. There are challenges to capturing reality. You must really capture reality in cinematic time...
-yes, because if we had cut... another long shot is the ping-pong shot. if we had done it in a way that just conveys the information, a young man playing against a machine, it lasts a minute, everyone understands, end of story. No. Because the scene lasts as long as it does, you come to another understanding. there 's the secret lies in the length. length must be determined by imagining how i, as a viewer, would react when watching this. At first, I see a boy playing. soon, i tell myself, 'i get it, next scene', as typically happens in movies. then, it amuses me. then, it infuriates me. then, it tires me. then, i say, 'lets see where this goes.'
因为场景被延长［长镜头］，你理解到其他层度。在延长的长度中有秘密。你要想象观众看时会如何反应，以此决定镜头长度。［格物致知］比如，理解－看出了兴致－为之不舒服、愠怒－最后对之疲劳。
and at one point, i begin to watch. and to have a respiration that lasts the right amount of time is difficult to achieve. it's true of this long scene, as it is of other scenes, such as in Code Unknown. That's always the secret and it's a musical matter.
6 VIOLENCE
that was my impetus for telling this story, this boy's story, which was plastered all over the media here.
-what struck me is that this child steals a comic book and a camera. what does he want? he wants the imaginary.
- right, because he's had an unpleasant life. what has he learnt? when he entered this society, at least, he learned that 'beauty' is found only in false images. so, naturelly, it's normal to try to adapt to that, to participate in this incredible lie.
- there's guilt. there are themes somewhat...yet at the same time, you don't want to direct us toward generalities. 你不想把我们引向一概而论。
-no, but it's like what we were saying rather simplistically about violence. i think we sense the violence insofar as it's never shown.
这就像我们总是很简单地谈论暴力。基本上我们对暴力的感受就像看平常事物一样。
i think we also sense the beauty and grace, whatever you will, in the way that we avoid portraying it.
我觉得我们在用一种规避写真的方式感知美。it exists only in the.. in that sense, you can say there's a metaphysical quality,它只存在在，可以说，形而上的品质里。
but i think in these times if i portray, or try to portray beauty, it immediately becomes a lie.
但我觉得在这些时候，如果我去呈现美，它只能变成谎言。
so only by not showing it, can you evoke it in the viewer's reaction. that's my opinion.
因此我认为，只有不呈现它，你便能在观众心中唤醒它。
there's a quote from Adorno that I love. It goes like this, ''Art is magic delivered from the lie of being truth.'' 艺术是一种魔法，通过作为真理的谎言呈现。
if you achieve that, not pretending to know what it's about, but to... why... i often ask myself why. i'm so happy when confronted with a work of art. life without art is unimaginable for me. and why does it make me so happy? that's the question, and it's difficult to answer because it's a ... in an era when God has ceased to exist, there's a remnant desire for another world.
为什么我热爱艺术，这个问题很难回答。当一个时代失去了神，世上剩下的是对另一个世界的想往。
by another world, i don't mean paradise, but another image of the world. 另一个世界－这个世界的另一种模样。
and i believe you can only evoke it by avoiding its portrayal, because otherwise it immediately becomes banal.
你只能通过不去刻画以唤醒它，反之那刻画就变成平庸。
and if you stimulate the desire for it, by pointing to what's false, you've found the best way to evoke it.
但如果你通过呈现它的反面，激起人们对它本身的向往，是最好的办法。
i am not religious..well, what does it mean to be religious? i am not catholic. naturally, these films are also the expression of a desire for a better world. that's normal, i think. because if we were content with ...art has never, at least, dramatic art has never agreed with the status quo. that's normal.
艺术总在追求更好的世界，这很正常。剧情艺术从未妥协过人的生存现状，这很正常。
we should always rebel against what's false, against what's evil. how can you do that in cinema? by showing it, i think. by showing it in manner that makes you crave an alternative.
如何用电影表达这种对美好世界反面的挣扎？靠展现。用一种特别的态度展现出来，让人渴望。［其实方法很简单，犯罪的事儿让天真而生活痛苦的孩子做，长镜头让人经历忍受生命不能忍受之苦，让人经历生命中不能解释之痛］
and avoid to turn the violence into a consumable commodity. The mainstream tends to do that. it makes even the most despicable aspects of the world.
主流电影消费暴力，这是这个世界最卑鄙的一面，消费商品化。
it's the manifestation of the spirit, there's a Latin word I can't think of. ［ Animus & Anima ］. It's not coming to me.
the duty of art, of all forms of art, naturally, its to nurture this desire, which is the most beautiful thing on earth. 艺术的任务就是培育这种对阿尼玛灵魂的向往，是世上最美的东西。
7 WORKING
i give myself a deadline. i tell myself, 'i must finish up to here.' i schedule my time, very disciplined. I must write at least two pages a day. and i don't leave my desk before finishing them. even if i throw it away the next day.
-there are no second chances. the camera are rolling. the only really big annoyance is the time crunch. every morning you are scare of what will happen. but the editing process in and of itself it's pure pleasure because that's when the film comes alive. that's when you see if your vision what you tried to create, works. there's no stress because you have time.
- an artisan, someone doing his job.
- sound editing, it really comes alive when you add sound. with the sound design, you can greatly improve things. even things that you botched, you can fix them with little sound effects. and if it all comes to life, its incredibly... i love it.
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