王全安谈团圆和中国电影现状

德国之声中文网

中国导演王全安的新作“团圆”是第60届柏林电影节的开幕影片,因此受到极大关注。而王全安本人也于柏林电影节非常有缘,曾经凭借“图雅的婚事”一片拿下金熊奖。在电影节期间,德国之声记者对王全安进行了专访,听听他对“团圆”这部影片以及中国电影现状的看法。

德国之声:您是柏林的常客,这次来的感觉有什么特别之处呢?与第一次来柏林相比如何?

王全安:我第一次来是因为放映“月蚀”,是在2002年,那会儿柏林电影节跟我都比现在要年轻。我当时是参加青年导演论坛单元。那是我第一次在德 国过年,近十年我有一半都是在德国过年,可以说随着参加柏林电影节次数的增加,也就越来越让我觉得柏林是家的感觉,因为一到过年我就在德国“团圆”了,有 这种感觉。

德国之声:您刚才提到了“团圆”,这次柏林电影节的开幕影片就是您的“团圆”。您出生于陕西延安,是北方人,但这部电影的场景完全是在上海,还有大量的上海话对白。回到中国市场之后,您对票房没有担心吗?

王全安:我想电影的类型是有各种各样的,功能也不一样,拍电影的时候诉求也不一样。在你选择拍这种电影的时候,你就已经想好了,比如说它不会是一个大成本 的制作。我现在拍这种电影,以在中国的一点江湖资历,控制在1000万到2000万之间,在发行方面平衡的话,成本比较低,而且在国际市场上再加上一点国 内市场,基本上能够解决商业上的问题。尽管如此,这部电影拍摄的初衷,不管是制片人还是导演,不是以谋取票房为主要目的的制作。

德国之声:谈到票房,很多媒体评价认为中国电影目前出现比较奇怪的现象,电影作品大量产生,票房也都不错,但总体质量却令人不敢恭维。您认为商业化对中国电影究竟起了什么影响和作用呢?

王全安:我觉得从一种进展上讲,对中国电影而言应该看它之前的处境。现在中国电影进入了商业时代,也就是娱乐化的时代。对电影的定义,比起以前的 宣传说教功能而言,显然是进步了。而且更加宽泛,宽容,而且电影随着经济上的回收和投入,更趋向于工业化,对一个国家的电影发展而言是非常非常大的进步。 当然在这个过速的发展中间,跟中国的所有问题一样,正如解决经济问题,还有表现发展的一些东西,比如建筑等,可以一夜之间一蹴而就。但是这种投机取巧的做 法跟心智的成长是违背的。应该是一步一个台阶走。这就是我们遭遇的问题。有的事情是无法取巧的。比如“阿凡达”这个电影,对中国电影人而言绝对是一个重磅 炸弹,因为它全球票房可能比中国整体上一年的票房还要高。这样的事情中国人肯定是很羡慕的,尤其是制片人们。但是我的感受是,另一方面,中国的制片人还有 一些商业导演肯定对卡梅隆这样一个世界上最能赚钱的导演花十多年去做这样一个电影表示非常不屑。觉得这种东西花这么长时间,卡梅隆应该每年拍上四、五部。 所以我们对电影这个事物的理解还不够成熟,过于贪婪,过于短视,像一种开发,只砍树不种树一样,很快会遭遇资源的危机,现在的电影已经出现这种问题。不断 重复,重拍,大小名著都翻拍多少回了,为什么这样呢?就是想付出的更少,得到的更多吧。但这个东西就是一个嘲讽,最终还是得不到想要的。我建议中国电影应 该建立在现在的基础上趋向于宽容,更丰富,丰富它的类型。不能说只要赚钱的部分。赚钱的部分如果说是主流,应该是像人的躯干。而艺术片,带有一些思考探索 的电影,从某种程度上说是电影的大脑,它决定未来的方向,在类型上,在输送人才,在创造上,提供新的血液的功能。如果说大脑的功能是多余的,吃饭走路都在 中间那块,那就导致像一个无头苍蝇一样,来回乱撞。

德国之声:您在新闻发布会上说,“团圆”这部电影可能创下了中国电影审(虎年快乐)查的一个纪录,送审一周左右就通过。但是与此同时,我们看到比 如一些和您同辈的,被称为“第六代导演”的电影却经常遭到审(虎年快乐)查,而无法过关,或者大量删减,有些导演因此甚至被称为“地下导演”。您对中国的 电影审(虎年快乐)查制度怎么看呢?这对你们这些“第六代导演”的影响有多大?

王全安:(审(虎年快乐)查制度)显然是有变化的。我觉得处在之前这十年的中国电影形态主要受到“六(虎年快乐)四事件”的影响。环境变得非常紧 张,外部对中国有很严厉的一个看法,很希望听到不同的声音,国内本身就非常紧张,是在这样一个状态下。这几年之后,慢慢变得松弛,这还真是东方有东方的解 决问题之道,和西方确实不太一样。(审(虎年快乐)查)松弛之后别的事情还在发展,商业在发展,商业的发展势必渐渐地影响到了体制的变化和跟进。我个人的 理解,中国的电影环境目前最大的困扰已经不再是审查的问题。审查一方面是政(虎年快乐)治上的,制度性的,更是一个对事物的理解力的问题。把握制度的这些 人对这些事情的理解已经变得松弛多了。所以真真困难的是电影本身。反倒是中国的电影人因为长期躺在有局限的这么一个体制里,他也习惯了当一个愤怒的人,而 疏于对本身从事职业的探索。其实,真正难的是电影本身这个职业。其实我老对身边的人讲,如果你真地去了解了这个环境的话,面对这个环境的话,其实你应该意 识到你为这个世界创造点什么的时候到了,而不是去诉说、诉苦。所以我经常对他们说,假如没有审(虎年快乐)查的问题,我想听听你有多棒。因为好电影永远是 十分罕见的,在我看来,真正困难的是艺术。就是说,德国、美国、法国都没有电影局,但是好的导演依然很罕见,就足以说明这个职业本身是多么的困难。所以如 果哪个导演他在这个职业方面还有希望,还有天资,我就希望他把这些集中在他的职业上,而不是其他的东西。

采访记者:石涛

责编:潇阳

This entry was posted on 星期一, 02月 15th, 2010 at 9:23 下午 and is filed under 转帖. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.

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