Dear students, hello:
特別高興能有機(jī)會(huì)到這來(lái)跟大家有一個(gè)面對(duì)面的一個(gè)交流。其實(shí)要說(shuō)的話(huà)非常多，但是我還是想說(shuō)說(shuō)，是什么時(shí)候開(kāi)始動(dòng)了拍《溫故1942》這個(gè)電影的念頭。
Very glad to have the opportunity to come here to have a face-to-face on an exchange. In fact, very much to say, but I still want to talk about, is what the beginning on the 1942 "溫故" this movie.
大概是在1993年，在一個(gè)陽(yáng)光明媚的一個(gè)下午，王朔從他的客房穿過(guò)堂屋，走到我這個(gè)客房來(lái)，就扔給我一個(gè)小說(shuō)。這個(gè)小說(shuō)是劉震云寫(xiě)的《溫故1942》，我就一口氣把這個(gè)小說(shuō)看完了，非常地受到觸動(dòng)。這個(gè)小說(shuō)里寫(xiě)了1942年發(fā)生在河南的一場(chǎng)災(zāi)荒，大概有三千多萬(wàn)河南人向陜西逃荒，途中有三百萬(wàn)人餓死了。但是我非常吃驚就是，在看他的這個(gè)小說(shuō)之前我完全不了解有這么一場(chǎng)災(zāi)難。當(dāng)劉震云要寫(xiě)這個(gè)小說(shuō)的時(shí)候，去采訪(fǎng)那些幸存的當(dāng)事人的時(shí)候，大家也都說(shuō)記不清了。是不是我們是善于忘記的一個(gè)民族，還是說(shuō)我們這個(gè)民族遭遇的苦難實(shí)在太多了?所以我想，拍這個(gè)電影的意義其實(shí)挺大的，一個(gè)是讓我們大家了解河南發(fā)生，我們中國(guó)歷史上一個(gè)大的悲劇，另外一個(gè)通過(guò)這個(gè)電影，也想一想為什么會(huì)發(fā)生這樣的悲劇，以后還會(huì)不會(huì)發(fā)生。
It was in 1993, on an afternoon of a sunny, Wang Shuo across the room from his room, go to my room, he threw me a novel. This novel was written by Liu Zhenyun "warm 1942", I was relieved to read this novel, very touched. This novel is written in a famine that occurred in 1942 in Henan, about about thirty million people in Henan to Shaanxi to flee, they will have three million people starved to death. But I am very surprised, I don't know there is such a disaster before reading his novels. When Liu Zhenyun wrote the novel, to interview the surviving party time, everybody also said can't remember. Is it right? We are one people good at forgotten, or that our nation has suffered too much? So I thought, this movie meaning actually is quite big, one is let us know Henan, a big tragedy we Chinese history, another through this film, also think about why such a tragedy, it will not happen.
所以，溫故而知新，我覺(jué)得非常的重要。這個(gè)電影就像一個(gè)鏡子一樣，照見(jiàn)了我們自己。你看我長(zhǎng)得是挺寒磣一個(gè)人，因?yàn)橛戌R子，所以我知道我長(zhǎng)得寒磣。倘若沒(méi)有這鏡子，我可能會(huì)把自己想象得特英俊，特別的器宇軒昂。但是當(dāng)你照到鏡子的時(shí)候，你發(fā)現(xiàn)跟你想的不一樣。我覺(jué)得盡管我看到這一切的時(shí)候會(huì)很不舒服，但是比我不知道要強(qiáng)一點(diǎn)。所以《一九四二》也是照見(jiàn)了我們的民族性里的一部分不堪。雖然我覺(jué)得我們的民族肯定是在世界民族之林是優(yōu)秀的，否則的話(huà)我們也不可能走到今天。
So, again, I think is very important. This movie is just like a mirror, on our own. You see I have is quite ugly one, because there is a mirror, so I know I'm ugly. Without the mirror, I could imagine ourselves very handsome, very One's deportment is dignified. But when you look in the mirror when you found, that's not what you think. I think I saw it all the time will be very uncomfortable, but I don't know a little stronger. So the "one nine four two" is also picked out a part of our identity in. Although I think that our nation is certainly among the nations of the world is good, otherwise we wouldn't be here.
我不是一個(gè)特別有責(zé)任感的人，但是因?yàn)楸粍⒄鹪频倪@個(gè)小說(shuō)擊中了我的內(nèi)心，于是我跟震云說(shuō)，能不能把它拍成電影。劉震云說(shuō)不著急，再等一等。我覺(jué)得他說(shuō)不著急再等一等，并不是他不想把它拍成一電影，他肯定是對(duì)我不信任。因?yàn)槟莻€(gè)時(shí)候我還沒(méi)有拍過(guò)任何一部電影。時(shí)間到2000年的時(shí)候，元旦過(guò)年中的一個(gè)晚上，震云找到我，我們倆包的餃子，喝了一頓大酒，然后他開(kāi)始跟我說(shuō)，兄長(zhǎng)我今天找你來(lái)是想把《一九四二》這孩子托付給你。我聽(tīng)后特別特別興奮，于是我們就找了很多的專(zhuān)家、很多的導(dǎo)演來(lái)討論。大家有一個(gè)共識(shí)——這個(gè)小說(shuō)是一個(gè)非常好的小說(shuō)，但是它非常不適合改成電影，因?yàn)檫@個(gè)小說(shuō)既沒(méi)有故事也沒(méi)有具體的人物，也沒(méi)有情節(jié)。大家散去，我就跟震云蹲在我那工作室外頭的樹(shù)蔭底下，我就問(wèn)他：怎么辦?震云問(wèn)我你還想干不想干，我說(shuō)想干。接著震云跟我說(shuō)，我覺(jué)得把一個(gè)可能的事變成可能的工作，很多人都在做，只有很少的人在做的事，是把不可能變成可能，但是把不可能變成可能是非常有意義的一件事。
I am not a special person who has sense of responsibility, but because the fiction of Liu Zhenyun hit me, so I told the earthquake cloud said, can turn it into a movie. Liu Zhenyun said not to worry, wait. I think what he said is not anxious to wait, is not he doesn't want to make it into a movie, he is certainly not to trust me. Because at that time I haven't taken any movie. Time to 2000 when, a night of new year's day have the Spring Festival earthquake cloud, I find, we made dumplings, drank a big wine, then he said to me, brother, I find you to want to "one nine four two" this child to you. I especially excited, so we can find a lot of experts, many directors to discuss. We have a consensus -- the novel is a very good novel, but it is not suitable to a film, because the novel is no story, no specific figures, there is no plot. Everyone dispersed, I squatted in my studio outside of the tree with earthquake cloud, I ask him: how to do? Earthquake cloud asked me if you still want to do or not to do, I said. Then the earthquake cloud said to me, I think that one might happen that might work, many people are doing, only a few people do, is to make the impossible possible, but not become possible is a very meaningful thing.
怎么把不可能變成可能?肯定是非常難的。有兩種方法，一種是聰明人，很聰明的編劇，首先要知道我寫(xiě)這個(gè)劇本，我不要走彎路，我不能繞遠(yuǎn)，不做無(wú)用功。還有一種編劇，是笨人，用的是最笨的方法，他是在路上走出來(lái)的，就是說(shuō)他不知道哪條路是他要走的路。怎么辦呢?把每條路都走一遍，這種編劇很笨，做了很多的無(wú)用功，但是有一條就是他真的找到了。他是因?yàn)榘l(fā)現(xiàn)，他走了很多的冤枉路，然后他發(fā)現(xiàn)這條路是我要走的。我跟震云說(shuō)，我說(shuō)咱們倆肯定是那笨的人，所以咱們得選擇笨的方法。震云說(shuō)好，我就等你這句話(huà)。
How to make the impossible possible? It is very difficult. There are two ways, one is the smart people, smart screenwriter, first you should know I wrote the script, I not detours, I can't go, not made useless. There is also a screenwriter, stupid, use is the most stupid way, he was out on the road, it is said that he didn't know which way is the way it goes. What shall I do? Every path, this writer is stupid, do a lot of is futile, but one that he really found. Because he is found, he went to a lot of the way, then he found this is the way I go. I told the earthquake cloud said, I said we're sure is that stupid people, so we have to choose. zhenyun said, I will wait for you this sentence.
我們工作室六個(gè)人一起上路，我們走了幾個(gè)月，我們首先沿著小說(shuō)的這個(gè)線(xiàn)索，河南、重慶、開(kāi)羅，經(jīng)過(guò)幾個(gè)月的采訪(fǎng)、摸索，這個(gè)劇本就浮現(xiàn)出來(lái)了。這個(gè)劇本幾起幾落，都沒(méi)有拍成，我光成立攝制組就成立了三次，大張旗鼓地選景、找演員，最后幾次折騰下來(lái)，我開(kāi)始意識(shí)到，可能在我的有生之年沒(méi)有機(jī)會(huì)，或者說(shuō)在我能夠有創(chuàng)作精力、有這樣的沖動(dòng)的時(shí)候、有這樣的體力的時(shí)候，可能沒(méi)有機(jī)會(huì)把這個(gè)小說(shuō)拍成電影了。這期間我拍了很多其它的電影，在這個(gè)過(guò)程中，因?yàn)橄肱牡臇|西一直沒(méi)辦法拍，所以我可以全心全意地走一個(gè)商業(yè)片的道路，然后把這條道走得很通。這是一條什么路呢?就是充分尊重觀眾。然后讓我自己也覺(jué)得好玩，也有意思，我覺(jué)得也不惡心。就是這樣一些片子形成了一個(gè)很高的人氣。對(duì)我來(lái)說(shuō)，就是所謂的大家說(shuō)的品牌。這個(gè)品牌是什么呢?就是觀眾對(duì)我的電影有個(gè)基本的信任，而剛好在這種影響力、力量最大的時(shí)候，終于在2010年又賊心不死地把《溫故1942》的劇本放到案頭上。之所以在拍攝《一九四二》這條路上這么坎坷，有這么多阻力，這么不順，其實(shí)是因?yàn)槟銢](méi)準(zhǔn)備好。這是一好東西，你想干可以，你要做一個(gè)很好的準(zhǔn)備。可能到2010年的時(shí)候，覺(jué)得你準(zhǔn)備的差不多了，可以拍了，所以這電影就拍出來(lái)了。
Our studio six people together on the road, we go a few months, we first along this clue novels, Henan, Chongqing, Cairo, after several months of interviews, exploration, this script will emerge. The script several ups and downs, all has not finished, I light up crew set up three times, put up a pageantry chose the scenery, looking for actors, last toss down, I began to realize that, there may be no chance at me the rest of one's life, or when I can have the creative energy, so when the impulse, this manual, may not have the chance to put the novel into a movie. During this period, I took many other films, in this process, because want to take things always can't shoot, so I can put one's heart and soul into walk a commercial road, then take the road very. This is a what road? Full respect for the audience. Then let me feel funny, funny, I didn't feel sick. This is some of the film formed a very high popularity. For me, is the so-called "we said that the brand. What is the brand? The audience is the movie have a basic trust, and just under the influence, the biggest power, finally in 2010 and the "溫故" zeixinbusi 1942 script on the desk. During the filming of "the one nine four two" this road so bumpy, there is so much resistance, so is not smooth, but because you are not ready. This is a good stuff, you want to do, you want to make a good preparation. May to 2010 when, think you are almost ready, can shoot, so this film shot out.
《一九四二》我覺(jué)得是我們?cè)谒械闹袊?guó)電影，向著一個(gè)商業(yè)大潮洪流裹挾著沖過(guò)去的時(shí)候，我們突然獨(dú)樹(shù)一幟地殺了一個(gè)回馬槍?zhuān)@個(gè)叫大清新。有個(gè)詞叫小清新，我覺(jué)得《一九四二》是大清新。我們就是想做別人不敢做的那些事，我覺(jué)得沒(méi)關(guān)系，對(duì)于我個(gè)人來(lái)說(shuō)，我覺(jué)得我出名、得利，我名利早就雙收了。名利雙收了有兩種情況：一種是我就享受所有這些名利帶來(lái)的好處，還有一種就是我就敢于把這些東西壓上去，去做我非常想做的那件事。也許我揮霍了觀眾這么多年來(lái)，我積累起來(lái)的對(duì)我的信任。在《一九四二》這部電影上，但是我認(rèn)為，我更相信是由于《一九四二》我又建立起來(lái)了更大的一個(gè)信任。
"One nine four two" I think we all China film, toward a commercial tide torrent carried through time, we suddenly become an independent school to kill a Parthian shot, this is called the big fresh. There is a word called small fresh, I feel that "one nine four two" is fresh. The things we wanted to do what others can't do, I think never mind, for me personally, I think I became famous, enrichment, I fame had double the. Gain both fame and wealth have two situations: one is I will enjoy all the benefits of the fame and fortune, and one I dare to put these things up, that thing to do I really want to do. Maybe I squandered the audience for so many years, I accumulated to trust me. In the "one nine four two" this movie, but I think, I believe that is because of "one nine four two" and I set up a trust more.
我發(fā)現(xiàn)尤其是年輕的觀眾，他們看完這個(gè)電影之后，有一個(gè)特別強(qiáng)烈的感受，就是走出電影院的時(shí)候，突然意識(shí)到自己很幸福。你看完這個(gè)電影你會(huì)知道，如果你生在1942年的河南，你真的是叫生不逢時(shí)。你會(huì)覺(jué)得在今天，你怎么想你遇到的所有的挫折，你都不會(huì)想我給餓死了。跟餓死了相比，咱們目前的這些挫折、這些的不幸，其實(shí)都不在話(huà)下。張國(guó)立他說(shuō)演完了這個(gè)戲，他有一個(gè)特別大的體會(huì)，就是饑餓和人的尊嚴(yán)。這種關(guān)系，經(jīng)常我們聽(tīng)到一句話(huà)叫：不為五斗米折腰。是不是咱們經(jīng)常說(shuō)，一個(gè)人特別有氣節(jié)，不為五斗米折腰。我拍完《一九四二》，我就有這么一個(gè)感覺(jué)，不為五斗米折腰的這些人，他一定是家里頭擱著有五斗米，或者十斗米，或者十旦米，他是不為你給他這五斗米折腰。如果家里老婆孩子嗷嗷待哺，你弄不會(huì)這口吃的去，年邁的父母、妻兒老小，全都得餓死，我就真的不相信他不折腰，一斗米什么事都能干，只要為了能活下去。貧窮使人變得更加的自私，目光短淺，因?yàn)樗床坏竭h(yuǎn)處，他只能看錢(qián)。我怎么能夠活下去，怎么能夠湊合地活下去。在1942年，什么是尊嚴(yán)?尊嚴(yán)就是肚皮。所以到今天國(guó)家開(kāi)始，變得富強(qiáng)一些了，你才可以討論有沒(méi)有尊嚴(yán)這件事。所以我也希望大家，我這個(gè)也不是說(shuō)唱一高調(diào)，應(yīng)該通過(guò)看這個(gè)電影你知道，你能夠活在今天，你是很幸福的。
I found especially in young people, after they finished the film, with a particularly strong feeling, it is out of the cinema, suddenly aware of the very happy. You'll know that you, if you was born in Henan in 1942, you really are called Born Under A Bad Sign. You will feel today, what do you think of all the setbacks you encounter, you don't want me to die. Compared with starved to death, we present these setbacks, these unfortunate, in fact be nothing difficult. Guoli Zhang said after the show, he had a great experience, hunger and human dignity. This relationship, we often hear a word called: do not yield. Is it right? We often say, a person in particular has integrity, do not yield. I finished "one nine four two", I would have such a feeling, not for these people bow to reality, he must be home resting there are five, or ten bucket meter, or ten Dan meters, he is not for you to give him this handout. If the home wife and children cry piteously for food, you can not this stuttering, elderly parents, a married man's entire family, all have to starve to death, I don't really believe that he did not bow, a bag of rice what things do, just in order to survive. Poverty makes people more selfish, short-sighted, because he does not look into the distance, he can only see the money. How can I live, how can do to live. In 1942, what is dignity? Dignity is the belly. So today the country began to become prosperous, some, you can discuss this matter with no dignity. So I hope everyone, I this is not a high-profile, should look through this movie you know, you can live in today, you are very happy.
最后我也想把我們電影開(kāi)始的那段旁白用河南話(huà)跟大家說(shuō)說(shuō)： “1942年冬到1944年春，因?yàn)橐粓?chǎng)旱災(zāi)，我的故鄉(xiāng)河南發(fā)生了吃的問(wèn)題?！迸c此同時(shí)，世界上還發(fā)生著這樣一些事，斯大林格勒戰(zhàn)役、甘地絕食、宋美齡訪(fǎng)美和丘吉爾感冒，謝謝。
Finally, I want to put that aside we film began to use the Henan words tell us about: "the winter of 1942 to the spring of 1944, because of a drought, had eating issues in my hometown Henan." At the same time, the world also has this thing, the battle of Stalingrad, Gandhi, Song Meiling and Churchill visit a hunger strike, thank you
