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ANJALI RAO, TALK ASIA
¡¶ÑÇÖÞÃûÈËÁÄÌìÊÒ¡·°²×ËÀö

Hi, I'm Anjali Rao at the Hong Kong premiere of Asia's most expensive ever film, Red Cliff. My guest today is the director who worked his way up through Hong Kong cinema to direct some of Hollywood's biggest names. He's John Woo and this is Talk Asia.
àË£¬ÎÒÊÇ°²×ËÀö£¬ÕâÀïÊÇÏã¸ÛÒ»³¡µçÓ°Ê×ӳʽµÄÏÖ³¡£¬¶øÕⲿµçÓ°ÕýÊÇÑÇÖÞÓÐÊ·ÒÔÀ´Ôì¼Û×î¸ß°ºµÄӰƬ¡¶³à±Ú¡·¡£ÎÒ½ñÌìµÄÀ´±ö£¬ÊÇһλÔÚÏã¸ÛµçÓ°½çһ·´òÆ´£¬Á¦ÕùÉÏÓεĵ¼ÑÝ£¬ºóÀ´Ö¸µ¼Á˲»ÉÙºÃÀ³Îë¾ÞÐÇ¡£Ëû¾ÍÊÇÎâÓîÉ­£¬ÄúÊÕ¿´µÄ½ÚÄ¿ÊÇ¡¶ÑÇÖÞÃûÈËÁÄÌìÊÒ¡·¡£

John, it's fantastic to have you on Talk Asia today. Now, you've just finished Red Cliff, the most expensive Asian movie ever made. It's a huge blockbuster with massive, elaborate sets and cast of thousands. Are you glad that it's finally over?
Îâµ¼£¬Õæ¸ßÐËÄܹ»ÑûÇëÄãµ½½ñÌìµÄ¡¶ÑÇÖÞÃûÈËÁÄÌìÊÒ¡·½ÚÄ¿¡£Äã¸ÕÅÄÍêÁË¡¶³à±Ú¡·£¬ÕâÊÇÑÇÖÞÓ°Ê·ÉÏÔì¼Û×î¸ßµÄÒ»²¿Ó°Æ¬¡£ÕⲿÂô×ù¾ÞƬÓÐÐí¶àÅӴ󷱸´µÄ³¡¾°£¬¶øÇÒÓкü¸Ç§È˲ÎÓëÑݳö¡£ÄãÊDz»ÊǺܸßÐËÖÕÓÚ°ÑÕⲿӰƬÅÄÍêÁËÄØ£¿

JOHN WOO, FILM DIRECTOR
µçÓ°µ¼ÑÝ¡¡ÎâÓîÉ­

I must say that is the hardest movie I have ever made. I mean it's spent a lot of money, I spent a lot of time, but it is one of my dream project[s]. I have been dreaming to make this movie for over 20 years. Now, at last, you know I have such a good opportunity to make it, and when I find [found] out it got so much success in everywhere£¬ that make[s] me feel very, very pleased.
µçÓ°µ¼ÑÝÎâ×ÖÉ­ÎÒ±ØÐë˵ÕâÊÇÎÒÅĹýµÄ×îÐÁ¿àµÄÒ»²¿Ó°Æ¬£¬»¨Á˺ܶàÇ®£¬Ò²»¨Á˺ܶàʱ¼ä£¬µ«ÕâÊÇÎÒÒ»Ö±ÒÔÀ´µÄÃÎÏë¡£ÎÒÏëÅÄÕⲿӰƬÒѾ­ÓÐ20ÄêÁË¡£ÏÖÔÚ£¬ÎÒ×ÜËãÓÐÕâôºÃµÄ»ú»á¿ÉÒÔÅÄ£¬ÊºóÓÖ·¢ÏÖÕⲿ×÷Æ·ÔÚ¸÷µØ¶¼´ó»ñ³É¹¦£¬ËùÒԸе½·Ç³£ÐÀο¡£

ANJALI RAO, TALK ASIA
¡¶ÑÇÖÞÃûÈËÁÄÌìÊÒ¡·°²×ËÀö

What were the most challenging parts of the film for you?
Äã¾õµÃÅÄÕⲿӰƬ£¬×îÀ§ÄѵÄÊÇÄĸö²¿·Ö?

JOHN WOO, FILM DIRECTOR
µçÓ°µ¼ÑÝ¡¡ÎâÓîÉ­

The action scenes was [were] the most challenging part. You know, in part one we had the huge turtle formation. I knew there's a lot of people [that] have read the Chinese Art of War, and especially for most American[s], they are so familiar with that book. So how to show it on the screen, that was a problem. We have used over thousands of people, and we have to use a lot of c.G. , which in fact, to make it happen. So it [we] spent one and a half month[s] to make it to make one scene.
µçÓ°µ¼À£ÎâÓîÉ­¶¯×÷³¡ÃæÊÇ×îÄѵIJ¿·Ö¡£Æ¬ÖÐÓиö¾Þ´óµÄ¹êÕó¡£ÎÒÖªµÀºÜ¶àÈ˶¼¶Á¹ýÖйúµÄ¡¶Ëï×Ó±ø·¨¡·£¬´ó¶àÊýÃÀ¹úÈ˶ÔÕâ±¾ÊéÓÈÆäÊìϤ¡£ËùÒÔ£¬¸ÃÔõô°ÑÕâ¸öÕó·¨°áÉÏÒøÄ»£¬¾ÍÊÇÒ»´óÎÊÌâ¡£ÎÒÃǶ¯ÓÃÁ˺ü¸Ç§ÈË£¬Ê¹ÓÃÁËÐí¶àµçÄÔ¶¯»­£¬²Å×ÜËãÍê³É¡£ÎªÁËÄÇһĻ£¬ÎÒÃǾͻ¨ÁËÒ»¸ö°ëÔµÄʱ¼ä¡£

ANJALI RAO, TALK ASIA
¡¶ÑÇÖÞÃûÈËÁÄÌìÊÒ¡·°²×ËÀö

This was a return to Chinese cinema for you after, you know, quite a long time of being in Hollywood. Of course, you had huge hits with Mission: Impossible ¢ò and Face/Off How would you characterize your time in Hollywood?
ÄãÔÚºÃÀ³Îë´ýÁ˺ÃÒ»¶Îʱ¼ä£¬ÏÖÔÚ²ÅÓֻص½ÖйúµçÓ°½ç¡£µ±È»£¬ÄãÔÚºÃÀ³ÎëÒ²ÓС¶²»¿ÉÄܵÄÈÎÎñ2 ¡·ºÍ¡¶±äÁ³¡·µÈʵ×ù´óƬ¡£Äã»áÔõôÃèÊö×Ô¼ºÔÚºÃÀ³ÎëµÄÕâ¶ÎÈÕ×Ó?

JOHN WOO, FILM DIRECTOR
µçÓ°µ¼ÑÝ¡¡ÎâÓîÉ­

Well, I really enjoyed working in Hollywood. You know, that's even though I never get[got] used to their system. I didn't like much of the studio people, you know. Well, it's too politic[al], too politic[al], and there's so much going on, and there's so much going on that's nothing to do with the movie. It's all about power. It's all about...
ÎÒºÜϲ»¶ÔÚºÃÀ³Î빤×÷£¬ËäÈ»ÎÒÒ»Ö±¶¼²»Ï°¹ßËûÃǵÄÖƶȣ¬Ò²²»Ì«Ï²»¶ÖÆƬÈËÔ±¡£Ì«ÕþÖλ¯ÁË£¬Ì«¶à°µ³±ÐÚÓ¿£¬Ì«¶àÓëµçÓ°Î޹صĶûÓÝÎÒÕ©¡£ÕâÒ»Çж¼ÊÇΪÁËÕÆȨ£¬ÎªÁË…

ANJALI RAO, TALK ASIA
¡¶ÑÇÖÞÃûÈËÁÄÌìÊÒ¡·°²×ËÀö

Egos?
×ÔÎÒÖÐÐÄÂð?

JOHN WOO, FILM DIRECTOR
µçÓ°µ¼ÑÝ¡¡ÎâÓîÉ­

Egos! You know and the people, you know, they love meetings. You know, they can take six months just for a meeting. Meeting and always repeating the same, speaking the same thing, you know and then... and but, beside that, I really love the crew. I really love the film people there. I really love the actors. And also, I maybe learned so much. You know I made a lot of good friends and I'm so much grateful that I could have an opportunity to work with John Travolta, Nick Cage, you know Christian Slater and Tom Cruise.
µçÓ°µ¼ÑÝÎâ×ÖÉ­¾ÍÊÇ×ÔÎÒÖÐÐÄ!¶øÇÒÄÇЩÈ˷dz£°®¿ª»á¡£ËûÃÇÒ»³¡»á¿ÉÒÔ¿ª6¸öÔ£¬²»¶ÏÖظ´Í¬ÑùµÄ¶«Î÷£¬½²Í¬ÑùµÄÊÂÇé¡£µ«¾¡¹ÜÈç´Ë£¬ÎÒ»¹ÊǺÜϲ»¶ÄÇÀïµÄ¹¤×÷ÈËÔ±¡£ÎÒÕæµÄϲ»¶ÄÇÀïµÄµçÓ°´ÓÒµÈËÔ±£¬Ò²ÕæµÄϲ»¶ÄÇЩÑÝÔ±¡£´ËÍ⣬ÎÒÒ²¿ÉÄÜѧÁ˺ܶණÎ÷£¬½»Á˺ܶàºÃÅóÓÑ£¬ÎÒÒ»Ö±¾õµÃºÜ¸Ð¼¤Óлú»áºÍÔ¼º²•ÌØÀ­ÎÖ¶ûËþ¡¢Äá¹ÅÀ­Ë¹•¿­ÆæºÏ×÷£¬»¹ÓпËÀï˹µÙ°²•Ë¹À³ÌØ¡¢ÌÀÄ·•¿Ë³˹µÈµÈ¡£

ANJALI RAO, TALK ASIA
¡¶ÑÇÖÞÃûÈËÁÄÌìÊÒ¡·°²×ËÀö

There's a lot of Christian symbolism in your movies, for instance, you know the climatic scene in The Killer where it's the final church shootout and there's all these white doves. What is the message that you're trying to send by including these, you know, religious references ?
ÄãµÄµçÓ°ÀïÓÐÐí¶à»ù¶½½ÌµÄÏóÕ÷£¬ÀýÈ硶à©ÑªË«ÐÛ¡·×îºóÔÚ½ÌÌÃÀïµÄǹս£¬»¹ÓÐÄÇЩ×Ը롣ÄãÔÚӰƬÖзÅÈëÕâЩ×Ú½ÌÔªËØ£¬ÊÇÏ£Íû´«´ïʲôÐÅÏ¢ÄØ?

JOHN WOO, FILM DIRECTOR
µçÓ°µ¼ÑÝ¡¡ÎâÓîÉ­

The church means a lot to me. You know I feel safe, I feel happy, I feel comfort, you know, I feel peace in the church. You know, and I love the people in the church. And the church is a symbol of heaven. You know, you have all kind of building. You know, of course you could say I'm a dreamer, you know. OK, yeah, I'm a dreamer, you know, because I always believed in people, and of course, I also believe in Jesus, you know. Unfortunately, there's a...the evil's always there. They're out to ruin the building. The evil force usually turn[s] heaven into hell, and our heroes, they try to protect it. They try to fight for it, and they try to beat down the evil, you know. And they won, you know. So...
µçÓ°µ¼ÑÝÎâÓîÉ­½ÌÌöÔÎÒ¶øÑÔÓÐÐí¶àÒâÒå¡£ÎÒÔÚ½ÌÌÃÀï×ÜÊǾõµÃ°²ÐÄ¡¢¿ìÀÖ¡¢ÐÀο¡¢Æ½¾²¡£ÎÒҲϲ»¶½ÌÌÃÀïµÄÈË£¬¶øÇÒ½ÌÌÃÊÇÌìÌõÄÏóÕ÷£¬Óи÷ʽ¸÷ÑùµÄ½¨Öþ¡£µ±È»£¬Äã¿ÉÒÔ˵ÎÒϲ»¶ÃÎÏ롣û´í£¬ÎÒȷʵϲ»¶ÃÎÏ룬ÒòΪÎÒ×ÜÊÇÏàÐÅÈË£¬ÎÒÒ²ÐÅÑöÒ®öÕ¡£Ö»¿Éϧ£¬»áÓÐ……×ÜÊÇÓÐа¶ñ´æÔÚ¡£Ð°¶ñÊÆÁ¦»á´Ý»Ù½¨Öþ£¬°ÑÌìÌñä³ÉµØÓü£¬¶øÎÒÃǵÄÖ÷½ÇÔòŬÁ¦±£»¤ÌìÌã¬ÎªÌìÌ÷ÜÕ½£¬´ò°Üа¶ñ¡£×îºóËûÃÇÒ²»ñµÃʤÀû£¬¾ÍÕâÑù…

ANJALI RAO, TALK ASIA
¡¶ÑÇÖÞÃûÈËÁÄÌìÊÒ¡·°²×ËÀö

I mean obviously people like Quentin Tarantino and the Wachowski brothers, Robert Rodriguez, they borrow very much from exactly what you've created, but if you had to name a director from any point in history whose work that you look at and go “I wish I could do that,” who would it be?
ÎÒÊÇ˵£¬ÏñÀ¥Í¡•ËþÂ×µÙŵºÍÎÖ׿˹»ùÐֵܡ¢ÂÞ²®ÌØ•ÂÞµÂÀï¸ñ˹(×¢)ÕâЩÈ˶¼´ÓÄãµÄ×÷Æ·½èÓÃÁËÐí¶àÔªËØ£¬µ«Èç¹û˵´Ó¹Åµ½½ñÓÐÄÄλµ¼ÑÝ£¬»áÈÃÄã¿´ÁËËûµÄ×÷Æ·Ö®ºó˵ÕæÏ£ÍûÎÒÒ²ÄÜÅijÉÄÇÑù¡£"Äã»á˵ÊÇË­ÄØ?

JOHN WOO, FILM DIRECTOR
µçÓ°µ¼ÑÝ¡¡ÎâÓîÉ­

Francis Ford Coppola, you know I think he make [made] a great classic film, The Godfather. You know the direction, the art design, the cinematographer [cinematography], the performance, you know, and the style of the movie, it was so perfect, so beautiful. You know, so if I could make a movie like that, you know that's enough. That's [what] a filmmaker should do.
¸¥ÀÊÎ÷˹•¸£ÌØ•¿Æ²¨À­¡£ÎÒÈÏΪËûÅÄÁËÒ»²¿·Ç³£Á˲»ÆðµÄ¾­µä£¬¾ÍÊÇ¡¶½Ì¸¸¡·ÄDz¿Æ¬µÄµ¼ÑÝÊÖ·¨¡¢ÃÀÊõÉè¼Æ¡¢ÉãÓ°ÃÀ¸Ð¡¢±íÑݲã´Î£¬»¹ÓеçÓ°µÄ·ç¸ñ£¬¶¼ÊÇÕâôÍêÃÀ£¬ÕâôƯÁÁ¡£ÎÒÈç¹û¿ÉÒÔÅijöÕâÑùÒ»²¿µçÓ°£¬ÄǾÍ×ã¹»ÁË¡£ÄǾÍÊǵçÓ°È˸Ã×öµÄÊ¡£
¡¾»îѧ»îÓá¿
1. blockbuster n.´óÖÆ×÷¡¢¸ß³É±¾µÄ¾ÞƬ;ºä¶¯µÄÊÂÎï
2. elaborate adj. ¾«ÐÄÖÆ×÷µÄ;Ï꾡µÄ
3. set¡¡n.²¼¾°;³¡¾°
4. formation n. Õóʽ;¶ÓÐÎ
5. c.G. n.¼ÆËã»ú»æͼ ( = computer graphics )
6. cinema n. µçÓ°Òµ;µçÓ°(×ܳÆ)
7. characterize v. Ãè»æ…µÄÌØÐÔ
8. ego n.×ÔÎÒÒâʶ;×Ô¸º;×ÔÎÒ
9. grateful adj. ¸Ð¶÷µÄ;¸ÐлµÄ
10. symbolism n. ÏóÕ÷µÄʹÓÃ;ÏóÕ÷ÐÔ
11. shootout n. ǹս
12. reference n.Ìá¼°;²Î¿¼ÎÄÏ×; ÒýÖ¤
13. cinematography n. µçÓ°ÒÕÊõ£¬µçÓ°ÉãÓ°Êõ


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