英文名称：Loving Vincent：The Impossible Dream
年代：2019
推荐：千部英美剧台词本阅读
| 时间 | 英文 | 中文 |
|---|---|---|
| [02:37] | I was brought up in Bytom, | 我在比托姆长大 |
| [02:38] | which is in the south of Poland. | 它位处波兰南部 |
| [02:41] | It’s a region called Silesia. | 属于一个叫西里西亚的地区 |
| [02:44] | It’s a mining district. | 那是一个矿区 |
| [02:47] | And I was brought up by my grandmother in communism. | 我在共产主义的理念中由祖母抚养长大 |
| [02:52] | And when I was around 14, | 在14岁左右时 |
| [02:55] | I wanted to sign up to the theater club, | 我想参加戏剧俱乐部 |
| [03:01] | and I went there to sign up to the theater club | 于是我就去报名加入戏剧俱乐部 |
| [03:03] | and the tutor, she was sick. | 但导师生病了 |
| [03:08] | They offered me to sign up to the art…To painting club, | 他们就让我报名参加艺术.. 绘画俱乐部 |
| [03:11] | so I did that, | 我照做了 |
| [03:12] | and I met people there that I really liked | 在那里我遇见了非常喜欢的人 |
| [03:15] | and I actually discovered that | 我还发现 |
| [03:16] | I really liked painting and drawing. | 其实我非常喜欢油画和素描 |
| [03:18] | And this is how it all started and I, | 一切就是这样开始的 |
| [03:21] | that’s how I got into the art high school. | 我就这样进了艺术高中 |
| [03:25] | We had like this very close group of friends. | 我们有一群非常亲密的朋友 |
| [03:31] | 米哈乌·亚尼茨基 学生时代好友 | |
| [03:32] | We had also a lot of luck when it come to our professors. | 我们很幸运能遇到那些教授 |
| [03:36] | Our art history teacher enabled us | 我们的艺术史老师让我们 |
| [03:41] | to have our first proper and tangible meeting | 第一次真正接触到 |
| [03:47] | with important basics of art. | 重要的艺术基础知识 |
| [03:51] | She used to take us for excursions during school time | 上学的时候她常带我们去远足 |
| [03:56] | and also on holidays we used to go together | 假期的时候我们也常一起 |
| [03:59] | to see museums all over Europe. | 去参观欧洲各地的博物馆 |
| [04:02] | Where, amongst others, we learned about Vincent van Gogh. | 在那里 我们一起了解了文森特·梵高 |
| [04:10] | After high school, some of use stayed with | 高中毕业后 有人留在艺术领域 |
| [04:12] | and carried on the same education, | 继续接受艺术教育 |
| [04:16] | went to a fine arts academy. | 上了一所美术学院 |
| [04:19] | Dorota, as long as I can remember, | 多洛塔 在我印象中 |
| [04:22] | always wanted to take on directing. | 一直想当导演 |
| [04:25] | I think her love for it came from her grandfather. | 我觉得她对导演的热爱来源于她的祖父 |
| [04:29] | Whenever she visited her family home in Bytom, | 每次她去拜访在比托姆的家人 |
| [04:34] | they would go to cinema together | 他们都会一起去看电影 |
| [04:35] | and later had a discussion about film classics. | 然后讨论电影中的经典片段 |
| [04:41] | One of my best friends, Kamil, | 我一个最好的朋友 卡米尔 |
| [04:43] | he went to film school | 他去了电影学校 |
| [04:44] | and he came back always with amazing stories | 总是带着精彩的故事回来 |
| [04:48] | and on some point | 在某种意义上 |
| [04:48] | 卡米尔·波拉克 导演 | |
| [04:49] | he got me involved with his films and his projects, | 他让我参与了他的电影和项目 |
| [04:52] | which, for me, it was just incredible. | 这对我来说简直不可思议 |
| [04:56] | It was kind of like a back door to film school. | 这有点像开了个电影学校的后门 |
| [04:58] | Kamil invited me to work on his film Switez. | 卡米尔邀请我参与他的电影《失落之城》的制作 |
| [05:02] | With Switez I was working on concept art, | 做《失落之城》时 我在研究概念艺术 |
| [05:07] | on animatic, on animation, on texturing in 3D. | 研究动态分镜 动画和3D纹理 |
| [05:11] | 多洛塔·科别拉 艺术总监：计算机绘图 | |
| [05:13] | So all sorts of things. | 各种事情 |
| [05:15] | After a few months, all of a sudden, | 几个月后 突然之间 |
| [05:19] | all the work on Switez were stopped. | 所有关于《失落之城》的工作都停止了 |
| [05:22] | Kamil just disappeared. | 卡米尔直接消失了 |
| [05:25] | I was alone in the city that I didn’t know anyone, | 我一个人在城市里举目无亲 |
| [05:27] | and I didn’t have much to do | 几乎无事可做 |
| [05:29] | because I went there just to work on Kamil’s film. | 因为我就是为了卡米尔的电影才去那里的 |
| [05:32] | And when he disappeared | 他消失后 |
| [05:32] | I decided just to wait around and wait for him, | 我决定待在那儿等他 |
| [05:36] | so I started painting, | 于是我开始画画 |
| [05:38] | and all of a sudden, he did come back, | 然后突然之间 他又回来了 |
| [05:41] | and he met with me and then I realized | 他和我见了面 我意识到 |
| [05:44] | we have to take a break from Switez. | 我们得暂停《失落之城》的制作 |
| [05:46] | He needed a break and he just advised me to, | 他需要休息 他建议我 |
| [05:50] | instead of waiting around for the other’s people project, | 与其等着别人的项目 |
| [05:53] | to start my own project. | 不如开始我自己的项目 |
| [05:55] | And I think that was really good advice | 我觉得这是个很棒的建议 |
| [05:57] | and I took it, and I started working on my own idea. | 我接受了建议 开始按自己的想法工作 |
| [06:03] | But on the other hand I really missed painting | 但另一方面 我真的很想念绘画 |
| [06:05] | and I felt that would be amazing | 我想如果我能把两者结合起来 |
| [06:07] | to actually combine these things. | 就再好不过了 |
| [06:09] | And I think it took me around two weeks, maybe, | 我大概花了两周的时间 差不多 |
| [06:15] | to decide what I’m gonna do | 来决定我要做什么 |
| [06:17] | and that I’m gonna paint a film | 我要画出一部电影 |
| [06:22] | and at first that is all I knew. | 一开始我只想到这么多 |
| [06:24] | That I wanted to do a painting animation | 我想做一部手绘动画 |
| [06:26] | and it would be a seven-minute short film | 这将是一个7分钟的短片 |
| [06:29] | that I would paint entirely by myself. | 全部由我自己绘制 |
| [06:31] | I was thinking about bringing my own paintings to life. | 我想为我自己的画注入生命 |
| [06:34] | I was thinking about telling a fictional story | 我想以一个著名画家的风格 |
| [06:38] | in the style of a famous painter, | 讲一个虚构的故事 |
| [06:41] | and then I was also wondering whether | 我当时一直在担心 |
| [06:44] | I could actually bring a famous artist’s paintings to life | 我是否真的能给一名著名艺术家的画注入生命 |
| [06:47] | to tell their own story. | 去讲述它们自己的故事 |
| [06:50] | And as soon as I had thought that, then I knew, | 我一想到这一点 我就知道 |
| [06:53] | I knew I would make a film about Vincent van Gogh. | 我知道我要做一部关于文森特·梵高的电影 |
| [06:54] | 文森特 多洛塔 科别拉 | |
| [06:56] | 文森特 多洛塔 科别拉 | |
| [07:01] | I vividly remember as a teenager at art school | 我清楚地记得十几岁时在艺术学校 |
| [07:04] | being overwhelmed by both Vincent’s work, | 我被文森特的作品 |
| [07:07] | and also by the tragic sadness of his short life. | 和他短暂的悲剧生活所震撼 |
| [07:11] | And I think that the fact that he started painting at 29 | 他在经历了几次失败的职业后 |
| [07:16] | after having failed several professions | 29岁才拿起画笔 |
| [07:19] | meant that I identified with him even more, | 这让我对他产生了更强烈的共鸣 |
| [07:23] | as that was the exact age I was | 因为我正是在这个年龄 |
| [07:25] | when I was coming up with the idea for the film. | 构想出了这一部电影 |
| [07:28] | Vincent’s bravery in starting over at 29, | 文森特在29岁重新开始 |
| [07:33] | in throwing himself into a profession he had no training in, | 投身于一个他没有受过相关训练的职业 |
| [07:38] | in believing that he could make art | 相信自己能够创造出触动人心 |
| [07:41] | that would touch people, help them even, was inspiring. | 甚至帮助他们的艺术 这是种鼓舞人心的勇气 |
| [07:46] | So I decided that I wanted to tell his story, | 所以我决定 我要讲述他的故事 |
| [07:49] | and tell it through his own paintings. | 并且用他自己的画作来讲述 |
| [08:02] | You don’t get artist who paints so much and so personally. | 你很难找到如此高产且个人化的艺术家 |
| [08:06] | He painted the world around him. | 他画出了他周围的世界 |
| [08:09] | His room, his shoes, | 他的房间 他的鞋子 |
| [08:12] | the food he ate, the friends he spoke to. | 他吃的食物 聊天的朋友 |
| [08:16] | So that’s why it had to be Vincent. | 这就是为什么一定得是文森特 |
| [08:24] | I had to wait for three months to get the production started | 我要等三个月才能开始制作 |
| [08:29] | and get the money, and so I had this three months | 才能拿到资金 所以我有了三个月的空闲 |
| [08:32] | and then someone in Lodz, | 然后罗兹的一个人 |
| [08:34] | he recommended me to…in BreakThru to Hugh. | 把我推荐给了极越工作室的休 |
| [08:38] | So I thought that’s amazing opportunity | 我认为这是一个绝佳的机会 |
| [08:42] | and I went to Lodz to work on the project | 我就去到罗兹着手研究此项目 |
| [08:43] | 极越工作室 \h\h\h罗兹\h2008年 | |
| [08:47] | I’ve been working in film and animation for 20 years | 我在电影和动画领域已经工作了20年 |
| [08:55] | I started off going to film school | 我最先是去到电影学院进修 |
| [08:58] | After I left film school I set up my company | 在17年前 我离开学校成立了自己的公司 |
| [09:01] | BreakThru films, 17 years ago | 极越电影公司 |
| [09:04] | Before Loving Vincent, I was best known for | 在《至爱梵高》之前 我最令人熟知的是 |
| [09:07] | producing a film called Peter and the Wolf | 制作了电影《彼得与狼》 |
| [09:09] | which I won an Oscar for in 2008 | 我凭此在2008年赢得了一座奥斯卡奖杯 |
| [09:13] | and after that I had another fairly big production | 之后我参与了另一部大制作电影 |
| [09:17] | which was the Magic Piano | 也就是《魔法钢琴》 |
| [09:20] | Because of that project, I crossed paths | 因为这部电影 我结识了一位 |
| [09:23] | with a very talented woman called Dorota Kobiela | 天赋异禀的女士多洛塔·科别拉 |
| [09:27] | BreakThru, they were looking for a concept artist | 极越当时在寻找概念派艺术家 |
| [09:30] | and someone for animatic. | 和动态分镜师 |
| [09:32] | A very unintended consequence of hiring her | 招揽她带来了意想不到的结果 |
| [09:35] | was that we almost instantly fell in love. | 我们几乎算是一见钟情 |
| [09:38] | Hugh fell in love not only with me | 休不仅爱上了我 |
| [09:41] | but also with my project. | 也爱上了我的项目 |
| [09:42] | It’s not often that you feel that you see something | 这个项目太让人眼前一亮了 |
| [09:44] | that’s very fresh, that’s very new, that’s very exciting. | 那么新奇 那么新颖 那么令人振奋 |
| [09:48] | First it wasn’t because of Vincent Van Gogh | 首先不是因为他是文森特·梵高 |
| [09:50] | because I didn’t really know that much about him | 因为刚开始我对他的了解 |
| [09:52] | at the beginning. | 只有一星半点 |
| [09:53] | And then, you know, as I started reading the books | 之后 我们在公寓里闲来无事 |
| [09:55] | that we had lying about our flat, | 开始阅读关于他的书时 |
| [09:56] | I became more fascinated. | 渐渐我沉浸其中 |
| [09:59] | And I was shocked when I found out that | 当我发现文森特29岁才拿起画笔 |
| [10:00] | Vincent had only started painting at 29 | 在此之前有过四次失败的职业经历时 |
| [10:03] | after failing at four other careers. | 我非常震惊 |
| [10:05] | I’d always assumed he’d been a gifted artist | 我一直以为他和其他天才一样 |
| [10:08] | from a young age, like other geniuses, | 从小就是天资非凡的艺术家 |
| [10:10] | yet Vincent’s first encounter with art | 但文森特与艺术的第一次接触 |
| [10:11] | was when he joined his uncle’s art dealership | 是在他叔叔的画铺当店员时 |
| [10:14] | and despite working very hard there, | 尽管他在那里勤勤恳恳 |
| [10:16] | and despite his family connections | 尽管有家人的人脉关系 |
| [10:18] | he was sacked because of his inability | 他还是因为欠缺与客人沟通的能力 |
| [10:20] | to deal with customers. | 而被解雇 |
| [10:21] | He subsequently tried to be a teacher | 随后他尝试过当老师 |
| [10:24] | and then a bookstore clerk, | 当书店店员 |
| [10:25] | and finally he tried to be a preacher like his father, | 最后他试着像他父亲一样当一名传教士 |
| [10:28] | but was thrown out of his own church | 但被他自己的教会赶了出去 |
| [10:29] | for being overly religious | 因为他过于热情 |
| [10:32] | This ended him up in a barn in a desperately poor mining region | 他只好去比利时一个极度贫穷的矿区 |
| [10:37] | in Belgium, subsisting only off bread | 在谷仓里过活 仅靠面包维持生命 |
| [10:39] | and doing nothing but reading books. | 整日不做其他事 只看书 |
| [10:41] | And at that low point he decided to gamble everything | 在那段低谷时期 他决定孤独一掷 |
| [10:45] | on becoming an artist, and with the support of his brother | 做一名画家 并且得到了他弟弟 |
| [10:49] | who was financing him and believed in him to do this. | 在经济上和精神上的支持 |
| [10:53] | He threw himself entirely into becoming an artist, | 他全身心投入到成为一个艺术家上 |
| [10:57] | and I think his extraordinary passion and emotion | 我认为他那非凡的激情和情感 |
| [11:00] | was really what got me hooked on Loving Vincent | 是我深深着迷于《至爱梵高》的原因 |
| [11:04] | So it’s fair to say that Hugh definitely became interested | 可以说 休是之后才对文森特的人生 |
| [11:07] | in Vincent’s life later on, | 产生了兴趣 |
| [11:09] | but at first it wasn’t until our third date | 直到我们的第三次约会 |
| [11:12] | that we talked about my project properly. | 我们才正式谈起了我的项目 |
| [11:15] | In a bar called Kaliska in Lodz | 在罗兹一家名为卡利斯卡的酒吧里 |
| [11:18] | Through a night of tequilas, Dorota told me | 喝了一晚上的龙舌兰后 多洛塔告诉我 |
| [11:21] | six different stories in terms of the directions | 她为《至爱梵高》构思出了 |
| [11:24] | that Loving Vincent could go into. | 6种不同的叙事角度 |
| [11:26] | And this was at the stage when it was still a short film. | 当时的构想还只是短片 |
| [11:29] | But even then, I think what we were both most fascinated by | 但即使在那时 最吸引我们的还是 |
| [11:34] | was Vincent’s final days. | 文森特生命的最后时期 |
| [11:37] | How Vincent was in his final days. | 文森特最后时期是什么样的 |
| [11:40] | What was going through his mind. | 他当时在想什么 |
| [11:42] | Because by this point, | 因为在那时 |
| [11:43] | Vincent was beginning to have some success. | 文森特已经小有名气了 |
| [11:45] | And things seemed to be going well for him, | 感觉就要时来运转了 |
| [11:47] | well, for the first time in his adult life almost. | 几乎可以说是自他成年后的第一次 |
| [11:51] | And yet this was the time that he killed himself, | 但他却在这段时期结束了自己的生命 |
| [11:53] | and that mystery really hooked us. | 这个谜团深深地吸引了我们 |
| [12:00] | So… | 所以 |
| [12:00] | I mean we had a few discussions about the possibility | 我们讨论过几次将其制作为 |
| [12:07] | of making it into a feature film. | 故事长片的可能性 |
| [12:10] | I thought it was a crazy idea. | 我觉得这个想法简直是天方夜谭 |
| [12:12] | Unlike Hugh, I’m a painter and an animator | 不像休 我是一名画师及动画画师 |
| [12:15] | and so I knew how much work it would be | 所以我知道要制作一部 |
| [12:17] | to make a painting animation feature. | 手绘动画长片有多困难 |
| [12:20] | It would take an entire lifetime to paint. | 要画一辈子才能画完 |
| [12:24] | We knew that it was a very big undertaking. | 我们都知道这是一个艰巨的任务 |
| [12:27] | To go from doing a seven minute film that’s fully painted by hand, | 纯手绘一部七分钟的电影 |
| [12:32] | to doing an 80, 90 minute film that’s fully painted, | 和纯手绘一部80 90分钟的电影 |
| [12:37] | was a huge change | 完全是天壤之别 |
| [12:39] | and requiring a totally different outlook. | 并且需要完全不同的格局 |
| [12:43] | For me, anyway, the final straw in terms of going, | 反正就我而言 最后促使我 |
| [12:47] | okay, let’s do it, let’s make a feature film, | 下定决定去制作这样一部长片的契机 |
| [12:50] | was when I visited an exhibition in London about his letters. | 是我在伦敦看了他的书信展 |
| [12:54] | And that was a queue for three and a half hours | 要整整排三个半小时的队 |
| [12:56] | to get into this exhibition and I thought, | 才能进去参观 我就在想 |
| [12:58] | if people will queue up for three and a half hours, | 大家愿意排三个半小时的队 |
| [13:01] | this man is so popular that | 这个男人如此受人喜爱 |
| [13:02] | it has to be a feature film. | 必须要制作一部长片 |
| [13:04] | We have to give it the opportunity | 我们必须要试一试 |
| [13:06] | for as many people to see it as possible. | 要让更多的人看到这部电影 |
| [13:08] | So I went back to Dorota and I said look, | 所以我找到多洛塔 对她说 |
| [13:11] | you know, whatever it takes, we have to take the leap | 无论付出什么代价 我们都要开创先河 |
| [13:14] | and make this as a feature film. | 完成这部故事长片 |
| [13:15] | 来自奥斯卡奖项获得者 最佳动画短片奖《彼得与狼》 | |
| [13:22] | 我们无以为言 唯有绘画才能表达我心之所念 文森特·梵高 | |
| [13:28] | While we were doing Magic Piano, | 当我们在制作《魔法钢琴》的同时 |
| [13:30] | we were traveling around the world quite a lot. | 我们也在周游全世界 |
| [13:32] | It was great. | 那次旅程特别棒 |
| [13:33] | I was taking it all in. | 我全情投入其中 |
| [13:35] | Painting, sketching, visiting museums. | 油画 素描 参观博物馆 |
| [13:38] | But then we stopped traveling | 但后来我们就没再继续旅行了 |
| [13:40] | and I was faced with the reality | 我必须要面对现实 |
| [13:43] | of having to turn my seven minute script | 要把7分钟的剧本 |
| [13:47] | into an 80 minute script. | 扩充成80分钟的剧本 |
| [13:49] | I was confident about how I wanted the film to look | 对于如何展现电影效果这点 我颇有自信 |
| [13:52] | and about how we would animate the film. | 也丝毫不愁该怎么制作动画效果 |
| [13:55] | But writing the script, that was scary. | 但是写剧本不一样 那简直就是万丈深渊 |
| [13:58] | I didn’t know how to start. | 我都不知道该从哪入手 |
| [14:00] | I felt lost. | 我迷茫了 |
| [14:02] | So I went through a period of binge-watching films | 所以 那段时间里我一边疯狂地补电影 |
| [14:05] | and thinking about and analyzing their story structure. | 一边思考和分析它们的故事框架 |
| [14:08] | After that, | 在那之后 |
| [14:09] | I ordered every recommended script writing book I could, | 一看到推荐的剧本教程书 我就买下来 |
| [14:12] | and I started reading. | 开始细细研读 |
| [14:15] | This gave me enough inspiration and enough tools, | 它们给了我足够的灵感和帮助 |
| [14:19] | and soon I was so absorbed by the story | 很快 我整个人都沉浸在了故事里 |
| [14:21] | that I forgot about my fears | 沉浸到忘记了之前的担忧 |
| [14:24] | and we began shaping the script. | 随后 我们便着手给剧本定型 |
| [14:26] | One of the things that I struggled with | 我纠结的其中一件事 |
| [14:29] | was exactly how would this look, you know, | 就是它呈现出来的样子 |
| [14:34] | and what kind of feeling would it give to audiences? | 它到底会带给观众一种什么样的观感 |
| [14:37] | Dorota would go oh, well it’s gonna look like this, | 多洛塔就说 这个会是这样 |
| [14:39] | it’s gonna look like that. | 那个又会是那样 |
| [14:40] | And, you know, we got to a point where I thought, | 几轮这样的对话后 我直接说 |
| [14:42] | let’s stop talking about it, let’s just do a test, you know. | 我们还是别讨论了 直接做个测试吧 |
| [14:45] | And that’s when we came up with the idea | 正是在这时 我们产生了 |
| [14:47] | of the concept trailer. | 制作概念预告片的想法 |
| [14:49] | With the concept trailer, | 制作概念预告片时 |
| [14:51] | we shot it with our friends instead of actors. | 我们没有请职业演员 只请了朋友来拍摄 |
| [14:53] | We shot it with white bedsheets | 背景用的是白幕 |
| [14:56] | instead of like, green screens. | 而不是绿幕 |
| [14:57] | So we found these four oil painters | 我们找了四位油画画师 |
| [15:01] | who we were gonna try and train | 为了制作出这个概念预告片 |
| [15:03] | for the concept trailer to be painting animators. | 我们要把他们培训成动画师 |
| [15:07] | And essentially they were our guinea pigs. | 其实 他们当时就是我们的小白鼠 |
| [15:09] | I worked on the first trailer, | 我参与制作了第一部预告片 |
| [15:11] | but because I couldn’t move to the free city, | 但是因为我不能搬到自由市去 |
| [15:15] | I painted from home in Warsaw. | 所以我是在华沙的家里画的 |
| [15:18] | And the first animated Armand Roulin that appears on the trailer, | 而预告片里的第一版阿尔芒·鲁兰 |
| [15:23] | was done here in my flat. | 就是在我家里制作完成的 |
| [15:25] | Hugh brought a couple of people over | 休从极越那边 |
| [15:27] | from BreakThru and we had our team assembled | 带来了几个人 我们团队的人就算齐了 |
| [15:30] | ready to start production on the trailer. | 整装待发 开始制作预告片 |
| [15:32] | Other than the material for the trailer, | 除了制作预告片需要的素材之外 |
| [15:35] | we also shoot some material for tests. | 我们还为测试拍了一些素材 |
| [15:37] | We drove down to a barn | 我们开到了一个谷仓 |
| [15:38] | in extremely cold weather. | 当时天气特别冷 |
| [15:40] | We dressed up just to see | 我们换好戏服 |
| [15:43] | what it would look like | 想看看效果如何 |
| [15:45] | and how it will be to animate more dynamic scenes, | 也好给我们在描绘动态场景方面提供构思 |
| [15:52] | including one where I was a young boy in a cowboy suit | 其中 我打扮成了穿着牛仔装的小年轻 |
| [15:58] | who could be Vincent potential here. | 有可能被用于当文森特的素材 |
| [16:09] | If we could train those painters to become painting animators | 如果我们能在制作概念预告片的时间里 |
| [16:13] | during the time scale of the concept trailer, | 训练这些油画师成为动画师 |
| [16:16] | then we knew it was something | 那我们就可以肯定 |
| [16:18] | we could replicate on a bigger scale. | 这种大规模的动画制作是可以成功的 |
| [16:20] | m 0 0 l 66 0 l 66 -15 l 0 -15 | |
| [16:23] | Eight years. | 八年 |
| [16:26] | 860 paintings. | 860张油画作品 |
| [16:29] | 1,026 drawings. | 1026张绘画作品 |
| [16:33] | 800 letters. | 8封信 |
| [16:35] | 20 people | 20个人 |
| [16:36] | telling the story of one man. | 讲述一个人的故事 |
| [16:39] | He works til late, | 他工作到三更半夜 |
| [16:40] | get up before six. | 不到六点就起床了 |
| [16:42] | He was happy here. | 他在这里的时候很快乐 |
| [16:43] | 爱德琳·拉武 | |
| [16:44] | He was. | 的确是这样的 |
| [16:47] | Everybody rejected him. | 所有人都拒绝了他 |
| [16:50] | Until he started hanging around | 直到他和加歇一家开始来往 |
| [16:52] | with the Gachet’s. | 才不那么形单影只 |
| [16:56] | On the wall he wrote a message | 他用自己的血 |
| [16:58] | in his own blood. | 在墙上写下了一句话 |
| [16:59] | You know what he writes? | 你知道他写了什么吗 |
| [17:01] | “I’m the holy spirit.” | “吾即圣灵” |
| [17:03] | “Well, the truth is, we cannot speak | “我们无以为言 |
| [17:06] | other than by our paintings. | 唯有绘画才能表达我心之所念 |
| [17:09] | With a handshake, | 与您握手致敬 |
| [17:11] | your loving Vincent.” | 至爱 梵高” |
| [17:16] | When we got to the end of that process, | 等到制作接近尾声时 |
| [17:18] | how I felt about it was | 它给我呈现出的 |
| [17:19] | that I hadn’t really seen anything like it before. | 是一种我从未见过的风格 |
| [17:22] | I was very excited. | 我当时很激动 |
| [17:24] | I was very keen to show it to people. | 迫不及待地想把它和世人分享 |
| [17:26] | And two of the first people I showed it to | 我最先给两个人展示了 |
| [17:29] | was Sean Bobbitt, | 一个是肖恩·鲍比特 |
| [17:30] | who then immediately came on board | 他二话不说地加入了我们 |
| [17:33] | as a shareholder in BreakThru | 成为了极越的股东 |
| [17:35] | and also as a producer on the film. | 并参与制作了这部电影 |
| [17:38] | He came to me and he showed me a trailer | 他找到我 给我放了一个 |
| [17:41] | for the next film that he was planning on doing, | 他准备拍的下一部电影的预告片 |
| [17:43] | Loving Vincent, and I immediately fell in love with it. | 《至爱梵高》 我立刻就爱上它了 |
| [17:47] | I mean, it was like nothing I’d ever seen before. | 它给我带来了一种前所未有的感觉 |
| [17:50] | And I just said yes, I definitely wanna be a part of this. | 我答应了 我怎么可能会不想参与其中呢 |
| [17:53] | And the other person I showed it to | 我展示给的另外一个人 |
| [17:55] | who had exactly the same reaction | 和他的反应一模一样 |
| [17:57] | was Ivan Mactaggart from Trademark Films. | 他是商标影视的伊万·麦克塔格特 |
| [18:00] | It’s an animation about Vincent Van Gogh. | 它是一部关于文森特·梵高的动画电影 |
| [18:02] | And I said, well let me stop you there | 我说 你还是打消这个念头吧 |
| [18:04] | because we don’t do animation. | 因为我们不做动画 |
| [18:05] | And he said just watch this 90 second | 他又说 先看看我们做的这个 |
| [18:08] | concept trailer that we’ve made. | 90秒的概念预告片再下定论吧 |
| [18:10] | He pulled out his iPad and he sets it going, | 他拿出了他的平板 点了播放 |
| [18:12] | and I watched, transfixed for 90 seconds, | 我看着预告片 愣了整整90秒 |
| [18:15] | and at the end of it said, okay, now we do do animation. | 90秒后 我说 现在我们要做动画了 |
| [18:18] | Where do we sign? | 在哪儿签名 |
| [18:19] | And then you know, as things progressed | 接下来 制作过程慢慢推进 |
| [18:21] | we needed to have a serious kind of base for the film. | 我们是时候为电影建立一个正式的基地了 |
| [18:27] | We then moved to Gdansk. | 于是 我们就去了格但斯克 |
| [18:29] | We moved to GPNT Business center | 搬进了格但斯克科技园商业中心 |
| [18:33] | and we had this huge empty space, | 就有了这片巨大的空间 |
| [18:36] | m 0 0 l 66 0 l 66 -15 l 0 -15 | |
| [18:36] | 2,000 square meters, | 整整2000平方米 |
| [18:39] | and there was five of us rattling around in this enormous space. | 我们五个人在这个空阔的地方转来转去 |
| [18:43] | So we had a badminton court, we had our roller blades. | 这里有个羽毛球场 我们还能溜旱冰 |
| [18:48] | Yeah, We were gonna not only fill all of that space in time, | 这里是很大 但我们不仅会填满这里 |
| [18:51] | but we’d need to have much more. | 还会需要更多的空间 |
| [18:55] | While we were making the concept trailer, | 我们在制作概念预告片的时候 |
| [18:58] | it was taking us at least two hours | 光是画一帧 |
| [19:00] | to paint a single frame. | 就耗了我们至少两个小时 |
| [19:02] | We knew we had to find a way to cut the time | 我们必须想办法缩短时间 |
| [19:04] | in order to make it efficient enough | 得把效率提上去 |
| [19:06] | to create a whole film in the same way. | 才能用同样的方式把整部电影制作出来 |
| [19:08] | Our first work station for painters | 我们为画师建的的第一个工作台 |
| [19:10] | was very homemade. | 可以是说很简单了 |
| [19:12] | An easel, a camera, projector, IKEA shelving unit, | 一个画架 摄像机 投影仪 宜家搁板架 |
| [19:16] | a tripod, two computers, and a memory stick. | 一个三脚架 两台电脑 和一个记忆棒 |
| [19:19] | My job was to come up with something better | 我的工作是找出更好的办法 |
| [19:22] | to help animators to be able to animate more efficiently. | 来帮助画师们更高效地制作动画 |
| [19:27] | So we came up with painting animation work station. | 所以我们想出了绘画工作台这个主意 |
| [19:31] | In addition, parts could minimize the amount of things | 此外 采用的构件能够最大限度地减少 |
| [19:35] | that could go wrong during the animation. | 动画制作时可能出现的错误 |
| [19:38] | So I think in the very beginning, | 如果我没记错的话 刚开始 |
| [19:40] | Piotr was doing three hours a frame | 皮特使用第一套设备时 |
| [19:42] | on our first set up, | 一帧画了3个小时 |
| [19:45] | and, you know, by the time we got him into | 而当我们把他送进 |
| [19:48] | our painting animation works station, | 我们自己建的绘画工作台时 |
| [19:50] | our PAWS version 3.0, | 也就是绘画工作台3.0 |
| [19:54] | we had cut it in half to one and a half hours. | 时间直接减半到1.5小时 |
| [20:00] | It took us five days to assemble | 我们花了5天时间来搭建 |
| [20:02] | the first 30 animation work stations, | 前30个绘画工作台 |
| [20:05] | and after that, we were ready for the first painters test. | 之后 就准备好让第一批画师们进行测试了 |
| [20:11] | We went through a very careful process | 为了选出最合适的颜料 |
| [20:13] | of selecting the right paint. | 我们进行了一项严谨的测试 |
| [20:15] | We compared a number of major brands | 我们对比了好几种市面上主流的牌子 |
| [20:17] | and paid attention to the quality of the paint, | 特别考察了颜料的质量 |
| [20:20] | the differences in color, but also affordability. | 色差 并考虑了我们预算承受能力 |
| [20:23] | And in the end, the best option | 最后 无巧不成书 我们的最佳选择 |
| [20:25] | ended up being Van Gogh. | 是梵高油画颜料 |
| [20:28] | With painting animation work stations set up | 建好了绘画工作台 |
| [20:30] | and paints chosen, the only thing missing | 也选定了颜料 我们唯一缺的 |
| [20:33] | was to have enough good painting animators. | 就是足够的优秀动画师了 |
| [20:36] | In the case of Loving Vincent, | 从当时《至爱梵高》的处境来看 |
| [20:38] | there weren’t painting animators | 画师的人数是不够的 |
| [20:40] | or there certainly weren’t enough painting animators | 或者说 世界上有那么多动画师 |
| [20:42] | that were out there in the whole world | 能来参与制作这部电影的 |
| [20:44] | to come and work on this film. | 当时寥寥无几 |
| [20:46] | So we had to create a work force from scratch. | 所以 我们必须从头建立起一支工作小组 |
| [20:50] | We had to take brilliant painters | 我们要选出优秀的油画师 |
| [20:54] | and convert them into painting animators. | 然后把他们培训成动画师 |
| [20:57] | We had more than 1,000 portfolios | 光是来自波兰的画师 |
| [21:00] | submitted just from Polish artists. | 我们就收到了1000多份简历 |
| [21:03] | We ran three day tests | 我们在波兰的3个城市 |
| [21:04] | in three cities in Poland | 分别举行了为期3天的测试 |
| [21:06] | just for more than 300 of them. | 被选中参加测试的 只有300多个人 |
| [21:10] | From these, we selected 60 for training | 我们又从中选了60人展开培训 |
| [21:12] | of whom 40 joined the film. | 最终加入我们的 只有40个人 |
| [21:16] | I had a three day test in Lodz, | 我在罗兹参加了为期三天的测试 |
| [21:18] | after which I waited for a call from BreakThru. | 之后 我就等着极越回电话了 |
| [21:21] | Then after some time we brought back two times | 一段时间后 我们又回来了两次 |
| [21:24] | where we went through a six week training course. | 上了为期六个星期的培训课 |
| [21:24] | 卢卡斯·戈登的测试镜头 第一阶段培训 2014年3月-5月 | |
| [21:27] | After the training, | 培训完后 |
| [21:28] | those who were accepted | 那些被录用了的画师 |
| [21:29] | were invited to start design process for the film. | 就被邀请参与电影的设计环节了 |
| [21:33] | We did 157 design paintings in total. | 我们一共画了157张原画 |
| [21:36] | These were crucial for precisely defining | 它们对这部电影的质感 |
| [21:39] | the look of the film. | 至关重要 |
| [21:40] | The animators all had to follow the colors, | 所有的画师都必须遵循一样的色调 |
| [21:44] | the style of the brush strokes, | 一样的笔触 |
| [21:46] | and the feel of the design paintings. | 原图的画风也必须统一 |
| [21:48] | Without them, it wouldn’t have been possible to | 否则 让这部手绘动画保持同一种风格 |
| [21:51] | keep the painting animation consistent. | 简直好比攀天 |
| [21:54] | While we were designing the look of the film, | 在我们设计电影的质感同时 |
| [21:56] | we also had to start animation tests, | 我们也要开始测试动画了 |
| [21:59] | but we needed to have material for the painters to test on. | 但是画师们需要素材才能开始测试 |
| [22:03] | We decided to dress up as the characters from the paintings. | 我们决定打扮成油画里人物的样子 |
| [22:07] | It was great fun. | 可好玩了 |
| [22:08] | We just rented the costumes, | 我们把那些服饰租了下来 |
| [22:10] | I dressed up as Marguerite Gachet, | 我打扮成了玛格丽特·加歇 |
| [22:13] | Hugh dressed up as a post man. | 休扮成了一个邮递员 |
| [22:16] | “My friend wouldn’t kill himself.” | “我的朋友才不会自杀” |
| [22:19] | Together we got funds from Kickstarter | 于是 我们从助梦网和失业救济机构 |
| [22:22] | and from the unemployment agency | 得到了一些资金 |
| [22:25] | and that allowed us to put together | 这样一来 我们就可以 |
| [22:27] | a training program for painting animators. | 为画师们开设培训课程了 |
| [22:32] | Hello Kickstarter. | 嗨 各位募资人 |
| [22:33] | 第一次助梦网更新 \h\h\h\h\h\h\h2014年12月 | |
| [22:34] | I’m Hugh Welchman. | 我是休·韦尔什曼 |
| [22:35] | I would like to show you something, | 我想给你们看些东西 |
| [22:36] | follow me. | 跟我来 |
| [22:44] | I think the first 65 people who went through | 如果我没记错 前65名画师得到的培训 |
| [22:50] | were funded out by those two entities. | 都是由那两家实体公司资助的 |
| [22:53] | The 30 painters that you see here, thanks to you, | 谢谢你们 现在你们看到的这30位画师 |
| [22:54] | \h\h\h肖恩·鲍比特 助梦网更新 – 2014年3月 | |
| [22:56] | started training this morning, | 已经在今天早上开始培训了 |
| [22:58] | and over the course of the next three months | 有了我们在助梦网上筹到的钱 |
| [23:01] | we’ll be able to train about 50 painters | 在接下来的三个月培训里 |
| [23:03] | with the monies that we’ve raised on Kickstarter. | 我们就可以培训出大概50位画师了 |
| [23:05] | Then we needed money not just for training, | 接下来 我们需要的就不止培训费了 |
| [23:08] | but for the whole film. | 还有制作整部电影需要用到的钱 |
| [23:09] | And as we’re a Polish project, | 因为我们做的是波兰电影 |
| [23:12] | having the backing of the Polish Film Institute | 所以 得到波兰电影协会的支持 |
| [23:14] | was a crucial step. | 是非常关键的一环 |
| [23:16] | If you don’t have the backing | 如果你得不到 |
| [23:17] | of your national film institution, | 本国电影协会的支持 |
| [23:19] | then international investors are wary | 那国际投资人 |
| [23:21] | and less likely to have confidence in your project. | 也不太可能对你的项目抱有信心 |
| [23:24] | We applied for Loving Vincent as a feature film. | 我们将《至爱梵高》作为故事长片去申请投资 |
| [23:27] | We really had a struggle with PFI. | 我们申请民间主动融资的过程很艰难 |
| [23:31] | I think we were turned down two or three times. | 我们被拒绝了有两三次 |
| [23:33] | And then you get to go and see the commission | 然后你就可以去见委员会 |
| [23:36] | and discuss with them why, | 和他们讨论具体原因 |
| [23:38] | and get to know about it. | 详细了解情况 |
| [23:39] | So I went there. | 于是我就去了那里 |
| [23:41] | I remember the situation was emotionally disturbing | 我记得当时的情形 非常让人不安 |
| [23:49] | and painful because I had to sit in front of four people | 非常痛苦 因为我不得不坐在四个人面前 |
| [23:53] | and they were all telling me | 他们都告诉我 |
| [23:55] | that this is first of all boring, | 首先 这很无聊 |
| [23:59] | second of all, I do not have experience | 其次 我没有经验 |
| [24:03] | and I’m not a proper director. | 我也算不上是个导演 |
| [24:06] | But of course after some time, | 但不出所料 过了一段时间 |
| [24:08] | they proved to be a really big supporter of the project. | 事实证明 他们是这个项目的大力支持者 |
| [24:11] | And without them, it would have been nearly impossible | 没有他们 几乎就不可能 |
| [24:15] | to get the project going. | 让项目顺利进行下去 |
| [24:16] | But it took some convincing and determination at first. | 但一开始我需要说服自己 坚定信念 |
| [24:21] | And as I was walking away from the institute | 我离开协会的时候 |
| [24:23] | I was so emotionally destroyed, | 情绪很低落 |
| [24:26] | but I was thinking, maybe they’re right, | 我在想 也许他们是对的 |
| [24:29] | but on some point I thought, no, | 但转念一想 不 |
| [24:30] | I can’t let them beat me down. | 我不能让他们击垮我 |
| [24:32] | That’s what Vincent did. | 文森特就是这么做的 |
| [24:34] | He really had this persistence | 他就是坚持不懈 |
| [24:36] | and I should follow him if I really, truly believe in it. | 如果他真的是我的信仰 我就应该追随他 |
| [24:41] | That’s what kept me motivated. | 他的精神给了我动力 |
| [24:46] | We were at a pretty critical point in the production. | 我们正处在制作的关键时期 |
| [24:49] | Basically we had to either raise some money relatively quickly, | 简单来说 我们要么尽快筹点钱 |
| [24:54] | or we had to stop production, | 要么就不得不停止制作 |
| [24:56] | or at least put production on hold. | 或者说至少暂缓制作 |
| [24:58] | And at that point, a friend of mine came to me and said, | 这时 我的一个朋友来找我说 |
| [25:02] | Wroclaw is the European capital of culture in 2016. | 弗罗茨瓦夫是2016年的欧洲文化之都 |
| [25:06] | Maybe they would like to support the production | 作为欧洲文化之都的一份子 |
| [25:09] | as part of the European capital of culture. | 也许他们会愿意赞助制作 |
| [25:11] | So I went to Wroclaw. | 所以我去了弗罗茨瓦夫 |
| [25:13] | I met with the president of the city. | 我会见了市长 |
| [25:15] | I showed him what we were trying to do | 我给他看了我们的计划 |
| [25:16] | and he said, well, as a city, | 他说 作为一座城市 |
| [25:19] | we would like to support this production. | 我们愿意支持这个项目 |
| [25:21] | And it was a really important moment for the film. | 对电影来说 这是一个非常重要的时刻 |
| [25:24] | We started looking around for work | 我们开始四处找在弗罗茨瓦夫 |
| [25:26] | that we could do in Wroclaw. | 可以做的工作 |
| [25:27] | We partnered up a CETA, | 我们合伙成立了CETA |
| [25:30] | which is Centrum Technologii Audiowizualnych. | 也就是视听技术中心 |
| [25:32] | They have a beautiful facility for shooting on a blue screen, | 他们有一个漂亮的蓝幕拍摄场地 |
| [25:36] | and they also had VFX facilities | 他们还有视觉特效设备 |
| [25:38] | so they could take on part of the work with VFX, | 所以他们可以用特效设备承担部分工作 |
| [25:41] | and we could also do the Polish shoot | 我们也可以在他们的设施里 |
| [25:43] | at their facilities. | 拍摄波兰部分 |
| [26:26] | And it was a really important time for us | 对我们来说这是个非常重要的时刻 |
| [26:28] | CETA试镜 2014 7月 | |
| [26:28] | because it allowed us | 因为这使得我们 |
| [26:30] | before we had finalized | 在和波兰电影协会 |
| [26:31] | with the Polish Film Institute, | 最终敲定之前 |
| [26:33] | it allowed us to get the funding | 就筹集到了资金 |
| [26:36] | which meant that we could shoot the first | 也就是说我们可以先开始拍摄 |
| [26:39] | shots from the film. | 前期的镜头 |
| [26:40] | For example, the famous shot that’s on the poster | 比如海报上文森特转过身来 |
| [26:44] | of Vincent turning around, | 那著名的一幕 |
| [26:46] | that was actually shot right after we closed the financing | 那是在我们和弗罗茨瓦夫市 |
| [26:49] | with the city of Wroclaw. | 刚结束融资后拍的 |
| [26:51] | It was actually just a test shot | 其实那只是一次试镜 |
| [26:53] | both for Robert Gulaczyk, the actor, | 罗伯特·古拉兹克 那个演员 |
| [26:55] | and for Anna Kluza, and it turned out to be | 和安娜·克鲁萨的试镜 结果却成了 |
| [26:58] | the most iconic shot of the film, I think. | 在我看来这部电影中最具代表性的一幕 |
| [27:14] | One of our main challenges in bringing Vincent’s painting | 把文森特的画搬上银幕的 |
| [27:19] | to the cinema screen | 主要挑战之一是 |
| [27:20] | was the fact that Vincent used many different canvas sizes | 文森特用了很多不同尺寸的画布 |
| [27:25] | and that was part of his choice as an artist | 那是他作为艺术家 |
| [27:27] | in terms of the composition, | 考虑到构图的选择 |
| [27:29] | whereas for cinema we could only use one size. | 而电影院只能用一种尺寸 |
| [27:31] | This meant that we had to add or subtract | 这意味着我们必须对画面进行增减 |
| [27:35] | or cover the painting through some kind of movement. | 或者用某种动态效果遮住画面 |
| [27:41] | And in the beginning, | 一开始 |
| [27:43] | we did the whole film 16 by nine, | 我们全程采用16比9的画幅 |
| [27:46] | which is the standard HD format. | 这是标准的高清格式 |
| [27:49] | And it was causing us a lot of problems | 这给我们带来了很多麻烦 |
| [27:51] | because actually most of Vincent’s paintings | 因为事实上文森特的大部分画 |
| [27:53] | was a size 30 canvas, | 都是30码的画布 |
| [27:57] | which is more a square format. | 是更接近正方形的尺寸 |
| [27:59] | So for every single painting almost | 所以每一幅画我们都 |
| [28:02] | we were having to invent these side bars | 不得不补全这些两侧黑边 |
| [28:04] | and change the composition. | 改变构图 |
| [28:07] | And then Lukasz Zal, our cinematographer, | 然后卢卡斯·扎尔 我们的电影摄影师 |
| [28:08] | 卢卡斯·扎尔 \h电影摄影师 | |
| [28:11] | came along to us and he said, | 他走过来对我们说 |
| [28:12] | well why don’t you just shoot at academy | 那为什么不用学院比例呢 |
| [28:12] | 即1.375:1 是35mm有声电影的标准画幅比例 | |
| [28:14] | and then you don’t have to | 那样你就不用 |
| [28:16] | second guess the genius of Vincent Van Gogh. | 改动文森特·梵高的天才画面 |
| [28:19] | And we were sacked by our first sales agent company | 我们被第一家发行公司拒绝了 |
| [28:24] | because we made the decision | 因为我们决定 |
| [28:26] | to go with the academy format. | 采用学院比例 |
| [28:28] | But I would rather go against the sales agent | 但我宁愿反对发行商 |
| [28:31] | then go against the compositional choices | 也不愿去改变文森特·梵高 |
| [28:35] | of Vincent Van Gogh. | 在构图上的选择 |
| [28:36] | We started working with Lukasz. | 我们开始和卢卡斯合作 |
| [28:38] | We invited him to our studio | 我们邀请他来我们的工作室 |
| [28:40] | to go through it step by step, shot by shot. | 一步一步 一个镜头一个镜头地拍摄 |
| [28:44] | That’s when we had to have the very | 那时候我们必须 |
| [28:46] | detailed conversations of actually how | 非常详细地讨论 |
| [28:49] | we were going to translate this 2D medium | 我们究竟该如何将2D媒体 |
| [28:53] | into a live action reference shoot, | 转换为真人实景参考素材 |
| [28:56] | which would then have to go back into the 2D medium of painting. | 然后再转换回到2D的绘画媒体中 |
| [29:03] | So we’d got to this point. | 我们当时的情况是这样的 |
| [29:04] | We had filled up a quarter of our studio | 工作室的四分之一 |
| [29:07] | with 20 painting animators. | 由20位画师占据 |
| [29:11] | We had raised I think around a third of the money. | 我们大概筹到了三分之一的资金 |
| [29:14] | We were still a long way off | 我们离推动进度 |
| [29:17] | being able to go ahead and know that we can make this film | 以及非常自信能够完成这部电影 |
| [29:23] | and finish this film. | 还有很长的路要走 |
| [29:23] | We made the decision to actually go and shoot | 我们当时计划先拍摄电影的 |
| [29:26] | a third of the film | 三分之一 |
| [29:26] | 第1场 第32镜 唐吉老爹的店 | |
| [29:28] | and to do the painting animation of a third of the film. | 然后再将这三分之一的部分做成动画 |
| [29:31] | We decided to record | 我们决定先录 |
| [29:32] | one of our main characters Pere Tanguy, | 电影中主要角色之一唐吉老爹的戏份 |
| [29:35] | mainly because his role in the film wouldn’t change, | 主要是因为 就算我们后期打算 |
| [29:38] | even if we were going to change | 更改电影剧本的其他部分 |
| [29:41] | other parts of the script later on. | 他在电影中的角色也不会发生改动 |
| [29:43] | And because we needed to have some painted material | 也因为我们需要一些绘制好的成品 |
| [29:45] | to persuade people to join us and finance the film. | 来说服人们加入我们 并给电影投资 |
| [29:48] | This was really a decision | 这是一个很大胆的决定 |
| [29:50] | that would either make or break the production. | 成败在此一举 |
| [29:52] | We swam in a direction which could potentially | 其结果不仅可能会导致 |
| [29:56] | not only bankrupt the company | 公司破产 |
| [29:58] | and destroy our reputations as film makers, | 毁掉我们作为电影制片人的声誉 |
| [30:02] | but also make it unlikely that we’d make another film | 而且会使我们日后不大有可能再 |
| [30:07] | in the future. | 制作电影了 |
| [30:08] | It was a tough decision to make. | 那是个艰难的抉择 |
| [30:12] | There weren’t so many options then | 因为当时留给我们的选择并不多 |
| [30:15] | and so we took the plunge and we decided to | 所以我们决定放手一搏 |
| [30:20] | go ahead and do the Wroclaw shoot. | 先把在弗罗茨瓦夫的镜头拍了 |
| [30:23] | 2014年12月 弗罗茨瓦夫片场 CETA\h\h工作室 | |
| [30:59] | Wroclaw was quite difficult for me. | 弗罗茨瓦夫这部分的镜头对我来说挺困难的 |
| [31:01] | It was my first shoot on a big set | 这是我第一次在大片场里拍摄 |
| [31:05] | and it was a real learning experience | 确实是一个很好的学习经历 |
| [31:08] | and a very new situation. | 也是个全新的环境 |
| [31:10] | I was a first-time director | 这是我第一次在波兰 |
| [31:12] | on a Polish, male-dominated set, | 且主要人员为男性的片场里当导演 |
| [31:16] | and I think the crew was quite skeptical | 而且我认为员工都在怀疑 |
| [31:20] | about how it would all turn out. | 呈现出来的效果怎样 |
| [31:23] | We always had that hanging over us | 我们一直都很清楚 |
| [31:24] | that we knew that we had taken a big risk | 我们知道先拍摄一部分电影 |
| [31:27] | in going ahead and making parts of the film | 这样做很冒险 |
| [31:30] | when we had no commitment of distribution, | 因为我们没有谈好的发行商 |
| [31:33] | we had no commitment of funding | 没有可靠的资金来源 |
| [31:34] | that covered the entire budget. | 来支付整个预算 |
| [31:37] | The most attractive thing about this project | 这个项目最吸引人的一点就是 |
| [31:38] | is it’s not a commercial project. | 它不是一个商业化的项目 |
| [31:39] | 饰演”唐吉老爹” | |
| [31:41] | It’s not a big bucks project. | 不是那种耗资巨大的制作 |
| [31:43] | It’s not Harry Potter. | 不是《哈利·波特》 |
| [31:44] | It’s not Disney film or whatever. | 也不是迪士尼电影什么的 |
| [31:48] | It’s an extraordinary labor of love | 这是一部用爱筑成的 |
| [31:49] | about a great artist, | 关于一位伟大艺术家的卓越作品 |
| [31:51] | and involves a lot of extraordinary artistry to make | 并且各个部门都需要运用到 |
| [31:56] | in every department of this film. | 很多非凡的艺术技巧 |
| [31:58] | It was a big lesson in directing a production on this scale | 导演这样一个规模的电影 |
| [32:01] | for me, but also for Hugh, | 对我 以及对联合导演休来说 |
| [32:03] | who had joined me as co-director. | 都是一堂非常有意义的课 |
| [32:05] | I think I kinda went from | 我有点像是从一个 |
| [32:07] | being a creative and at points controlling producer | 富有创造力 时而很有控制欲的制片人 |
| [32:12] | to an accidental director. | 偶然间成了一名导演 |
| [32:16] | Me joining Dorota as director | 我作为导演与多洛塔的合作 |
| [32:18] | just sort of organically flowed out of the experience | 渐渐地不仅仅局限于 |
| [32:20] | of the production and of the writing of the script. | 制作电影 或是写电影剧本 |
| [32:40] | Definitely the hardest part was the Wroclaw shoot. | 最难的部分绝对是在弗罗茨瓦夫的拍摄 |
| [32:42] | I think it was particularly hard | 我觉得这部分难主要是因为 |
| [32:44] | because we were working out as we were going along | 在推进工作的同时我们还要思考 |
| [32:46] | how this type of film making would actually be done. | 这种类型的电影具体要如何做 |
| [32:49] | After all, we were doing something new, | 毕竟我们做的是一个全新的类型 |
| [32:52] | so we couldn’t phone someone up who’d already done it | 所以我们不可能打电话给有经验的人 |
| [32:54] | and ask for their advice. | 去询问他们的意见 |
| [32:56] | We couldn’t read any how to manuals. | 我们没有任何类似操作手册的东西 |
| [32:59] | We just had to find out for ourselves. | 我们只能自力更生 |
| [33:02] | We had no proof that it would work out, | 我们不能保证一定会成功 |
| [33:04] | we just had to trust our instincts | 我们只能相信自己的直觉 |
| [33:06] | and hope for the best. | 但愿能够成功 |
| [33:08] | It’s trying something incredibly new and exciting | 让梵高的作品动起来 |
| [33:12] | by having moving images of the paintings of Van Gogh. | 是一次全新且激动人心的尝试 |
| [33:17] | And hopefully we will all be remembered for it. | 但愿我们这群人会因此被人们铭记 |
| [33:22] | So one of the scary things that came out of Wroclaw | 我们在弗罗茨瓦夫拍摄第一镜时 |
| [33:27] | first shoot was we realized that the actors, | 最可怕的事之一就是 我们意识到 |
| [33:30] | when they were acting out the parts, | 演员们表演对应戏份所需时间 |
| [33:33] | took almost twice as long as me and Dorota | 是我和多洛塔演完所有部分 |
| [33:36] | when we had acted out all of the parts. | 所需时间的两倍 |
| [33:38] | Listen son, | 听着 孩子 |
| [33:40] | I’m afraid you’ll never deliver that letter to Theo Van Gogh. | 恐怕这封信永远到不了提奥·梵高手上了 |
| [33:44] | Practically in the space of three months | 几乎在三个月的时间里 |
| [33:46] | we had to cut over a quarter of the story from the script | 我们不得不把我们三年来精心打磨的剧本 |
| [33:49] | that we’ve been carefully working on over three years. | 删掉超过四分之一 |
| [33:53] | And also we needed to recruit more painters. | 而且我们需要招募更多画师 |
| [33:55] | You’ll see that now we have another 15 PAWS units | 可以看到我们新添了十五个绘画工作台 |
| [33:56] | 助梦网更新 2015年1月 | |
| [34:03] | and inside each one we have a painting animator | 每一间内都有一位动画师 |
| [34:06] | doing their very first shot on Loving Vincent. | 正在画电影中他们负责的第一镜 |
| [34:10] | Once we saw the material, once it had been painted, | 我们一见到成品 一见到上色后的样子 |
| [34:15] | we got that whole enthusiasm back for the project. | 就立马重燃了对这个项目的激情 |
| [34:18] | We realized we actually were doing something | 我们意识到我们真的在做 |
| [34:21] | that was special. | 很特殊的事 |
| [34:22] | And we cut together this little trailer of material | 我们从第一镜中 |
| [34:25] | from that first shoot. | 剪出来了预告片素材 |
| [34:27] | And someone took this trailer that we did, | 有人把我们剪的这个预告片 |
| [34:30] | they put it onto their Facebook page | 放到了他们脸书的主页上 |
| [34:32] | and it went viral. | 传播非常迅速 |
| [34:35] | Loving Vincent. | 至爱梵高 |
| [34:40] | Finally tonight, it’s never been done before. | 今晚 一部史无前例的 |
| [34:43] | A fully hand-painted feature film | 纯手绘故事长片 |
| [34:46] | now giving new life to Vincent Van Gogh’s works. | 让梵高的作品重获新生 |
| [34:49] | The attention to detail so extraordinary, | 该电影对细节的把控非常到位 |
| [34:51] | The finish product, is turning into a masterpiece | 完成这部作品本身 |
| [34:54] | in its own right. | 就是一项杰作 |
| [34:55] | Within 24 hours, two million people had seen this. | 24小时内 已经有两百万的浏览量 |
| [34:57] | Within three months, 200 million people had viewed this. | 三个月的时间 视频的播放量已经达到两亿 |
| [35:00] | We went from a situation that seemed hopeless | 我们在山穷水尽的境况中 |
| [35:03] | to a situation where it was like, | 看到了希望 |
| [35:05] | we can go ahead and we can make this film. | 我们有信心继续完成这部电影 |
| [35:08] | We didn’t have enough time but at least we finally | 我们的时间并不充裕 但至少 |
| [35:12] | had a promise of resources to make the film. | 我们有了足够的资源去完成这部电影 |
| [35:41] | And, action. | 开始 |
| [35:44] | Even though for most of my life | 尽管我绝大部分的经历 |
| [35:47] | I’ve been working with animation and painting, | 都和动画制作和绘画有关 |
| [35:50] | I always wanted and dreamed about working with actors. | 但我一直很期望能和演员一起工作 |
| [35:54] | And suddenly when I found myself on that set, | 当我真的成为其中一员的时候 |
| [35:57] | I realized how much I enjoy it. | 我才意识到我有多享受这件事 |
| [36:02] | For the London shoot, the biggest issue was time, really. | 我们在伦敦的拍摄 最大的问题是时间 |
| [36:06] | It is that we were trying to shoot | 我们想在11天的时间里 |
| [36:09] | over 60 minutes of material | 让主演们拍摄一共60分钟 |
| [36:10] | with our main actors in the space of 11 days | 在30个不同场景里的素材 |
| [36:14] | doing up to 30 setups, which is a speed of shooting | 以这样的拍摄速度 |
| [36:18] | which maybe you get on soap operas. | 可能最后只能拍出肥皂剧一样的东西 |
| [36:22] | The concept of this film | 我们想要把这部电影 |
| [36:24] | was from the very beginning | 拍成一个由梵高的画作 |
| [36:25] | that it will be a story told by Vincent’s paintings | 和他肖像画中的人物所讲述的故事 |
| [36:29] | and the characters of his portraits. | 这是我们从一开始就有的想法 |
| [36:31] | Therefore, I though that it’s important that these portraits | 肖像画是依据真实的人所画出 |
| [36:34] | who were real humans | 所以我认为 |
| [36:36] | before they were painted, should be portrayed by real humans now | 画里的人物也应该由有血有肉的人来塑造 |
| [36:40] | because they had real emotions, | 因为画里的人有真实的情感 |
| [36:43] | emotions that the actors follow | 演员要捕捉这种情感 |
| [36:45] | and show based on the script. | 并依据剧本将其表现出来 |
| [36:47] | I knew that we were all going to be turned into sort of | 我知道他们要按照梵高画作的风格 |
| [36:51] | Van Gogh style paintings, | 来为我们设计造型 |
| [36:54] | but I didn’t quite know how | 但我当时并不太清楚 |
| [36:56] | you guys were gonna go about doing that. | 你们要怎么做到这一点 |
| [36:59] | The concept was new and it was something | 这个想法非常新颖 |
| [37:01] | that hadn’t been done before. | 是前所未有的 |
| [37:03] | That’s why I wanted to do it. | 这就是我想加入的原因 |
| [37:05] | That’s why I wanted to do it with you guys. | 这就是我想要和你们一起完成它的原因 |
| [37:07] | Just… I was really interested to see | 我很想知道 |
| [37:09] | what the process was gonna be. | 整个过程会是怎样的 |
| [37:11] | We’re working to enormous green screens, | 我们要在一个巨大的绿幕前面拍摄 |
| [37:13] | the type that you usually don’t see | 除了那些耗资几百万美元的美国大片 |
| [37:15] | unless you’re on a huge multi-million dollar American movie. | 你可能很少能见到这样大的绿幕 |
| [37:20] | The cornflower is lovely this time of year. | 矢车菊每年的这个时候都开得很好 |
| [37:22] | It’s really quite pretty, isn’t it? | 真的很漂亮 对吧 |
| [37:23] | Amazing, the scenery around here | 这里的布景太让人惊讶了 |
| [37:25] | and I just live down the road around the corner | 我就住在这条路的拐角处 |
| [37:27] | sort of back over there somewhere. | 大概在那后面的一个地方 |
| [37:29] | I knew very little about Van Gogh before starting this. | 我在来之前对梵高所知甚少 |
| [37:32] | Only what I had leanred in school as a kid. | 除了小时候在学校里学到的 |
| [37:34] | I knew about his ear, | 我知道他耳朵的事情 |
| [37:36] | I think that’s probably the most famous thing. | 我觉得这应该是关于他最出名的事情了 |
| [37:38] | But I had absolutely no idea about him | 但是我完全不了解有关他 |
| [37:41] | supposedly killing himself, | 是否自杀的猜测 |
| [37:42] | or that there was ever any question around | 或是关于他真正死因的 |
| [37:44] | how exactly he died. | 种种疑问 |
| [37:47] | It’s been fascinating to explore that in the script | 我很想在剧本里 |
| [37:49] | and also to read different accounts | 以及不同人物的不同自白中 |
| [37:51] | from the different characters. | 找到答案 |
| [37:52] | It’s really interesting. | 这一点非常有意思 |
| [37:54] | I always like when the technical side of film | 我很喜欢电影制作时 |
| [37:58] | meets the artistic side. | 技术和艺术的碰撞 |
| [38:01] | So it’s been a great experience | 所以这是一段非常棒的经历 |
| [38:03] | and the cast have been amazing. | 所有的演员也都很出彩 |
| [38:05] | Oh Jesus Christ. | 我的天 |
| [38:06] | 克里斯·奥多德 \h\h\h\h\h\h\h\h饰演”邮差鲁兰” | |
| [38:12] | – You know that it’s glued on? – Need that hot water. | -你知道它是粘上去的吧 -要用点热水 |
| [38:15] | If I had known about the beard. | 我要是知道会有这个胡子 |
| [38:21] | I would have ran away. | 我早就跑了 |
| [38:22] | What do I say when I find him? | 我找到他的时候应该怎么说 |
| [38:25] | It’s customary to start with | 通常都是以 |
| [38:26] | I’m sorry for your loss. | “请节哀”开头 |
| [38:29] | I play Armand Roulin | 我饰演的是阿尔芒·鲁兰 |
| [38:31] | who is a young guy that Van Gogh painted | 他是梵高画笔下的一个年轻人 |
| [38:35] | ’cause he was the son of one of Van Gogh’s best friend. | 因为他是梵高最好的朋友的儿子 |
| [38:38] | And throughout the film, | 在整部电影中 |
| [38:41] | he sort of has a self discovery, | 他探索梵高的过程 |
| [38:44] | which is sort of aided by his discovery of Van Gogh. | 可以说也帮助了他实现自我探索 |
| [38:46] | To start with it was completely | 最开始迷住我的 |
| [38:47] | the painting that captivated me | 仅仅是他的绘画 |
| [38:49] | because I didn’t really know much about him | 因为除了他是一个精神失常的人 |
| [38:50] | other than he was this mad guy | 切掉了自己的耳朵 |
| [38:51] | who cut off his ear | 以及大家都觉得他很奇怪以外 |
| [38:52] | and everyone though he was a bit strange. | 我并不是很了解他 |
| [38:55] | But then through this movie | 但通过这部电影 |
| [38:58] | and noticing more about the man behind the paintings | 我渐渐看到了画作背后的这个男人 |
| [39:02] | and suddenly the paintings became so much more interesting. | 突然间这些画变得更加有趣了 |
| [39:05] | They just became alive for me to sort of, | 在我眼里 他们开始有了生命 |
| [39:07] | he’s one of the first painters | 他是最开始把情感 |
| [39:09] | that really started painting with emotion. | 融入绘画的一批画家之一 |
| [39:14] | Once we had finished with the actors, | 当我们结束了演员拍摄的部分 |
| [39:15] | then it was all about painting. | 剩下的全都是绘画了 |
| [39:18] | Every single frame of the film would need to be painted | 电影的每一帧都要非常仔细地用油画 |
| [39:21] | carefully in oil paints, mainly in Vincent’s style. | 以梵高的风格画出来 |
| [39:25] | And his style is not easy to animate. | 而他的风格很难被制作成动画 |
| [39:28] | The fact you can often see individual brush strokes, | 他的很多作品里笔触清晰 |
| [39:31] | the fact that he had such a thick impasto, | 他所使用的的厚涂画法 |
| [39:34] | meant that for a lot of shots the painters | 意味着画师们必须 |
| [39:37] | had to stop-motion animate each individual brush stroke. | 对每一道笔触都使用定格动画技术 |
| [39:41] | Move each individual brush stroke bit by bit | 要在画布上一点一点 |
| [39:44] | across the canvas. | 移动每一道笔触 |
| [39:46] | It was my job to critically evaluate | 我的工作就是要严格审核 |
| [39:48] | and eventually approve every single one | 这65,000张画中的每一张 |
| [39:51] | of the 65,000 paintings. | 都由我最终批准通过 |
| [39:57] | I think by that time we’d only painted | 到那时我们刚画了 |
| [39:59] | 15,000 frames of the film, | 电影中的15,000帧 |
| [40:01] | so we had another 50,000 frames of the film to paint | 所以我们还有5,000帧要画 |
| [40:05] | and not enough time to paint it in. | 时间也不够 |
| [40:07] | And not enough painters to paint it with. | 画师也不够 |
| [40:09] | We were still in the process of sorting out | 我们当时还在整理所有 |
| [40:11] | all the applications that had been coming through | 收到的申请 |
| [40:14] | and trying to find the right painters. | 想要从中找到合适的画师 |
| [40:16] | We had a whole new recruitment drive. | 我们举办了一个全新的招募活动 |
| [40:18] | We had 4,000 new applications | 收到了四千份新的申请 |
| [40:21] | and just the task of sifting through | 我们的任务是把所有的申请 |
| [40:23] | all of these applications | 筛选一遍 |
| [40:25] | to try and find people that we wanted. | 并从中找到我们想要的人 |
| [40:27] | We did tests on I think over 500 painters. | 我们对超过500位的画师进行了测试 |
| [40:31] | We were setting up a separate unit in Wroclaw | 我们在弗罗茨瓦夫建立了一个独立工作组 |
| [40:36] | with 10 painters. | 有10位画师 |
| [40:37] | We were setting up a unit in Athens | 我们在雅典也建立了一个工作组 |
| [40:40] | Studio Mabrida, that went up to 18 painters. | 马布里达工作室 人数增加到18名 |
| [40:43] | But we also knew that we’re gonna need like | 但我们需要大概 |
| [40:46] | 100 painters working on this film | 一百名画师来制作这部电影 |
| [40:49] | if we were gonna stand a chance of getting it made | 才能在截至日期前 |
| [40:52] | before the deadline. | 完成这项任务 |
| [40:54] | We now have three different studios | 我们现在在两个国家 |
| [40:55] | in two countries and our main studio | 有三个不同的工作室 最主要的工作室 |
| [40:58] | which at first had 20 painters, | 起初有20位画师 |
| [41:00] | was now filled up with 67 painting animation work stations. | 现在建满了67个绘画工作台 |
| [41:05] | We were ready to go full steam ahead | 有了这支新扩大的画师队伍 |
| [41:07] | with the painting process to complete the film on time | 我们准备好开足马力 推进绘画进度 |
| [41:10] | with our new larger team of painters. | 准时完成电影制作 |
| [41:14] | Okay, so let me take you through the animation process. | 现在我来介绍动画制作流程 |
| [41:18] | First thing, we start with a clean canvas, | 首先 准备一块空白的画布 |
| [41:21] | open up the software and load up the references | 打开软件 锁定实拍中的 |
| [41:24] | from the live action shoot. | 某幅画面作为参考 |
| [41:26] | We take a key frame for the scene | 然后从中提取关键帧 |
| [41:28] | and based on that we paint the first frame | 并基于此 画第一帧 |
| [41:30] | and check it over with our supervisor. | 给主管核查 |
| [41:33] | If the frame gets accepted | 如果这一帧合格了 |
| [41:34] | we can move on and we can begin animation. | 下一步就可以开始制作动画了 |
| [41:37] | The projector display the second frame of the shot | 投影仪投影出该镜头的第二帧 |
| [41:40] | and then we have to scrape the paint off | 我们需要把画好的第一层刮掉 |
| [41:42] | or change it a little bit | 或稍作改动 |
| [41:44] | and we paint the scene to match this new frame. | 然后画出与这一帧相符的场景 |
| [41:47] | Once this is done | 完成之后 |
| [41:48] | we take another two pictures with the camera. | 再用相机拍两幅图像 |
| [41:52] | We are doing the film 12 frames per second | 我们每秒做了12帧 |
| [41:55] | but we have to take two pictures | 但是每帧需要做成两幅图像 |
| [41:57] | to match the 24 frame standard for the film. | 来符合电影每秒24帧的标准 |
| [42:00] | After we’ve taken the picture | 拍好图像后 |
| [42:01] | we project the next frame | 我们就投影下一帧 |
| [42:02] | and start again. | 然后重新开始 |
| [42:04] | I had to look after a group of painters | 我负责管理一组画师 |
| [42:07] | and make sure that they were all sticking to the correct style | 确保他们的绘画风格是正确的 |
| [42:11] | and ensuring that every frame | 并确保每一帧 |
| [42:13] | has the same standard of quality. | 都具有同样的质量标准 |
| [42:15] | Some shots took a very long time to complete. | 有些镜头花很长时间才能完成 |
| [42:18] | I think my longest shot took me about | 我费时最长的一次 |
| [42:20] | six months to finish. | 是六个月 |
| [42:22] | Now imagine working every day here | 试想每天在这里工作 |
| [42:24] | on one single shot | 只为了完成一个镜头 |
| [42:26] | for it to then be on the screen for around 42 seconds. | 只为了在荧幕上呈现大概42秒 |
| [43:06] | Some of us definitely spent thousands of hours | 我们中有些人肯定在绘画工作台 |
| [43:08] | in a painting station | 坐了上千个小时 |
| [43:11] | half of our lives was there. | 半辈子都在那里度过 |
| [43:14] | So in a way they became our little homes at work. | 某种意义上我们工作时会把那当成家 |
| [43:17] | It was very clear that some painters | 很显然 有一些画师 |
| [43:20] | became attached to their PAWS | 对他们的绘画工作台产生了感情 |
| [43:21] | and would decorate them and | 会装饰它们 |
| [43:23] | very often leave a mess in there too. | 常常也会弄得乱七八糟 |
| [43:27] | Sometimes we had to fix certain scenes. | 有时我们需要修改某个场景 |
| [43:30] | We would paint and animate just a part | 我们只对需要修改的一部分进行绘画 |
| [43:33] | that needed fixing | 并制成动画 |
| [43:34] | and stick in onto the original shot. | 但依然以最初的镜头画面为主 |
| [43:37] | We wanted to avoid throwing out whole shots | 我们想避免放弃整个镜头 |
| [43:40] | as it would be a huge waster of time. | 因为这会非常浪费时间 |
| [43:42] | It happened to me twice when I did a mistake | 我在绘画的过程中 |
| [43:45] | during my painting animation | 出过两次错 |
| [43:46] | and I have to redo 10 or 15 frames again. | 这10或15帧就得重新来过 |
| [43:50] | That was very painful. | 这太痛苦了 |
| [43:52] | There are very few scenes that they were thrown out | 很少有场景在画完后 |
| [43:54] | after they were painted | 被直接放弃 |
| [43:56] | because they all took a very long time to paint. | 因为每一幅都花了很多时间 |
| [43:59] | 未使用的镜头 唐吉老爹的店后面 \h\h乔安娜·斯米洛夫斯卡制作 | |
| [43:59] | You hear that | 你也听到了 |
| [44:00] | I’d better go talk to the lad. | 我最好去找那个小伙子说说 |
| [44:01] | I told you you’re not going anywhere. | 我跟你说了 哪也不许去 |
| [44:04] | You are not help talking the shop. | 你去说根本帮不上什么忙 |
| [44:06] | 未使用的镜头 圣雷米的疯子 \h\h莫妮卡·马尔切卡制作 | |
| [44:10] | 未使用的镜头 罗纳河上的星夜 乔安娜·马利奇克制作 | |
| [44:17] | The scenes that took the longest were the dynamic scenes | 所有场景中费时最长的就是动态场景 |
| [44:21] | which has a lot of camera movement. | 因为包含很多机位运动 |
| [44:24] | I painted descending through the starry night over the town. | 我画的是星夜在村庄上的降落过程 |
| [44:27] | Because of moving camera | 因为机位运动 |
| [44:28] | I often only managed a painting a day | 我一张画经常要画一天 |
| [44:30] | mostly one and a half | 大多数时候要一天半 |
| [44:32] | on rare occasions two. | 极少数时候两天 |
| [44:33] | So it took me a long time to animate | 电影里几秒的动画 |
| [44:35] | just a few seconds of the film. | 我要花很多时间才能完成 |
| [44:37] | We were held back a little bit by what we could do. | 我们稍微有点受预算的限制 |
| [44:40] | The moving camera shots cost | 因为动态镜头拍摄太贵了 |
| [44:42] | I’m the finance guy | 毕竟我是负责财务的 |
| [44:45] | On the set I was like, Dorota, | 在片场我经常说 多洛塔 |
| [44:47] | do we really need to have the moving camera shot here? | 这个地方我们真的需要用动态镜头拍摄吗 |
| [44:50] | But you know at the end of the day | 因为到头来 |
| [44:51] | it was a matter of the budget. | 这是预算问题 |
| [44:54] | I think that we had the situation several times a year | 我们一年里会遇到几次这样的问题 |
| [44:58] | where we really didn’t know | 完全不知道 |
| [45:01] | where the next money was gonna come from. | 下一笔经费要从哪里来 |
| [45:03] | It was brilliant, you know, working with Sean | 找肖恩合作非常明智 |
| [45:07] | because Sean had this ability to pull rabbits out of the hat. | 因为肖恩有很多奇思妙想 |
| [45:12] | There was this month where Sean was like, | 有那么一个月 肖恩总是说 |
| [45:13] | “I have no more rabbits.” | “我也没招了” |
| [45:15] | And, really, the only option I could see | 说真的 我能想到的唯一方法 |
| [45:19] | was getting on a plane to America | 就是坐飞机去美国 |
| [45:21] | and going and talking to, you know, one of our largest investors | 去跟我们最大的投资方之一谈谈 |
| [45:25] | and saying to them, | 跟他们说 |
| [45:27] | is we’d like you to increase your investment by 50% | 我们希望你们能增加50%的投资 |
| [45:32] | and we’d like you to put it in in the next two weeks. | 而且最好能在接下来的两周内投进 |
| [45:36] | Thankfully, they were yet again very supportive | 谢天谢地 他们还是非常支持 |
| [45:39] | and came through to us. | 把资金汇给了我们 |
| [45:41] | And that kept the whole thing moving forward | 那让整个进程多持续了好几个月 |
| [45:45] | for more months until we wrapped up | 直到我们搞定 |
| [45:48] | all the legal work, all the bank documents | 所有法律事务 所有银行文件 |
| [45:51] | that finally got the final monies flowing through to us. | 这才终于拿到了最后一笔款项 |
| [45:54] | And then it was all about pushing to get more | 之后就是不断努力 |
| [45:58] | painting done, week by week. | 一周接着一周完成更多画作 |
| [46:01] | That was putting a lot of pressure on us | 我们身上的压力很大 |
| [46:04] | and that kind of increased when I had to go to Britain | 当我要去英国制作音效和音乐 |
| [46:09] | to do the sound and the music | 而多洛塔要一个人留在波兰 |
| [46:12] | and left Dorota on her own in Poland | 继续监督整个进程的时候 |
| [46:15] | to continue supervising the production. | 那种压力变得更大了 |
| [46:28] | That was very disappointing for me. | 那让我很失望 |
| [46:30] | I had written every draft of the script | 我已经给克林特·曼塞尔的音乐 |
| [46:32] | to Clint Mansell’s music. | 填好了每一稿的词 |
| [46:34] | For me, he was the only composer for Loving Vincent. | 对我来说 他是《至爱梵高》唯一的作曲家 |
| [46:37] | I had my heart set on him. | 我一直希望由他来 |
| [46:39] | He was a hero and inspiration to me | 他对我而言是个英雄 也是一种激励 |
| [46:42] | so to have missed the recording and mixing | 所以错过了录音和混音 |
| [46:44] | was really heartbreaking. | 让我非常难受 |
| [46:46] | But there was no choice because at that point in the production, | 但也别无选择 因为在制作的那一阶段 |
| [46:49] | we were at our most intensive stage. | 我们正在最紧张的一步 |
| [46:52] | We had people working five, six, seven days a week. | 我们让大家一周工作五 六 七天 |
| [46:56] | It was really up to the painters | 这完全取决于画师 |
| [46:57] | how much they painted per week, | 每周能画多少 |
| [46:59] | and the more they painted, the more they got paid, | 他们画得越多 拿的钱也越多 |
| [47:01] | and obviously we had a vested interest | 我们明显有种既得利益 |
| [47:04] | in trying to keep them there as long as possible. | 想让他们在工作室待得越久越好 |
| [47:06] | And one of the things that we would do | 我们做的有件事 |
| [47:08] | that later became a tradition | 后来成了一个传统 |
| [47:10] | is that one of us would cook for the entire crew | 那就是我们中一个人会给全组做饭 |
| [47:13] | and we’d post what we were cooking on a Friday night | 我们把周五晚上烧的东西晒出来 |
| [47:15] | and hope the painters would be streaming into the studios | 希望画师们会在周六 |
| [47:18] | on a Saturday. | 涌进工作室 |
| [47:20] | We also provided breakfast in the morning | 我们还会在早上提供早餐 |
| [47:23] | to try and get painters to start work earlier, | 想让画师们早点来开工 |
| [47:26] | but some painters always preferred to work during the nights. | 不过一些画师往往更喜欢通宵作画 |
| [47:31] | Like Vincent, I like the night time, | 跟文森特一样 我也喜欢夜晚工作 |
| [47:34] | which was very useful | 这样很有用 |
| [47:35] | as each night I had to do scheduling for the next day. | 因为每晚我都会为第二天做好规划 |
| [47:39] | Because in the day time, there was too many approvals to do. | 因为在白天有很多事要审核批准 |
| [47:43] | Deciding which animator did which shot | 哪位动画师绘制哪一镜的选择 |
| [47:46] | was incredibly important to the quality of the film. | 会在很大程度上影响到影片的质量 |
| [47:50] | The studio was different by night. | 工作室到晚上就变了样 |
| [47:52] | Much calmer and there were few painters who were also night owls, | 更加宁静 而且有几位画师也是夜猫子 |
| [47:57] | so I could take a break and review the work | 这样我就能稍事休息 检查一下作品 |
| [48:00] | and discuss those shots in a more in-depth way. | 从更深入的角度探讨那几镜 |
| [48:04] | But even with the long days, | 但是即便是这么长的工时 |
| [48:06] | we knew that we weren’t going to meet our September deadline, | 我们也知道绝对赶不上九月的截止时间 |
| [48:10] | and a lot of our painters who had arranged their return home | 已经安排好要回家的很多画师 |
| [48:13] | were starting to leave. | 也开始离开了 |
| [48:15] | The pressure just went up increasingly every week. | 压力一周比一周大 |
| [48:19] | Because on one hand we were still working | 因为从一方面来说 |
| [48:22] | very hard and very intense. | 我们还是努力紧张地工作着 |
| [48:24] | The deadline was so close. | 截止时间近在眼前 |
| [48:25] | And on the other hand, | 从另一方面来说 |
| [48:28] | there were these people leaving every day and every week. | 每一天 每一周都有人离开 |
| [48:32] | We would have a farewell party at least once a week | 我们至少每周都会办一次欢送会 |
| [48:34] | where we had some cake and beer, | 吃点蛋糕 喝点啤酒 |
| [48:34] | 卢卡斯·戈登 最后一镜 | |
| [48:36] | and after we all said goodbye, | 在我们都道完别之后 |
| [48:39] | the rest of the crew went back to work. | 团队其他成员就回去继续工作 |
| [48:41] | The studios in Wroclaw and Athens | 弗罗茨瓦夫和雅典的工作室 |
| [48:44] | finished their animation by the end of October. | 十月底就正式完工了 |
| [48:46] | In Gdansk we were still painting the front titles | 在格但斯克的我们还在画标题 |
| [48:49] | and doing some corrections. | 做一些修正 |
| [48:50] | But by November 21st, the painting process stopped. | 不过到11月21日 绘制过程彻底完工 |
| [48:54] | 11月21日 凌晨4时 绘制完《至爱梵高》的最后一镜 | |
| [49:06] | I think that’s it then guys. | 我觉得完工了 大伙们 |
| [49:09] | – Last shot? Yeah! – Yeah! | -最后一镜吗 万岁 -万岁 |
| [49:20] | Okay, champagne. | 好了 香槟 |
| [49:22] | By November 30th, we dismantled all the painting stations, | 11月30日 我们拆除了所有的绘画工作台 |
| [49:26] | and it was time to move after four memorable years. | 经过四年难忘的时光 也是时候前进了 |
| [49:31] | Two years and 50 weeks ago, | 2年50周之前 |
| [49:33] | I stood here in the snow | 我就在这里的雪地中 |
| [49:37] | giving the first Kickstarter update. | 在助梦网发布了第一条更新 |
| [49:40] | In this studio over here, | 在这边的这个工作室 |
| [49:43] | which is now a warehouse, | 现在是个仓库了 |
| [49:46] | we dreamed, devised, planned, produced, designed, | 我们梦想 考虑 计划 制作 设计 |
| [49:52] | and most importantly painted the Loving Vincent film. | 最重要的是绘制了电影《至爱梵高》 |
| [49:58] | Our life was revolving for five years | 五年来我们的生活都 |
| [50:01] | around Loving Vincent. | 紧紧围绕着《至爱梵高》 |
| [50:03] | And we were expecting that we’re gonna have | 我们原本想着等到结束以后 |
| [50:07] | this incredible sense of relief | 我们会感到无比轻松 |
| [50:09] | and achievement after we finished. | 以及巨大的成就感 |
| [50:11] | But it was quite different actually | 不过事实上大不相同 |
| [50:13] | because we finished in March | 因为我们在三月完工 |
| [50:16] | and we had to wait till the world premiere | 但我们得等到世界首映 |
| [50:19] | that was planned for June in Annecy. | 计划是六月在安纳西举办 |
| [50:24] | So yeah, these three months were really difficult. | 可想而知 这三个月非常艰难 |
| [50:28] | I remember them as a very dark period of my life, | 我觉得那是我人生中特别难熬的时期 |
| [50:31] | because it was filled with this sense of dread and anxiety | 因为它充斥着恐惧和焦虑 |
| [50:37] | and expectations building up in my head. | 我脑海里全是各种预想 |
| [50:43] | And it was also very cold. | 当时天气很冷 |
| [50:49] | I remember snowing on the main day, | 我记得首映那天下了雪 |
| [50:51] | and I just remember that I felt burned out. | 我只记得当时感觉筋疲力竭 |
| [50:55] | I felt physically and mentally | 我的身体和精神 |
| [51:01] | really in a bad way, I think, | 都快崩溃了 |
| [51:04] | and I just really wanted finally to share this film. | 我非常热切地想分享这部电影 |
| [51:10] | I had to introduce the film and after I did that, | 我介绍了电影 |
| [51:13] | which was incredibly emotional moment for me, | 介绍过程中我感到激情澎湃 |
| [51:19] | I had to go and sit in the audience, | 那之后我就回到了观众席上 |
| [51:24] | and be part of the audience, | 作为观众之一 |
| [51:26] | and watch the film with them. | 和他们一起观看电影 |
| [51:27] | I was terrified and I had no idea what to expect. | 我忐忑不安 不知道会有什么反响 |
| [51:31] | I knew that I have to share this film with the audience, | 我知道我必须和观众分享这部电影 |
| [51:34] | and they will react, | 而我完全无法预料 |
| [51:36] | and I had no idea how. | 他们会有什么反应 |
| [52:13] | I do remember that moment, | 我清楚地记得那一时刻 |
| [52:14] | that time extremely vividly. | 简直历历在目 |
| [52:18] | The film comes to the end. | 电影播完了 |
| [52:20] | The end credit starts to roll, | 职员表开始滚动 |
| [52:23] | and the audience starts applauding. | 观众们的掌声响起 |
| [52:26] | But then that applause is transforming | 后来掌声越来越大 |
| [52:30] | into bigger applause, | 如同雷鸣一般 |
| [52:33] | and then that bigger applause is transforming | 再后来观众们越来越激动 |
| [52:36] | into standing ovation. | 他们纷纷起立鼓掌 |
| [52:38] | and that lasts 12 minutes. | 掌声持续了12分钟 |
| [52:41] | There was just this incredible relief | 电影结束观众起立鼓掌时 |
| [52:44] | when we had that standing ovation at the end of the film. | 我简直如释重负 |
| [52:47] | That was a moment in my life when it just, | 那是我生命中 |
| [52:51] | it all sort of washed away. | 毫无负担的一刻 |
| [52:52] | The stress of the previous five years. | 前五年承受的压力都烟消云散 |
| [52:55] | Just realizing that we had done something | 我意识到 人们非常欣赏 |
| [52:58] | that people appreciated. | 我们的作品 |
| [52:59] | Whatever happened after that, | 那之后不管会发生什么 |
| [53:01] | whether it was successful in other countries | 不管在其他国家或者电影节 |
| [53:04] | or other festivals, | 成功与否 |
| [53:06] | we knew that there was this kind of appreciation | 我们都铭记着 这部电影 |
| [53:10] | for the film there. | 得到过这种赞赏 |
| [53:11] | And I think that was a real turning point | 我认为那一刻真的是个转折点 |
| [53:13] | and things moved very fast after that. | 那之后事情发展得很快 |
| [53:17] | The day after Annecy we went straight out to Shanghai. | 首映结束后我们直接去了上海 |
| [53:21] | We said yes to every opportunity | 我们抓住每一个 |
| [53:25] | to promote the film. | 宣传电影的机会 |
| [53:26] | We said yes to every interview, | 我们接受了所有采访 |
| [53:28] | every screening with Hugh and I | 休和我上了所有放映礼 |
| [53:28] | 来源:油管:DP/30:口述好莱坞历史 | |
| [53:31] | and all the promotional action. | 参加了每一个宣传活动 |
| [53:33] | We barely went home. | 我们几乎没回过家 |
| [53:35] | We had 90 flights in 10 months, | 10个月里我们坐了90次航班 |
| [53:37] | so you know, having nine or 10 flights a month | 也就是每个月9到10次 |
| [53:41] | to try and be there for all the premiers | 我们争取出席所有首映礼 |
| [53:43] | and to just do as much press as possible | 并且尽可能地多开记者招待会 |
| [53:45] | because we didn’t wanna take anything for granted | 因为我们认为成功不是理所当然的 |
| [53:48] | and we’d spent seven years, | 我们已经花了七年 |
| [53:52] | or more even, making the film. | 甚至更长的时间 来制作电影 |
| [53:55] | And so we wanted to do everything possible | 所以我们想尽最大努力 |
| [53:56] | to make it successful. | 来让它成功 |
| [53:58] | It really is touching, | 我真的很感动 |
| [53:59] | to know that you actually made a film | 自己竟然真的做出了一部 |
| [54:02] | that can make people cry, | 能使人潸然泪下 |
| [54:04] | that can inspire people, | 还能鼓舞人心的电影 |
| [54:05] | and I think that’s, for me, | 我认为那对我来说 |
| [54:08] | the biggest success of the release. | 就是电影发行最大的成功之处 |
| [54:10] | The reception of the audience, | 观众们反响强烈 |
| [54:11] | and it wasn’t just in the cinemas. | 不仅院线观众如此 |
| [54:13] | It was also at the festivals. | 电影节观众也一样 |
| [54:15] | We got 16, I think now we’ve actually, | 我们已经得了16个 不对 应该是 |
| [54:18] | ’cause we got another couple over the past month, | 因为上个月又得了2个 |
| [54:20] | I think we got 18 audience awards. | 所以我们一共得了18个观众奖 |
| [54:22] | And those awards are voted for by the audiences | 这些奖项是观众投票选出的 |
| [54:26] | and in a way they’re like the best awards | 在某种程度上 它们就是最高奖项 |
| [54:28] | because it’s the people going out there | 因为这说明那些 |
| [54:31] | bothering to attend the festivals | 不辞辛劳地来参加电影节的观众 |
| [54:33] | and bothering to vote | 愿意不嫌麻烦地为你投票 |
| [54:35] | and backing you for what you’ve done. | 支持你的作品 |
| [54:39] | In China, in the US, | 在中国 在美国 |
| [54:41] | in Germany, the Netherlands, | 在德国 在荷兰 |
| [54:43] | in virtually every country we visited, | 实际上 在我们去过的所有国家 |
| [54:46] | we had these people coming up to us with tears | 都有观众热泪盈眶地找到我们 |
| [54:56] | that wanted to share their love | 想和我们分享他们对影片的爱 |
| [54:59] | and wanted to come up to us and hug us. | 想拥抱我们 |
| [55:02] | I wish that Vincent could have had | 我多希望也有人能对文森特 |
| [55:05] | some of these kind words, these good emotions, | 说这些温暖的话 释放这些善意 |
| [55:09] | these hugs that I have received, | 敞开他们的怀抱 |
| [55:13] | because I believe that this could keep him going | 我相信这能帮他走下去 |
| [55:16] | and keep him alive for more years | 给他继续活着的信念 |
| [55:18] | and keep him dreaming and creating. | 保持梦想的勇气 和创作的动力 |
| [55:28] | The Academy of Motion Picture Arts and Sciences | 电影艺术和科学学院 |
| [55:30] | invites you to be its guest | 邀请你们作为嘉宾 |
| [55:31] | at the 37th annual awards presentation. | 出席第三十七届年度颁奖典礼 |
| [55:35] | The film had done really well at festivals, | 这部电影在电影节反响很不错 |
| [55:39] | really well in the cinemas. | 在影院也很火爆 |
| [55:41] | Financially it had been a success. | 它创造了非常丰厚的收益 |
| [55:43] | Yet somehow we were still viewed as outsiders | 然而不知为何 我们仍被电影业内人士 |
| [55:46] | within the film industry. | 视为门外汉 |
| [55:48] | And the biggest stamp of legitimacy that you can get | 而电影人在业内能获得的最大认可 |
| [55:52] | in the film industry is an Oscar nomination. | 就是被奥斯卡提名 |
| [55:54] | We were all racked with nerves in the days | 2018年奥斯卡颁奖前的那段时间 |
| [55:57] | leading up to the announcement of the Oscars, 2018. | 我们都坐立不安 |
| [56:03] | For best animated feature film, | 最佳动画长片提名有 |
| [56:07] | The Boss Baby. | 《宝贝老板》 |
| [56:11] | The Bread Winner. | 《养家之人》 |
| [56:15] | Coco | 《寻梦环游记》 |
| [56:18] | Ferdinand. | 《公牛历险记》 |
| [56:21] | And, Loving Vincent. | 和《至爱梵高》 |
| [57:06] | ♪ Now I understand ♪ | ♪ 现在我终于知道 ♪ |
| [57:10] | ♪ what you tried to say to me ♪ | ♪ 你想对我倾诉什么 ♪ |
| [57:15] | ♪ how you suffered for your sanity ♪ | ♪ 众醉独醒 你有多么痛苦 ♪ |
| [57:20] | ♪ how you tried to set them free ♪ | ♪ 众生愚愚 你有多想让他们自由 ♪ |
| [57:23] | ♪ They would not listen ♪ | ♪ 但那时他们不听 ♪ |
| [57:24] | ♪ they did not know how ♪ | ♪ 更不懂 ♪ |
| [57:28] | ♪ perhaps they’ll listen now ♪ | ♪ 也许 此时的他们想听了 ♪ |
| [57:31] | ♪ For they could not love you ♪ | ♪ 尽管他们不曾爱过你 ♪ |
| [57:35] | ♪ but still your love was true ♪ | ♪ 但是你依然情真意切 ♪ |
| [57:41] | ♪ and when no hope was left in sight on that starry starry night ♪ | ♪ 但在一个繁星点点的夜晚 希望消逝 ♪ |
| [57:48] | ♪ You took your life as lovers often do ♪ | ♪ 你结束了生命 就像恋人常做的那样 ♪ |
| [57:53] | ♪ But I could have told you Vincent ♪ | ♪ 假如我在 文森特 我会对你说 ♪ |
| [57:57] | ♪ this world was never meant for one as beautiful as you ♪ | ♪ 红尘俗世 本就无缘于如此美好的你 ♪ |
| [58:06] | ♪ Starry starry night ♪ | ♪ 繁星点点的夜晚 ♪ |
| [58:11] | ♪ portraits hung in empty halls ♪ | ♪ 你的自画像挂在一个个空荡的展厅中 ♪ |
| [58:16] | ♪ frameless heads on nameless walls ♪ | ♪ 无框的头像悬在一面面不知名的墙上 ♪ |
| [58:20] | ♪ with eyes that watch the world and can’t forget ♪ | ♪ 双眸注视着这世界 令人无法忘却 ♪ |
| [58:24] | ♪ Like the stranger that you’ve met ♪ | ♪ 如那个你曾见过的陌生人 ♪ |
| [58:28] | ♪ the ragged men in ragged clothes ♪ | ♪ 他失魂落魄 衣衫褴褛 ♪ |
| [58:33] | ♪ the silver thorn of bloddy rose ♪ | ♪ 宛如血色玫瑰上的银色荆棘 ♪ |
| [58:37] | ♪ lie crushed and broken on the virgin snow ♪ | ♪ 被摧折粉碎 洒向飘着初雪的大地 ♪ |
| [58:42] | ♪ And now I think I know ♪ | ♪ 现在我终于知道 ♪ |
| [58:48] | ♪ what you tried to say to me ♪ | ♪ 你想对我倾诉什么 ♪ |
| [58:52] | ♪ how you suffered for your sanity ♪ | ♪ 众醉独醒 你有多么痛苦 ♪ |
| [58:57] | ♪ how you tried to set them free ♪ | ♪ 众生愚愚 你有多想让他们自由 ♪ |
| [59:00] | ♪ They would not listen ♪ | ♪ 但那时他们不听 ♪ |
| [59:02] | ♪ they’re not list’ning still ♪ | ♪ 现在仍不得悟 ♪ |
| [59:06] | ♪ perhaps they never will ♪ | ♪ 也许他们永远不会 ♪ |