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When Filmmakers Dream: A Story of Attainable Succe
Teens -- 1610
 

我们很多人都知道,和其他许多人生道路一样,艺术和创作这条路并不好走。当一个人开始有了做电影的梦想,他便已经选择了一条艰难的道路。世上电影那么多,想要自己制作的影片脱颖而出,哪有这么容易?你若真的坚定了自己的梦想,那么在累了倦了快要放弃的时候,不妨静下心来,好好回想一下自己的初心,问问自己当初为什么想要成为一名电影人。相信那会给你带来新的力量。

 

When Filmmakers Dream: A Story of Attainable Success

当电影人开始筑梦:一个梦想成真的故事

by Seth Fisher

翻译:法比仔

文字难度:3       

     When 1)filmmakers dream, we dream big. And why not? Shoot for the stars, you might just get one to act in your next movie. While not every filmmaker has designs for 2)commercial success, one would be 3)hard-pressed to find the opportunity to create more films and get paid to do so.

When I 4)set out to make my first feature, Blumenthal, I 5)obsessively read up on every first-time feature filmmaking experience I could find. Naturally, most of the recorded accounts I could find were from 6)the likes of Edward Burns1 and Robert Rodriguez2. But here’s the thing…there is a difference between 7)mediocrity and middle ground.

Two weeks ago, Blumenthal reached its closing chapter of the filmmaking process: distribution. Now, the answers you really want to know is: Did Blumenthal make a million dollars in the box office? No. Am I famous? No. Did it 8)bankrupt anyone? No. Did it 9)see the light of day? YES. Well, let’s just say I would happily accept that middle ground.

When Blumenthal didn’t premiere at Sundance3or SXSW4, I’d be lying if I said I didn’t already feel like a failure. Many independent films never see the light of day, because the 10)industry tends not to support films that premiere outside of these festivals. Knowing that reality, it can be tough to rebound from 11)rejection by these “gate keepers” to success.

After the first round of festival rejections, though, I took a moment to 12)regroup. I actually spent that “moment” writing another movie. After that, I continued to edit Blumenthal, 13)submit it to festivals, and began to share it with friends and friends-of-friends with industry contacts. And most importantly, I realized that I needed to redefine success for the film and for myself. At my 14)core, what I really wanted was to make a good film.

The Santa Barbara International Film Festival was the first festival that received Blumenthal…and the first to accept it. From there, a 15)programmer for the San Francisco Jewish Film Festival programmed Blumenthal. Blumenthal was 16)subsequently invited to dozens of Jewish film festivals all over the world.

An audience of strangers can watch the film, like it, hate it, or forget about it. That’s all that really ever mattered to me, I suppose. Why make a movie? Because I love telling stories just as much as I love seeing and hearing them. Everything else has been 17)icing on the cake. Blumenthal will not make me rich. It may not make me anything at all. But people can see it. It directly led to my next directing projects. And it all happened without Sundance, without Fox Searchlight5, without money, and without a single award.   

 

每当我们电影人筑梦时,梦想都很远大。为什么不可以呢?争取明星拍摄,你可能只能得到某个人来出演你的下一部电影。虽然不是每一个电影人都有构想过自己在商业上的成功,但每个电影人都会被迫去寻找拍摄更多电影的机会并且得到回报。

当我着手制作我的第一部作品《布鲁门塔尔》的时候,我痴迷地读完了所有我能找到的关于别人第一次制作电影的经验故事。自然而然地,我所能找到的多是和爱德华•伯恩斯和罗伯特•罗德里格兹等人相类似的经历记录。但是,在这里我们要看到的就是……平庸和中庸之间是有区别的。

两周前,《布鲁门塔尔》到了制作的尾声:发行。现在,你真正想知道的是:《布鲁门塔尔》有没有达到一百万的票房?没有。我出名了吗?并没有。这部电影使任何一个人破产了吗?没有。它有被公众知晓吗?是的。好,只能说我会开心地接受这中庸的评价。 

当《布鲁门塔尔》并没有在圣丹斯电影节或美国的西南偏南音乐节首映时,如果我说我没有觉得自己像一个失败者,那我一定是在骗你。很多的独立影片从未与观众见面,因为电影业界都倾向于不去支持那些没在这些电影节首映的影片。认清这一事实后,要在这些“守门员”的拒绝中重新振奋精神并获得成功是十分艰难的。

在遭到第一轮电影节的拒绝后,我花了一点时间来重新调整。事实上,我在那段时间里创作了另一部电影。在那之后,我继续改写《布鲁门塔尔》,将它上交到了电影节,然后开始把它分享给朋友和相关的业内人士。最重要的是,我意识到我需要重新定义电影的成功,以及我自己的成功。在我心里,我真正想做的就是制作一部好电影。

圣巴巴拉国际电影节是第一个收到《布鲁门塔尔》申请的电影节……也是第一个愿意接受它的电影节。在那里,旧金山犹太电影节的一个编导帮忙编排了《布鲁门塔尔》。随后,《布鲁门塔尔》被邀请参与了世界上几十个犹太电影节。

    一群陌生的观众可能会看这部电影,他们可能会喜欢它,也可能会讨厌它或忘记它。我曾认为,全部的这些东西于我都是很重要的。为什么要拍电影?因为我喜欢讲故事,就像我喜欢看故事和听故事一样。其他的一切都是锦上添花。《布鲁门塔尔》不会使我变得富有,它可能根本给不了我什么。但是人们可以看到它,这直接将我引向了下一个指导作品。这一切就在没有圣丹斯电影节、没有福克斯探照灯、没有钱、没有获得哪怕一个奖项的情况下发生了。

 

 

 

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