專訪姜文:戲如其人
Jiang Wen is at the top of the world - the world of Chinese cinema, that is. His year-end release Let the Bullets Fly has just broken the box-office record for a domestic film with some 700 million yuan ($107 million) in gross receipts.
姜文登上了中國電影界的巔峯。2010年末上映的電影《讓子彈飛》國內總票房收入高達7億元（合1.07億美元），締造了中國電影史票房新紀錄。
He does not need others to tell him how great he is - not any more.
他不再需要別人來告訴自己有多出色了。
That does not mean he is not proud of Bullets. It`s just that Bullets, for him, is fun. He is aware of all the political interpretations of his story that have sprung up across the Web and mainstream media.
但這並不意味着他不爲《讓子彈飛》而感到驕傲。對於他來說，創作這部電影是爲了好玩。他明白，各種關於《讓子彈飛》的政治解讀已在網絡和主流媒體上傳得沸沸揚揚。
"No, I did not mean to embed political meanings into the story," he says straightforwardly.
他直截了當地說：“不，我沒有刻意在電影裏摻雜政治觀點。”
The Goose Town, the central setting for the movie, has come to symbolize China for some film buffs with a political leaning. Yet, Jiang repeatedly uses the location as an outing to the murky world of genre-film making.
故事發生在“鵝城”，一些帶有政治傾向的電影愛好者認爲“鵝城”象徵着中國。然而在電影裏，姜文屢次地把這個地方比作深入險境。The most brilliant touches in his movies all seem to traverse the stream of reality, for example, in Bullets opens with a train pulled by white horses.
電影中最出彩的片段似乎都與現實相關，比如電影開篇的白馬拉火車。
"I did not invent this set-up. For 30 years in the early 20th century, there was a segment of rail line in Northeast China that was powered by horses," he explains, without getting into the symbolic significance of such devices. "You may conceive the most unlikely scenes, and you`ll find that fact is stranger than fiction."
他解釋道：“這個場景不是我憑空想象的。20世紀頭30年，中國東北有一段鐵路就是靠馬拉火車。”這些場景並沒有暗指什麼。“你設想出了最荒誕的場景，接着你會發現，事實比電影情節更不可思議。”
Jiang Wen was trained at the Central Drama Academy - as an actor. Yet he is known for his bold visualizations. He prefers scripts read to him by someone who can turn the words alive. His storyboards, as drafts for each shot, tend to be cursory. But his verbal description of each scene is so vivid the listener can quickly recreate each frame in his or her mind`s eye.
姜文曾就讀於中央戲曲學院學習表演。他以大膽的表現力而聞名。他喜歡讓能把臺詞說得活靈活現的人把劇本讀給他聽。每次拍攝選用的故事腳本往往很粗略，但是臺詞非常生動，讓演員能夠迅速在腦海中想象出故事場景。
The only filmmaker whose work Jiang admits as having an impact on him is Martin Scorsese. After watching a string of the American director`s movies, Jiang requested a meeting with him on a trip to the United States arranged by the US Embassy. Scorsese has acted like a mentor, sending him detailed materials from his production.
姜文坦言，美國導演馬丁•斯科塞斯作品的對自己影響很大。在看了斯科塞斯的一系列電影后，姜文去了美國，請求美國大使館安排與他見面。斯科塞斯就像一位導師，把作品裏的“私貨”傳授給了姜文。"When a director sees a story or a script he`s crazy about, he does not have any towering figures in front of him. He must feel he himself is the greatest. It is nonsense when people say they are paying respect to this or that predecessor." Jiang says.
姜文說：“當導演看到一個讓他爲之瘋狂的故事或劇本時，他的前面不會有任何前輩導師。他必須要感覺到自己就是最棒的。有的導演說要像哪位前輩致敬，這簡直是無稽之談”。
What Jiang says
看看姜文都說了些什麼
On political analogies
關於政治隱喻
No matter how you shoot it or cut it, you will bring something of yourself into your movies, just as the old saying goes about everything being imprinted with ideology. You do not necessarily intend it. I never meant to make In the Heat of the Sun or Devils at the Doorstep autobiographical. I`m an avid reader of history, but I don`t think history should be approached only in the way we were taught in school. Artists have their own interpretations. So, we make art with our worldviews, but by no means do we create everything in our own self-image.
不管你怎麼拍怎麼剪，你都會把你自己的一些東西帶到影片中去。正如俗話所說，每件事情都會打上意識的烙印。絕非刻意。我從沒想過要把《陽光燦爛的日子》和《鬼子來了》拍成自傳電影。我很喜歡讀歷史，但我認爲，歷史不能只按照學校教的那樣解讀。藝術家們有自己的理解。我們依據自己的世界觀來搞藝術，但是這並不表明我們都按照自己的形象創作。
On film critics
關於影評
Why should Chinese film critics be obsessed with box-office revenue? That`s the job of the investors and producers. What do you lose when you praise a good movie that does not sell? You should write what you believe in. Critics who are guided by money are pathetic.
爲什麼中國的影評人總要關注票房呢？票房是投資方和發行方的事。誇獎一部票房慘淡的好片子你又有什麼損失呢？你應該寫些自己堅信的東西。被錢牽着鼻子走的影評人真是悲哀。
