• 不断追求是李安成为奥斯卡最佳导演的原因
  • 2014/4/12 11:02:37
  •    在2012年末,一部3D影片因其唯美而梦幻的画面吸引了大批观众,随后更是在影迷中掀起了解读的狂潮,那就是《少年派的奇幻漂流》(Life of Pi)。这部电影使导演李安再次成为奥斯卡最佳导演的热门人选,而对于这位不求安逸的导演来说,《少年派的奇幻漂流》只是他不断进行的电影冒险中的一次新尝试。正如他自己所说,他一辈子都在学习电影。
    Ang Lee was uncomfortable with Life of Pi from the very beginning. He had every reason to be.
    He might be an Oscar-winning director with a trophy case bursting with award-season hardware, but the 58-year-old filmmaker was more than a little out of his element. For starters, he had never worked with a child as his lead actor before. Nor had he ever made a movie set at sea. Or shot a film in 3-D. Or had to rely so extensively on computer graphics. And he had certainly never found himself dealing with a live Bengal tiger before, even in a minor capacity.
    In short, Lee had every reason not to sign on to direct Life of Pi, an ambitious adaptation of what many have called an unfilmable book and a project that a number of directors before him had walked away from. (Among them: M. Night Shyamalan, Alfonso Cuarón and, after two years of work, Jean-Pierre Junet.)
    And all that, Lee says, is exactly why he took the challenge.
    “Once you’re comfortable—I don’t know, maybe I’m just being Chinese or something—when I get comfortable, I think something bad is going to happen,” Lee said in a recent telephone interview. “Like this film, Life of Pi is pretty impossible. So let me make it in 3-D—even more impossible. Maybe it’s safer that way. It’s always haunting the back of my head: If I get comfortable, if I get overconfident, then something bad is going to happen. For real. It sounds funny, but that’s what I went through.”
    He laughed as he said it—at himself, as if in acknowledgment of how silly it all sounds—but that discomfort with the comfortable is one of the engines that has driven Lee’s career. It also explains why his filmography is filled with strikingly varied projects, ranging from the period drama of Sense and Sensibility to the martial-arts action of Crouching Tiger, Hidden Dragon to the comic-book smasher of Hulk to the gay-cowboy romance of the movie that made him the first filmmaker of Asian descent to take home an Oscar for best director, Brokeback Mountain.
    Where other filmmakers’ careers are defined by a specific type of film or style of storytelling, Lee’s is defined by utter and absolute diversity. And so Pi, a feature-length parable about an unusually spiritual boy who finds himself adrift in a lifeboat with a live tiger, fits neatly in Lee’s filmography—in that it doesn’t really fit neatly at all.
    It’s a film that—for all of its technical challenges, and despite its “unfilmable” story—very well could once more find Lee on Oscar’s red carpet come Feb. 24, at least if you believe the early Oscar buzz.
    Taking the tiger by the tail
    Lee is an easy person to talk to—friendly, open, not at all shy about deploying his comfortable, contagious laugh. But beneath the soothing tranquility that all but defines his voice lurks an undeniable drive.
    In other words, he might be a nice guy, but he’s no pushover. Rather, he said, he thrives when he’s being tested, when he’s been knocked back on his heels and when he’s not at all sure if he can rise to the occasion. Or when, he says—borrowing a metaphor from Life of Pi—when he’s in a lifeboat with a certain carnivorous jungle cat.
    “It’s like I drift across the ocean with the tiger,” he said. “When you’re being tested, when you’re put on the edge, you do your best. When you’re doing things for the first time, it’s virginal—you have your innocence; you have your best effort. That’s when I feel safe: when you’re not safe.”
    “And here’s the thing,” he added, with a refreshing degree of honesty and a healthy dose of humility, “if you go to war, if it’s unsafe you’re dead. But that’s not going to happen with the movies. You can still flop a movie—you can flop three times—and nobody kills you. It’s not going to kill you.
    “It’s not that bad. You’re only pretending to do something. But you just be truthful to your heart, and try your best, take the risk and how bad could it be? The worst it could be is, yeah, people hate you for making your movie, but that’s as bad as it will go.”
    In an office somewhere, some studio suit is swallowing hard right now. But don’t mistake Lee’s approach as a cop-out to explain away certain movies, or—worse—as a sign of recklessness. You don’t get to where Lee is in Hollywood by being frivolous with a studio’s millions. Rather, where other filmmakers’ fear of failure might prompt them to stay away from the “risk” of new things, Lee is not so encumbered.
    “It’s intimidating. I’m not saying that I’m fearless,” he said. “A lot of times I’ll be bothered by the real situations. I’ll feel responsible. People can guilt me into feeling horrible.... It’s a big investment; people have a lot of expectations on this movie—those are real pressures, and I deal with anxiety all the time.... But, still, I feel good about making the effort, doing something that’s inspiring. There are a lot of positive sides I take that keep me going.”
    “A film student for life”
    Those are the kinds of things that tend to be hard to remember when you’re in the middle of six months of principal photography on a big-budget adaptation of a beloved book. That goes double when the film is being shot largely in a wavetank built in a repurposed airport in Taichung, the third largest city in Taiwan.
    Afterward, though, and after the year-and-a-half of post-production required by Life of Pi—and after he turned the film over to 20th Century Fox—Lee doesn’t have to be reminded why he does what he does. Neither does he have to ruminate very long on why he is so reliably drawn to such disparate projects.
    “I’m a film student for life,” Lee said. “It’s fascinating.... (Films are) fascinating adventures.”
    “It’s just, after three or four movies, I like to expand my filmmaking,” he said. “I want to learn different kinds of filmmaking, different places, genres, people who make them, different specialties. Those are wonderful adventures for me. And there’s a lot to learn.”
    “ 一辈子都在学习电影”

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