当前位置：首页>影视动态 > 正文内容

导演现身墨尔本电影节：一些创作故事

更新时间：2025-08-24 11:47:39

现场录了一下，大概整理如下：

Interviewer: In this film, the child actor plays such an important role. I heard you were ready to audition hundreds or even thousands of kids, but Fuki was the first who really stood out? 采访者： 在这部电影中，小演员的角色非常关键。听说您原本准备面试成百上千的孩子，但 Fuki 是第一个让您眼前一亮的人？

Director: Yes. The moment she came to the audition, I felt she was the one. I asked what she could do, and she said she could imitate animals. I asked her to imitate a cat, but she replied, “No, I recommend a horse.” On the very same day, I wrote the “horse imitation” scene into the script. 导演： 是的。她一来试镜，我就觉得对了。我问她会什么，她说会模仿动物。我让她学猫，她却说：“不，我推荐马。”当天我就把“模仿马”的情节写进了剧本。

Interviewer: And the racetrack scene came from that as well? 采访者： 赛马场的场景也是因此而来的吗？

Director: Exactly. While scouting for locations, we came across the racecourse, and I immediately thought, “This is it.” 导演： 对。当时我们在找外景，偶然来到赛马场，我立刻觉得——就是这里了。

Interviewer: The film feels very autobiographical. Fuki seems like a projection of yourself as a child. How did you approach directing a version of yourself? 采访者： 这部电影带有很强的自传色彩。Fuki 似乎是您童年的投射。您是如何执导这样一个带有自我映射的角色的？

Director: Although the story is fictional, it’s deeply inspired by the emotions I experienced as a child. In that sense, Fuki is an extension of myself. But because the actor is so wonderful, she brought her own spirit to the role, not just my experience. 导演： 虽然故事是虚构的，但它深深受到我童年情感的启发。Fuki 既是角色，也是我的延伸。不过演员本身非常优秀，她为角色注入了我之外的灵魂。

Interviewer: And the title 《雷诺阿》 —where did that come from? 采访者： 那么片名《雷诺阿》的由来呢？

Director: I wanted a title not directly related to the film’s core message. I enjoy the gap between naming it after a French painter, while the story is about a kid in 1980s Japan. Later, some audiences even compared the film to Impressionist paintings—small fragments coming together to create a bigger picture. 导演： 我想要一个和电影核心信息无关的标题。我喜欢这种落差：片名来自法国画家，而故事讲的是80年代日本的一个孩子。后来观众还说，这部电影像印象派绘画——由一个个小片段拼凑成整体。

Interviewer: Your previous film Plan 75 《岁月自珍》was about grief and loneliness among the elderly. This time, you portray a very lonely family. Why is loneliness so central to your work? 采访者： 您的上一部作品《岁月自珍》探讨了老年人的孤独与哀伤。这次，您又描绘了一个孤独的家庭。为什么“孤独”如此核心？

Director: All my life, whenever I felt sad, I would watch films, and they always comforted me. So when I make films, I want to give that same comfort to people who might be feeling sad or lonely. 导演： 从小到大，每当我感到难过时，我都会去看电影，而电影总能安慰我。所以我希望我的电影也能给予观众同样的慰藉。

Interviewer: There’s a detail in the film—the ribbon on the window. Could you talk about its meaning? 采访者： 片中有一个细节——窗户上的丝带。它的意义是什么？

Director: Fuki tied the ribbon because she went to the hospital every day. She wanted to see from outside where her father was. As the story progresses, the ribbon changes shape, symbolizing the father’s gradual approach toward death. 导演： Fuki 每天去医院都会把丝带绑在窗户上，这样她就能从外面看到父亲的位置。随着剧情推进，丝带逐渐变形，也象征着父亲一步步走向死亡。

Interviewer: Speaking of animals, did you really spend time with the horse? 采访者： 说到动物，您真的和那匹马相处过吗？

Director: It was a racehorse, not one trained for film. The environment was quite hazardous, so we always kept a safe distance. 导演： 那是一匹赛马，而不是拍摄用的“电影马”，环境其实挺危险的，所以我们始终保持安全距离。

Interviewer: How do you approach your writing process? Was 《雷阿诺》 written differently from 《岁月自珍》? 采访者： 您的写作过程是怎样的？《雷诺阿》和《岁月自珍》相比有什么不同？

Director: With Plan 75, I had a very clear concept and could articulate my ideas well. But for this film, I wanted to capture emotions that can’t easily be put into words. So I started by writing down key scenes I wanted to include, and then built the script around them. 导演： 《岁月自珍》时，我对主题和概念都很清晰。但这部电影，我想捕捉那些无法完全说清的情绪。我先写下几个关键场景，再逐步搭建剧本。

Interviewer: Did you really believe in supernatural powers as a child? 采访者： 您小时候真的相信过超自然力量吗？

Director: Yes, I did. But I think that belief was a form of escapism for me as a child. 导演： 是的，我小时候真的相信过。但我觉得那其实是童年时期的一种逃避方式。

Interviewer: How was it working with actor Lily Franky? 采访者： 您和演员 Lily Franky 的合作如何？

Director: He’s a wonderful actor. Even just sitting or standing, he can fill the frame with presence. To me, he feels like a modern version of a classic stage actor. 导演： 他非常出色。即便只是站着或坐着，他的存在本身就能撑起一场戏。在我看来，他就像是现代版的古典演员。

Interviewer: I loved the bridge scene with the rain. Was that planned? 采访者： 我特别喜欢桥上那场雨戏。那是设计好的么？

Director: Not at all. The script didn’t include rain, but it happened to pour on the only day we could shoot. It turned into a beautiful, unexpected moment. 导演： 完全不是。本来剧本里没有雨。但那天只能拍，结果下了大雨。意外地成了一个极美的场景。

Interviewer: The film includes many objects from the 1980s—Walkmans, VHS tapes, broadcast TV. Why was it important to include these? 采访者： 您不断在片中加入80年代的实物媒介——随身听、录像带、电视，这是为什么？

Director: Because there was no internet then. TV and phone calls were the main ways people connected. Hearing someone’s voice on the phone gave a strong sense of presence, which is missing today. I wanted to recreate that atmosphere. 导演： 因为那时没有互联网。电视、电话是人们连接的主要方式。能听到对方的声音，那种“人的存在感”非常强烈，而如今已不复存在。我想重建那种氛围。

Interviewer: Lastly, about the painting—what role does it play? 采访者： 最后想问一下，关于画作的部分。

Director: As a child, I even asked my parents to buy me a replica of that painting. In the 1980s, it was common to see Western paintings reproduced in Japanese homes, often in ornate frames. To me, it symbolized Japan’s admiration for Western culture and its desire to catch up. That’s why I used it as a key element of the story. 导演： 我小时候真的请求父母买过那幅画的复制品。80年代，日本家庭里常见这样的西方名画复制品，往往装在华丽的画框里。我觉得这象征着日本对西方文化的仰望与追赶，所以我把它作为故事中的关键符号。