大師不是盲目崇拜的，從他(tā)們談論電(diàn)影時呈現出來的信仰與态度，或許你就明白了～

Maybe my films are not masterpieces, but they are documents of their time. That's enough for me. Masterpieces I can't do - even though I try.

也許我的作(zuò)品算不上經典，但是它們都是時代的記錄，這樣對我來說足夠了，我嘗試過但确實拍不來創世經典。

I think the more pessimistic I feel about life, the more optimistic the films should be.

我對生活越悲觀，我的電(diàn)影就越樂觀。

Hollywood has melted everyone's brains. In the old days you had one murder and that was enough for a story. Now you have to kill 300,000 people just to get the audience's attention.

好萊塢已經摧毀了每個人的智商(shāng)，過去一場謀殺可(kě)以成就一部影片，現在你得殺死三十萬人來引起觀衆的注意。

I like dogs, mankind I don't care for too much. You're supposed to like mankind because you're part of it, but I prefer dogs. They are honest and they don't lie.

我喜歡狗，我并不太關心人類, 按理(lǐ)來說你應該喜歡同類因為(wèi)你是其中(zhōng)一員，但是我更喜歡狗因為(wèi)他(tā)們很(hěn)誠實，從來不撒謊。

When I write, I am sober. I can direct drunk. I can't edit or write drunk.

我寫作(zuò)時必須是清醒的，拍電(diàn)影可(kě)以醉了拍，但是剪輯或寫作(zuò)時必須清醒。

— 阿基·考裏斯馬基 Aki Kaurismaki



It's easy to fool the eye but it's hard to fool the heart.

騙得過眼睛愚不了心。

My weaknesses... I wish I could come up with something. I'd probably have the same pause if you asked me what my strengths are. Maybe they're the same thing.

我的弱點...真希望我能(néng)給出答(dá)案，如果你問我的優點估計我也是這反應，也許兩者皆同吧。

I don't think actors should ever expect to get a role, because the disappointment is too great. You've got to think of things as an opportunity. An audition's an opportunity to have an audience.

我認為(wèi)演員不該期冀得到角色，因為(wèi)失望的打擊太大.你得把一切都看成是機會，比如一次試鏡就是你得到觀衆欣賞的好機會。

I'm an actor, not a star. Stars are people who live in Hollywood and have heart-shaped swimming pools.

我是演員不是明星，明星們都住在好萊塢，有(yǒu)着心形的遊泳池。

— 阿爾·帕西諾 Al Pacino



In feature films the director is God; in documentary films God is the director.

故事片的上帝是導演，紀錄片的導演是上帝。

Drama is life with the dull bits cut out.

劇情片就是被删掉無聊部分(fēn)的現實生活。

The length of a film should be directly related to the endurance of the human bladder.

電(diàn)影的長(cháng)度應該符合人體(tǐ)膀胱的承受時限。

Blondes make the best victims. They're like virgin snow that shows up the bloody footprints.

金發美人是扮演受害者的最佳選擇，她們就像現出血腳印的初雪(xuě)一樣。

If it's a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on.

一部好電(diàn)影在靜音後觀衆仍能(néng)弄清它的情節進展。

— 阿爾弗雷德(dé)·希區(qū)柯克 Alfred Hitchcock



A director must be a policeman, a midwife, a psychoanalyst, a sycophant and a bastard.

導演必須身兼數職：警察，接生婆，心理(lǐ)分(fēn)析學(xué)家，馬屁精(jīng)和混蛋。

Trust your own instinct. Your mistakes might as well be your own, instead of someone else's.

相信你的直覺，這樣就算錯了也是自己的，不能(néng)怨其他(tā)人。

An audience is never wrong. An individual member of it may be an imbecile, but a thousand imbeciles together in the dark - that is critical genius.

觀衆是不可(kě)能(néng)錯的，也許會有(yǒu)一個白癡觀衆，但是一千個白癡坐(zuò)在黑暗中(zhōng)看電(diàn)影--他(tā)們就都是頂級影評家。

You have to have a dream so you can get up in the morning.

你必須有(yǒu)夢想，這樣早晨起床才有(yǒu)動力。

Happiness is working with Jack Lemmon.

快樂的定義就是與 Jack Lemmon一起工(gōng)作(zuò)。

— 比利·懷爾德(dé) Billy Wilder



The Best Actors Instinctively Feel out What the Other Actors Need, and They Just Accommodate It.

一流的演員可(kě)以本能(néng)地發現他(tā)人的需要并調整自己去适應他(tā)們。

— 克裏斯托弗·諾蘭 Christopher Nolan



Film is a dramatised reality and it is the director's job to make it appear real... an audience should not be conscious of technique.

電(diàn)影是被戲劇化的現實，導演的工(gōng)作(zuò)是還原它的真實性...觀衆不應該注意到拍攝技(jì )術。

I like making films about characters I`d like to have dinner with.

我喜歡創造那些我願與之共進晚餐的角色。

When the great actor says the line, you can put scissors precisely at the point A and it`s wonderful. When the star says the line, you can hold for four frames longer because something else happens.

當一個好演員念出台詞，你可(kě)以精(jīng)确地喊停拍出美妙的片段. 當一個明星念台詞時，你會多(duō)拍出四幀因為(wèi)感覺不大對勁。

I wouldn`t take the advice of a lot of so-called critics on how to shoot a close-up of a teapot.

我不會采納那些自己為(wèi)是影評家的意見去拍攝一個茶壺特寫鏡頭。

— 大衛·裏恩 David Lean



Life is very, very complicated, and so films should be allowed to be, too.

生活是非常非常複雜的，電(diàn)影也應當如此。

The concept of absurdity is something I'm attracted to.

我對荒誕的本質(zhì)非常着迷。

It makes me uncomfortable to talk about meanings and things. It's better not to know so much about what things mean. Because the meaning, it's a very personal thing, and the meaning for me is different than the meaning for somebody else.

我不願意談論事物(wù)和它們的意義，少知道這些意義其實更好. 因為(wèi)它是一件非常私人化的東西，而且大家對意義的理(lǐ)解都各有(yǒu)千秋。

Sex is a doorway to something so powerful and mystical, but movies usually depict it in a completely flat way.

性愛是通往一種強大和神秘事情的途徑，但電(diàn)影裏對它的诠釋總是如此蒼白。

Sometimes I get an idea for cinema. And when you get an idea that you fall in love with, this is a glorious day.

有(yǒu)時候我會有(yǒu)突發其來的電(diàn)影靈感，如果這個靈感讓你無法自拔，這将會是個美妙無比的日子。

— 大衛·林奇 David Lynch



Nobody should try to play comedy unless they have a circus going on inside.

你要是沒有(yǒu)一個馬戲團最好别輕易玩喜劇。

The most uninhibited person I have ever worked with.（On Garbo）

評價嘉寶：我合作(zuò)過最不受周遭拘束的演員。

Any good movie is filled with secrets. If a director doesn't leave anything unsaid, it's a lousy picture. If a picture's unsaid, it's a lousy picture. If a picture is good, it's mysterious, with things unsaid.

任何一部好電(diàn)影都應該處處含隐秘, 如果導演把一切都攤在桌面, 那就是下乘之作(zuò). 如果影片太過晦澀也是不可(kě)取的. 一部優秀的影片應該具(jù)有(yǒu)讓觀衆探索深究的懸疑元素。

There are a thousand ways to point a camera, but really only one.

機位有(yǒu)幾千種，但隻有(yǒu)一種是最适合的。

— 恩斯特·劉别謙 Ernst Lubitsch



A good director is not sure when he gets on the set what he's going to do.

一個好導演到了片場是不知道要幹嘛的。

Every fighter has one fight that makes or breaks him.

每個鬥士都會有(yǒu)一場不是遺臭萬年就是流芳千古的比賽。

I spoke without fear of contradiction. I simply did not suffer self-doubt.

我說話從來不怕自我矛盾，我很(hěn)享受自我懷疑的過程。

— 伊利亞·卡贊 Elia Kazan



A hunch is creativity trying to tell you something.

一個預感就是創意在向你招手。

I made mistakes in drama. I thought drama was when actors cried. But drama is when the audience cries.

過去我誤解了戲劇的意義，我以為(wèi)當演員哭泣時便産(chǎn)生了戲劇，但其實它的誕生是觀衆哭泣的時刻。

In our film profession you may have Gable's looks, Tracy's art, Marlene's legs or Liz's violet eyes, but they don't mean a thing without that swinging thing called courage.

幹電(diàn)影這行， 你也許有(yǒu)蓋博的英俊臉蛋，屈塞的藝術細胞，黛德(dé)麗的性感長(cháng)腿或泰勒的紫羅蘭美眸. 但如果你沒有(yǒu)過人的膽識，其他(tā)都是浮雲。

Scriptwriting is the toughest part of the whole racket... the least understood and the least noticed.

劇本寫作(zuò)是電(diàn)影制作(zuò)最困難的一個環節，也是最容易被忽視和理(lǐ)解的。

— 弗蘭克·卡普拉 Frank Capra



There’s nothing creative about living within your means.

局限在自己特定的處事方式中(zhōng)是毫無創意可(kě)言的。

You have to really be courageous about your instincts and your ideas. Otherwise you'll just knuckle under, and things that might have been memorable will be lost.

你必須勇于表達自己的直覺和想法，不然永遠(yuǎn)都不會出頭，而那些本可(kě)能(néng)成為(wèi)經典的東西就白白浪費了。

I think cinema, movies, and magic have always been closely associated. The very earliest people who made film were magicians.

電(diàn)影和魔術總是有(yǒu)着緊密的聯系，最初拍電(diàn)影的人不就是魔術師嗎。

The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy.

電(diàn)影的精(jīng)髓在于剪輯，它是對人們真情流露時刻那些美好畫面的一種組合，或者就是畫面的組合，這個過程就好像魔法一樣。

— 弗朗西斯·福特·科(kē)波拉 Francis Ford Coppola



About CinemaScope: "It`s only good for funerals and snakes."

寬銀幕電(diàn)影隻适合葬禮和蛇。

There was a time when all I looked for was a good story, but nowadays everything has to look like the size of Mount Rushmore, and the actors in close- up look as though they belong there.

在過去我最注重的是一個好的故事，但現在一切都需要誇張的大場面，尤其特寫鏡頭讓演員看來好像隻能(néng)局限于那。

Each picture has some sort of rhythm which only the director can give it. He has to be like the captain of a ship.

每部影片都有(yǒu)導演賦予的一種特定節奏，他(tā)就像是指導航行的船長(cháng)。

I do not like producers.

我讨厭制片人。

— 弗裏茨·朗 Fritz Lang



If somebody has a better idea than me, I will take it if it surpasses what we have on the page because at the end of the day, it is me that takes the credit anyway!

如果有(yǒu)人主意比我的好，比我們現有(yǒu)的高超，我會采納因為(wèi)到頭來功勞都歸導演得。

We're quite volatile as individuals, but that doesn't work exponentially when we are together. Relationships are about eating humble pie.

單獨來說我們都很(hěn)有(yǒu)個性，但這在團隊合作(zuò)是沒什麽效果的，團體(tǐ)關系的關鍵在于謙遜。

— 蓋·裏奇 Guy Ritchie



I’m a storyteller – that’s the chief function of a director. And they’re moving pictures, let’s make ‘em move!

我是個講故事的人，這是導演的首要功能(néng)，電(diàn)影就是移動的畫面，大家一起動起來吧！

There's action only if there is danger.

沒有(yǒu)危險元素就沒有(yǒu)情節。

I don't think plot as a plot means much today. I'd say that everybody has seen every plot twenty times. What they haven't seen is characters and their relation to one another. I don't worry much about plot anymore.

我覺得電(diàn)影情節已經沒有(yǒu)過去那麽重要了，大家都對情節模式了如指掌. 他(tā)們不了解的是角色以及角色之間的聯系，所以我已經不大關心情節設計了。

Women liked Gable best when he played a heavy with a grin.

Gable最讓女人們心馳神往的就是他(tā)深深咧嘴一笑。

— 霍華德(dé)·霍克斯 Howard Hawks



No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.

沒有(yǒu)任何一種藝術形式能(néng)像電(diàn)影一樣解剖我們的道德(dé), 直觸我們的情感并且深深照亮裝(zhuāng)載我們靈魂的暗黑空間(伯格曼說的話就像他(tā)的作(zuò)品一樣大。

I write scripts to serve as skeletons awaiting the flesh and sinew of images.

我寫的劇本就像一具(jù)等待畫面帶來筋腱與生命的骨架。

When film is not a document, it is dream.

電(diàn)影如果不是紀錄片，它就是一場夢。

I don't want to produce a work of art that the public can sit and suck aesthetically…. I want to give them a blow in the small of the back, to scorch their indifference, to startle them out of their complacency.

我不想創造一件所有(yǒu)人都坐(zuò)下安(ān)然欣賞的藝術品，我要給他(tā)們來個背後一擊和猛然一驚，去除他(tā)們的冷漠，瓦解他(tā)們的自大。

We walk in circles, so limited by our own anxieties that we can no longer distinguish between true and false, between the gangster's whim and the purest ideal.

我們總是在原地踏步，被自己的不安(ān)局限以至于無法分(fēn)辨真假，無法分(fēn)辨惡棍的臆想和純潔的理(lǐ)想。

— 英格瑪·伯格曼 Ingmar Bergman



I’m like a navigator and I try to encourage our collaboration and find the best way that will produce fruit. I like fruit. I like cherries, I like bananas.

我就好像指導員一樣鼓勵大家找到生産(chǎn)水果的最佳合作(zuò)方法，我喜歡水果，我喜歡櫻桃，香蕉...

I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are.

我總是從人物(wù)開始構思而不是情節，很(hěn)多(duō)影評人說我的作(zuò)品明顯缺乏情節. 我覺得它們有(yǒu)情節，但不是至關重要，人物(wù)才是。

I didn't get my degree at NYU; I got it later, they gave me an honourary one.

我沒有(yǒu)紐約大學(xué)的畢業證書，他(tā)們後來頒給我一個榮譽證書。

— 吉姆·賈木(mù)許 Jim Jarmusch



A Director Makes Only One Movie in His Life. Then He Breaks It Into Pieces and Makes It Again.

一個導演一生隻拍一部電(diàn)影，然後他(tā)将它打破解構并且重新(xīn)塑造。

I believe that perfection handicaps cinema.

我相信完美主義對電(diàn)影創作(zuò)是大大不利的。

The saving grace of the cinema is that with patience and a little love we may arrive at that wonderfully complex creature which is called man.

電(diàn)影的好處在于，一點耐心加一點愛我們就能(néng)創作(zuò)出最複雜美妙的生物(wù)-人類。

My dream is of a craftsman's cinema in which the author can express himself as directly as the painter in his paintings or the writer in his books.

我的夢想就是電(diàn)影作(zuò)者在其作(zuò)品中(zhōng)能(néng)如同畫家和作(zuò)家一樣直接地表達自己。

— 讓·雷諾阿 Jean Renoir



I Don’t Try to Guess What a Million People Will Like. It’s Hard Enough to Know What I Like.

我不會去揣測幾百萬人的喜好是什麽，弄明白我自己喜歡什麽就夠折騰的了。

What to do when inspiration doesn't come; be careful not to spook, get the wind up, force things into position. You must wait around until the idea comes.

當靈感降臨時當心别把它吓跑了，别煽風點火勉強行動. 你得耐心等待，好主意會水到渠成的。

— 約翰·休斯頓 John Huston



“We did everything wrong, technically… The only thing we did right was to get a group of people together who were young, full of life, and wanted to do something of meaning.”

技(jì )術層面來說，我們糟糕透頂...但有(yǒu)一件事作(zuò)對了，就是把一群胸有(yǒu)大志(zhì)的熱血青年号召在一起。

As an artist, I feel that we must try many things - but above all we must dare to fail.

作(zuò)為(wèi)藝術家我覺得我們得嘗試很(hěn)多(duō)東西，但首要一點就是不怕失敗。

No matter how old you get, if you can keep the desire to be creative, you're keeping the man-child alive.

不管你多(duō)大年紀，隻要創作(zuò)欲望還在，你的内心仍是年輕的。

You must be willing to risk everything to really express it all.

如果要完全表達自己的想法，你必須敢用(yòng)一切做賭注。

— 約翰·卡索維茨 John Cassavetes



A story should have a beginning, a middle and an end… but not necessarily in that order.

故事應該要有(yǒu)開始,過程和結尾, 但不一定要這個順序。

Cinema is the most beautiful fraud in the world.

電(diàn)影是世上最美的騙術。

I pity the French Cinema because it has no money. I pity the American Cinema because it has no ideas.

我很(hěn)同情法國(guó)電(diàn)影因為(wèi)它沒資金，我也同情美國(guó)電(diàn)影因為(wèi)它沒内容。

Photography is Truth. The Cinema is Truth Twenty-four Times Per Second.

攝影是真相，電(diàn)影則是每秒(miǎo)二十四次的真相。

Art attracts us only by what it reveals of our most secret self.

藝術之所以吸引我們因為(wèi)它能(néng)揭示我們最隐秘的自我。

— 讓-呂克·戈達爾 Jean-Luc Godard



If there’s specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons: I can’t change my gender, and I refuse to stop making movies.

如果反對女人拍電(diàn)影的話，我選擇忽視這個障礙，第一：我無法變性 第二：我無法停止拍電(diàn)影。

— 凱瑟琳·畢格羅 Kathryn Bigelow



A style is not a matter of camera angles or fancy footwork, it’s an expression, an accurate expression of your particular opinion.

風格并不是特别的攝影角度或者華麗的運鏡，它是種表達方式，一種對你自己觀點的精(jīng)确表達方式。

— 卡雷爾·賴茲 Karel Reisz



Life is Like a B-picture Script. It is That Corny. If I Had My Life Story Offered to Me to Film, I’d Turn It Down.

生活就像一部B級片劇本爛俗至極，如果要我拍自己的生活故事，我才不會接這個爛本子。

— 柯克·道格拉斯 Kirk Douglas



(When asked what a director does) I help.

（有(yǒu)人問，我導演是幹嘛的時候）幫助其他(tā)人。

The television industry doesn't like to see the compexity of the world. It prefers simple reporting, with simple ideas: this is white, that's black; this is good, that's bad.

電(diàn)視工(gōng)業不喜歡挖掘世界的複雜性，它喜歡簡單的報道簡單的事情，黑與白，好與壞。

To tell you the truth, in my work, love is always in opposition to the elements. It creates dilemmas. It brings in suffering. We can't live with it, and we can't live without it. You'll rarely find a happy ending in my work.

實話告訴你，在我的工(gōng)作(zuò)中(zhōng)，愛總是其他(tā)元素的對立面. 因為(wèi)它制造困境. 它讓人痛苦，我們不能(néng)忍受它也無法失去它. 我的電(diàn)影中(zhōng)很(hěn)少有(yǒu)皆大歡喜的結局。

— 克日什托夫·基耶斯洛夫斯基 Krzysztof Kieslowski



Fortunately, somewhere between chance and mystery lies imagination, the only thing that protects our freedom, despite the fact that people keep trying to reduce it or kill it off altogether.

幸好機會和神秘之間是想象力，它是唯一能(néng)捍衛我們自由的東西. 就算人們總是試圖減少或扼殺它們。

Frankly, despite my horror of the press, I'd love to rise from the grave every ten years or so and go buy a few newspapers.

坦白說，就算我很(hěn)讨厭新(xīn)聞，但每過十年我還是會從地下爬出來買幾份報紙看看。

A paranoiac like a poet, is born, not made.

詩人這種偏執狂是天生的，無法後天訓練。

Give me two hours a day of activity, and I'll take the other twenty-two in dreams.

每天讓我活動2小(xiǎo)時，剩下22小(xiǎo)時我會用(yòng)來做夢。

— 路易斯·布努埃爾 Luis Buñuel



You know what I would like to do: make a film with actors standing in empty space so that the spectator would have to imagine the background of the characters.

你知道嗎，我很(hěn)想拍部所有(yǒu)演員站在一個空白空間的電(diàn)影，這樣觀衆就得自己去想象角色的背景。

Hollywood is like being nowhere and talking to nobody about nothing.

好萊塢就是一個毫無意義的地方:一群毫無意義的人說着毫無意義的話。

We live in a society that compels us to go on using these concepts, and we no longer know what they mean.

社會總是迫使我們遵循這些固有(yǒu)的觀念，雖然我們根本不知道這些觀念的本質(zhì)意義何在。

When a scene is being shot, it is very difficult to know what one wants it to say, and even if one does know, there is always a difference between what one has in mind and the result on film.

當拍好一場戲時很(hěn)難弄清它原本要表達什麽，就算弄清了，創作(zuò)理(lǐ)念和現實成果之間總是會有(yǒu)差距。

I meant exactly what I said: that we are saddled with a culture that hasn't advanced as far as science.

我就是這個意思：我們被自己的文(wén)化所束縛住了，這種文(wén)化要比科(kē)技(jì )發展落後的多(duō)。

— 米開朗基羅·安(ān)東尼奧尼 Michelangelo Antonioni



A typewriter needs only paper; a camera uses film, requires subsidiary equipment by the truckload and Wellington several hundreds of technicians. That is always the central fact about the filmmakers opposed to any other artist: he can never afford his own tools.

打字員隻需要紙張而已，攝影機卻需要膠片，一車(chē)車(chē)的配套設備和百餘技(jì )術員. 現實就是電(diàn)影人和其他(tā)藝術家都不同: 他(tā)連自己的工(gōng)具(jù)都負擔不起。

We're born alone, we live alone, we die alone. Only through our love and friendship can we create the illusion for the moment that we're not alone.

我們孤獨地出生，生活，死去，隻有(yǒu)獲得愛與友情時才能(néng)創造一個短暫幻象相信自己不是孤獨的。

A film is never really good unless the camera is an eye in the head of a poet.

電(diàn)影永遠(yuǎn)不夠完美，除非攝影機是詩人的一隻眼睛。

A good artist should be isolated. If he isn't isolated, something is wrong.

一個偉大的藝術家應該是孤立的，反之就有(yǒu)問題了。

— 奧遜·威爾斯 Orson Welles



If a Million People See My Movie, I Hope They See a Million Different Movies.

如果有(yǒu)一百萬人看我的電(diàn)影，我希望他(tā)們看到的是一百萬部不同的電(diàn)影。

When people ask me if I went to film school I tell them, 'no, I went to films.’

人們問我有(yǒu)沒有(yǒu)去過電(diàn)影學(xué)校時，我告訴他(tā)們：沒有(yǒu)，我去過電(diàn)影世界。

I steal from every movie ever made.

我從所有(yǒu)電(diàn)影中(zhōng)取經。

To me, movies and music go hand in hand. When I'm writing a script, one of the first things I do is find the music I'm going to play for the opening sequence.

在我看來電(diàn)影和音樂不可(kě)分(fēn)家，我寫劇本時首先要找到開場時用(yòng)的背景音樂。

— 昆汀·塔倫蒂諾 Quentin Tarantino



It isn't easy to accept that suffering can also be beautiful... it's difficult. It's something you can only understand if you dig deeply into yourself.

人們很(hěn)難接受苦難也可(kě)以很(hěn)美麗這樣一個事實，非常難，隻有(yǒu)你深深挖掘自己内心才能(néng)理(lǐ)解它。

The Jews have never been ashamed of being Jews, whereas homosexuals have been stupid enough to be ashamed of their homosexuality.

猶太人從來沒以自己的身份為(wèi)恥，但同性戀者卻蠢到一直為(wèi)自己的本質(zhì)感到恥辱。

So certainly, if we can tell evil stories to make people sick, we can also tell good myths that make them well.

當然啦，如果我們不用(yòng)邪惡的故事引起觀衆反感，也可(kě)以用(yòng)好聽的童話傳說把他(tā)們哄騙舒服。

The more real things get, the more like myths they become.

真實性越大就越可(kě)能(néng)成為(wèi)不朽之作(zuò)。

— 賴納·維爾納·法斯賓德(dé) Rainer Werner Fassbinder



It’s all just one film to me. Just different chapters.

其實我就隻有(yǒu)一部電(diàn)影，隻不過不同章節罷了.

Filmmaking is a chance to live many lifetimes.

電(diàn)影制作(zuò)是讓你經曆不同人生的一個好機會.

— 羅伯特·奧特曼 Robert Altman



My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water.

我的電(diàn)影首先在腦海誕生然後在紙上死去，我創造的真實人物(wù)和物(wù)體(tǐ)再使它複活，但這些在膠片上都被摧毀.當他(tā)們被排列成某種次序出現銀幕上時便又(yòu)活過來，就好像把花(huā)朵放于水中(zhōng)。

Films can only be made by by-passing the will of those who appear in them, using not what they do, but what they are.

電(diàn)影的産(chǎn)生在于忽略其中(zhōng)人物(wù)的意願，利用(yòng)他(tā)們本身的特質(zhì)而不是他(tā)們的行為(wèi)。

When you do not know what you are doing and what you are doing is the best - that is inspiration.

如果你不知道自己在幹什麽那是很(hěn)好的征兆，這叫在即興創作(zuò)。

Cinema, radio, television, magazines are a school of inattention: people look without seeing, listen in without hearing.

電(diàn)影電(diàn)台電(diàn)視和雜志(zhì)就是一本掠奪“注意力”的教科(kē)書，讓人們總是視而不見，聽而不聞。

— 羅伯特·布列松 Robert Bresson



My three Ps: passion, patience, perseverance. You have to do this if you’ve got to be a filmmaker.

我的三個準則，激情，耐心和毅力，你要從事電(diàn)影這一行就得有(yǒu)這些。

You know, people always think if you start out as a film editor, you shoot less footage. Actually, just the opposite is true. I tend to grab as much coverage as I can because as a former editor I know how important it is to have those few frames.

如果你是剪輯師出身，人們總覺得你會省些膠片. 但其實正好相反，我總是盡可(kě)能(néng)地多(duō)拍一些. 因為(wèi)剪輯經驗讓我意識到僅有(yǒu)的這些膠片有(yǒu)多(duō)珍貴。

As I've always said, preproduction is so important. When you cast the actors, you've done much of the work. Now, you may need to guide them a little, take it up or down, have them go faster or slower, but the casting process is crucial.

我總是告訴人們前期制作(zuò)的重要性, 選角的時候已經差不多(duō)大功告成了，現在你可(kě)能(néng)要給他(tā)們些指點，告訴他(tā)們方向或速度，但選角過程至關重要。

— 羅伯特·懷斯 Robert Wise



Cinema should make you forget you are sitting in a theater.

電(diàn)影應該讓你忘記自己正坐(zuò)在電(diàn)影院中(zhōng)。

You have to show violence the way it is. If you don't show it realistically, then that's immoral and harmful. If you don't upset people, then that's obscenity.

你必須真實地表現暴力，不然就顯得不道德(dé)而具(jù)冒犯性. 如果你不能(néng)震撼人們，那就會變得低級。

My films are the expression of momentary desires. I follow my instincts, but in a disciplined way.

我的電(diàn)影是對短暫欲望的解析表達，我順從我的直覺，但以一種理(lǐ)性的方式。

Normal love isn't interesting. I assure you that it's incredibly boring.

尋常愛情一點意思也沒有(yǒu)，我保證你它無聊透頂。

— 羅曼·波蘭斯基 Roman Polanski



A film is – or should be – more like music than like fiction. It should be a progression of moods and feelings. The theme, what’s behind the emotion, the meaning, all that comes later.

比起小(xiǎo)說來，電(diàn)影應該更像音樂．它應該是遞增發展的情感和情緒. 情感和涵義之外的主題都是次要的。

It's crazy how you can get yourself in a mess sometimes and not even be able to think about it with any sense and yet not be able to think about anything else.

有(yǒu)時當你陷入一團亂時最荒唐的就是你不僅無法理(lǐ)性思考它，而且也無法思考任何其他(tā)事情。

The great nations have always acted like gangsters, and the small nations like prostitutes.

偉大的國(guó)家總是具(jù)有(yǒu)黑幫的姿态，而弱勢國(guó)家就像被壓迫的妓女一般。

When a man cannot choose, he ceases to be a man.

讓一個男人沒有(yǒu)任何選擇時，他(tā)會選擇不再做一個男人。

— 斯坦利·庫布裏克 Stanley Kubrick



Editing feels almost like sculpting or a form of continuing the writing process.

剪輯就像是對寫作(zuò)不斷塑形與雕刻的過程。

— 西德(dé)尼·波拉克 Sydney Pollack



I would travel down to Hell and wrestle a film away from the devil if it was necessary.

如果必要的話，我會下到地獄從與惡魔博鬥搶過一部電(diàn)影。

Every man should pull a boat over a mountain once in his life.

每個人一生至少都該背着船翻過山(shān)一次。

Film should be looked at straight on; it is not the art of scholars but of illiterates.

電(diàn)影應該被簡單直白地看待，它屬于沒有(yǒu)教育背景的群衆，而不是藝術學(xué)者。

I work very fast and steadily, and I don't hardly ever notice that I'm working. It feels like just breathing or walking when I do films.

工(gōng)作(zuò)時的我有(yǒu)效率且沉穩，我根本意識不到自己在工(gōng)作(zuò)，因為(wèi)拍電(diàn)影就好像呼吸和走路一般自然。

— 沃納·赫爾佐格 Werner Herzog



I made over forty Westerns. I used to lie awake nights trying to think up new ways of getting on and off a horse.
我拍了四十多(duō)部西部片，有(yǒu)時候半夜睡不着覺就為(wèi)了想出一個上下馬的新(xīn)姿勢。

It's eighty percent script and twenty percent you get great actors. There's nothing else to it.

電(diàn)影八成靠劇本兩成在于演員，如此而已。

It is always a great pleasure to work with an actress who is so professional. She is eager to do a good job; you never have to tell her what a scene was about -- you just have to calm her down once in a while and keep her from becoming over-enthusiastic.

與一名(míng)專業女演員合作(zuò)總是非常享受的， 她對工(gōng)作(zuò)一般非常熱忱，你從不需要去解說某場戲---隻是偶爾得讓她冷靜點以免狂熱過火了。

— 沃納·赫爾佐格 Werner Herzog



The More Opinions You Have, the Less You See.

你評價的越多(duō)，看見的就越少。

Any film that supports the idea that things can be changed is a great film in my eyes.

任何一部支持革新(xīn)的電(diàn)影在我眼中(zhōng)都是好電(diàn)影。

Entertainment today constantly emphasises the message that things are wonderful the way they are. But there is another kind of cinema, which says that change is possible and necessary and it's up to you.

今天的娛樂業總是過度強調事物(wù)美妙的一面，但世上還有(yǒu)另一種電(diàn)影，它意味着改變是可(kě)行的也是必要的，而這決定權在于你。

Neither Rainer Werner, nor any of us could have succeeded, or produced the number of films that we did, just on our own. We showed our films to each other, discussed them vigorously and rarely agreed.

不管是法斯賓德(dé)還是其中(zhōng)任何一個（德(dé)國(guó)新(xīn)電(diàn)影導演），我們如果孤軍奮戰是不可(kě)能(néng)有(yǒu)今天的成就和産(chǎn)量的. 我們所做的是互相欣賞對方的作(zuò)品然後大加評論， 雖然很(hěn)少贊同對方.

— 維姆·文(wén)德(dé)斯 Wim Wenders



If My Film Makes One More Person Miserable, I’ve Done My Job.

如果我的影片能(néng)再多(duō)折磨一個觀衆，我的目的就達到了。

I had a terrible education. I attended a school for emotionally disturbed teachers.

我的教育背景很(hěn)糟糕，我去學(xué)校就是讓老師心理(lǐ)失常的。

I believe there is something out there watching us. Unfortunately, it's the government.

我總覺得冥冥之中(zhōng)有(yǒu)人暗暗注視着我們，不幸的是那隻是政府而已。

My one regret in life is that I am not someone else.

我此生唯一的遺憾就是我不是另外一個人。

— 伍迪·艾倫 Woody Allen



For me, film-making combines everything. That's the reason I've made cinema my life's work. In films painting and literature, theatre and music come together. But a film is still a film.

對我來說電(diàn)影涵蓋了一切，這也是我将畢生獻于電(diàn)影事業的原因. 電(diàn)影中(zhōng)可(kě)以包括繪畫文(wén)學(xué)，戲劇音樂，但它本身最終是獨一無二的。

With a good script, a good director can produce a masterpiece. With the same script, a mediocre director can produce a passable film. But with a bad script even a good director can't possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. The script must be something that has the power to do this.

一個好劇本， 優秀的導演能(néng)拍出一部佳作(zuò)，平庸的導演能(néng)拍出及格作(zuò)品. 但如果是部爛本子，再棒的導演也拍不出好作(zuò)品. 要創造出真正美妙的電(diàn)影語言，攝影機和麥克風必須要能(néng)經受極端的考驗，一個好劇本就是基礎條件。

I like unformed characters. This may be because, no matter how old I get, I am still unformed myself.

我喜歡未成形的人物(wù)角色，這樣不管我年紀多(duō)大自己都還有(yǒu)持續塑造的空間。

— 黑澤明 Akira Kurosawa



The creation of a single world comes from a huge number of fragments and chaos.

一個完整世界的建構取材于無數的碎片和混沌。

We depict hatred, but it is to depict that there are more important things. We depict a curse, to depict the joy of liberation.

我們描寫仇恨是為(wèi)了烘托其他(tā)更為(wèi)重要的事物(wù)，我們刻畫詛咒是為(wèi)了鋪墊自由解放的歡愉.

I would like to make a film to tell children "it's good to be alive".

我想要拍一部電(diàn)影讓孩子們知道“生活有(yǒu)多(duō)美好” 

— 宮崎駿 Hayao Miyazaki



The wide screen reminds me of a roll of toilet paper.

寬銀幕讓我想起一卷廁紙。

我要表現的是，透過子女的成長(cháng)來窺探日本家族制度瓦解的過程。

電(diàn)影不過是披着草(cǎo)包，站在橋下拉客的妓女。

— 小(xiǎo)津安(ān)二郎 Yasujiro Ozu