如何評價電影《海市蜃樓》?
《看不見的客人》的導演奧里奧爾·保羅的新作 ——《海市蜃樓》定檔 3 月 28 日。
《海市蜃樓》延續了反轉和懸念的風格,和觀眾做起了心理遊戲,同時加入了時光穿梭和蝴蝶效應等元素。
感謝中國團隊的朋友們幫我翻譯
Like five years ago, I was happy and I was living with somebody and she asked me to have a baby. And somehow I was like, Im not sure about this relationship. So I need to bring something on the table and just be sure that this is what I want. So when I did it, everything just fell apart. So the reason why I brought all these things on the table was because she asked for a baby. And I wasnt sure about what kind of relationship I was having. So after we break up, I started to think about, I thought my life was one, but in fact it was not the one I thought.
Then, I want to show a person that had one life. It was supposed to be the perfect life. And at some point you break this life and in another reality, you see your life, but its much more real than reality of the first one. But in this new reality, there is no baby. So I wanted to show like two realities. One, you have the baby, the other when you dont have the baby. And what happens in this confrontation? It looks like the mirror. And this is basically where the idea comes from. And of course, this is just based on something personal. And I just separated myself with this person, my personal feelings. And I just did a thriller. Its what I do. But I thought it was interesting to present somebody who had this perfect life and then break it at some point. And what happens after you wake up one day in a new reality where nobody recognizes you. Who are you supposed to be? But you still have the thought of your baby. So what happens then? Thats the idea.
I tried, my first draft was with the father, because I thought, Im talking about my personal experience. So it should be a father. But after the first draft, I thought the story was much more powerful with the mother rather than a father. The love of a mother is much more stronger, because a mother would give birth to a child, but I dont. It would be much more stronger if it was a mother. And then I also needed to separate myself from the material. So I thought it was better with the mother. And then on the second draft, when I change, the farther to the mother, it was much more powerful in my opinion. And um, I mean, theres something of the power of love, the mother with a child, the bond, it』s much more stronger.
In this film, the strong scene is the key. I always need a strong scene first. I mean I know what do I want to tell, I know how do I want to tell, but I always need the warrior-situation. Like in The Invisible Guests, the situation was: what if you wake up in a hotel, your lover is dead, somebodys knocking at the door, it』s the police and there was a man inside the room, what would you do in that situation. And you claim you are innocent. That was the strong situation for me. In this one, it was one mother goes to the school to pick up the girl, and they say, no, there is no girl here. This girl doesnt exist. That was like the strong situation. Once I had this situation of the mother going to the school and just asking for the daughter and the teachers saying theres no daughter, but we have seen that mother and the teacher know each other. Weve seen it before. So what the hell is going on? So once I had this strong situation, then I can build around this situation that the whole film.
My last movie is called Contratiempo in in spanish, but in English and Chinese is Invisible Guest. The thing is, Mirage makes a lot of sense in English, in French, in maybe Chinese, but in spanish, the word we have is not beautiful. Espejismo, it doesnt have the conceptual poetic meaning. So we couldnt use this concept for the spanish title. I wanted put something poetic to the title. It sounds also like a thriller. It sounds, it has all these meanings.
And it makes sense. So thats why we change the title.
大概五年前,我和當時的伴侶住在一起,她希望和我有個孩子。不知怎麼的,我對這段感情開始感到不確定。所以我開始思考到底什麼是我想要的,當我開始這麼想的時候,一切都崩潰了。一切的起因是她想要一個孩子。我也不確定自己的感情是什麼樣的,我們分手後,我開始思考,我以為我的生活是這樣的,但事實上不是我想的那個。
所以我開始想,(拍一部電影)展示一個人物的生活。它可能是一個普通人看來完美的生活。某一刻,你打破了這個生活,進入了另外一個現實。在那個現實里,你並沒有孩子。我希望展示這樣兩個平行的故事,在這兩個對抗中發生了什麼?這更像一個鏡面故事,這就是我故事的創作來源。這是來自我個人的思考和體驗,我把我個人的想法和劇本中這個人物分享,拍出了這個電影。我覺得展現一個完美的生活然後把他打碎的過程是很有趣的。有一天一覺醒來,你已經處於一個新的現實當中,你是誰,你還保有過去的記憶,那接下來會怎麼發展?這個很有趣。
我的第一份初稿主角是個父親,因為我想,我說的是我的個人經歷,所以應該是個父親的角色。但是在初稿之後,我認為這個主角是母親的話會比父親更有力量。母親的愛更強烈,因為孩子是她生的,但父親體會不到這種感覺。然後我也需要把自己從故事中分離出來,所以我覺得主角是母親會更好。然後第二稿,我把主角變成了母親,它的確強大了很多,有某種愛的力量,有孩子的母親,這種紐帶,它要強得多。
在這部電影中,衝突才是關鍵。我知道我想說什麼,我知道我想怎麼說,我總是需要衝突來表現。就像《看不見的客人》的故事是你在酒店醒來,你的愛人死了,警察在敲門,在那個情況下你會怎麼做。你伸冤,說自己是無辜的,那是你的衝突。在這個電影中,一位母親去學校接這個女孩,但被告知這裡沒有這個女孩,這個女孩不存在。有一次我遇到過這樣的情況,媽媽去學校接女兒,老師說沒有這個女孩,但媽媽和老師互相認識。到底怎麼回事?所以一旦我有了這種強烈的情況,那麼我就可以圍繞這個情況來構建整個電影。
我上部電影在西班牙語中的意思是「對抗時間」,但在英語和漢語中是《看不見的客人》。這部電影《海市蜃樓》的翻譯,Mirage 在英語、法語、漢語中都有很豐富的含義,但在西班牙語中,這並不是一個好聽的辭彙,它沒有詩意的概念。所以我們不能把這個概念用在西班牙語標題上。我想用一個更詩意的標題,聽起來也更像一部懸疑片,所以我們改了標題。
總而言之,尼克真慘!
一代目被車撞,二代目被當成精神病人,又又被治療,又在車站坐了十幾年,好不容易即將雙宿雙飛,還被老婆gank,直接跳樓死了,至於三代目...
想想二代目看到女友為了女兒跳樓之後,在最後一個半小時,跑去和三代目解釋的時候的話語:
「你聽我說,我就是你,你現在不要想著去證明對面那個男人殺了她老婆,也不要糾結那個所謂的25年後的女人,不然你未來會被當成精神病,還要被各種治療。你需要的就是好好學習,然後考警察,當探長,並且不要找女朋友!!25年後這個事情會真相大白,公道自有天收,到時候你就會破了這個案子,那個未來的女人會成為你的女人,並且送你一個女兒,你啥都不虧,雖然你沒有戀愛的那種感覺,不過我都替你嘗過了???」
他還是個孩子呀!!!那個十歲左右的小孩,聽到這段話不得瘋了?我啥都不幹,25年後就多個老婆和女兒,關鍵我還體會不到愛情的美妙?!喜當爹也沒有這樣子的吧?!
電影剛結束,就聽邊上一個女的在嘀咕:她好貪心,女兒也要了,老公也換了。
這是一部關於小孩才做選擇,大人我哦不對,母愛至上的電影。