新西兰国宝:彼得.杰克逊:彼得 杰克逊 新作
时间：2018-12-27 03:33:00 来源：柠檬阅读网 本文已影响 人 
But in the end, it"s only a passing thing, this shadow. Even darkness must pass. A new day will come. And when the sun shines it will shine out the clearer. Those were the stories that stayed with you.
―― Peter Jackson
但是,阴影终究会过去,就连黑暗也会消失。崭新的一天将会来临,太阳也会散发出更明亮的光芒。这些才是让人真正难忘的事情。
――彼得・杰克逊
Every oak has been an acorn1.
Peter Jackson was brought up at a time when there was only one television channel in New Zealand. He was shy and solitary, first drawn into the world of film by a desire to create special effects. Inspired by the realization that he could emulate2 his favorite program "Thunderbirds" with his Matchbox toys, Jackson decided to make movies in order to be able to show off his home-made models.
His first attempt at filmmaking was a remake of King Kong ( 1933 ) at the age of 12. Using a Super-8 camera, a little model of Kong created from rubber and wire, and some of his mother"s fur coat, the imaginative youngster tried to recreate the "wonderful blend of escapism3 and adventure and mystery and romance".
It was all wonderful; Jackson knew from the very start that he could make something out of barely anything.
Before beguiling4 millions around the world with his masterpiece-the movie adaptations of The Lord of the Rings(2001,2002,2003 )trilogy, Jackson was a cult figure among horror fans for his low budget splatter flicks5. He is the one who can bring life or actually give life to things that have only appeared in our nightmares or wouldn"t surface at all throughout a life time. At each step of his development, he remembered that his top priority was to bring out dreams, especially dreams ridiculed to be the most unrealistic and impossible.
The most part of his life has been spent in self learning. He received no official schooling in filming; all of his knowledge has come from trials and errors6. He never gave up. He always held his camera around, trying something he had never ventured and something really intriguing. A life like this has given him the genuine fun. He is a director as well as an artist. He grasps every opportunity to indulge his passion for creating and showing exotic things. He has helped numerous people to revisit their dreams while they are clear and conscious.
To any other director, The Lord of the Rings is still THE biggest movie project in history, the first time three films were shot back-to-back at a cost of $430m. As Jackson once remarked, "This is a giant undertaking, but I consider this a personal film. I read the book when I was 18 years old and thought then, "I can"t wait till the movie comes out. " Twenty years later, no one had done it--so I got impatient."
Of course, it is easier said than done. The size of the endeavor was hard to comprehend. The 15-month shoot entailed a virtually constant workload, combined with pressure not only from his backers but from the armies of Tolkien7 fanatics comparing every nuance with the sacred text. Story-boarding started in 1997, and the last reel was shot in DecemDer 2000. During shooting, Jackson had to balance the schedules of his actors, especially the big names like Sir Ian McKellen, Liv Tyler, Christopher Lee, Hugo Weaving and Cate Blanchett. Scouring his beloved New Zealand for suitable locations was made harder by Jackson"s insistence on keeping true to Tolkien"s Middle Earth--the viewer is rewarded with a multitude of aesthetically rich and geographically different landscapes. Combining multiple shooting techniques, action sequences, vast amounts of CGI, with a multinational cast and crew, almost 19 000 costumes, props,and sets--this was a tour de force8 in management that says as much about Jackson"s organizational and planning capabilities as it does about his artistic integrity and technical and directorial ability.
Figures were too huge to mention for the measurement of his success. Even the Gold Oscar Statues have to be counted in double digits. The stout Jackson has not merely been the most powerful man outside Hollywood (he lives in Wellington) but more powerful than almost anyone inside it. And all this came from a simple camera the aspiring director used to record his childhood dreams.
Sam9: "There"s some good in this world, Mr. Frodo. And it"s worth fighting for!"
千里之行,始于足下。
在彼得・杰克逊成长的年代里,新西兰只有唯一一个电视频道。他那时很害羞,喜欢独处,创造特技的愿望首度为他开启了通往电影世界的大门。他那时最爱的电视节目叫“雷鸟”,而当意识到节目中的场景自己用火柴盒玩具也能模仿出时,杰克逊决定动手拍摄自己的电影,这样,他便可以在其中展示自制的电影模型。
杰克逊12岁那年初试电影――他用一架超8毫米的摄像机,一个用橡胶和钢丝制成的微型金刚模型和母亲的毛皮大衣重拍了1933年的《金刚》。这位充满想像力的少年试图重现那“逃避与探险交织,神秘与浪漫交织的美妙场景”。
这一切都太美好了。杰克逊从一开始便知道自己可以于无形中创造出有形。
杰克逊的巅峰之作――《指环王》(2001,2002,2003)三部曲的电影改编本令全世界为之倾倒,而在那以前,他以拍摄小成本惊悚片在恐怖电影迷里广结人缘。他的拍摄,赋予了或者说给予了那些曾经只在我们的噩梦中,或是一生中都不会出现的事物以生命。杰克逊的每一步,都是以实现梦想为目标,尤其是那些曾被人嘲笑为最不现实最不可能的梦魇。
杰克逊人生的大部分时间都花在了自学上。他没有接受过正规的电影教育,他对电影的所有了解都来源于他的尝试。他从未放弃过。他总是举着他的摄像机走走停停,寻找从未拍摄过的场景,寻找真正吸引人的主题。这样的生活给他带来了纯粹的快乐。他是位导演,也是位艺术家。他抓住每一个可能宣泄他激情的机会――他是如此地想要向世人创造和展现奇异的东西。有了他,无数人才可以在清醒的时候重温梦里的画面。
无论对哪个导演来说,《指环王》都是历史上最为恢宏的电影工程。三部电影同时拍摄,花费总计达4亿3千万美元。然而对此,杰克逊却显得不以为然:“这虽是一项大工程,但我把它看做一部个人的作品。我18岁时便读过这本书了,当时我就想‘电影什么时候能拍出来,我等不及了。’然而20年过去了,还是没有人拍这部片子,我不耐烦了。”
当然,说起来容易做起来难。此项工程的浩大程度难以想像。15个月的拍摄里,杰克逊承载着几乎一成不变的工作量。而他的肩上同时还担着另外两方面的压力:一方面是来自他的支持者;另一方面来自托尔金的大批书迷们,因为这些人必将影片的每一个小细节与他们心中的“圣书”相比。剧本策划从1997年开始,最后一个镜头完成于2000年12月。拍摄过程中,杰克逊需要照顾演员们的日程,尤其是一些大牌明星,如伊恩・麦凯伦爵士(甘道夫),丽芙・泰勒(精灵公主),克里斯托弗・李(白巫师),雨果・维文(精灵王),凯特・布兰切特(盖拉德丽尔夫人)。徜徉在他深爱的新西兰,合适的拍摄地点格外难寻,但杰克逊还是坚持场景要符合托尔金对中土的描述,最终,他收获了许多赏心悦目、景致多样且地形各异的外景地。在电影中,杰克逊体现了多种拍摄的技巧,动作的组合以及大量的电脑影像集合(CGI)。各国演员与工作人员在此齐聚一堂,用到了近19000套服装,小道具和装置。这一切的一切都展现了导演彼得・杰克逊精湛的管理技术,强大的组织与策划能力,高超的艺术造诣以及他将技术与执导融合在一起的技艺。
杰克逊的成功用数字是无法衡量的。他的电影获得的奥斯卡小金人需用两位数来统计。身体强壮的杰克逊在好莱坞外(他住在惠灵顿)独占鳌头,也胜过了好莱坞内的大多数导演们。然而,他的所有成就都来自于那架简单的摄像机,那架曾记录下他儿时梦想的摄像机。
山姆说:“弗罗多,这世界上一定存在着善良,值得我们奋战到底!”
注释
① every oak has been an acorn:(谚)千里之行,始于足下
② emulate:v.效法;尽力赶上
③ escapism:n.逃避主义;逃避现实
④ beguile:v.诱骗;吸引
⑤ splatter flick:恐怖片
⑥ trials and errors:尝试
⑦ Tolkien:约翰・罗纳德・鲁埃尔・托尔金(John Ronald Reuel
Tolkien),英国语言学家,作家。因创作了奇幻小说《魔戒》
而举世闻名。
⑧ tour de force:代表作;绝技;力作
⑨ Sam:山姆,《指环王》中弗罗多忠实的仆人,与弗罗多一
路相互搀扶着前往莫都的厄运山脉销毁魔戒。文中引文
摘自《指环王》三部曲第三部《指环王:王者归来》。
