人生可以重来经典佳句【有多少经典可以重来】

　　 　　Made Again 　　 　　It would seem that popular culture in recent years is being very environmentally friendly; it just keeps recycling itself. Fashion, music, cinema and art have all seen a huge spate of retro trends, comebacks, covers, adaptations and remakes. Will future generations abandon originality for good? Will popular culture eat itself? Film remakes, while not being a new phenomenon, are the most controversial of all. Seen by some as being proof of Hollywood"s lack of originality, they are often accused of being blasphemous to the originals. Other critics see remaking a movie as an artistic right and claim that by using big budgets and famous stars to retell the stories of lesser known films, they introduce forgotten classics to a younger generation. Love them or loathe them, they are here to stay. Insight Entertainment looks at a few famous and infamous remakes:
　　
　　近些年来，流行文化似乎一直都非常“环保”；它只是在不断进行着“回收再利用”。时尚、音乐、电影和艺术都经历了大量复古、复出、翻唱、改编和重拍风潮。后代人会永远放弃创新吗？流行文化会枯竭吗？重拍影片虽然不是一个新现象，但却是所有同类活动中最具争议的一个。它们经常被指责亵渎了原作，在一些人看来是好莱坞缺乏创新的证据。其他评论家则把重拍片视为一项艺术权利，并声称，他们用大预算和大明星来翻拍鲜为人知的影片，以此把已被淡忘的经典之作推荐给年轻一代。爱也好、恨也罢，重拍片仍在继续。本期《追星基地》关注了几部各有成败的重拍作品。
　　
　　Reservoir Dogs and City On Fire 《水库的狗》和《龙虎风云》
　　Quentin Tarantino"s debut film, Reservoir Dogs, was a huge hit which propelled him to fame as a director. It is based on a 1987 Hong Kong film by Ringo Lam, called City On Fire. Generally, Tarantino has never come in for criticism for remaking what was already an excellent film. This is partly because American audiences were not familiar with the original but also due to the way in which it was remade. Tarantino took the basic story of City as the plot for his film but told that story in a completely different style. Lam deals with time in a conventional linear way whereas Tarantino starts at the end and works backwards before ending up at the end of the story again. The screen stealing performance of Chow Yun-Fat drives the pace of City. Dogs works on the dazzling combination of the different styles of Keitel, Roth, Penn, Buschemi and Tierney. In this case, the remake stands on its own as a quality flick and has even introduced more people to the work of Lam in the process.
　　
　　昆汀・塔伦蒂诺的首部电影《水库的狗》大获成功，使其一举成为知名导演。该片以林岭东于1987年执导的香港影片《龙虎风云》为蓝本。通常，塔伦蒂诺从不会因其重拍昔日经典而招致批评之声。部分原因是美国观众不熟悉原作，但主因在于重拍影片时所采用的手法。塔伦蒂诺以《龙虎风云》的基本情节为其影片的脉络，但是却以一种完全不同的手法来讲述那个故事。林岭东在时间的处理上采用了传统的线性方式，而塔伦蒂诺则是以结局来开篇，然后进行倒叙，直至结尾处再现故事的结局。在《龙虎风云》中，周润发的抢镜表演加强了节奏感。而《水库的狗》则眼花缭乱般地将凯特尔、罗思、佩恩、布舍米和蒂尔尼等人的不同风格融合在了一起。就这次重拍来说，该片本身就是一部优秀影片，甚至在同时还使更多的人去关注林岭东的作品。
　　
　　Planet of the Apes《决战猩球》
　　The Burton remake of the 1968 classic was trashed by the critics from the start. While praise was given to the make-up and the humour that was injected into the story of a human astronaut trapped in a civilisation ruled by apes, the film was criticized for its lack of imagination. It has been rumoured that studio interference with Burton"s vision was the cause of this but many movie buffs complained that the 1968 version, starring Charlton Heston, is still a highly entertaining film to watch today and that remaking it was doomed from the start. If it ain"t broke, don"t fix it!
　　
　　这部由伯顿重拍的1968年经典作品从一开始就被评论家说得一无是处。该片讲述的是一名人类宇航员受困于一个猿猴主宰的文明社会的故事，尽管化装效果和片中运用的幽默手法受到了好评，但它还是因其缺乏想象力而受到了批评。有传言称，电影公司对伯顿的主张的干涉是造成这种结局的原因，但很多影迷抱怨说，由查尔顿・赫斯顿主演的“1968年版”如今仍是一部非常引人入胜的影片，重拍该片从一开始就注定要失败。“如果还没坏，就别去修它!”
　　
　　Psycho《惊魂记》
　　In 1998, Gus Van Sant directed a remake of the 1960 classic thriller, Psycho. The original, directed by Alfred Hitchcock, has survived generations of viewers and still succeeds in chilling modern viewers. The remake was an instant flop. Van Sant remade the movie scene for scene and shot for shot. Hardly any of the dialogue had been changed. Most critics screamed about the futility of doing this. Van Sant defends himself by claiming that young people today don"t like to watch old black-and-white films and by remaking it, exactly as it was but in colour, this brilliant picture can be enjoyed by a new generation. However, this remake failed because a carbon copy of a timeless work of art is pointless.
　　
　　1998年，加斯・范・桑特执导了一部重拍片――1960年的经典惊险片《惊魂记》。由阿尔弗雷德・希区柯克执导的原作，在几代观众群中都经久不衰，现在仍能使观众不寒而栗。而这部重拍片一经推出便遭到惨败。范・桑特是以逐个场景、逐个镜头的方式将该片进行重拍的。甚至连对话都未做任何改动。大多数评论家对这种毫无意义的做法进行了强烈批评。范・桑特自己辩解称，如今的年轻人不喜欢看老式的黑白片，而通过只改变颜色，其它不变的方式，这部精彩的影片可以受到新一代人的青睐。然而，这部重拍片失败了，因为照搬一部永恒的艺术作品是毫无意义的。
　　
　　The Ring and Ringu美版《午夜凶铃》和日版《午夜凶铃》
　　In the last few years, there has been a trend in the U.S. to remake Japanese horror movies. Hollywood studios take a successful Japanese horror film, inject a big budget into it and cast big stars, thus making it more marketable in the West. The Ring, a story about a cursed video tape that kills all who see it, is one of the best examples. Based on the Japanese hit, Ringu, The Ring is a chilling supernatural thriller. Throughout the nineties, Hollywood horror films had deteriorated in quality. Cheap thrills and graphic violence succeeded in shocking but continuously failed to scare audiences. By basing it on the Japanese film, which uses a lot of silence, eerie imagery and empty spaces to create suspense, and incorporating thriller techniques from Western masters, such as Hitchcock, The Ring puts American thrillers back on the right track. Although, arguably not as scary as the original, it is a modest, spooky thriller that never sells out to commercialism.
　　
　　过去几年里，在美国出现了一股重拍日本恐怖片的风潮。好莱坞的电影公司会挑选一部成功的日本恐怖片，投入大笔预算，启用大牌明星，由此使该片在西方更加卖座。最成功的案例之一便是美版《午夜凶铃》，该片讲述了一盘被诅咒的录像带会杀死所有看过它的人。美版《午夜凶铃》以日本风靡一时的影片《午夜凶铃》为蓝本，是一部骇人的超自然惊险片。整个90年代，好莱坞恐怖电影的质量出现了下降。低俗的吓人技俩和直观的暴力在震撼效果上是成功的，但却怎么也不能使观众感受到恐惧。日版影片使用了大量的默场、异象和空旷场地来营造悬疑感，而以其为蓝本并融合希区柯克等西方大师的惊险片技巧，美版《午夜凶铃》使美国的惊险片重归正轨。虽然可以说该片不如原作那样吓人，但却是一部张驰有道、令人毛骨悚然的惊险片，绝不是以商业利益为重。
　　
　　Remakes for 2005
　　War of the Worlds - Speilberg will direct and Cruise stars with a multi-million dollar budget.
　　The Pink Panther - Steve Martin takes the place of Peter Sellers to play bungling cop, Inspector Clouseau.
　　Oliver Twist - Roman Polanski takes on this much loved adaptation of a Dickens novel.
　　Herbie: Fully Loaded - Kids will be entertained by this remake of a movie about a very special car.
　　Charlie and the Chocolate Factory - Tim Burton remakes a favourite kid"s film. Johnny Depp plays Willie Wonka.
　　
　　
　　2005年的重拍片
　　《世界大战》――由斯皮尔伯格执导、克鲁斯担当主演，预算为数百万美元。
　　《粉红豹》――史蒂夫・马丁替代彼得・塞勒斯出演“糊涂大侦探”――克劳西欧探长。
　　《雾都孤儿》――罗曼・波兰斯基盯上了这部深受欢迎的狄更斯小说改编本。
　　《疯狂金车》――孩子们会喜欢上这部讲述一辆极其特别的小汽车的重拍片。
　　《查理和他的巧克力工厂》――蒂姆・伯顿重拍了一部深受孩子喜爱的影片。约翰尼・德普扮演威利・汪卡。
　　
　　Music with Joy and Earnest
　　D・Kwok, R&B Music Boy Interview
　　认真玩音乐 ――访19岁音乐顽童郭顶
　　文/方可编辑/瞿芳
　　
　　初见郭顶，是在某酒吧举行的他的首张唱片的发布会上。伴着一首《1985》，这个19岁的乐坛新人顷刻之间吸引了全场所有人的眼球。自由的唱腔、华丽的舞蹈、率性的装束，还有两边高举着海报的歌迷，不禁让人感到一股鲜活的生命力绽放于舞场的斑斓灯光之下。两星期后，我们与郭顶面对面地进行了一次采访。刚录完一场节目的顶顶显得有点儿疲惫。而谈到他的专辑、他的音乐以及他的乐坛之路时，顶顶稚气未脱的脸上又显出几分豪迈与踌躇。
　　
　　词、曲：郭顶
　　你有没有想过我会一直陪在你左右我想你一定想过
　　1985的小孩会给你带来什么从今后我想你一定梦过
　　梦想被释放的感觉真的很不同跟我做一件事的时候
　　真的想说点什么我真的很头痛
　　
　　
　　时间会变老 时间会抹掉 你一定会知道 HEN
　　什么是美好 什么会更糟 都忘掉
　　
　　只想用最简单的方式告诉你 我爱你
　　只想用最简单的方式告诉你 抱着你
　　只想用最简单的方式告诉你 和你一起
　　我要你告诉我 你也一样
　　
　　只想用最简单的方式告诉你 我爱你
　　只想用最简单的方式告诉你 抱着你
　　只想用最简单的方式告诉你 和你一起
　　
　　我要你告诉我 告诉我 你都知道
　　
　　我为什么没有做我该做的事一直说我想你一定想问
　　老是在这边爱来爱去又不懂我在说什么是不是你说
　　我只是想表达我的观点习惯这叫大爱你又不懂了 HA
　　真的想说点什么我真的很头痛
　　
　　时间会变老 时间会抹掉 我们都知道 HEN
　　什么是美好 什么会更糟 记不了
　　
　　《双语时代》：你的公司把《D・KWOK》专辑中的十首歌都定为了主打歌。如果让你自己选一首作为主打的话，会选哪一首？
　　
　　郭顶：一定会选专辑的最后一首歌《1985》，因为它代表了整张专辑的理念，即85年生人，或80年代生人的那种自由的心态。我觉得这一代人往往是无拘无束的，不会去理会生活的繁杂。但同时，他们也面临着巨大的压力。我就是想用这首歌表现出80年代的人应该生活得随意轻松，但又不失责任感。你可以做你自己，但绝不能伤害到别人。《1985》既是一种完结，也是一个新的开始。它就是主打歌的最佳之选。
　　《双语时代》：制作这张专辑的最大收获是什么？
　　郭顶：我学到了很多东西，因为有太多的第一次。自打进入这个公司起，我就一直在不断学习。许多人，如林哲民老师，Terence Teo以及行方洋一老师，对我的帮助非常大。此外还有很多人，如高晓松老师、成龙大哥，都认真听过我的专辑。自孩提时代起，成龙就一直是我心目中的英雄。我的作品能得到他的肯定，真是莫大的鼓励。
　　《双语时代》：你从什么时候开始对音乐感兴趣的？
　　郭顶：我家算是一个音乐世家吧。我爸爸是作曲系毕业，我妈妈是当地歌舞团的芭蕾演员，所以我的音乐旅程从一出生就开始了。我父母一直以来都支持我的音乐爱好。我喜欢什么样的磁带他们都一定会买给我。在学校的时候，我就喜爱文艺。我参加过各种演出，还当过学生会的文艺部长。校园生活很愉快。随后，我来到了北京，开始正规地学习音乐。
　　《双语时代》：为什么你会对音乐如此专注呢？
　　郭顶：因为别的我什么都不会。（笑）我觉得对我来说音乐太重要了。每天我都必须活在拥有音乐的状态中。音乐对我很好，我就必须珍惜它。
　　《双语时代》：你从什么时候开始作曲的？
　　
　　郭顶：我没有正规地学习过作曲。但在我还很小的时候，有时就会即兴地哼着一些小曲儿。我常常会拿录音机录下来放给别人听。我觉得作曲是对生活的一种感悟。每个人都能作曲。我们会发现自己会不时地哼唱一些自己喜欢的旋律。实际上，只要把这些旋律按照一定的规律拼在一起，就会创作出一首好听的歌曲。我真的很喜欢这种作曲方式。它比较像在玩，而不是很严肃地去把歌做得至臻完美。
　　《双语时代》：你有没有觉得在当了一个歌手之后你对音乐的态度有所改变？
　　郭顶：肯定有。当我还没有发片的时候，音乐是可以让我为所欲为的。但是在发了片之后，我感到有责任了。我觉得听众的标准越来越高。而他们的要求越高，歌手的压力就越大。其实我觉得还是要玩得舒服，让大家听得开心。一首歌有伤感、有快乐、也有对生活的感悟，放在一起就像一本相册。翻开之后，你就会有很多回忆。不过，真诚的态度当然也是非常重要的。应该说是认真地去玩音乐吧。
　　《双语时代》：如果有一天大家都不爱听郭顶的歌了，你会怎么办？
　　郭顶：我已经说过了，音乐占据了我生活的全部。除了音乐我一无所有。就算别人不喜欢我了，我也会继续坚持做下去。其实我一直在默默地做音乐。我从不追求让所有人都喜欢。我会努力的。起码让自己满意。
　　《双语时代》：你的下一个目标是什么？
　　郭顶：制作我的第二张专辑。我可不想让大家等太久。第一张让大家知道郭顶，而第二张会带来一些全新的东西。我会信守承诺的。在第二张专辑中，我会尝试更多的音乐流派，更加注重发掘我的个人特色。还有，我想拍一些大家从来没有看过的音乐电视。总的说来，就是制作一张很“郭顶”的专辑。
　　《双语时代》：你有没有比较喜欢的欧美歌手？
　　郭顶：有。像Usher、Alicia、Mariah Carey。我非常喜欢他们的音乐。他们给我的影响很大。我很早就开始听他们的歌，并一直想做出像他们那样的音乐。他们得过不少格莱美的奖项，而我可能连个机会都得不到。可不管怎样，我都会努力去做，但我真的非常欣赏这些艺人。我刚刚听说在洛杉机，有一个华人电台不仅播我的歌，还强力推荐这些歌曲。很高兴那里的华人能听到我的声音。我希望他们都能支持内地的原创艺人。
　　
　　Bilingual Time: Your company has decided that all ten songs on "D・Kwok" are top songs. If it"s up to you, which one would be the main track?
　　D・Kwok: It must be 1985, the last song of the album, because it represents the concept of the whole album, which is to do with the carefree attitude of those born in 1985, or the1980s. I think this generation tends to be unrestrained and ignores life"s complexity. But at the same time, they are also under tremendous stress. With this song, I want to suggest that our generation should live free and easy but also with a sense of responsibility. You can do what you want, but never hurt others. 1985 is an end and also a curtain lifted. It would be the best choice for the main song.
　　Bilingual Time: What is the biggest reward for producing this album?
　　D・Kwok: I"ve learnt much because there were too many first attempts. Since entering this company I have never stopped learning. Many people, such as Lin Zhemin, Terence Teo and Namekata Yoichi, have helped me a lot. And there are some others like Gao Xiaosong and Jacky Cheung, who have earnestly listened to my album. Jacky is my hero since childhood. It"s such a great encouragement that he has affirmed my work.
　　Bilingual Time: When did you become interested in music?
　　D・Kwok: I was born in, if you could say so, a family of musicians. My father graduated as a composer and my mother is a ballerina in a local art troupe, so my journey into music began with my birth. My parents always strongly supported my musical interests. They would buy me whatever cassette I liked. In school I was very fond of art. I took part in a variety of theatrical performances and was elected Minister of Art in the student union. Campus life was fun. Then I went to Beijing to start formal studies of music.
　　Bilingual Time: Why are you so dedicated to music?
　　D・Kwok:Because I"m capable of nothing else. (laughs) I think music is too important to me. I must live in a musical mood everyday. Music is very good to me and I must treasure it.
　　Bilingual Time: When did you first begin to compose melodies?
　　D・Kwok: I haven"t studied composition formally. But early in my childhood, I sometimes hummed some melodies off the cuff. I used to record them with a tape recorder and play them to other people. Composition, I think, is one of life"s sentiments. Everyone is able to compose. We may find ourselves humming something we like from time to time. Actually if we put them together according to certain rules, we might be able to compose a beautiful song. I really enjoy composing in this way. It feels more like playing around, and not trying to be very serious and make something flawless.
　　Bilingual Time: Have you found that your attitude toward music has changed since you have become professional?
　　D・Kwok: Absolutely. Before I released my album I could do whatever I pleased with music.Since its release, I have been possessed by a sense of responsibility. I feel that the audience"s standards are ever increasing. The more they demand the more stress the musician bears. In fact, I think that when I play in a relaxed way, the audience enjoys the music more. A song, composed about the joy, sorrow and sentiments of life, is like a photo album. By opening it, you may recall a lot of memories. But, of course, to be sincere is always very important. We should play with sincerity.
　　Bilingual Time: If one day, no one listens to D・Kwok anymore, what will you do?
　　D・Kwok: I"ve said that music is all that my life is about. I own nothing but music. Even if nobody likes me anymore, I wouldn"t give up. Actually I have been a musician in obscurity all along. I have never been tempted to pander to everyone. I will work hard at it. At least I will be satisfied with myself.
　　Bilingual Time: What is your next objective?
　　D・Kwok: My next album. I wouldn"t want to keep you guys waiting. The first is to make me known, and the second will bring something totally new. I will keep my word. In my next album, I"ll try more musical genres and I will concentrate more effort on developing my own style. What"s more, I want to make some MVs that you may have never seen. In short, there will much more of the D・Kwok style.
　　Bilingual Time: Are there any European or American singers that you like?
　　D・Kwok: Sure. Usher, Alicia and Mariah Carey. I"m very fond of their music. They have influenced me deeply. I"ve listened to their songs for a long time and dreamed to be like them someday. They have won many Grammy Awards and I may never have a chance. Anyway I"m trying my best on my own work, but I really appreciate these artists. Lately I heard that my songs were played and strongly promoted by a Chinese radio station in LA. It"s a great pleasure that the Chinese there could hear my voice. I hope they will support original mainland artists.